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Date: Thu, 1 Jul 1999 01:01:06 EDT
Subject: Re:  Re: H-COST: Hair question....
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-Poster: Luiseach@aol.com


In a message dated 06/30/99 07:21:33 PM, Elysant wrote:

<<Rags and ringlets 

My mother used to do these for me when I was little.  {snip}

She would use long strips of knit cotton (usually old vests actually) and 
starting at the top of a portion of hair, would hold the top of the strip 
firmly and wrap my hair around the strip top to bottom in a spiral 
fashion.  Then she's wind the test of the strip bottom to top around the 
wound hair in a spiral fashion until she reached the top and tie the 
strip off.  The knit texture of the fabric helped firm up the wrappings. 

She used to do several rows of this for me.  Probably about 20 "rags" in 
all.  Then I'd go to bed in them, and the next day, she'd unwind them and 
coax the hair into ringlets. >>

That's a good description of the process.  How well it works depends on the 
length and texture of your hair.  My grandmother put my hair into rag curls 
once.  My hair is naturally curly and when she took the rags out I had an 
Afro.  Not a popular style for little blond girls in the late 50s.  She ended 
up french braiding my hair because she couldn't get a comb through it.

Lucinda

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Date: Thu, 1 Jul 1999 02:39:40 EDT
Subject: H-COST: Re: H-COST Suggestion on Janet...
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-Poster: Gerekr@aol.com

Apologies if I've already sent this to the list, 8-0!!

>>Date:        06/13  3:46 PM
>>...
>>-Poster: Joan M Jurancich <joanj@quiknet.com>
>>
>>... This would be especially useful for the _Waffen-und Kostumkunde_ 
>>articles. I have not been able, so far, to find a library that 
>>has the magazine; for ILL through the California State Library,
>>I need to give them the location information. If anyone *has* 
>>found a library with the magazine, could you please either post
>>it to the list or send it to me privately ...

>she has to tell them where?  huh???

This statement about JOAN having to tell the LIBRARY where to look for the
journal is just COMPLETELY weird!  I have never heard of an inter-library
loan operation that worked like that... and I've worked in libraries for 
over 20 years! anyway, I spent much too much time
at work today, 8-), figuring out where this (Waffen und Kostumkunde) is
located.  

The info I could find does NOT say what years each of these
institutions holds, however...  

I've re-sorted the list into free suppliers, suppliers for $$, and
non-suppliers.  Note that Harvard has designated itself a "supplier for 
$$"
- $20 minimum the last I heard.  Even the non-suppliers may have this
available for walk-ins to use.

state     library

CA        CAM  - Los Angeles Co Museum of Art - supplier (no $!)
CT        UCW - University of Conn - supplier 
DC	       SMI - Smithsonian - supplier 
LA        LRU - Tulane  - supplier 
NC        NOC - UNIV OF N CAROLINA, CHAPEL HILL - supplier 
AB        UAB - UNIV OF ALBERTA    CANADA   SUPPLIER    
ON        UWO - UNIV OF WESTERN ONTARIO    CANADA        SUPPLIER  

KY        KUK - University of Kentucky, Lexington $, supplier 
MA	       HLS -  Harvard - $, SUPPLIER
NY        BUF  - SUNY AT BUFFALO - $, SUPPLIER 
NY	       NYP - NEW YORK PUB LIBR RES LIBR $, supplier    
PA        PAU - UNIV OF PENNSYLVANIA , PHILADELPHIA - $, SUPPLIER

CT	       yrb -  WADSWORTH ATHENEUM, AUERBACH LIBR , Hartford - 
nonsupplier  
DC        dlc  - Library of Congress - NONSUPPLIER 
MA        bmf - Museum of Fine Arts, Boston  - NONSUPPLIER
EU        ava - V&A - nonsupplier
	         edn  - (Danish) - nonsupplier
	         xu@ - (another Danish) - nonsupplier	

That's 18 known locations:  7 free suppliers, 5 suppliers requiring $$ ...

Hope this helps, & Good luck!

Patsy/Chimene 
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From owner-h-costume@indra.com  Thu Jul  1 05:56:12 1999
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Date: Thu, 01 Jul 1999 06:06:14 -0500
To: h-costume@indra.com
From: John and/or Barbara Bailey <svea@execpc.com>
Subject: Re: H-COST: OT:  mundane hair styles for REALLY LONG hair
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-Poster: John and/or Barbara Bailey <svea@execpc.com>

"Arianne de Dragonnid  mka Grace Payne" 
>The problem is that my hair, which I like VERY much, is butt-length,
hip-length if I braid it, which I often do.  
>While this is great for period hairstyles, I'm having real trouble finding
a mundane hairstyle I like 

Have you considered or tried the Gibson Girl-type top of the 
head chignon?

You can leave the non-chignon-ed hair quite puffy and soft, 
and since the pile of hair is on top of your head, rather 
than on the back, gravity has a little more trouble taking 
over. You'll still need way more hairpins than I do (I only 
need about four to hold) but I've played volleyball with my 
hair (mid-back length and wavy) in this style, and it held 
'til I pulled the pins out.

Barbara
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From owner-h-costume@indra.com  Thu Jul  1 07:01:47 1999
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Date: Thu, 01 Jul 1999 20:06:20
To: h-costume@indra.com
From: Mikkee Peyerk <mlpeyerk@mtu.edu>
Subject: H-COST: Elizabethan Hats
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-Poster: Mikkee Peyerk <mlpeyerk@mtu.edu>

Many thanks to all who have answered my question.  Hopefully I can find one
I like and make it.

Mikkee


"The real secret to patience is to find something to do in the meantime."
		-Unknown

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Date: Thu, 01 Jul 1999 20:13:50
To: h-costume@indra.com
From: Mikkee Peyerk <mlpeyerk@mtu.edu>
Subject: Re: H-COST: Hair question....
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-Poster: Mikkee Peyerk <mlpeyerk@mtu.edu>

<snip>
  I was against her using any modern setting lotion, but 
>she sometimes used sugar water to help keep the curls in.  (Just dampened 
>the hair slightly with it).  
>
<big snip>

I have very fine hair, which was much longer when I was in gradeschool, but
in order to keep curls in my hair, my mother used Knox gelatin.  I'm not
sure if she did something special to it or not, but it worked.  

Mikkee


"The real secret to patience is to find something to do in the meantime."
		-Unknown

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From owner-h-costume@indra.com  Thu Jul  1 07:59:13 1999
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From: pulliam@acadia.net (Deborah Pulliam)
Subject: H-COST: Elizabethan caps
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-Poster: pulliam@acadia.net (Deborah Pulliam)

<<men and women's toques (flat caps pleated to a brim)>>

Minor correction: a toque actually is a brimless hat or cap (made popular
in this century by Queen Mary). The caps you're describing are known as
flat caps or Tudor caps.



Deborah


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From: "Holliday, Rachel {DISC~Welwyn}" <RACHEL.HOLLIDAY@roche.com>
Subject: H-COST: OT - Yahoo/Geocites webpages - you don't own your content!
To: "Herb Kitchen (E-mail)" <herb_kitchen@onelist.com>,
        "Historic Costuming (E-mail)" <historic-costuming@onelist.com>,
        "Historic Costume List (E-mail)" <h-costume@indra.com>,
        "Later-Medieval-Britain (E-mail)" <later-medieval-britain@ilist.net>,
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-Poster: "Holliday, Rachel {DISC~Welwyn}" <RACHEL.HOLLIDAY@roche.com>

I got passed this on from another list.  I thought anyone with web pages on
these servers should know about this.  Apologies to anyone else.


Yahoo's Lawyers Take Over the Asylum
How much will your free Geocities site actually cost you if they "legally"
steal your content? 
By David "Spam Me and Die" Fiedler 
Sigh. 

They tried to slip one past us all. 

Before I go any further with this, I want you to know that I'm truly sad to
be writing this particular column today. I'm not one of those people who run
around saying "Oh, sure, I know Jerry Yang", but I have met him on a number
of occasions and he's always struck me as a Nice Guy. 

Yesterday, Yahoo! took the first major steps in bringing millions of
GeoCities users into its own network, after buying Geocities in January.
Unfortunately, yesterday was also the day that Yahoo! quietly unveiled some
new terms in its agreement with users of Yahoo! and Geocities
properties...terms that effectively mean you're giving Yahoo! perpetual
rights to any content you submit to them! 

Paragraph 8 is the one we're concerned about here: 

    By submitting Content to any Yahoo property, you automatically grant, or
warrant that the owner of such Content has expressly granted, Yahoo the
royalty-free, perpetual, irrevocable, non-exclusive and fully sublicensable
right and license to use, reproduce, modify, adapt, publish, translate,
create derivative works from, distribute, perform and display such Content
(in whole or part) world-wide and/or to incorporate it in other works in any
form, media, or technology now known or later developed.
This is one of the most horrific scenarios one could possibly imagine, but
in a way I'm glad that such a high-profile company like Yahoo! was the first
to try this little scam. Every time I've visited one of the sites that give
you free Web space, I've read the Terms and Conditions carefully, because I
was afraid that someone would try this eventually. This way, we can make
enough of an outcry that perhaps we can shame Yahoo! into withdrawing the
entire concept, as well as set a precedent that will effectively stop anyone
else from doing the same thing. 

We all know that nobody would visit any site on the Web if it wasn't for the
content there. In the past, sites like Geocities would be content to sell
ads on their site -- which contain your content -- and the deal was that
you'd get free Web space. Now apparently they want to sneak your content
into their pockets as well. 

Well, we're not going to let them do that, are we? 

I am indebted to Mark Welch, who runs Web Site Banner Ads Digest among other
things, for pointing this out to his subscribers, of which I am one. Mark is
calling for a boycott of Yahoo! and Geocities until they mend their ways. 

Let's hope they see things the right way and fix this fast. Personally, I
think Yahoo! is a great directory, and I use it all the time. But I'm going
to give them a pass until they come to their senses. 

After all, if Yahoo! didn't have all our content to point to, where would
they be in the first place? 
-- D. Fiedler 

Evening Update: It's Worse!
I've been doing a bit of research, and it seems our friends at
Yahoo/Geocities are not alone. Other sites that are doing this include
@Home, Tripod, and Suite101. Because of the widespread nature of this
problem, I've set up a personal outside site to act as a clearinghouse for
information at http://dragonflames.com. Please go there for further updates
on the boycott. Thanks! 

David Fiedler is Editor-in-Chief of WebDeveloper.com, and his opinions are
definitely his own. 

Last modified: Tue Jun 29 21:35:26 EDT 1999 

Taken from http://www.webdeveloper.com/refresh/refresh_062999.html
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From owner-h-costume@indra.com  Thu Jul  1 08:50:53 1999
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From: CDepner26@webtv.net (Harold Hensley)
Date: Thu, 1 Jul 1999 09:00:51 -0400 (EDT)
To: h-costume@indra.com
Subject: Re: H-COST: Elizabethan caps
Message-ID: <13043-377B7493-2465@postoffice-281.iap.bryant.webtv.net>
In-Reply-To: pulliam@acadia.net (Deborah Pulliam)'s message of Thu, 1 Jul
	1999 09:10:05 -0500
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-Poster: CDepner26@webtv.net (Harold Hensley)

Deborah                                                   Are you
referring to the Marie Stuart Cap? I have been researching this cap (the
toque) for quiet some time now and all  my sources referred to it as a
toque.  I'll be happy to share my sources with you if you like.  I would
also be interested in knowing your sources as I am eager to learn
anything new having to do with the Elizabethan era.

Thanks
Melissa Depner

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From owner-h-costume@indra.com  Thu Jul  1 10:46:17 1999
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From: Margo Anderson <margo@directcon.net>
Subject: Re: H-COST: OT:  mundane hair styles for REALLY LONG hair
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-Poster: Margo Anderson <margo@directcon.net>


>
>Have you considered or tried the Gibson Girl-type top of the 
>head chignon?
>
>You can leave the non-chignon-ed hair quite puffy and soft, 
>and since the pile of hair is on top of your head, 

But how do you get it to stay on top of your head?  I like this style, but
whenever I try to wear it, the bun slides to the back, or worse, to one side.

Margo

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From owner-h-costume@indra.com  Thu Jul  1 12:18:08 1999
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From: "GRM Files" <grmfiles@Princeton.EDU>
To: <h-costume@indra.com>
Subject: RE: H-COST: OT:  mundane hair styles for REALLY LONG hair
Date: Thu, 1 Jul 1999 13:27:59 -0400
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-Poster: "GRM Files" <grmfiles@Princeton.EDU>

To keep the Gibson-y thing at the top of my head, I just pull the front part
of the hair further through the elastic than the rest of the hair, before
"bunning." That gives a kind of anchor to the pouf.

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From owner-h-costume@indra.com  Thu Jul  1 14:18:41 1999
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Subject: Re: H-COST: OT:  mundane hair styles for REALLY LONG hair
Date: Thu, 1 Jul 99 14:08:49 -0000
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-Poster: <aquazoo@patriot.net>

Hello Arianne and other longhairs,

     You need The Long Hair Site! <http://www.tlhs.org/>. There is also 
an e-mail discussion list, which can be reached through the site.

     One source of styles is a series of videotapes by Jim Butchee who is 
a long hair stylist in Texas. There is a phone number on the tape - 
1-800-803-7220.

     There are several places that cater to long hair, though they are 
few and far between. The Long Hair Site has links to sources.

     Good luck!

     -Carol Kocian
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From owner-h-costume@indra.com  Thu Jul  1 14:19:11 1999
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-Poster: Kat & Kent <kdyer@home.com>

Margo Anderson wrote:
> >
> >Have you considered or tried the Gibson Girl-type top of the
> >head chignon?
> >
> >You can leave the non-chignon-ed hair quite puffy and soft,
> >and since the pile of hair is on top of your head,
> 
> But how do you get it to stay on top of your head?  I like this style,
> but whenever I try to wear it, the bun slides to the back, or worse,
> to one side.
> 
> Margo

My hair only comes down mid-back and it's really baby fine but I find
that two or three strategically placed long bobby pins do the trick.

Kat
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From owner-h-costume@indra.com  Thu Jul  1 14:20:14 1999
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From: "Marsha S. McLean" <msmclean@interlog.com>
Subject: H-COST: Elizabethan, again
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-Poster: "Marsha S. McLean" <msmclean@interlog.com>

- -Poster: "Andrea Gideon" <andrea.gideon@erols.com>

I guess I should have been more specific.  Would it be appropriate to have
embriodered gaurds, like the Elanora of Toledo gown, on a linen merchant
class gown?
Andrea

Indeed, the middle class are notable for their attempts to dress like the
upper classes.  This seems to me like the perfect way to do that.  Can't
afford a silk gown?  Well, you CAN afford the heavily embriodered guards.
If't were me, I'd make MY guards even more elaborate than any wealthy
woman's.  Now we know there is little evidence of everyday dress, much less
middle class every day dress, so this is conjecture based on human nature.
Look at women today; they can't have the Gucci suit, so they buy the scarf.
One possible influencing factor; is this for a Puritan?  If so, plain is
bettter.

Marsha
 



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From owner-h-costume@indra.com  Thu Jul  1 14:21:26 1999
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From: "Penny Ladnier" <penny.creative.outlets@erols.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: OT:  REALLY LONG hair
Date: Thu, 1 Jul 1999 14:59:46 -0400
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-Poster: "Penny Ladnier" <penny.creative.outlets@erols.com>

You might want to try some of the hairstyles on this article I posted
http://www.costumegallery.com/Frank_Leslie/April_1864/Ladies_Hairstyles.htm
Directions are on the page. All of the hairstyles require long hair or hair
pieces.  One style states that you need a yard of hair.  The styles are very
pretty and can be adapted to current fashion.

My seven year old daughter has knee-length hair.  It is fine and curly.  She
loves these hairstyles.  So I am going to try them out on her.

There is a list for people with long hair.  Carol Kocian is on it.  Maybe
she can post the directions for getting on the list.  I'd like to get on
that list too.

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

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From owner-h-costume@indra.com  Thu Jul  1 14:21:46 1999
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Date: Thu, 01 Jul 1999 12:17:42 -0400
Subject: Re: H-COST: OT:  mundane hair styles for REALLY LONG hair
To: h-costume@indra.com
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-Poster: snowfire@mail.snet.net

-Poster: Elysant <Snowfire@mil.snet.net>

Per my mother - she used to do Edwardian and Gibson Girl styles for people.

Use hair pins instead of bobby pins, or braid it and then wind it into the 
bun, or twist the hair round and roundm then coil the twist into a bun.  

Also you can use a large "pony-tail clip" which is a rigid circular clip which 
snaps shut around the base of the ponytail, and has "teeth" which interlace in 
the middle of the circle - enhances the grip to keep the ponytail in place.  
(She's in Britain - don't know what's available where you are sorry!)

Also use combs.

Using combs can increase the pouffiness of the hair around the bun, without 
loosening it for the same effect and will eliminate slippage.  To insert the 
combs, you slide them up the hair wrong side out, then flip the comb over 
while in the hair, and push it down firmly into place.  This seats it and 
allows the hair to pouf below and in front of the comb, as well as keeps the 
comb in place. You could place a few of them around the sides and back of the 
bun, to achieve the Gibson Girl (or "Chelsea Bun") effect.
		
Elysant			 
			
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From owner-h-costume@indra.com  Thu Jul  1 15:37:57 1999
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From: kat <kat@janrix.com>
To: "'h-costume@indra.com'" <h-costume@indra.com>
Subject: H-COST: fabric sources
Date: Thu, 1 Jul 1999 16:28:17 -0400
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-Poster: kat <kat@janrix.com>

I am looking for a source (wholesale or retail) for wool satin.

Also:
I was also told there is a company in England making a wool superfine, 
cochineal dyed, that is back ordered for nearly a year. I saw/handled some 
of the wool, and it looks too 'hot' for cochineal -- almost edging on the 
neon. I don't know if this is the real deal and the other cochineal fabrics 
I have seen are a poorer red, or if this is a commercial dye that 
supposedly looks like cochineal. the fabric is for a British officer's 
coat.

Kat Hargus
owner, Making Time
www.makingtime.com

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From owner-h-costume@indra.com  Thu Jul  1 16:49:54 1999
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-Poster: CONNECT@aol.com


In a message dated 7/1/99 4:49:15 PM, kat@janrix.com writes:

<< 
-Poster: kat <kat@janrix.com>

I am looking for a source (wholesale or retail) for wool satin.
 >>

Designer Fabric Outlet in Toronto, Ontario has wool satin for $25 CAN a yard, 
if memory serves.

Yours,
Pattie Rayl
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From owner-h-costume@indra.com  Thu Jul  1 17:21:11 1999
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-Poster: Janice Dallas <janicedals@mediaone.net>

I also have very long hair which I often put up with the Mei Fa sticks
or another brand that is sturdier.  Before I started using sticks, I had
a "Do" which balanced out the weight of my hair on my head so my neck
wouldn't be strained.  I'd braid my hair at the nape, heading up to the
crown of my head, or a little forward.  Then I'd fasten it with a large
barrette,and divide it into two braids, fastening the ends with bands
(optional) these two braids would be carried forward to each side and
then back, above each ear, to have their tails end tucked under the
nape/beginning of the whole braid.  Fasten in place with pins and you're
done.  This worked for a friend with slippery blonde hair past her
buttocks as well but we had to do more with her ends, sort of a back
spiral arrangement.
-- 
Janice Dallas
JaniceDals@MediaOne.net
"Just so, the girl has beauty, virtue, wit..."
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From owner-h-costume@indra.com  Thu Jul  1 18:38:14 1999
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From: "Amanda Reeves" <alr@io.com>
To: <h-costume@indra.com>
Subject: Re: H-COST:  LONG hair
Date: Thu, 1 Jul 1999 18:51:57 -0500
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-Poster: "Amanda Reeves" <alr@io.com>


One thing caught my attention on Penny's hair site...:

	Cover it all with an invisible net.

What a simple cure all!

Amanda

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From owner-h-costume@indra.com  Thu Jul  1 19:03:10 1999
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-Poster: "J,K,S&A Baird" <baird@rrnet.com>

At 04:28 PM 7/1/99 -0400, you wrote:
>
>-Poster: kat <kat@janrix.com>
>
>I am looking for a source (wholesale or retail) for wool satin.
>
>
I have found wool satin at G Street Fabrics (1-800-333-9191), at Treadle
Yard Goods in St. Paul, MN, and at other fine fabric stores.

Wholesale--I don't know. The stuff I've seen is made in Italy. It is gorgeous!

Kim
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From owner-h-costume@indra.com  Thu Jul  1 19:42:44 1999
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From: "Penny Ladnier" <penny.creative.outlets@erols.com>
To: <h-costume@indra.com>
Subject: Re: H-COST:  LONG hair
Date: Thu, 1 Jul 1999 20:50:16 -0400
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-Poster: "Penny Ladnier" <penny.creative.outlets@erols.com>

I too have hip length very straight and fine hair.  Everything falls out of
my hair.  When I did the Cyber Cinderella thing last year, the hair stylists
"Up-do Queens" guaranteed me they could make my hair stay up.  They used
this hair spray called Vavoom by Matrix.  On the canister it is not called
hair spray but Freezing Spray.  Believe me it did hold my hair in place even
after I took all the pins out.  The stylists told me I would have to wash my
hair twice with baking soda to get the spray out.

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

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From owner-h-costume@indra.com  Thu Jul  1 19:53:47 1999
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Date: Thu, 01 Jul 1999 21:00:47 -0400
Subject: Re: H-COST:  LONG hair
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-Poster: snowfire@mail.snet.net

-Poster: Elysant <Snowfire@mail.snet.net>

See that's the problem I used to have too!  Fine silky hair, everything falls 
out - no matter what!  Ribbons, bobby pins, spirals, whatever!  (Unless you 
glue it or starch it in place or something)! ;-)  I'm glad Im not alone 
anyway!

With my veils, I use those long pins with the big pearl tops to pin the ruddy 
thing to my head!  sigh!  I wonder what they did in the olden days!

Elysant


On Thu, 1 Jul 1999, "Penny Ladnier" <penny.creative.outlets@erols.com> wrote:
>
>-Poster: "Penny Ladnier" <penny.creative.outlets@erols.com>
>
>I too have hip length very straight and fine hair.  Everything falls out of
>my hair.  When I did the Cyber Cinderella thing last year, the hair stylists
>"Up-do Queens" guaranteed me they could make my hair stay up.  They used
>this hair spray called Vavoom by Matrix.  On the canister it is not called
>hair spray but Freezing Spray.  Believe me it did hold my hair in place even
>after I took all the pins out.  The stylists told me I would have to wash my
>hair twice with baking soda to get the spray out.
>
>Later...Penny
>http://www.costumegallery.com
>
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME
>
>
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From owner-h-costume@indra.com  Thu Jul  1 20:05:42 1999
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Date: Thu, 01 Jul 1999 20:11:00
To: h-costume@indra.com
From: Caroline Dechert <enilorac@voicenet.com>
Subject: Re: H-COST:  LONG hair
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-Poster: Caroline Dechert <enilorac@voicenet.com>

>See that's the problem I used to have too!  Fine silky hair, everything
falls 
>out - no matter what!  Ribbons, bobby pins, spirals, whatever!  (Unless you 
>glue it or starch it in place or something)! ;-)  I'm glad Im not alone 
>anyway!
>
>Elysant

I, too, have very long, straight, things-fall-out-of-it hair. I've
managed by using roller pins (like very long bobby pins), and by
arranging my hair so that it is always either braided or twisted
in a coil before putting it up. The pins won't slip from braided
hair, and can't slip far through a twisted coil.

Just be careful to keep the weight centered, or the neck strain
and headaches can be frightful.

Caroline

---Caroline Dechert
enilorac@voicenet.com / Carodec@aol.com  / caroline@agcsys.com
"How  fleeting are all  human  passions compared with the 
 massive continuity of ducks."     Dorothy Sayers, Gaudy_Night
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Date: Thu, 01 Jul 1999 21:33:10 -0400
To: h-costume@indra.com
From: Kevin + Mara Riley <lindo@Radix.Net>
Subject: Re: H-COST: OT:  mundane hair styles for REALLY LONG hair
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-Poster: Kevin + Mara Riley <lindo@Radix.Net>

My favorite fast hairdo thing is to braid my hair in back, then wind it
around a bandana or ribbon, then wind the ends of the ribbon a) under the
resulting bundle, then b) up over the bundle and tie in a knot or bow.
Quick, easy, and it stays out of the way.  My hair reaches to my waistline
in back, and it's not terribly thick, but it's not too thin either.  I
don't know how much difference an extra six or ten inches would make.

Cheers,
Mara
Kevin + Mara Riley
Home Page http://www.radix.net/~lindo
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-Poster: Mary Denise Smith <costumemag@costumemag.com>

Will Beth McMahon please email me privately?

Thanks,

Mary Denise Smith

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From: "J.  Gregory" <brand@sun-spot.com>
To: <h-costume@indra.com>
Subject: H-COST: Elizabethan sailors
Date: Thu, 1 Jul 1999 22:32:41 -0400
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-Poster: "J.  Gregory" <brand@sun-spot.com>

This is a multi-part message in MIME format.

------=_NextPart_000_0024_01BEC411.A18E53A0
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Hello!

Does anyone know where we could find information on the clothing of sea =
captains, sailors or middle class men in Elizabethan England?  Any =
suggestions of books or websites would be most welcome.  Or perhaps a =
movie where the costuming was good?  (Yes, I know these are very few, =
and VERY far between!)

We have found many portraits of Drake dressed to impress the queen, but =
I'm certain he didn't wear all of that when he was busily ravaging =
Spanish shipping lanes.  So what did real people wear day-to-day?  My =
husband has found the lack of information quite frustrating.  :)  (He =
HATES ruffs!)

Thanks!
J. Gregory
=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D=
-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D
"We've heard that a million monkeys at a million keyboards could
 produce the Complete Works of Shakespeare.  Now, thanks to the
 Internet, we know this is not true."
                                   -Robert Wilensky, University of =
California
=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D=
-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D

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<HTML>
<HEAD>

<META content=3Dtext/html;charset=3Diso-8859-1 =
http-equiv=3DContent-Type>
<META content=3D'"MSHTML 4.72.3110.7"' name=3DGENERATOR>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT color=3D#000000 size=3D2>Hello!</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT color=3D#000000 size=3D2>Does anyone know where we could find =
information=20
on the clothing of sea captains, sailors or middle class men in =
Elizabethan=20
England?&nbsp; Any suggestions of books or websites would be most =
welcome.&nbsp;=20
Or perhaps a movie where the costuming was good?&nbsp; (Yes, I know =
these are=20
very few, and VERY far between!)</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT color=3D#000000 size=3D2>We have found many portraits of =
Drake dressed to=20
impress the queen, but I'm certain he didn't wear all of that when he =
was busily=20
ravaging Spanish shipping lanes.&nbsp; So what did real people wear=20
day-to-day?&nbsp; My husband has found the lack of information quite=20
frustrating.&nbsp; :)&nbsp; (He HATES ruffs!)</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT size=3D2>Thanks!</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2>J.=20
Gregory<BR>=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D=
-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=
=3D-=3D<BR>&quot;We've=20
heard that a million monkeys at a million keyboards =
could<BR>&nbsp;produce the=20
Complete Works of Shakespeare.&nbsp; Now, thanks to =
the<BR>&nbsp;Internet, we=20
know this is not=20
true.&quot;<BR>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp=
;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;=
=20
-Robert Wilensky, University of=20
California<BR>=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D=
-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=
=3D-=3D-=3D</FONT></DIV></BODY></HTML>

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From owner-h-costume@indra.com  Thu Jul  1 21:59:20 1999
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Date: Wed, 30 Jun 1999 00:06:32 -0700
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-Poster: "David S. Mallinak" <matchlck@erols.com>

Megan McHugh wrote:

> -Poster: "Megan McHugh" <mchug@mindspring.com>
>
> Is there a place in the catalog where I can order it?  I missed the exhibit,
> but would very much like to order a copy of the catalog.  Thanks for the
> info you sent.

This evening I saw in Olsson in Washington DC a copy of the Winged Horseman
catalog in the "Sale / Ends" rack.

DSM


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From owner-h-costume@indra.com  Thu Jul  1 23:42:08 1999
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Subject: Re: H-COST: Elizabethan sailors
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-Poster: CONNECT@aol.com


In a message dated 7/1/99 10:31:17 PM, brand@sun-spot.com writes:

<< Hello!

Does anyone know where we could find information on the clothing of sea 
captains, sailors or middle class men in Elizabethan England?  Any 
suggestions of books or websites would be most welcome.  Or perhaps a movie 
where the costuming was good?  (Yes, I know these are very few, and VERY far 
between!) >>

Have you checked out the Merry Rose website? It's a tiny bit before 
Elizabethan, but it's Tudor, if that's ok. 

Additionally, Herbert Norris's book on Tudor Costume and Fashion has a sailor 
outfit drawn in it. Where he gets his source is a mystery tho. ;(

Yours,
Pattie Rayl
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From owner-h-costume@indra.com  Fri Jul  2 00:42:49 1999
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Date: Fri, 2 Jul 1999 01:50:35 EDT
Subject: Re:  H-COST: Re: Article about Class and Fabric
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-Poster: Gerekr@aol.com

On 6/30/99 5:02 AM h-costume@indra.com wrote:

>    There was a brief mention a couple of days ago about an article =
>(perhaps book?)
>discussing the relationship between fabric and design and social class, =
>with regards
>to interviews.  It seemed to be in something called New Woman?  Did =
>anyone know to what this reference referred?  Sounds fascinating...
>
>        Thanks.    Cindy Brown

This is in John Molloy's "New Women's Dress for Success", copyright about 
1997; check your local public library.  

Based on his 20 years consulting experience with women executives and the 
companies which employ them; mostly anecdotal evidence, but very 
interesting.  

I think what I mentioned in that post was that Molloy is very convinced 
that "upper class" colors and fabrics, and a couple of other indicators, 
send crystal-clear, if usually unconscious, signals to observers of all 
classes (i.e., blue-collars recognize upper class signals just as 
definitely as vice versa).

An easy read, too -- entertainingly written, fairly short; includes 
specific exercises and strategies for up-class-ing yourself, if you're in 
a position to want or need to.  Clear examples of (allegedly) how 
lower-class signals can short-circuit promotion opportunities, etc.

Chimene
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From owner-h-costume@indra.com  Fri Jul  2 03:08:28 1999
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Date: Fri, 02 Jul 1999 09:15:56 +0100
From: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>
To: <h-costume@indra.com>
Subject: H-COST: re:Elizabethan sailors
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-Poster: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>

Pattie means "Mary Rose". The URL is http://www.maryrose.org/ 

Kate Bunting
Library, University of Derby

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From owner-h-costume@indra.com  Fri Jul  2 06:55:58 1999
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From: pulliam@acadia.net (Deborah Pulliam)
Subject: H-COST: wool satin
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-Poster: pulliam@acadia.net (Deborah Pulliam)

<<I am looking for a source (wholesale or retail) for wool satin.>>

I would check with Kathleen Smithat Textile Reproductions. She no longer
advertises, but is still in business and selling wonderful fabrics. I saw
some lovely 100 percent wool jeans when I was last there. ph 413 296 4437
(fax 413 296 0036.)

<<I have seen are a poorer red, or if this is a commercial dye that
supposedly looks like cochineal. the fabric is for a British officer's
coat.>>

The British "red coats" were always dyed with madder, so it should be a hot
red, not a cochineal/purplish red.


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Subject: H-COST: Elizabethan sailors
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-Poster: pulliam@acadia.net (Deborah Pulliam)

<<Does anyone know where we could find information on the clothing of sea
captains, sailors or middle class men in Elizabethan England?  >>

Very little, if anything, has been published on this, unfortunately.

The large book called The Elizabethan Age (sorry, I've forgotten the
publisher, but much of the information came from the Folger ) has  quite a
lot of graphic material in it that might be useful.

About 20 years ago, someone published a short series on sailors' clothing
in The Mariner's Mirror; check a good citation index. Actually, the
frontispiece of the 20c Mariner's Mirror is an original engraving from the
16c one, and includes about six sailors (all but one is wearing a ruff, by
the way.)

Deborah


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-Poster: Kat & Kent <kdyer@home.com>

Re veils & fine hair...I use either a circlet to hold it in place or a
barbette and pin the veil to the barbette.

Kat
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-Poster: Kat & Kent <kdyer@home.com>

Caroline Dechert wrote:
> 
> I, too, have very long, straight, things-fall-out-of-it hair. I've
> managed by using roller pins (like very long bobby pins), and by
> arranging my hair so that it is always either braided or twisted
> in a coil before putting it up. The pins won't slip from braided
> hair, and can't slip far through a twisted coil.
> 
> Just be careful to keep the weight centered, or the neck strain
> and headaches can be frightful.

Most of the time I wear a banana clip or ponytail but I agree that
braiding or twisting the hair as you put it into a bun makes the bobby
pins work *much* better...you can also get away with those lovely pins
that look like chopsticks (my mom has been known to use a pencil when
she's busy working! <grin>).

Kat
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To: "'Historic Costume list'" <h-costume@indra.com>
Subject: H-COST: Hunting kilt?
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-Poster: kat <kat@janrix.com>

A friend of mine was recently talking with some members of the 42nd at a 
local re-enactment. He is seriously considering adopting a Scots persona. 
Several members of the 42nd recommended a hunting kilt as a way to get 
started. This is evidently an unpleated kilt -- i.e. fabric just wrapped 
around the lower body. Has anyone else ever heard of such a beast?  If so, 
can you direct me to any reference or time period?

Kat Hargus
owner, Making Time
www.makingtime.com

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-Poster: "J,K,S&A Baird" <baird@rrnet.com>

Maybe everyone already knows this, but until I tried it, I couldn't keep my
hair up for more than a few minutes: when using bobby pins, cross each pin
with another to make an X shape. One pin holds the other one in.

Even my thick hair can be held by only 4 pins this way, whereas previously
20 didn't do the job.

Kim
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From: "Holliday, Rachel {DISC~Welwyn}" <RACHEL.HOLLIDAY@roche.com>
Subject: RE: H-COST: Elizabethan sailors
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-Poster: "Holliday, Rachel {DISC~Welwyn}" <RACHEL.HOLLIDAY@roche.com>

Tough not a "proper" costume source there is a film called "Seven Seas to
Calais" which is about Drake.   It shows the costumes worn by sailors when
out at sea and in port.  might be worth a look if you can get hold of a
copy.
Rachel

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Date: Fri, 2 Jul 1999 07:24:11 -0700 (PDT)
From: Sarah Toney <sarah_and_pooh@yahoo.com>
Subject: Re: H-COST: Hunting kilt?
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-Poster: Sarah Toney <sarah_and_pooh@yahoo.com>

I have HEARD of this, but I don't have any
resources... the explaination I heard was that it took
less time to make unpleated, and since they were
"abused", why spend scads of time on a piece of
clothing that is just going to be destroyed.

Sarah


--- kat <kat@janrix.com> wrote:
> 
> -Poster: kat <kat@janrix.com>
> 
> A friend of mine was recently talking with some
> members of the 42nd at a 
> local re-enactment. He is seriously considering
> adopting a Scots persona. 
> Several members of the 42nd recommended a hunting
> kilt as a way to get 
> started. This is evidently an unpleated kilt -- i.e.
> fabric just wrapped 
> around the lower body. Has anyone else ever heard of
> such a beast?  If so, 
> can you direct me to any reference or time period?
> 
> Kat Hargus
> owner, Making Time
> www.makingtime.com
> 
> 
>
_________________________________________________________________
>  To leave this mailing list, send mail to
> majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
> 

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Subject: Re: H-COST: Elizabethan sailors
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-Poster: aleed <aleed@dnaco.net>

The Kentwell website has pictures of a common sailor & ships navigator, as
well as other Elizabethan gentry & folk, at
http://www2.shef.ac.uk/misc/personal/cs1jwh/kentwell/index.html#pictures

They're good.

Drea



On Thu, 1 Jul 1999, J.  Gregory wrote:

> Hello!
> 
> Does anyone know where we could find information on the clothing of sea captains, sailors or middle class men in Elizabethan England?  Any suggestions of books or websites would be most welcome.  Or perhaps a movie where the costuming was good?  (Yes, I know these are very few, and VERY far between!)
> 
> We have found many portraits of Drake dressed to impress the queen, but I'm certain he didn't wear all of that when he was busily ravaging Spanish shipping lanes.  So what did real people wear day-to-day?  My husband has found the lack of information quite frustrating.  :)  (He HATES ruffs!)
> 
> Thanks!
> J. Gregory
> =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
> "We've heard that a million monkeys at a million keyboards could
>  produce the Complete Works of Shakespeare.  Now, thanks to the
>  Internet, we know this is not true."
>                                    -Robert Wilensky, University of California
> =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
> 

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Subject: H-COST: Kentwell
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-Poster: "Holliday, Rachel {DISC~Welwyn}" <RACHEL.HOLLIDAY@roche.com>

I was actually at Kentwell on Saturday, the year this time is 1520.  I have
to say that I was very disappointed, so much so that I have scrapped plans
to participate next year (1578).  The costumes are not as authentic as you
would think, elastic was spotted along with bluetack holding signs up!  It
was evident that some people had really worked hard on their costumes but
there were plenty more that let the whole thing down.  Having had some of
the descriptions from Kentwell on how to make these costumes they seem to be
well researched but I would need to go through some more before I pronounced
a judgement on them.  For anyone planning to visit Kentwell the entry cost
of £11.25 quite frankly wasn't justified.  
Rachel
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From owner-h-costume@indra.com  Fri Jul  2 10:10:36 1999
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Subject: Re: H-COST:  LONG hair
Date: Fri, 2 Jul 99 11:24:35 -0000
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-Poster: <aquazoo@patriot.net>

     Someone pointed out that she could not find the info on subscribing 
to the Long Hair discussion list. Go to <http://www.tlhs.org/>, to the 
section called "info", and scroll to the bottom of that page.

     I hope to see some of you on the list! We can talk about long hair 
and what type of clothes look best with it. :)

     -Carol Kocian
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From owner-h-costume@indra.com  Fri Jul  2 10:42:04 1999
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Subject: Re: H-COST: Hunting kilt?
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-Poster: "R.L. Shep" <rlshep@jps.net>

Please don't send messages as *attachments*...   I refuse to open them
That is what *cut and paste* was invented for.
Thank you
~!~ R.L.Shep
http://www.mcn.org/e/fsbks

----------
>From: kat <kat@janrix.com>
>To: "'Historic Costume list'" <h-costume@indra.com>
>Subject: H-COST: Hunting kilt?
>Date: Fri, Jul 2, 1999, 6:16 AM
>


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Subject:  Re: H-COST: Re: h-costume-digest V4 #399
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-Poster: Appin1@aol.com

One thing I noticed years ago in buying men's jeans (I almost never wore 
women's because they weren't long enough)was that Levi's jeans had the 
skinniest legs of all jeans. Lee Riders made jeans for people with real legs 
rather than chicken legs. Look carefully at people wearing Levi's & you'll 
see that most of them have skinny legs. And back then, I had great legs, not 
heavy, just long.

Kathleen Norvell
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From owner-h-costume@indra.com  Fri Jul  2 12:48:20 1999
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To: Penny Ladnier <penny.creative.outlets@erols.com>, h-costume@indra.com
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-Poster: Appin1@aol.com

Penny -- I can't tell you the date for tight lacing, but I can tell you about 
one of the ill effects. I ued to work in a medical library in Philadelphia & 
there was a medical museum in the same building (the Mutter Museum). The 
museum exhibited a female skeleton from the late 19th century, which had very 
constricted bottom ribs from tight lacing. The rest of the ribs had been 
thrust upward and slightly forward. The rib cage seemed to be more rounded 
than a normal ribcage.

Hope this information helps.

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


>One possible influencing factor; is this for a Puritan?  If so, plain is
>bettter.

Not neccesarily. Take a look at portraits of wealthy merchant class men,
many of whom were Puritans, and you'll see very rich fabrics, furs, fine
linen, and lots of trim.  They tended to the all black and nothing but
texture look. The totally plain black suit with the large linen collor is
from the next century, despite what you see at Ren Faires.  they do it there
for theatrical purposes.

 When I made my costume for Alice Montague, the Queen's Silkwoman,  I used
all black in linen, embroidered silk,  organza, and silk-look trims, and it
was very effective.  

Margo Anderson
"One Tough Costumer"

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From owner-h-costume@indra.com  Fri Jul  2 12:49:55 1999
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Subject:  Re: H-COST: Ivanhoe and Rowena
To: "Henk 't Jong" <scapreel@tip.nl>, h-costume@indra.com
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-Poster: Appin1@aol.com

Henk --

I have seen several versions of "Ivanhoe" and found that the costumes from 
the 1980(?) Anthony Andrews version were the best. They came from Bermans & 
Nathans, a big costume house in England (now Angels & Nathans, I believe) and 
as far as I could tell, came from Vol. II of the Herbert Norris books. Not 
the most reliable, but better than many others available bak then.

I saw the latest version, albeit late at night and the costumes were dreadful 
(must have come from the same crew that outfitted the "Brother Cadfael" 
series). Not only that, but all the Saxons were blonde and looked alike!

How much research rsearch would have made those costumes decent? Frankly, not 
much. I'm a semi-pro costumer & I could have done better.

Kathleen Norvell
"How many costumes do you think I can pack?"
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From owner-h-costume@indra.com  Fri Jul  2 13:12:04 1999
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From: "Joel Thompson" <sleipnir@gateway.net>
To: "costume" <h-costume@indra.com>
Subject: H-COST: Re: Hunting kilt
Date: Fri, 2 Jul 1999 14:25:01 -0400
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-Poster: "Joel Thompson" <sleipnir@gateway.net>

Are you perhaps referring to a great kilt. I only know of 2 types of kilts, the modern kilt, where the pleats are sewn into place and it generally looks like a skirt (forgive me!), and the old great kilt, which is indeed pleated and wrapped around the body and belted, with the excess drawn up and pinned on the shoulder.  This is very easy to do.
Start with about 4-5 yards of heavy wool. Gauge this by the size of the man.  Any muted color will do. It should be no less that 48" wide.  Open it up, and spread it on the ground...go to one end, and begin making pleats the entire width of the fabric, about 4'' wide.  Keep doing this across the length of the material.  You can leave about 2-3 feet at the far end unpleated.  Take a leather belt and pass it under the kilt, making sure that it buckles the way you want it to.  Now lay down on the kilt, with the bottom edge about knee level and the pleated side on your left side.  Wrap the pleated side of the kilt over you first, then the other side.   That means left side first, then right side. Pull the belt up and buckle it. Stand up.  You may need someone to help you with the rest of this.  Arrange the top of the material so that the tops of the corners meet on the left shoulder.  You will need a large brooch to secure the fabric, but if you don't have this, a leather thong will do. Arrange the folds of fabric to lay properly.   It is common to use these natural "pouches" to hold a variety of things, and it does stay put.  Have someone adjust the length, it should be right at knee level all around.  
I gave directions for fastening the kilt on the left side. It can also be done on the right.  It depends on what the person is doing.  A right handed sword fighter wants it to be fastened on the left, but I have seen a bagpiper with it done on the right. It interferred with his pipes when it was on the left side.

It's worth mentioning here that the clan tartans as we know them did not come into existence until the late 17th century or so.  Prior to that, different localities produced different plaids, but it definitely wasn't an identifier.  So that means that you are free to choose whatever you like, including solids.  Just remember to keep it muted and rather faded looking.  If you research the modern tartans, almost all of them have 3 different versions, regular, dress, and hunting, and also sometimes ancient.

Another feature of this kilt is that when it was time to sleep, all one had to do was unwrap it and it became a blanket.  "Braveheart" has some excellent examples of this type of kilt.  There are also some good publications available.  Hope this is what you were looking for!

Alianora 
VMAA

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From owner-h-costume@indra.com  Fri Jul  2 13:57:25 1999
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Date: Fri, 2 Jul 1999 20:01:20 +0100
To: h-costume@indra.com
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: H-COST: Elizabethan sailors
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-Poster: Jean Waddie <anne@montgomerie.demon.co.uk>

I haven't been to try and find a website myself, but last year(I think)
there was a group sailed a reconstruction of The Matthew from Bristol to
Newfoundland.  I think it was for the anniversary of -erm- the finding
of Newfoundland??  Anyway, they did the whole thing in costume, with
period food and equipment, apart from safety items like radio and
navigation.  There was a TV programme about it and it looked very good.
You could try to find something on that.

Jean

>Hello!
>
>Does anyone know where we could find information on the clothing of sea 
>captains, sailors or middle class men in Elizabethan England?  Any suggestions 
>of books or websites would be most welcome.  Or perhaps a movie where the 
>costuming was good?  (Yes, I know these are very few, and VERY far between!)
>
>We have found many portraits of Drake dressed to impress the queen, but I'm 
>certain he didn't wear all of that when he was busily ravaging Spanish shipping 
>lanes.  So what did real people wear day-to-day?  My husband has found the lack 
>of information quite frustrating.  :)  (He HATES ruffs!)
>
>Thanks!
>J. Gregory
>=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
>"We've heard that a million monkeys at a million keyboards could
> produce the Complete Works of Shakespeare.  Now, thanks to the
> Internet, we know this is not true."
>                                   -Robert Wilensky, University of California
>=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=

-- 
Jean Waddie
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Date: Fri, 02 Jul 1999 13:19:26 -0400
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: Re: H-COST:  LONG hair
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>I too have hip length very straight and fine hair.  Everything falls out
>of my hair...Believe me it did hold my hair in place even after I took
>all the pins out. 

I don't have hair that long but, I do have that problem.  I have "baby
hair" it is so fine, strait, and slippery NOTHING stays in it.

For my prom (many years ago) my hairdress used "ICE mist" by Joico.  He
used a ton of it but it worked.  He sculpted the front of my hair into a
really neat wave and put the back in a chignon.  I stayed in place
throughout the entire evening.  The only downside was - he said not to put
pressure on my hair or it could BREAK!  It also took 10 washes to get all
the junk out (yes I was counting).  But it kept EVERYTHING in place.

Cheers,
Danielle

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From owner-h-costume@indra.com  Fri Jul  2 15:58:25 1999
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From: "Cindy Abel" <Cindy.Abel@creighton.edu>
To: Margo Anderson <margo@directcon.net>, h-costume@indra.com
Date: Fri, 2 Jul 1999 15:56:32 +0000
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Subject: Re: H-COST: Elizabethan, again
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-Poster: "Cindy Abel" <Cindy.Abel@creighton.edu>

 
 And even owning anything black now is high maintanance--I've a Susan 
Bristol black cotton jacket with Tudorish look machine embroidery and 
while it is washable it is a total dust, cat hair, etc magnet and has 
to be hand vacuumed and cleared of everything before ironing and 
wearing if I wash it with anything else.

I'm sure those who wore all that black had servants who did nothing 
but care for all that black, to say nothing of the high costs of the 
dyes and the care it took in dyeing, least one destroy the cloth from 
a dye with too strong a mordant or other chemical.
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From owner-h-costume@indra.com  Fri Jul  2 16:46:37 1999
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Subject: Re: H-COST: stays
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-Poster: "Kathryn L. Herb" <kayherb@juno.com>

Ill effects of tight lacing?  Try eating something hot in a rush after
lacing.  Fortunately my brother knew to loosen the laces slooooowly after
 I hit the ground in a dead faint.  <sheesh>

Kay
kayherb@juno.com

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Date: Fri, 02 Jul 1999 17:36:57 -0500
To: h-costume@indra.com
From: John and/or Barbara Bailey <svea@execpc.com>
Subject: Re: H-COST:OT:mundane hair styles for REALLY LONG hair
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-Poster: John and/or Barbara Bailey <svea@execpc.com>

At 08:54 7/1/99 -0700, Margo Anderson wrote:
>But how do you get it to stay on top of your head?  I like this style, but
>whenever I try to wear it, the bun slides to the back, or worse, to one side.
>
>Margo

Make a ponytail far to the front of your head; forward of the ear to ear
line (do the bend at the waist and brush it all forward thing.) 
Mine is usually only about three inches back of my front center hairline.

Use a ponytail rubberband-I've never managed to make the style stay without
the rubberband as an anchor. I run the bobbie-pins, or at least a couple of
them, through the hair that's gathered into the band between the band and
the scalp. 

Make the coil flat and wide, not high. You don't want a handle, you want a
cow-pattie shape. (Sorry, best analogy I can come up with 8-) )

Barbara
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From owner-h-costume@indra.com  Fri Jul  2 17:55:46 1999
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Subject: Re: H-COST:  LONG hair
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-Poster: Lisa Leong <lisaleon@hawaii.edu>

> For my prom (many years ago) my hairdress used "ICE mist" by Joico.

I have to second the suggestion of ICE mist.  The stuff is tough.
However, it does give you the shellac-ed look.

annora

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From owner-h-costume@indra.com  Fri Jul  2 20:01:42 1999
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-Poster: Megan & David Schmidt <megan@airmail.net>

That's great that your brother thought to undo the laces slowly.  I am a
nurse and NOVICE costumer.  It really would never have occured to me that
doing it slowly would be an issue.  Of course, when I get ladies out of bed
the first time after they have had a baby, we do that VERY SLOWLY.  Makes
sense!



Megan

Kathryn L. Herb wrote:

> -Poster: "Kathryn L. Herb" <kayherb@juno.com>
>
> Ill effects of tight lacing?  Try eating something hot in a rush after
> lacing.  Fortunately my brother knew to loosen the laces slooooowly after
>  I hit the ground in a dead faint.  <sheesh>
>
> Kay
> kayherb@juno.com
>
> ___________________________________________________________________
> Get the Internet just the way you want it.
> Free software, free e-mail, and free Internet access for a month!
> Try Juno Web: http://dl.www.juno.com/dynoget/tagj.
>  _________________________________________________________________
>  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 Jul  2 20:41:31 1999
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-Poster: Gary Stephens <lgsteph@golden.net>

Greetings Embroiderers!

	I have come into a limited, but excellent, stock of 24k gold purl
in two sizes and jaceron in two sizes, embroidery threads. As any of you
who have embroidered with gold will know, these threads are expensive and
difficult to acquire, Kreinik being the only manufacturer. I can easily
attest to the fact the threads I have in my possession are of equal, if not
superior, quality to Kreinik bullion.

	I am offering some of these threads for sale. Normal retail on gold
thread runs between $20-$30CDN/strand, which is approximately 30" long. For
those who are interested I'm offering strands for $10.00 ea., plus PST and
shipping, payable by cheque, money order or Visa to Five Rivers Chapmanry.
Please be sure to send along full mailing address and expiry date, if
applicable. Please reply off-list to the above e-mail address.

	Crass commercial message off.

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


Somewhere along the line I passed on the information about slow unlacing
to him and my mom, since they often experienced my panic to get ready for
an event when I was visiting.  Never expected to need them to use it!!
<G>  They knew that I'd do bodily harm if they cut all that lucet cord
after I'd worked so hard on it! <EG>  The sudden rearrangement of
internal body parts could do some harm.


Kay

kayherb@juno.com

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From: "Christopher Ballis" <stilskin@netspace.net.au>
To: <h-costume@indra.com>
Subject: Re: H-COST: Re: Hunting kilt
Date: Sat, 3 Jul 1999 15:17:30 +1000
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-Poster: "Christopher Ballis" <stilskin@netspace.net.au>

Ach! It woold be a dissssasssterrrrr if ye went -ahuntin' an' noothin'
werrrrr kilt.

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From: "Joseph & Christine" <malruck@rma.edu>
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Subject: Re: H-COST: Hunting kilt?
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-Poster: "Joseph & Christine" <malruck@rma.edu>

Kat, Joel and list,

What you are describing sounds like a plaid (pronounced "played").  From the
Osprey book "Highland Clansman 1689-1746" (not the best of references, but
all I have at hand:

"...the belted plaid, traditionally comprising six  double ells of tartan
material.  At this point is should be pointed out that a Scots ell measured
only 37 in. and that a double ell was twice the usual width, not twice the
length."

"Even so, six yards of material is quite a length, but Stewart of Garth
quite explicitly states that it was folded in half to double the thickness
before putting it on."

Most modern Scot interpreters that I have seen do not fold their plaids in
half before pleating them (I note that Joel does not do so), but having done
so, I find it works much better, and is considerably warmer.  I take a
couple more exceptions to Joel's description (not that there is necessarily
a right way or wrong way to put on a bunch of cloth <G>) - all the period
paintings I've seen show the bottom of the plaid should come to about a hand
span above the knee.  And rather than trying to pass the belt under the
plaid after it's folded, I find it much easier to lay the belt out first,
and do the pleating over it.  As to needing help adjusting it - wot's th'
matter, laddie?  Kin ye no dress yersel'? <GG>

I'd be very interested to know of any documentation of clan tartans prior to
the 19th C. Scots revival courtesy of Queen Victoria.  Prior to that, I was
under the impression that tartans had no association with a given clan, but
rather to a given locale (close, but not quite), and that the "ancient" and
"hunting" tartans are pure fabrication based on what somebody thought they
"might" have looked like.  But if this is not so, I would gladly learn
better.

Regards,

Joseph Ruckman

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From owner-h-costume@indra.com  Sat Jul  3 06:19:13 1999
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-Poster: Ninni Pettersson <vidumavi@swipnet.se>

At 21.28 +0100 99-07-01, kat wrote:
<snip>
>I was also told there is a company in England making a wool superfine,
>cochineal dyed, that is back ordered for nearly a year. I saw/handled some
>of the wool, and it looks too 'hot' for cochineal -- almost edging on the
>neon. I don't know if this is the real deal and the other cochineal fabrics
>I have seen are a poorer red, or if this is a commercial dye that
>supposedly looks like cochineal. the fabric is for a British officer's
>coat.

	I of course don't know anything about this specific fabric, but my
aunt and I dyed some handspun wool with cochineal about 10 years ago (It
was supposed to become a sweater. It never did and now spends a shameful
existence in one of my cupboards :-) and some of that turned out *very*
vivid indeed, and it still is! I don't remember what we used as mordant,
alun (whatever that is called in English) probably.

/Ninni (Terribly behind on things e-maily, not to mention that promised
webpage with my Tudor Doll! The photos are done, but they're still waiting
to be developed . . .)


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From: "Henk 't Jong" <scapreel@tip.nl>
To: <h-costume@indra.com>
Subject: Re: H-COST: Elizabethan sailors
Date: Sat, 3 Jul 1999 17:11:52 +0200
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-Poster: "Henk 't Jong" <scapreel@tip.nl>

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

Hi List,

Jean wrote:
> I haven't been to try and find a website myself, but last year(I think)
> there was a group sailed a reconstruction of The Matthew from Bristol to
> Newfoundland.  I think it was for the anniversary of -erm- the finding
> of Newfoundland??  Anyway, they did the whole thing in costume, with
> period food and equipment, apart from safety items like radio and
> navigation.  There was a TV programme about it and it looked very good.
> You could try to find something on that.

This was in 1997. In 1497 father and son Cabot, John and Sebastian, sailed
the Matthew to what's now Canada and founded Newfoundland. I saw the
documentary and although the ship was a very beautiful copy, the costumes
didn't stuck me as particularly authentic, especially when they wore yellow
plastic 'oilskins' over them ;-)

Anyway, they were a century earlier than was asked,

Henk



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From: "Joel Thompson" <sleipnir@gateway.net>
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Subject: Re: H-COST: Hunting kilt?
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-Poster: "Joel Thompson" <sleipnir@gateway.net>



Hi Joe & listers:

You've brought up some interesting points.  

"...the belted plaid, traditionally comprising six  double ells of tartan
material.  At this point is should be pointed out that a Scots ell measured
only 37 in. and that a double ell was twice the usual width, not twice the
length."

First, if a Scots ell is 37 in. long, is it also 37 in. wide?

"Even so, six yards of material is quite a length, but Stewart of Garth
quite explicitly states that it was folded in half to double the thickness
before putting it on."Most modern Scot interpreters that I have seen do not fold their plaids in
half before pleating them (I note that Joel does not do so), but having done
so, I find it works much better, and is considerably warmer. 

Is this folded in half lengthwise? If not, how do you get it up on the shoulder?  If so, how do you get it
ALL up on the shoulder? <g>  That seems like a lot of fabric to fasten on the shoulder. Also, once this is pleated  around the body, you will be *plenty* warm!  We had 3 guys swordfighting in great kilts, and never had a case of the thing falling apart, slipping, or anything else.  They all reported that this was the most comfortable garb that they had ever worn and are now devoted to it! Note: I recommended that they each purchase 4-5 yards for their kilts. This seems to be ampleplenty for the average size man.  Joel, (my husband) is 6'3", and around 270lb.  He needs a tad more. <g>

....should come to about a hand span above the knee.  

Yes, you're right. Thanks for clarifying that.

And rather than trying to pass the belt under the
plaid after it's folded, I find it much easier to lay the belt out first,
and do the pleating over it.  As to needing help adjusting it - wot's th'
matter, laddie?  Kin ye no dress yersel'? <GG>


Yes, of course.  I was merely suggesting that the first couple of times that one does this, it's often necessary to have someone help you with it.  Like anything else that we choose to wear, the first time we put it on, there is often a feeling of " Is this right?"  After a couple of tries, one soon figures out the easiest way to do it, and instictively knows when it's not right and how to correct it.

I'd be very interested to know of any documentation of clan tartans prior to
the 19th C. Scots revival courtesy of Queen Victoria.  Prior to that, I was
under the impression that tartans had no association with a given clan, but
rather to a given locale (close, but not quite), and that the "ancient" and
"hunting" tartans are pure fabrication based on what somebody thought they
"might" have looked like.  But if this is not so, I would gladly learn
better.


Yes, that is what I had mentioned. There is a difference between "the cloth that is made by a particular town, so that is what everybody wears", and  "we are a clan from this place, so we all wear this plaid".  However, it is an easy step to see how one evolved into the other.  But that was a political move, and came much later.Like you, I find myself sorely in need of a good reference book. Unfortunately, the ones that will answer this are still packed away<g>( I recently moved)  It may very well be that the clan tartan system was a product of Queen Victoria's reign. After all, much of our medieval "knowledge" came from that same time. It's taken a lot of research and rethinking of things to get past all that. 
However, I do know that during the Jacobite uprisings, the Scots lost the rights to play their pipes. I had believed that the tartans were also outlawed here. These (and other) actions were designed to completely repress and fragment the Scots. This is one of the reasons that the Scots do not love the English.

I've never heard that the "hunting" and "ancient" versions of plaids were fabricated (excuse the pun!)
Their colors are so muted, that I've always believed them to be the precursors to todays versions. In other words, what was once created using plant dyes, which are known to fade rapidly, are now being made with chemical dyes, which are brighter and more colorfast.  Also, poor, rural post-Medieval Scotland would not have likely had access to the exotic dyestuffs available to the wealthier people.  
I think of the "ancient" or "hunting" versions as being more suitable to 1) everyday type wear, and 2) something more likely to be worn while hunting(duh!).  I think of the bright colors as suitable for clan indentification in a battle, and also for "Sunday best".  I would not want to wear my Clan Buchanan (again, forgive me!) every day. It's so bright! But I find the "ancient" and "hunting" versions of many plaids to be earthy and soothing. Just my humble opinion.  But that doesn't mean that I'm not wrong. That's why I join these lists, to learn and get other people's perspectives. Most of my historical interest lies in Medieval and Viking, and it was only when we joined a Highland bagpipe band a couple of years ago that I started learning more about this subject.  
Factoid:  It takes 8 yards of fabric to pleat into a modern kilt!  

Kat, I hope this all makes sense, and helps you with your friend's new persona.


Best, 
Alianora
VMAA

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From owner-h-costume@indra.com  Sat Jul  3 10:55:37 1999
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-Poster: "schuck@vci.net" <schuck@vci.net>

Hi all!
I'm fairly new to historical costuming, and I was wondering if anybody could
recommend good books for researching Medieval period clothing? I am primarily
interested in the clothing of western and northern Europe and the British Isles.
Also, are there any books or articles that address authentic construction techniques
from that period? Thanks so much!

Julie
schuck@vci.net

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From: "Joseph & Christine" <malruck@rma.edu>
To: <h-costume@indra.com>
Subject: Re: H-COST: Hunting kilt?
Date: Sat, 3 Jul 1999 12:33:19 -0400
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-Poster: "Joseph & Christine" <malruck@rma.edu>

>Hi Joe & listers:

Hi Alianora - but it's Joseph, not "Joe."

>First, if a Scots ell is 37 in. long, is it also 37 in. wide?

Sorry - going back to the same source, "Ordinarily plaiding was woven on a
27 in. width, and two pieces had to be swen together to achieve the normal
broadcloth width of 54 in."

>Is this folded in half lengthwise?

Yes - six yard length is folded to make it three.  This means the pleating
is a lot easier.

>If not, how do you get it up on the shoulder?  If so, how do you get it
>ALL up on the shoulder? <g>  That seems like a lot of fabric to fasten on
the shoulder.

Think about it a second - whether you fold it or not, all the fabric goes
over/fastens on the shoulder.  There is another little trick that you left
off and that I forgot to mention - once it's belted, you take the corners of
the upper portion of the plaid, cross them over and tuck them in the belt
behind you.  In other words the corner on your left goes around behind you
on the right, and vice versa.  Then you have a rounded section behind that
goes up to the shoulder, or you can pull part of it over the left shoulder
from the back, and part of it around the front to the left shoulder, and tie
or pin it.  I use a shoe buckle to fasten it.  I have some pictures on my
computer at work which may help, but that'll have to wait until Tuesday.

>Also, once this is pleated  around the body, you will be *plenty* warm!

True - but bear in mind, we're not in the Scottish Highlands - at least I'm
not.  It takes a lot more to be plenty warm there than it does here in
highlands of Virgina!  It's about 95 outside and I have no desire to don my
plaid at the moment.

>....should come to about a hand span above the knee.
>Yes, you're right. Thanks for clarifying that.

My pleasure.


>As to needing help adjusting it - wot's th'
>matter, laddie?  Kin ye no dress yersel'? <GG>
>Yes, of course.

Sorry, just kidding, hence the <GG> (Double-Grin.)

(good stuff snipped)
>Their colors are so muted, that I've always believed them to be the
precursors to >todays versions. In other words, what was once created using
plant dyes, which are >known to fade rapidly, are now being made with
chemical dyes, which are brighter >and more colorfast.

That's exactly the story they tell - "This is how these would have looked if
plant dyes had been used."  Never mind the fact that the patterns under
discussion may or may not ( and probably did not) have existed in the first
place!

There is a very famous painting which you have probably seen of the Battle
of Culloden (Fine brave Scots charging from the left, the Forces of
Darkness... I mean, the British soldiers... from the right <G>).  The Scots
portrayed in this painting were painted from prisoners after Culloden, and
the artist as I understand it, went to great pains to get the patterns of
the plaids right.  Not a one of them matches a modern day tartan.

Again, from the same book, quoting George Buchannan in 1581:

"They delight in variegated garments, especially stripes, and their
favourite colours are purple and blue.  Their ancestors wore plaids of many
colours, and numbers still retain this custom, but the majority now in their
dress prefer a dark brown, imitating nearly the leaves of the heather, that
when lying upon the heath in the day, they may not be discovered by the
appearance of their clothes."

Sixteenth Century camoflage! <G>  And having read that, I obtained from
G-Street Fabrics a brown blue and green sort of plaid fabric, which I call
my "hide in the heather" plaid.  Again, the pix will have to wait until
Tuesday, if anyone wants them.



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-Poster: "Joel Thompson" <sleipnir@gateway.net>

Hi again Joseph and listers!

Thank you so much for this very interesting and enlightening dialog.  Since we seem to have nothing further to add to the construction of the great kilt, may I suggest that we take this private?  I would love to see your photos, and I have several that I can send along to you as well.  Great fun!
BTW- "The Forces of Darkness" .....ROFLOL!!!
BTW2- Hey, I live in Virginia too! Small world. 8^)

Best,

Alia
VMAA


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Date: Sat, 03 Jul 1999 10:44:30 -0700
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From: "Carol J. Bell Cannon" <cjcannon@greymists.com>
Subject: Re: H-COST: Hunting kilt?
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

At 12:33 PM 7/3/99, "Joseph & Christine" <malruck@rma.edu> wrote:
>That's exactly the story they tell - "This is how these would have looked if
>plant dyes had been used."  Never mind the fact that the patterns under
>discussion may or may not ( and probably did not) have existed in the first
>place!
                 Some of the finds in archaeological digs have been of
muted green checked or plaid cloth.  One I am recalling, though I do not
recall from what book, nor which find at the moment [I catalog books for a
living--it's hard to recall so many...sorry, everyone...my sincere
apologies--short term memory is full up... .], was a soft, mossy green with
a dark brown or black sett that looked like a plaid to me.   I've seen
another that was a deep camel or coffee with cream-type color that also had
a darker pairing of very narrow and slightly wider 'plaid' pattern in it.
-- Carol

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-Poster: Kat & Kent <kdyer@home.com>

Just a side note on ancient vs modern plaids...the modern Clan Bruce
tartan is muted while the ancient is...is...well, the only way to put it
is florescent!

Kat
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Subject: Re: H-COST: Hunting kilt?
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-Poster: snowfire@mail.snet.net

-Poster: Elysant <Snowfire@mail.snet.net>

This post makes me think.

1.  Weren't the ancient Celts known for their bright colours?  If so why 
would the more ancient plaids be muted?  If the Celts did wear bright 
colours, it seems to make sense that the more ancient plaid spoken of 
below would have been brightly coloured wouldn't it?

2.  Is it because we're talking "hunting" plaids that they might have 
been muted - for camouflage or something?  The colours described seem to 
suggest this...

Elysant

On Sat, 03 Jul 1999, Kat & Kent <kdyer@home.com> wrote:
>
>-Poster: Kat & Kent <kdyer@home.com>
>
>Just a side note on ancient vs modern plaids...the modern Clan Bruce
>tartan is muted while the ancient is...is...well, the only way to put it
>is florescent!
>
>Kat
> _________________________________________________________________
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>
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From owner-h-costume@indra.com  Sat Jul  3 14:22:13 1999
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Date: Sat, 3 Jul 1999 15:30:33 -0400
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Fantastic fabrics low prices !!!!
To: LIST historic costume <h-costume-digest@indra.com>
Cc: LIST SCA arts <sca-arts@raven.cc.ukans.edu>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

I found these two suppliers they are UK based but B L Joshi does
international postage and the other may I'm not sure.....


B L Joshi  http://www.b.l.joshi.com

Brocades, silks, satins, embroidered fabrics THE most beautiful I've seen
in a while at prices I can afford !!!!!

Croft Mill Tel : 01282 869685 Fax: 01282 870038

Various stuff some good for costume etc others more mundane, a useful
contact. Sorry no email or wen page as far as I know.

Mel
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-Poster: kat <kat@janrix.com>

 I am printing every bit of this thread as we speak. I am familiar with the 
idea of different plaids for hunting and dress. I guess I didn;t make 
myself very clear. I was looking for verification on a non-pleated kilt, 
worn for hunting, evidently much like a wrap skirt -- for lack of clearer 
wording. I have never heard of such a creature, but it was recommended by 
one of the members of the 42nd Highlanders (re-enactment group). This may 
be some 20th cent flight of fancy, or a mis-intrepretation of some 
evidence. Any one got access to McClintock?

Kat Hargus
owner, Making Time
www.makingtime.com

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-Poster: "Joel Thompson" <sleipnir@gateway.net>


----


Never mind the fact that the patterns under
>discussion may or may not ( and probably did not) have existed in the first
>place!
                 Some of the finds in archaeological digs have been of
muted green checked or plaid cloth.  ....was a soft, mossy green with
a dark brown or black sett that looked like a plaid to me.   I've seen
another that was a deep camel or coffee with cream-type color that also had
a darker pairing of very narrow and slightly wider 'plaid' pattern in it.


I agree. Several years ago there was a program on either A&E  or Discover, or maybe it was PBS... (yes, the mind *is* the first to go!)  about discoveries on the Silk Road.  They had found  a reddish and blackish piece of wool that for all the world looked like plaid! I believe that they had linked this find with the Viking traders.  Which brings up another interesting thread.....I have some friends who are Grade A Vikingologists.  They maintain that there is no surviving piece of wool (Viking era folks!) with 2 different colors woven into a pattern.  Hmmm....to me, that sounds highly unlikely.  We know that they were proficient weavers, making lovely twill, herringbone and tabby, so why not use different color threads to make it even more beautiful. Vikings, like Celts, liked bright colors.

Maybe Chimene can shed some light on this one.  8^)

So, getting back on the original subject, if you look at books which lists all of the plaids in all of the different colorways, you will see a rainbow of options. If the persona that you are trying to create has strong clan affiliations, you can probably get authentic tartan from Scotland.  We just got several bolts of Mackenzie Hunting to make kilts and bagcovers for the band. Not the most striking of choices, but it's a sheriff's department band and we needed to be "understated". <g>  Be prepared to pay upwards of $50.00US per yard for it, and to wait months for the more obscure choices. 
The good news is, if it doesn't really matter, or if you just want to try it and see if you like it, the stuff that you can get at any fabric store will do. Just try to have an eye for "what looks right", and come as close as you can to what you've seen in the books.  You can also purchase the whole thing from Chivalry Sports Renaissance Catalog. Doing it that way costs about double the price of buying your own fabric, but you get instructions. 


Alianora
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Date: Sat, 03 Jul 1999 13:22:57 -0700
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

At 03:43 PM 7/3/99, Kat Hargus <kat@janrix.com> wrote asking about kilts.
You might try this website, Kat--and others interested...
The url is:      http://metalab.unc.edu/gaelic/john/greatkilt.html          
--Carol, aka:  Gráinne ingen Domnaill Ildánaig, in the SCA, Inc.
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From owner-h-costume@indra.com  Sat Jul  3 15:45:11 1999
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-Poster: Lois <books@woodenporch.com>

Just listed an 1858 Peterson's complete with 12 colored fashion plates
on ebay:
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=126241755

Also an 1877 Ladies' Guide to Needlework by Frost:
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=126008008

Lois

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


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From owner-h-costume@indra.com  Sat Jul  3 16:19:21 1999
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To: <h-costume-digest@indra.com>
References: <199907032017.OAA13467@indra.com>
Subject: H-COST: For all you Shoe lovers!
Date: Sat, 3 Jul 1999 14:29:25 -0700
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-Poster: "Lisa Scovel" <reenactment.guide@about.com>

The site I've been producing about the history of shoes this century is now
complete!

http://www.centuryinshoes.com

Take a look and let me know what you think...

Thanks,

Lisa

----
Lisa Scovel
About.com Guide to Historical Reenactment
http://reenactment.About.com

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From owner-h-costume@indra.com  Sat Jul  3 18:04:23 1999
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Date: Sat, 3 Jul 1999 19:13:51 -0400
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Hunting kilts
To: "INTERNET:h-costume-digest@indra.com" <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

>I'd be very interested to know of any documentation of clan tartans prior
to
the 19th C. Scots revival courtesy of Queen Victoria.  Prior to that, I was
under the impression that tartans had no association with a given clan, but
rather to a given locale (close, but not quite), and that the "ancient" and
"hunting" tartans are pure fabrication based on what somebody thought they
"might" have looked like.  But if this is not so, I would gladly learn
better.

The earliest I found was c 17th C, ref Hunting Maclean colours used as part
of rental (or some payment) in the MaClean occupied area.

Nothing I've seen suggest clan tartans for early use either, in fact
contempory refs tend to describe the mix of colours  ie socks one tartan,
kilt another, etc etc

Braveheart whilst great kilts & great for artistic licence, should have
been wearing the saffron shirt, for the correct time line :0)

Mel
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From: "Carol J. Bell Cannon" <cjcannon@greymists.com>
Subject: Re: H-COST: Hunting kilts
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

At 07:13 PM 7/3/99, Melanie Wilson <MelanieWilson@compuserve.com> wrote:
>Braveheart whilst great kilts & great for artistic licence, should have
>been wearing the saffron shirt, for the correct time line :0)  Mel
        AND ought NOT to have been wearing the blue gunk [which was
supposedly woad] on his face, imnsho.  Carol [Gráinne ingen Domnaill
Ildánaig, in the SCA, Inc.]

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-Poster: lynnx@mc.net

(FWIW to whomever: The word "plaid" had nothing to do with pattern
originally; it meant a large piece of cloth used as a shawl, blanket,
clothes, etc.)

Alianora,

Do you have any *reliable, understandable* info about the women's
arasaid (?sp) / skirt combo, especially the size and shape of fabric
they used?  I'd *swear* the way the pictures look, the women could have
wrapped a sufficiently wide piece around the waist for the skirt
(selvedge vertical) and then just draped the top like the guys did, with
some style variations of their own.  (Also I heard the women wrapped
their skirt/"kilts" opposite the way the men did.)

Any insights on this?

Thanks,
Sister Ed
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From owner-h-costume@indra.com  Sat Jul  3 21:14:48 1999
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-Poster: lynnx@mc.net

Wow!!

Do you have Croft Mill's snailmail address?

Thanks,
Heather
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From owner-h-costume@indra.com  Sat Jul  3 21:15:12 1999
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Date: Sat, 03 Jul 1999 22:24:56 -0400
From: Stephen & Astrida Schaeffer <schaeff@nh.ultranet.com>
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-Poster: Stephen & Astrida Schaeffer <schaeff@nh.ultranet.com>

Okay, so I'm trying to make the best cotehardie I can. I've looked at
the "pin it till it shapes you" school of thought which seems to be the
prevalent construction theory. A friend is in the process of draping one
for me, as it is clear one cannot do this to oneself. And I've come up
with a very basic question:

Why is everyone so sure there is no body-shaping foundation garment
beneath the cotehardie?

If you look at the relatively loose garments that come before, and the
correspondingly low-level seamstress skills required to create those
dresses, and compare them to the rather highly skilled techniques
required for the "pin it till it shapes you" dress, how could so many
women suddenly make that jump in skill?

And what about the Bohemian Bath Attendants in illuminations, who are
shown in spaghetti-strap shifts and nothing else, but who are already
sporting the correct body shape? Is this just artistic license? (i.e.,
this is how bodies are supposed to look, so that's how I'll draw them?)

Furthermore, if the snug and body-shaping fit of the dress is so
dependent on the fabric, that would mean each dress made would have to
be individually draped to allow for differences in the textile itself;
no creation of patterns, or of getting the pattern for a new dress off
of an old one. This does not strike me as terribly practical.

Whereas if there were a shaping foundation garment of some kind, at
least some of the pressure would be off the cotehardie itself and it
would be an easier dress for seamstresses to create.

Opinions? Thoughts? (To Robin Netherton, especially, if you don't
mind--how did you reach your conculsions? I've gotten myself quite
befuddled.)

I just wanna do it right...


Astrida
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From: "Joel Thompson" <sleipnir@gateway.net>
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Subject: Re: H-COST: Womens'  period "plaid" info?
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-Poster: "Joel Thompson" <sleipnir@gateway.net>


-Hello again!

I am sorry to admit that no, I don't have a reliable source for women's Scottish and/or Irish medieval clothing.  There just doesn't seem to be as much documented about that as there is for the men. This is something that I always look for in my costume books, but it seldom gets a mention.  If anyone knows of any good books or good websites, please let me know.  Since you mentioned pictures, could you let me know where you found them?  

Thank you!
Alianora
VMAA



Do you have any *reliable, understandable* info about the women's
arasaid (?sp) / skirt combo, especially the size and shape of fabric
they used?  I'd *swear* the way the pictures look, the women could have
wrapped a sufficiently wide piece around the waist for the skirt
(selvedge vertical) and then just draped the top like the guys did, with
some style variations of their own.  (Also I heard the women wrapped
their skirt/"kilts" opposite the way the men did.)

Any insights on this?

Thanks,
Sister Ed
_________________________________________________________________
To leave this mailing list, send mail to majordomo@indra.com
with the message UNSUBSCRIBE H-COSTUME


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From: "Joel Thompson" <sleipnir@gateway.net>
To: <h-costume@indra.com>
Subject: Re: H-COST: Womens'  period "plaid" info?
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-Poster: "Joel Thompson" <sleipnir@gateway.net>


Ok, everybody, I just went to the Ravensgard Homepage, where there is a lot of stuff on well, a lot of stuff!  I found medieval Scotland and Ireland, but some of the pages were "under construction" so they weren't much help.  But, there is a ton of really good info here, both male and female. The addy for this is  http://users.aol.com/gerekr/costume.html  

Alianora
VMAA

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Date: Sun, 4 Jul 1999 04:32:31 -0400
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Kilts
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

>. I guess I didn;t make 
myself very clear. I was looking for verification on a non-pleated kilt, 
worn for hunting, evidently much like a wrap skirt -- for lack of clearer 
wording

Yes you were clear I think everyone got sidetracked :)

I've not come across the type you suggest either in my books or by heresay.
That dosen't mean it dosen't exist  however :)

The Highland museum sent me a lot of info re early Highland dress, up to
the '45, but there is no mention of it there either.

No +ive help I fear sorry :(

Mel
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Date: Sun, 4 Jul 1999 04:32:36 -0400
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Hunting kilt
To: "INTERNET:h-costume-digest@indra.com" <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

>Is this folded in half lengthwise? If not, how do you get it up on the =
shoulder?  If so, how do you get it
ALL up on the shoulder? <g>

You fold it widthways, then pull the upper layer up to your shoulder

>However, I do know that during the Jacobite uprisings, the Scots lost =
the rights to play their pipes. I had believed that the tartans were =
also outlawed here.

Do you mean then after the '45 , or here as in the US or are you in
Scotland ?

>Their colors are so muted, that I've always believed them to be the =
precursors to todays versions. In other words, what was once created =
using plant dyes, which are known to fade rapidly, are now being made =
with chemical dyes, which are brighter and more colorfast.

You would need to look at the creation dates for each, but I think most
were created rather that evolved.

>  Also, poor, =
rural post-Medieval Scotland would not have likely had access to the =
exotic dyestuffs available to the wealthier people. =20

Highlanders maybe, but not lowlanders who were pretty similiar to English
or French depending on the time !

>I think of the "ancient" or "hunting" versions as being more suitable to =
1) everyday type wear, and 2) something more likely to be worn while =
hunting(duh!).  I think of the bright colors as suitable for clan =

Some hunting are pretty bright !
Mel
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Date: Sun, 4 Jul 1999 04:32:35 -0400
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Hunting Tartan
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

> Some of the finds in archaeological digs have been of
muted green checked or plaid cloth.  One I am recalling, though I do not
recall from what book, nor which find at the moment [I catalog books for a
living--it's hard to recall so many...sorry, everyone...my sincere
apologies--short term memory is full up... .], was a soft, mossy green with
a dark brown or black sett that looked like a plaid to me. 

I think the thing is YES tartans/plaid fabric was made way back, but NOT to
the patterns known as McX today, ie Mr McX might have wore McZ, McY or
whatever as the fancy took him.

Mel
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From: "Susan Carroll-Clark" <nicolaa@columbus.rr.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Cotehardie Conundrum/Bohemian Bath Attendants
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-Poster: "Susan Carroll-Clark" <nicolaa@columbus.rr.com>

Greetings!

>Why is everyone so sure there is no body-shaping foundation garment
>beneath the cotehardie?

>
>If you look at the relatively loose garments that come before, and the
>correspondingly low-level seamstress skills required to create those
>dresses, and compare them to the rather highly skilled techniques
>required for the "pin it till it shapes you" dress, how could so many
>women suddenly make that jump in skill?


Well, first of all, most professional tailors were men (not that that makes
much difference in the skill level, but it's a common misconception).  I
also get the idea that it was only the upper classes (and perhaps those
middle-class folks who could afford the style and wanted to imitate their
"betters :-) who really want in for the very tight styles.  However, if you
look at surviving gaments, one thing you conclude is that the "jump" isn't
as dramatic as it looks.  Tailors had been playing around with piecing
garments to create a shape for at least 100 years before the cotehardie era.

I do "pin 'til it shapes you," and actually, once you learn the skill, it's
a fairly easy technique.  I can fit a "cotehardie" in about 15 minutes.  I
should mention I have exactly zilch professional dressmaker training--I'm
entirely self-taught.  Trust me--it does get easier :-)

<snip>


>Whereas if there were a shaping foundation garment of some kind, at
>least some of the pressure would be off the cotehardie itself and it
>would be an easier dress for seamstresses to create.


The problem here is that visual evidence is just one type that we look at to
support our theories.  One real problem with a "fitted foundation garment"
(something other than a close-fitting kirtle, cut on similar lines as the
outer garment) is that there's no evidence of it in literary or household
accounts.


Susan

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Date: Sun, 04 Jul 1999 11:27:56 +0100
From: DC <uboru@erols.com>
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-Poster: DC <uboru@erols.com>

Does anyone know of good sources for Chinese clothing around 
1300-1500? Internet searches with engines have not shown very 
much.

Thanks

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From owner-h-costume@indra.com  Sun Jul  4 10:41:46 1999
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From: "Henk 't Jong" <scapreel@tip.nl>
To: <h-costume@indra.com>
Subject: Re: H-COST: Re: recommended reading-- medieval
Date: Sun, 4 Jul 1999 17:36:18 +0200
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-Poster: "Henk 't Jong" <scapreel@tip.nl>

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

Hi,

> I'm fairly new to historical costuming, and I was wondering if anybody
could
> recommend good books for researching Medieval period clothing? 

Which part of the circa 500-1500 period?

I am primarily
> interested in the clothing of western and northern Europe and the British
Isles.

What class of people? Nobility and the rich: no problem. Common burghers:
pretty difficult. The peasant and the pauper: very difficult generally.
Also: dress within this area could differ greatly at a given time; you have
to be more specific: Danish, Dutch, Flemish, Northern French, etc. 

> Also, are there any books or articles that address authentic construction
techniques
> from that period? Thanks so much!
> 
Not many, especially not from the part before ca 1350.


Henk
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From: "Henk 't Jong" <scapreel@tip.nl>
To: <h-costume@indra.com>
Subject: Re: H-COST: Cotehardie Conundrum/Bohemian Bath Attendants
Date: Sun, 4 Jul 1999 17:54:39 +0200
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-Poster: "Henk 't Jong" <scapreel@tip.nl>

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


Hi,

Astrida wrote:
> Why is everyone so sure there is no body-shaping foundation garment
> beneath the cotehardie?
> 
Nobody can be sure, because none have been found and none are depicted. But
with tied laces and buttons and good sewing or patternmaking you can easily
get a close fitting cotehardie.

> If you look at the relatively loose garments that come before, and the
> correspondingly low-level seamstress skills required to create those
> dresses, and compare them to the rather highly skilled techniques
> required for the "pin it till it shapes you" dress, how could so many
> women suddenly make that jump in skill?
> 
Between ca 1320 and 1390 there is a fairly slow change in fashion. The
button and the discovery of cutting cloth differently made the difference.
Don't make the mistake that techniques could reach far-out places fast in
this period; communication for example between courts, was very frequent
indeed. Courtiers were the first to wear the closefitting fashions and it
seeped via rich merchant through to the common man and women, who were very
skilled sewers indeed.

> And what about the Bohemian Bath Attendants in illuminations, who are
> shown in spaghetti-strap shifts and nothing else, but who are already
> sporting the correct body shape? Is this just artistic license? (i.e.,
> this is how bodies are supposed to look, so that's how I'll draw them?)
> 
This is probably because their shifts were wet and clung to their bodies.

> Furthermore, if the snug and body-shaping fit of the dress is so
> dependent on the fabric, that would mean each dress made would have to
> be individually draped to allow for differences in the textile itself;
> no creation of patterns, or of getting the pattern for a new dress off
> of an old one. This does not strike me as terribly practical.

Don't make the mistake that medieval seamsters/stresses were amateurs; they
were highly skilled craftspeople and knew exactly what they could do with
what kind of cloth and had the human shape in their fingertips.
> 
> Whereas if there were a shaping foundation garment of some kind, at
> least some of the pressure would be off the cotehardie itself and it
> would be an easier dress for seamstresses to create.

I for one don't believe in corsets or the like before the 16th c. But hey,
that's my opinion...;-)


Henk

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From owner-h-costume@indra.com  Sun Jul  4 11:50:24 1999
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-Poster: Margo Anderson <margo@directcon.net>


>There is a very famous painting which you have probably seen of the Battle
>of Culloden (Fine brave Scots charging from the left, the Forces of
>Darkness... I mean, the British soldiers... from the right <G>).  The Scots
>portrayed in this painting were painted from prisoners after Culloden,

Umm...I believe I've read that possesion of even small scrap of tartan was a
flogging offense, or worse, for the Scots prisoners. 


Margo

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From owner-h-costume@indra.com  Sun Jul  4 12:29:37 1999
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Date: Sun, 04 Jul 1999 13:36:57 -0400
Subject: H-COST: Re:  Hops and Fabric Dyeing
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-Poster: snowfire@mail.snet.net

-Poster: Elysant <Snowfire@mail.snet.net>

I am trying to find information on the use of hops as a dye for fabrics.  
I have a book "The Year 1000: What Life Was Like at the Turn of the First 
Millenium: An Englishman's World".

In it the author claims that "Hops were grown in the year 1000, but they were 
used only in cloth-dying processes."

Does anyone have any more on this?

Elysant de Holtham
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From owner-h-costume@indra.com  Sun Jul  4 16:37:51 1999
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From: "Hope H. Dunlap" <hhdunlap@msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: wool satin
Date: Fri, 2 Jul 1999 10:04:25 -0400
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-Poster: "Hope H. Dunlap" <hhdunlap@msn.com>

When I was in G -Street Fabrics in Rockville, MD over
Memorial Day Weekend, they had several bolts of wool satin.
I recall black and navy, but cannot confirm the full color
range.
Hope H. Dunlap



-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Deborah Pulliam
Sent: Friday, July 02, 1999 9:08 AM
To: h-costume-digest@indra.com
Subject: H-COST: wool satin



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

<<I am looking for a source (wholesale or retail) for wool
satin.>>

I would check with Kathleen Smithat Textile Reproductions.
She no longer
advertises, but is still in business and selling wonderful
fabrics. I saw
some lovely 100 percent wool jeans when I was last there. ph
413 296 4437
(fax 413 296 0036.)

<<I have seen are a poorer red, or if this is a commercial
dye that
supposedly looks like cochineal. the fabric is for a British
officer's
coat.>>

The British "red coats" were always dyed with madder, so it
should be a hot
red, not a cochineal/purplish red.



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From owner-h-costume@indra.com  Sun Jul  4 17:13:36 1999
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From: "Joseph & Christine" <malruck@rma.edu>
To: <h-costume@indra.com>
Subject: Re: H-COST: Hunting kilt?
Date: Sun, 4 Jul 1999 18:19:12 -0400
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-Poster: "Joseph & Christine" <malruck@rma.edu>

>Umm...I believe I've read that possesion of even small scrap of tartan was
a
>flogging offense, or worse, for the Scots prisoners.

Margo

I was referring to prisoners taken at Culloden.  The ban was not yet in
effect.

Joseph


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From owner-h-costume@indra.com  Sun Jul  4 17:32:53 1999
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Date: Sun, 4 Jul 1999 18:43:20 -0400
From: Margaret Bolger <Margaret_Bolger@compuserve.com>
Subject: H-COST: Chinese clothing
To: "INTERNET:h-costume@indra.com" <h-costume@indra.com>
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-Poster: Margaret Bolger <Margaret_Bolger@compuserve.com>

Message text written by INTERNET:h-costume@indra.com
>Poster: DC <uboru@erols.com>

Does anyone know of good sources for Chinese clothing around 
1300-1500? Internet searches with engines have not shown very 
much.<

You could try the following web site......http://www.cixi.demon.co.uk

It is owned by Jocelyn Catterton, who deals in antique Chinese costume and
textiles.  She is very approachable and helpful and should be able to
answer any queries you have.

Margaret
antique costume & textiles
http://www.artizania.co.uk
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From owner-h-costume@indra.com  Sun Jul  4 17:54:42 1999
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-Poster: kat@grendal.rain.com


> Ill effects of tight lacing?  Try eating something hot in a rush after
> lacing.  Fortunately my brother knew to loosen the laces slooooowly after
>  I hit the ground in a dead faint.  <sheesh>

According to the cardiologists I've spoken with, never do it fast 
unless the person is actually in cardiac arrest (no pulse at all) or 
you could put them into cardiac arrest from the sudden shift in blood 
flow to the heart. (Hopefully no one will ever have to see the 
effects of that.)

Of course, if they are already in cardiac arrest, there's nothing 
lost in getting to them quickly, only in delay.

Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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From owner-h-costume@indra.com  Sun Jul  4 18:57:07 1999
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-Poster: "Kathryn L. Herb" <kayherb@juno.com>


>According to the cardiologists I've spoken with, never do it fast 
>unless the person is actually in cardiac arrest (no pulse at all) or 
>you could put them into cardiac arrest from the sudden shift in blood 
>flow to the heart. (Hopefully no one will ever have to see the 
>effects of that.)




Kat, thanks for having the details at hand.  I couldn't remember the
exact effects.  We should all make the people we appear in costume with
aware of it.  I'm thankful for my brother's good memory.  (A new Medic
Alert bracelet?? "Stay wearer -- undo slowly" <G>)


Kay

kayherb@juno.com

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From owner-h-costume@indra.com  Sun Jul  4 19:06:56 1999
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From: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>
To: <h-costume@indra.com>
References: <028001bec66b$4de4e780$710c97ce@malruck>
Subject: Re: H-COST: Hunting kilt?
Date: Mon, 5 Jul 1999 01:17:21 +0100
Organization: Heritage Matters at Words to the Wise
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-Poster: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>

Wasnt it  Sir Walter Scott who was given the job of redesigning the Highland
dress by Queen Vikki . Both would turn in their grave at the current kilt
phenomenon. Even John Paul Gautier has been left behind. No we can buy Kilts
in any pattern whatsover even some reminiscent of the 1960 s; As long as it
has a side opening and a pin its a kilt not  ad ress I have recently seen
some down to ankle length; Evidently they are the in thing for clubbing the
night away;; extremely practical. no tartans in site.
The Cornish "tartan" for kilts is shaded crisscrossing black and white., and
for some reason beyond me , only ever worn with a rugby football shirt;
there having been no equivalent of Sir Walter in Cornwall/

 Dave
LD MUNDY
Editor Heritage Matters


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Date: Sun, 04 Jul 1999 17:48:31 -0700
From: Susan Fatemi <susanf@netwiz.net>
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To: h-costume@indra.com
Subject: Re: H-COST: Chinese clothing
References: <199907031129.FAA20982@indra.com> <377E356A.BFC2A4B4@vci.net> <377F372C.93@erols.com>
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-Poster: Susan Fatemi <susanf@netwiz.net>

DC wrote:
> 
> -Poster: DC <uboru@erols.com>
> 
> Does anyone know of good sources for Chinese clothing around
> 1300-1500? Internet searches with engines have not shown very
> much.
> 

Do you want to find actual garments from that period?
Or just web pictures or books? If the latter, you could
try the library: there are a number of books on Chinese
clothing, bearing in mind that the period you mention
includes the Mongol dynasty.
  Also the Osprey series has several well-illustrated
little books on Chinese armies thru' the ages. Don't
know how authentic they are.

Susan Fatemi
-- 
Oh Noh! Kimonos!
susanf@netwiz.net
http://www.netwiz.net/~susanf
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Date: Sun, 04 Jul 1999 18:01:53 -0700
To: h-costume@indra.com
From: "Carol J. Bell Cannon" <cjcannon@greymists.com>
Subject: Re: H-COST: Hunting Tartan
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

At 04:32 AM 7/4/99 -0400, you wrote:
>I think the thing is YES tartans/plaid fabric was made way back, but NOT to
>the patterns known as McX today, ie Mr McX might have wore McZ, McY or
>whatever as the fancy took him. -- Mel
        Agreed...no arguement on that point. Carol
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From: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>
To: <h-costume@indra.com>
References: <l03102802b3a3a84872fb@[212.151.253.103]>
Subject: Re: H-COST: fabric sources superfine cochineal
Date: Mon, 5 Jul 1999 02:00:51 +0100
Organization: Heritage Matters at Words to the Wise
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-Poster: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>



>
> -Poster: Ninni Pettersson <vidumavi@swipnet.se>
>
> At 21.28 +0100 99-07-01, kat wrote:
> <snip>
> >I was also told there is a company in England making a wool superfine,
> >cochineal dyed, that is back ordered for nearly a year. I saw/handled
some
> >of the wool, and it looks too 'hot' for cochineal -- almost edging on the
> >neon. I don't know if this is the real deal and the other cochineal
fabrics
> >I have seen are a poorer red, or if this is a commercial dye that
> >supposedly looks like cochineal. the fabric is for a British officer's
> >coat.
>
  I bought a job lot of this material for project five or six years ago. I
still have a dozen or so yards underneath a work bench for replacement
purposes; Yes they make both officer and other ranks dyed stanards. The dye
used is exact and accurate. But the material behaves strangely. When it is
first seen it seem almost flourescent in certain lights and too bright a
colour in normal light ; However this is caused by the nature of the
superfine weaving method; there are very small loose filament all over the
material  that  causes this . When fully made up  they have all shedded and
the colour is true ; The roll I still have is the true colour on the outside
but brightly coloured inside the roll  where this "dewnap" ( i think ) is
still present; Of course treatment with a hot iron removes any odd) bits
This is mosty excellent material to work with . it cuts to panel shapes
really weel and og course need no hemming  so cna match the original. I used
it to make authentic jackets replacing ex film company ones that not only
had hems but were alseds lined with pillow ticking and had padded shoulders
and the works having been made from ex army khaki great coats redyed>; In
the new exact coats the fit is amazing  being based on items in  Blackburn
museum. Without the ticking and other tailoring it is quite easy to freeze
to death in them . very accurate.
However if you ever work in it, (if you can get your hands on any) be very
careful with the nap.  You cant see it in the piece but it shouts at you if
its wrong when made up; After one failure I covered it all with blue chalked
arrows and little paper stickers showing the direction of the nap on each
piece; Believe or not  the two sides also behave differently. Get this right
and its dream to work with.   Its also very forgiving in the wear being oily
enough to resist more water than the former greatcoat types with all of
their extra thickness and of course even when fully drenched dries  off
quicker ;
It is best to cut the pattern on the tight side with very little give; done
this way and lived in they tend to adopt the contours of the wearer more
accurately and always tend to look smart because of it.;
Be warned however , they should never be seen in the same room as a modern
steam iron else they are ruined . Most of the seaming is lapped but where
there is normal seeming this should be weel saoped and psryed with water
while being worn. If it will not flatten;
Dave
>
>  _________________________________________________________________


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From owner-h-costume@indra.com  Sun Jul  4 20:29:10 1999
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From: "Hope H. Dunlap" <hhdunlap@msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Cotehardies
Date: Sun, 4 Jul 1999 21:47:44 -0400
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-Poster: "Hope H. Dunlap" <hhdunlap@msn.com>

These sources may help:
http://www.virtualelpaso.com/neverwinter/dress/dress.htm
http://www.fpnet.co.nz/users/m/maggiem/works/mystuff/TUNICS.
HTML
http://pip1.pipcom.com/~tempus/cotehardie/cotehardie.html




-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
Behalf Of Andrea Gideon
Sent: Tuesday, June 29, 1999 5:59 PM
To: H-Costume
Subject: H-COST: Cotehardies



-Poster: "Andrea Gideon" <andrea.gideon@erols.com>

Anyone know where I can find a copy of a graph used to make
the "cut away
anything that doesn't look like a cotehardie" cotehardie?  I
made my pattern
this way a few years ago and threw away my instructions.  I
now need to make
one for a friend.
Andrea


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From owner-h-costume@indra.com  Sun Jul  4 20:41:03 1999
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Date: Sun, 04 Jul 1999 20:55:02 -0500
From: "schuck@vci.net" <schuck@vci.net>
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-Poster: "schuck@vci.net" <schuck@vci.net>

Sorry folks, I should have been more specific. I am most interested right now in
Flemish and English costume of the upper classes in about 1000-1250 AD.

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From owner-h-costume@indra.com  Sun Jul  4 21:28:52 1999
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From: "Allison Thurman" <athurman@cybergal.com>
To: <reenactment.guide@about.com>, <h-costume@indra.com>
Subject: H-COST: re: century of shoes
Date: Sun, 4 Jul 1999 22:42:25 -0400
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-Poster: "Allison Thurman" <athurman@cybergal.com>

imho this is a VERY well done site!

allison

- -Poster: "Lisa Scovel" <reenactment.guide@about.com>

The site I've been producing about the history of shoes this century is now
complete!

http://www.centuryinshoes.com

Take a look and let me know what you think...

Thanks,

Lisa

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From owner-h-costume@indra.com  Mon Jul  5 01:49:27 1999
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Date: Mon, 5 Jul 1999 02:59:04 -0400
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Hops
To: "INTERNET:h-costume-digest@indra.com" <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

>In it the author claims that "Hops were grown in the year 1000, but they
were 
used only in cloth-dying processes."

THey were grown I believe, but most refs I've seen are for medicinal use.
They were not popular for brewing until much later. As for dyeing I don't
recall seeing anything personally...

Mel
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Date: Mon, 5 Jul 1999 02:59:05 -0400
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: The Matthew
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

>I feel at a complete loss when reading this message.  What in the world
are
you talking about and referring to?

It was a reconstruction of a 15th C ship which made the crossing of the
Atlantic, the documetery refered to clothing, breing and other items from
the period the original ref was to whether the clothing was/was not
correct. and then what the used which wasn't modern......Quite a lot IMHO,
but it was interesting never the less. you may not have got in in the US
(the Programme I mean )

Mel
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Date: Mon, 5 Jul 1999 02:59:00 -0400
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Croft mills web page !
To: "INTERNET:h-costume-digest@indra.com" <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

page:http://www.scoot.co.uk/croftmill/

Mel
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From: teddy1 <Teddy@mdx.ac.uk>
Subject: Re: H-COST: Fantastic fabrics at low prices
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-Poster: teddy1 <Teddy@mdx.ac.uk>

Hi Mel

> - -Poster: Melanie Wilson <MelanieWilson@compuserve.com>
> Croft Mill Tel : 01282 869685 Fax: 01282 870038
> 
> Various stuff some good for costume etc others more mundane, a useful
> contact. Sorry no email or wen page as far as I know.


I buy from Croft Mill quite regularly.  In fact the shorts (short 
trousers, not under-shorts for the information of US H-Costumers) I'm 
wearing to work today in from fabric I got there.

They're good for basic fabrics on occasion (though their stock tends 
towards the "poly-cotton-sheeting" end of the market) and sometimes 
have bargains of bankruptr stock from other places (100% wool crepe 
in a beautiful bright red was my latest purchase....I can feel a pair 
of footed hose coming on....<g>)  They also do things like rolls of 
cottan bias-binding at very reasonable prices.

I only found them because someone showed me the catalogue - which is 
worth getting just to read.  It's a very "chatty" publication, full 
of asides and the thoughts of the author as he wanders around the 
warehouse noting down the types of fabrics they have in.... sometimes 
it's quite surreal.

As to the other supplier you listed, I'll just have to check them 
out, but they sound promising

Teddy
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From owner-h-costume@indra.com  Mon Jul  5 06:43:29 1999
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From: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>
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Subject: H-COST: Re: Elizabethan sailors
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-Poster: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>

The system added an unwanted "=20" to the URL I quoted for the Mary Rose website, which should read http://www.maryrose.org/  Hope it transmits OK this time.
I too enjoyed the TV programmes on the "Matthew". My impression  was that the crew had been issued with period costume to wear for show on departure/arrival and, presumably due to lack of storage space for clothes, often wore it at sea too, but that there was no requirement for them to go without modern waterproofs etc.

Kate Bunting
Library, University of Derby

PS There seem to be a lot of library cataloguers on this list! I'm a cataloguer too.

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From owner-h-costume@indra.com  Mon Jul  5 06:49:03 1999
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From: "Andy Oppenheim" <laguz@mediaone.net>
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Subject: RE: H-COST:shorts
Date: Mon, 5 Jul 1999 07:55:49 -0400
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-Poster: "Andy Oppenheim" <laguz@mediaone.net>


Teddy, shorts mean the same thing here for most under 50. undershorts are
more commonly called underwear ( a generic term for panties, bra and
underpants(hopefully not on the same person =o). in the slang they are
called drawers. Hope this helps
andy



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From owner-h-costume@indra.com  Mon Jul  5 07:58:02 1999
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Subject: Re: H-COST: The Matthew !
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-Poster: agottfre@telusplanet.net (Angela Gottfred)

The Matthew was the ship used by John Cabot to cross the Atlantic to 
Newfoundland in 1497, thus officially claiming the New World for England. 
The ship was recreated and the voyage reenacted for the tricentennial.

 Melanie Wilson <MelanieWilson@compuserve.com> wrote:

>> Anyway, they did the whole thing in costume
Actually, there was a VERY long documentary on the CBC (Canadian 
Broadcasting Corporation) which made it quite clear that the historic 
clothing was only worn for photo-ops, except for one or two die-hards among 
the crew. I was a little disappointed, but not surprised, to learn this.

Your humble & obedient servant,
Angela Gottfred 
agottfre@telusplanet.net

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-Poster: trekona@erols.com



> -Poster: "Joel Thompson" <sleipnir@gateway.net>
> [snipped]
>  Which brings up another interesting thread.....I have some friends who are 
> Grade A Vikingologists.  They maintain that there is no surviving piece of 
> wool (Viking era folks!) with 2 different colors woven into a pattern.  
> Hmmm....to me, that sounds highly unlikely.  We know that they were 
> proficient weavers, making lovely twill, herringbone and tabby, so why not 
> use different color threads to make it even more beautiful. Vikings, like 
> Celts, liked bright colors.

    While I haven't seen much at all of Viking culture plaids (which is odd, 
but who knows about taste), there *is* a scrap of Viking Age plaid in the Oslo 
Ship Museum. This museum exhibits artifacts of Oseberg, Gokstad and Tune - 
including a small selection of textile scraps.
    If Nancy Spies is still on the list, she spied the piece of plaid and got a 
photo of it (I missed it on my trip - too 'stoned' over all the bigger 
artifacts to notice the dark textile room!). So there *is* a surviving piece of 
wool from the Viking Era woven into a plaid pattern. Unfortunately all I know 
of is this one. Anyone else??
    -Judy Mitchell


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From owner-h-costume@indra.com  Mon Jul  5 12:15:59 1999
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-Poster: AprilX@ns.net (April Athena Genung)

I just discovered a place called Phoenix Textiles.  Their web address is
www.phoenixtextiles.com

I don't know how great they are for period fabrics right now, but their
selection changes and grows constantly, and their mundane fabrics a
gorgeous.  Some of the fabric is icky polyester or lycra but I found some
gorgeous eggplant colored corduroy and a batik printed rayon, I even saw
some silk shantung as well.  Most things are under $5/yd and they have a
huge section for $1/yd!  The fabric is very high quality too. They have
great swatches that are pretty color accurate too.    Check it out!

April

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From owner-h-costume@indra.com  Mon Jul  5 21:13:08 1999
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-Poster: midorih@proaxis.com


Elysant wrote:

>...she sometimes used sugar water to help keep the curls in.  

Elysant,

I've heard of sugar water used for rag curls.  What is the recipe for sugar
water please?  I'd like to try it.  Many thanks in advance.  

Midori

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Subject: Re: H-COST: Recipe for sugar water please?
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-Poster: snowfire@mail.snet.net

-Poster: Elysant <Snowfire@mail.snet.net>
 
>Elysant wrote:
>
>>...she sometimes used sugar water to help keep the curls in.  
>
>Elysant,
>
>I've heard of sugar water used for rag curls.  What is the recipe for sugar
>water please?  I'd like to try it.  Many thanks in advance.  

>Midori

I'll have to ask my mother when next I call home.  I will post the details 
ok?

Elysant

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

Andrea Clef wrote:

>
>
>> Does anyone know of a book dealer from whom I might order this particular book (e.g. one which
>>        specializes in German books, or a German dealer)?  My German is rusty, but for a good book, I'd be
>>        willing to give it a whirl.
>>
>>        Susan Carroll-Clark
>>

This was apparently spawned from another thread that I wasn't reading as
I haven't found the title being sought.  However, I have found a US
company that can order any German book in print for you.  I've used them
once and so far I've been happy with them.  I'm currently awaiting an
exchange copy as the book was bound incorrectly -- certainly not their
fault and they've been good about ordering a replacement.  It does take
awhile; if you're in a hurry I'd suggest contacting the publisher
direct.

Intl Book Import Service, Inc.
161 Main Street, PO Box 8188
Lynchburg, TN 37352-8188 USA
800-277-4247 or 931-759-7400 Fax: 931-759-7555
Email: ibis@IBIService.com
URL: www.IBIService.com

--Charlene

--
One may be my very good friend, and yet not of my opinion.  -- Margaret
Cavendish


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From owner-h-costume@indra.com  Tue Jul  6 01:21:29 1999
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-Poster: Margo Anderson <margo@directcon.net>

Has anyone used The Costume Connection's Elizabethan Man's pattern, the
upperclass one?  If so, what was your opinion as to historical accuracy,
ease of sewing, and fit?

thanks, 

Margo

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From owner-h-costume@indra.com  Tue Jul  6 07:24:10 1999
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Subject: Re: H-COST: Old World Enterprises Pattern
Date: Tue, 6 Jul 99 08:31:17 -0000
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From: margo king <mkings@earthlink.net>
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-Poster: margo king <mkings@earthlink.net>

Another comment please on another pattern from another Margo!  I 
purchased the folowing pattern and need whatever help I can get re: 
problems with the pattern, etc. I also could use some help on appropriate 
fabric and colors to the 1850's.  My intent is to wear it at either the 
opening night celebration for The Washington Antiques Show in Jan 2000 or 
at the Turn of the Century Ball (also sponsored by the show, which will 
be 'fancy dress') on Saturday, Jan 8th

This is a modern pattern by Old World Enterprises, copyright 1989, for 
making a reproduction 1850s crinoline ballgown.    Old World Enterprises, 
Unique Patterns of Historical Fashion, Pattern #851.  Includes sizes 8 
through 14 in same pattern envelope.  An off-the-shoulder gown with a 
lace or fabric flounce running around its perimeter.  The fitted bodice 
is fully boned and sweeps to a point at the center front waist, which is 
embellished with flowers on ribbon pillows.  The gown has a center back 
opening that can either be laced or employ a hook and eye closure.  The 
neckline is trimmed with flowers that are set onto ribbon cushions.  Lace 
or fabric flounces fall from the sleeve cap.  The large skirt is bell 
shaped, gathered at the waistline, and features two wide flounces that 
can be made exclusively of fabric or overlayered with lace.  A lace mitt 
pattern is included, as is a hoop skirt pattern.

Also -- is there any corset I can get that I can wear for costumes from 
1850's -1899 or are they so different that I need to invest in several. 
Where is the best place to buy accurate corsets since I do not have the 
time or the skills to make them?!

Many thanks!!   Margo King
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From owner-h-costume@indra.com  Tue Jul  6 07:46:15 1999
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From: "Andrea Gideon" <andrea.gideon@erols.com>
To: <h-costume@indra.com>
References: <199907041553.RAA02413@worldonline.nl>
Subject: Re: H-COST: Cotehardie Conundrum/Bohemian Bath Attendants
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-Poster: "Andrea Gideon" <andrea.gideon@erols.com>


>
> Astrida wrote:
> > Why is everyone so sure there is no body-shaping foundation garment
> > beneath the cotehardie?
> >
> Nobody can be sure, because none have been found and none are depicted.
But
> with tied laces and buttons and good sewing or patternmaking you can
easily
> get a close fitting cotehardie.
>

Also, if you wear a very tight one as an underdress under a looser one. you
will acheive some shaping and some support.
Andrea

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From owner-h-costume@indra.com  Tue Jul  6 12:13:23 1999
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From: "Penny Ladnier" <penny.creative.outlets@erols.com>
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-Poster: "Penny Ladnier" <penny.creative.outlets@erols.com>


I have developed a new section of my Vintage Publications website
about 1864 children's clothing
http://www.costumegallery.com/Frank_Leslie/April_1864/Children.htm.
This is supposed to be at a level that grade school children can take
a quiz about 1864 children's clothing (adults can take it too).  Can
some of you please take the quiz and let me know if it was simple
enough.  If you have a child, please let them take the quiz and see
how well they navigate the webpage.  Should I offer an explanation
somewhere that children wore dresses until a certain age?  Should I
explain this ahead of time or when they finish the quiz?  Please email
me privately with responses.

New additions for everyone:
Frank Leslie's April 1864:
Ladies Caps:
http://www.costumegallery.com/Frank_Leslie/April_1864/Ladies_Caps.htm
Ladies Bonnets:
http://www.costumegallery.com/Frank_Leslie/April_1864/Ladies_Bonnets.htm

Many Thanks!!!

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



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From owner-h-costume@indra.com  Tue Jul  6 12:13:59 1999
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From: Robin Netherton <robin@dgsys.com>
To: Historic Costume List <h-costume@indra.com>
Subject: Re: H-COST: Cotehardie Conundrum/Bohemian Bath Attendants
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-Poster: Robin Netherton <robin@dgsys.com>



I've been trying to post this for days, but it hasn't shown up, so I'm
trying again. My sincere apologies if this come through multiple times. 

[It was delayed because it exceeded the maximum un-approved posting
length, and I was away from my mail for the holiday weekend.  ...eliz]



---------- Forwarded message ----------

I have been traveling and came back to (1) a pile of work and (2) a pile
of H-COST messages I would like to reply to but haven't yet had the
chance.  But since this one popped up just now, and Astrida asked for my
thoughts, here goes.

On Sat, 3 Jul 1999, Stephen & Astrida Schaeffer wrote:

> Why is everyone so sure there is no body-shaping foundation garment
> beneath the cotehardie?

The short answer, from my perspective, is that you don't need it to
accomplish the task, and there's no evidence it existed, so there's no
reason to assume it. The simplest solutions that require the fewest
assumptions are generally the best. 

The rest of this message is the long answer. 

(By cotehardie, I'm guessing you mean the fitted dress worn by Western
European noblewomen in the late 14th and early 15th century. I don't use
the term quite so generally myself, but that seems to be what people mean
nowadays.)

> If you look at the relatively loose garments that come before, and the
> correspondingly low-level seamstress skills required to create those
> dresses, and compare them to the rather highly skilled techniques
> required for the "pin it till it shapes you" dress, how could so many
> women suddenly make that jump in skill?

Actually, the jump wasn't that sudden. The relatively loose garments begin
changing around 1320, first with attempts at fitting by bringing in the
width of the torso. That method has a limit -- you can't fit beyond the
point at which you can't get the garment on over your head and shoulders. 
Enter two major innovations, both simple and logical in form but
wide-ranging in what they allowed people to do: The center front opening
(meaning an opening from the neckline down past the waist that is closed
after the garment is on you), and the set-in sleeve (which integrates some
concepts of the square underarm gore, but with additional shaping and
flexibility). The center opening let you tighten further around the torso,
and the set-in sleeve let you eliminate the bulk around shoulders and
underarms without sacrificing range of motion. 

After these two changes, you see a gradual series of developments in
fitting. First the tightening is just done sideways, giving us the
columnar figures and smashed "monobosom" of, say, the Machaut manuscripts
of the 1350s (French) or the English brass of Joan de la Pole (c. 1380). 
Nothing here requires any great development in skill level, just the
addition of a couple more techniques to the repertoire over the course of
several decades. And at the same time we've got a lot of social and
economic upheaval, due to the Black Death and other social and economic
shifts, that eventually serve to get a lot of money (and fabric)  in
circulation and increase motivation for fashion change and complexity. 

Fashion tends toward to extremes, so fitting became tighter and tighter --
but that happened gradually, over decades. Then necklines began to inch
wider and lower. If you take the columnar fitted dress of mid-century,
with its relatively high jewel-neck, and cut that neckline progressively
lower, you find that this releases pressure on the upper bosom, so the
continuing pressure of the fabric on the lower bosom pushes the breasts
higher.  (Interestingly, the Wonderbra operates on the same principle.)
Continue this trend, and eventually the whole figure shifts in form.  By
the turn of the century you reach the most extreme form of this fashion --
with the S-curved spine, high bust, tiny waist, generous belly.  But that
look didn't spring up overnight; you can track its development slowly and
gradually. (I did this by making a series of dresses covering the range of
these developments, and learning how small changes in neckline cut yielded
progressively more extreme overall figure shaping.)

By the end of the century, there is obviously quite a bit of additional
*effort* required to achieve this look, but it's not really a question of
skill; it's a question of time and money. Note that lower-class garments
do not reach nearly so extreme a form -- they do become fitted, but not to
the same extent. That meant they required less labor, and also it meant
they'd have a longer life, as there was less cutting and pressure on the
garment (which cause faster wear) and because they could be passed from
one person to another with a minimum of alteration. Meanwhile, rich women
did not have as much concern over the longevity of their garments, and if
they did not want to take the time to create the extreme fit in their own
households, they could hire dressmakers who would have the experience to
produce the highly fitted garments. Others who were willing to invest the
time to do it themselves could manage, still, at home -- because the
actual techniques did not require any special equipment or proprietary
knowledge. I have actually managed to make these dresses for myself,
though it's no picnic -- still, few of these women lived alone; they lived
in extended households, and each household would have had members who did
the sewing for the whole household. 

> And what about the Bohemian Bath Attendants in illuminations, who are
> shown in spaghetti-strap shifts and nothing else, but who are already
> sporting the correct body shape? Is this just artistic license? (i.e.,
> this is how bodies are supposed to look, so that's how I'll draw them?)

First, I do hate to generalize from Bohemian bath attendants to the
English and French and Flemish courts. But even if you wish to, the
explanation of artistic convention to justify these women's figures has
plenty of precedent -- starting with the multitude of nudes who are
painted as though they are wearing fitted garments that elevate their bust
and bend their spine. One obvious example is Eve in the Eden scene from
the Tres Riches Heures; there are many others.

Alternatively, I've seen no illustrations suggesting a separate foundation
garment or body shaper under a 14th-century fitted dress. And that's after
examining many dozens of illustrations of women half-unlaced, or in the
process of dressing, or nursing. Over and over, you see the fitted gown
unlaced to show a plain unfitted chemise underneath, and nothing else. Nor
is there any evidence I know of in written records that names or suggests
such a garment. I can't of course say that nothing of the sort ever
existed, but I feel pretty confident in saying it certainly was not in
routine wear.

> Furthermore, if the snug and body-shaping fit of the dress is so
> dependent on the fabric, that would mean each dress made would have to
> be individually draped to allow for differences in the textile itself;
> no creation of patterns, or of getting the pattern for a new dress off
> of an old one. This does not strike me as terribly practical.

Actually, if you look at how clothing was made at this point, it's
patterns that don't seem terribly practical. I see no evidence that
patterns had been invented by this time at all. The earlier garments
certainly did not need any; patterns are acutally counterintuitive if
you're coming from a history of loose tunics that are geometrically cut
based on dimensions that reflect the width of the fabric and the size of
the person. For clothing made in the home, a pattern-less approach makes
more sense because it requires no written record and no physical pattern. 
What's vital is the construction *method.* People would most likely have
learned from watching how to measure fabric by holding it up to the body,
cutting specific rough shapes (usually geometric in form), basting them
into place, then fitting the rough garment on the body, sewing truer
seams, and cutting away the excess.

This is a simple and logical means of sewing, but it does not come
naturally to people who are used to thinking in terms of patterns. A
student of mine once phrased it this way -- "With patterns, you cut it
out, sew it, then fit it. Before patterns, you fit it, then sew it, then
cut it out." A generalization, but pretty close to the mark. 

It's important to remember that for patterns to work, you need to first
have a stable body. The 14th-century fitted body is anything but stable; 
the dynamic of the silhouette derives from the mobility and manipulation
of the bosom, the shoulders, the floating ribs, etc. The dress itself --
through its pressure along grain lines and stretch on bias lines -- works
with the individual body to mold it into a shape whose exact angles and
dimensions are unique to that body and that dress. Any attempt to make a
pattern would be pretty useless, because there are too many factors
involved that affect the angles, proportions, and sizes of the finished
pieces. (You can, however, use an existing garment as a rough guide to a
new one, as long as it comes close to fitting the individual -- you can't
use it as an exact pattern, but it gives you a nice place to start, and
then you complete the fitting on the person.)

On the other hand, once you do have foundation garments, you have a stable
body, from which you can take measurements -- and you can assume that
those measurements will be the same when you return to that body, because
the foundation garment dictates the proportions and structure.  My
research partner, who specializes in Elizabethan, often notes that an
Elizabethan corset stands up by itself -- you can see the shape of the
body even when no one is wearing it, and you can put it on a dress dummy
and fit around it; but my fitted dresses fall in a shapeless heap when
they're removed from the body -- they have no independent form of their
own.

I would guess that the development of foundation garments helped make
possible the regular use of patterns, and also the expansion of tailoring
as a profession. Certainly by the 1500s, tailors could routinely work
independently of their clients, from measurements only. (Certainly certain
garments could be done this way earlier, too, but not the 14th-century
fitted gown we're discussing here.)  And many new techniques were
developed that were indeed more complex than the average housewife could
learn easily -- so tailoring became a proprietary profession. But note
that later garments typically do not use the fluidity and stretch of the
fabric to mold a shape -- often the clothing is essentially upholstered
around a set foundation, and stretch in the overlying garment would be a
very bad thing indeed. So, there are significant changes in approach,
technique, and economics between the fitted Gothic dress of 1400 (cut from
long pieces falling from shoulder to floor, plus triangular gores) and the
highly complex Elizabethan or French gowns of 1600 (cut with a multitude
of small, oddly shaped pieces that are assembled to create a set
silhouette). 

> Whereas if there were a shaping foundation garment of some kind, at
> least some of the pressure would be off the cotehardie itself and it
> would be an easier dress for seamstresses to create.

Bingo. This is what happened in that in-between time. Look carefully at
fashion changes over the 1400s and 1500s. More and more structure is built
into the gowns, producing more stable silhouettes and firmer and flatter
surfaces. Eventually someone (or many people) realized it made more sense
to separate some of the layers of structural support from the gown itself
to make inner garments that could be used under many gowns, relieving the
pressure from the finer fabrics, simplifying outer-garment construction,
and adding versatility. Once you have those foundation garments, there's
room to develop such concepts as standard sizes, ready-to-wear, and a host
of other ideas that we take for granted now -- but that didn't really
exist in the 14th century.

Perhaps it would help if you considered that 14th-century fitted dress to
*be* the foundation garment. After all, it was typically covered by a
second gown; that may have been a fitted overgown (what I would call a
cotehardie, as distinct from a fitted dress worn directly over a shift),
or it may have been a fuller garment like a houppelande. Either way, the
dress on the inside would be doing all the hard work of molding and
holding the figure. That dress would have been worn as an everyday basic
garment, and subject to intensive daily wear and perspiration.  The outer
gown would have been more formal, and more likely to use expensive fabric,
fur, and embellishment. A noblewoman might therefore be more likely to
have her fitted dress made within the household, but hire a dressmaker to
make the better outer gown. And if you have a decent-fitting undergown,
you can indeed use it as a rough guide for the cutting of a fitted
overgown; a houppelande can be fit with even less effort (once you get the
neck and shoulders just right).

> Opinions? Thoughts? (To Robin Netherton, especially, if you don't
> mind--how did you reach your conculsions? I've gotten myself quite
> befuddled.)

How did I reach these conclusions? First, intuitively, starting more than
20 years ago, when I began draping fabric to create medieval costumes for
fun. I realize now that it helped that I had very little modern sewing
knoweldge. I went directly to the sources and worked from those. One of
the things I teach my students now is to forget everything they know about
modern methods, and start from the absolute bare basics.  Essentially,
what I did is start with the universal loose tunic of the early Middle
Ages (geometric shapes, straight seams) and worked my way forward, adding
new techniques only as absolutely necessary and as the evidence suggested. 
So, no set-in sleeves till the early 1300s. No princess seams till maybe
1440 (and rare even then).  No significant use of the waistline seam till
the mid-1400s (you get a few outliers before then, but the seam wasn't an
integral element of the clothing construction for a long time). No darts.
And certainly no boning, stay-stitching, dozens of other small things that
today's seamstresses learn in their first sewing classes. Over the years,
I've worked my way up through about 1480, figuring out where they added
one more cut here, one more seam there, to generate each new style.

At the same time, I went to college, learned how to do real research,
traveled, photographed, burrowed into books, talked with other researchers
in many areas, etc. And in this time, I haven't found anything to indicate
that either patterns or foundation garments were used in the 14th century,
so I'm maintaining the hypothesis that they were not.

What convinces me, though, is that if I can take a hunk of natural-fiber
woven fabric, sew it using a minimum number of techniques, no patterns, no
foundation garments, no boning, etc. and produce a garment that, on the
body, generates the same silhouette I see in the artwork -- and if I can
do this over and over using the identical method, and if I can teach this
to other people, and they can accomplish the same thing -- then logic
would dictate that there is no need to assume the existence of more
complicated methods or elements. If I can do this, there's no reason to
think that the average medieval seamstress could not do as well or better.

If someone does have evidence for pattern use or foundation garments in
the 14th century, I do want to see it. It would throw a large part of my
work out the window, but I'd still like to know. 

--Robin





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From: Ariyana Kylstram <ariyana@cats.UCSC.EDU>
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To: h-costume-digest@indra.com
Subject: H-COST: Phoenix Textiles does SPAM
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-Poster: Ariyana Kylstram <ariyana@cats.UCSC.EDU>

> 
> From: AprilX@ns.net (April Athena Genung)
> Date: Mon, 5 Jul 1999 10:23:11 -0700 (PDT)
> Subject: Re: H-COST: Fantastic fabrics at low prices
> 
> - -Poster: AprilX@ns.net (April Athena Genung)
> 
> I just discovered a place called Phoenix Textiles.  Their web address is
> www.phoenixtextiles.com
> 
> I don't know how great they are for period fabrics right now, but their
> selection changes and grows constantly, and their mundane fabrics a
> gorgeous.  Some of the fabric is icky polyester or lycra but I found some
> gorgeous eggplant colored corduroy and a batik printed rayon, I even saw
> some silk shantung as well.  Most things are under $5/yd and they have a
> huge section for $1/yd!  The fabric is very high quality too. They have
> great swatches that are pretty color accurate too.    Check it out!
> 
> April
> 
>  _________________________________________________________________

No offense, April, but Phoenix Textiles has been spamming me and not 
removing me from their mailing list after *7* requests to remove me.
They have been spamming a university account, which is for instructional 
purposes, and I find their actions reprehensible.  They could be the best 
fabric seller in the world, and I wouldn't buy from them because of these 
business practices.

Be careful... if they get your email address they might start spamming 
you too.

.ari
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From owner-h-costume@indra.com  Tue Jul  6 13:31:34 1999
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From: Lyssandre MacKenzie <lyssandre@yahoo.com>
Subject: Re: H-COST: Phoenix Textiles does SPAM
To: h-costume@indra.com
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-Poster: Lyssandre MacKenzie <lyssandre@yahoo.com>

Try and find out who their ISP is and notify them.
Also try sending mail to webmaster@ and postmaster@
the Phoenix Textiles domain name.  Otherwise, check
your mail system's preferences- you mail be able to
filter out the SPAM. 

Good luck, 

Noelle 

--- Ariyana Kylstram <ariyana@cats.UCSC.EDU> wrote:
> 
> -Poster: Ariyana Kylstram <ariyana@cats.UCSC.EDU>
> 
> > 
> > From: AprilX@ns.net (April Athena Genung)
> > Date: Mon, 5 Jul 1999 10:23:11 -0700 (PDT)
> > Subject: Re: H-COST: Fantastic fabrics at low
> prices
> > 
> > - -Poster: AprilX@ns.net (April Athena Genung)
> > 
> > I just discovered a place called Phoenix Textiles.
>  Their web address is
> > www.phoenixtextiles.com
> > 
> > I don't know how great they are for period fabrics
> right now, but their
> > selection changes and grows constantly, and their
> mundane fabrics a
> > gorgeous.  Some of the fabric is icky polyester or
> lycra but I found some
> > gorgeous eggplant colored corduroy and a batik
> printed rayon, I even saw
> > some silk shantung as well.  Most things are under
> $5/yd and they have a
> > huge section for $1/yd!  The fabric is very high
> quality too. They have
> > great swatches that are pretty color accurate too.
>    Check it out!
> > 
> > April
> > 
> > 
>
_________________________________________________________________
> 
> No offense, April, but Phoenix Textiles has been
> spamming me and not 
> removing me from their mailing list after *7*
> requests to remove me.
> They have been spamming a university account, which
> is for instructional 
> purposes, and I find their actions reprehensible. 
> They could be the best 
> fabric seller in the world, and I wouldn't buy from
> them because of these 
> business practices.
> 
> Be careful... if they get your email address they
> might start spamming 
> you too.
> 
> .ari
> 
>
_________________________________________________________________
>  To leave this mailing list, send mail to
> majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
> 

_________________________________________________________
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 Jul  6 18:12:39 1999
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-Poster: AprilX@ns.net (April Athena Genung)

Oh dear, thanks for the tip!  I get a couple of updates from them a month
but nothing I personally consider spam.  But not taking you off their list
after that many requests is >>really<< bad!!
Thanks for letting me know

April
>
>-Poster: Ariyana Kylstram <ariyana@cats.UCSC.EDU>
>
>> 
>> From: AprilX@ns.net (April Athena Genung)
>> Date: Mon, 5 Jul 1999 10:23:11 -0700 (PDT)
>> Subject: Re: H-COST: Fantastic fabrics at low prices
>> 
>> - -Poster: AprilX@ns.net (April Athena Genung)
>> 
>> I just discovered a place called Phoenix Textiles.  Their web address is
>> www.phoenixtextiles.com
>> 
>> I don't know how great they are for period fabrics right now, but their
>> selection changes and grows constantly, and their mundane fabrics a
>> gorgeous.  Some of the fabric is icky polyester or lycra but I found some
>> gorgeous eggplant colored corduroy and a batik printed rayon, I even saw
>> some silk shantung as well.  Most things are under $5/yd and they have a
>> huge section for $1/yd!  The fabric is very high quality too. They have
>> great swatches that are pretty color accurate too.    Check it out!
>> 
>> April
>> 
>>  _________________________________________________________________
>
>No offense, April, but Phoenix Textiles has been spamming me and not 
>removing me from their mailing list after *7* requests to remove me.
>They have been spamming a university account, which is for instructional 
>purposes, and I find their actions reprehensible.  They could be the best 
>fabric seller in the world, and I wouldn't buy from them because of these 
>business practices.
>
>Be careful... if they get your email address they might start spamming 
>you too.
>
>.ari
> _________________________________________________________________
> 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 Jul  6 20:03:41 1999
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From: "David Stamper & Eve Harris" <evedave1@netcom.ca>
To: <h-costume@indra.com>
Subject: H-COST: Leather Jerkin
Date: Tue, 6 Jul 1999 21:10:35 -0400
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-Poster: "David Stamper & Eve Harris" <evedave1@netcom.ca>

I'm posting because I am deliriously happy about some research I
conducted.

I'm working on an A&S challenge in Ealdormere which centers around a
from-the-ground-up recreation of the extant pinked and scored leather
jerkin shown in Janet Arnold's Patterns of Fashion, circa 1560. I've
been trying to find other examples of jerkins in this time period and
had about 4 painting sources, none of which made me very happy.

Then a month ago I came across the website for the Wreck of the Mary
Rose (this fits in well with a recent thread). Apparently they had
brought up some jerkins with the ship. I emailed them for some
information, and today I am happy to relate that they sent me full
size scale drawings of the jerkin most similar to mine out of the 13
they recovered, along with drawings of the other ones, pictures of the
different kinds of buttons and toggles, notes on the work in progress,
and locator maps of the ship.

I call this primary research. Now I can begin my work.

For those who care: the recreated jerkin will hopefully be supported
by a whole suit of clothes: a fulled wool doublet and slops, linen
blouse with blackwork and smallclothes, knitted silk stockings, and a
couched trim felted morion hat. All handmade from period materials
using period techniques as far as possible. I am very happy. So will
be my husband, since he gets to wear all this after I present the
goods at Twelfth Night.

Unfortunately I can't spread around the pictures without permission
from the Mary Rose Trust, but they were very nice to ME, a Nobody, and
sent me the stuff for free. That's good news.

Eve Harris
do not fold, staple, spindle or mutilate

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From owner-h-costume@indra.com  Tue Jul  6 22:59:20 1999
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From: "Glenda Robinson" <glendar@aus.compassnet.com.au>
To: <h-costume@indra.com>
Subject: Re: H-COST: Mary Rose trust and surgeon's cap
Date: Wed, 7 Jul 1999 14:06:19 +1000
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-Poster: "Glenda Robinson" <glendar@aus.compassnet.com.au>

Eve wrote:
>Unfortunately I can't spread around the pictures without permission
>from the Mary Rose Trust, but they were very nice to ME, a Nobody, and
>sent me the stuff for free. That's good news.
>


They were also very nice to us. My husband spied a domino "found on the
boat" on a webpage, and captioned as a Tudor domino. He asked for more info,
as we hadn't seen a domino before WAY later. Well, the webpage was wrong. It
was a Napoleonic period domino that must have fallen from a ship and dropped
onto the deck of the Mary Rose. They promised to fix it, too.

Seems like these people really enjoy their work, and want to help all those
others interested too.

Also...

On the Mary Rose, there was the Silk Velvet surgeon's cap found with the
stitching disintegrated. This was part of the travelling exhibition that
came to Australia a couple of years ago. There were linen and wool (and
leather, too) items found nearby well preserved. I'd like to dig some more
on this, as this may possibly be a use of cotton thread. Has anyone else
done research on this one?

Glenda.

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From owner-h-costume@indra.com  Tue Jul  6 23:13:07 1999
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Date: Tue, 06 Jul 1999 21:19:43 -0700
Subject: H-COST: History: We're Losing It
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>

Some of you may recall that there was a prolonged discussion about how we
should take all the old costume books and put them on disk to preserve them
In the July 12 issue of Newsweek under Technology there is an article
entitled *History: We're Losing It-- They told us digital would last
forever. They lied. How do we save the past before it all disappears?*
Although it does not specifically talk about costume books it is certainly
worth reading and learning from. 
I basically comes down to *yesterday's miracle drug is today's poison*. 
There never is an easy answer to these problems.
~!~ R.L.Shep
http://www.mcn.org/e/fsbks
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Date: Wed, 7 Jul 1999 04:53:36 -0400
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Penny's kids competition
To: LIST historic costume <h-costume-digest@indra.com>
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Status: O


-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

My daughter 5 gave these answers:

1 BOY
2 GIRL
3 BOY
4 GIRL
5 GIRL

Not sure what the answers were as it took over 10 mins to load the picture
& I had to get to work b4 the answers came up !

I can try it on others if you like, what age are you aiming at ?

Bryony is above average intelligence(not bragging simple for your info !) &
used to costume events having been brought up in serveral eras at once :)  

Hope this helps

Mel
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From owner-h-costume@indra.com  Wed Jul  7 06:49:41 1999
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From: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>
To: <h-costume@indra.com>
References: <199907070420.VAA12481@smtp6.jps.net>
Subject: Re: H-COST: History: We're Losing It
Date: Wed, 7 Jul 1999 12:31:23 +0100
Organization: Heritage Matters at Words to the Wise
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-Poster: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>

Slightly allied with this thread? Before going digital I spent years
printing photos onto special archival paper and the storing the prints in
special envelopes so they might last a hundred years.
Digital printed out photos start to fade withing 6 months; i have recently
found a supplier of archival ink but not for my printer.
Any thoughts
Dave

>
> -Poster: "R.L. Shep" <rlshep@jps.net>
>
> Some of you may recall that there was a prolonged discussion about how we
> should take all the old costume books and put them on disk to preserve
them
> In the July 12 issue of Newsweek under Technology there is an article
> entitled *History: We're Losing It-- They told us digital would last
> forever. They lied. How do we save the past before it all disappears?*
> Although it does not specifically talk about costume books it is certainly
> worth reading and learning from.
> I basically comes down to *yesterday's miracle drug is today's poison*.
> There never is an easy answer to these problems.
> ~!~ R.L.Shep
> http://www.mcn.org/e/fsbks
>  _________________________________________________________________
>  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 Jul  7 07:16:07 1999
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Date: Wed, 7 Jul 1999 08:24:53 EDT
Subject: H-COST: Finished Outfit!!!
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-Poster: Schmitt100@aol.com

Wow, my Very First Historical Outfit, partially done for Faire on Saturday! 
And it looked GOOD!

I did a upper-middle class Eliz. woman. I finally received my stays and 
hoopwire at noon on Friday, so as soon as it arrived, I went to work. The 
corset wasn't anywhere near as hard as I thought it would be (however I 
learned a tip - use tin snips to cut corset stays - they snip through easy as 
paper! Thanks hubby!). The farthingale came out as well. The bum roll of 
course was quite easy (although a question about washing - it isn't as fully 
stuffed since I washed it - how do you keep that from happening?). 

The overskirt is of a forest green (rayon poly blend, but lightweight enough 
for the 90F plus high humidity in Chicago in July!) and I actually cartridge 
stitched it into the waistband as well. That wasn't as hard as I thought 
either - actually I think it was easier to do that than try to pleat the 
sucker in!

The bodice is a rather nice tapestry upholstery remnant. (Unfortunately, the 
center point didn't go where it was supposed to, exactly, but I was scolded 
by hubby that NO ONE would notice!) I didn't have enough time to finish an 
underskirt (I was pleating and hemming the overskirt Saturday morning to go 
to Faire that afternoon), so I pinned more of the tapestry to the farthingale 
- hey, it looked good! And I'll finish the underskirt this week, as well as 
sleeves and skirting and epaulets for the bodice. The whole outfit was topped 
off by a flat cap and snood and feather fan purcahsed at Faire.

The best part, however, was that I entered the costume contest and won for 
middle class! Now I have to go back next weekend for semi-finals (aww, 
shucks!). Actually the best part was trying on the skirt after cartridge 
pleating over the farthingale and bumroll and squealing with delight that it 
actually looked RIGHT! (However, I couldn't squeal too loud, or jump up and 
down, cuz hubby was still asleep).

Can you tell I'm just a wee bit excited! I always knew h-cost sounded like 
fun, but now that I've actually DONE an outfit, oh, boy! And once I get mine 
finished, I start on hubby's!

By the way, another thing I didn't get to do is any trimming. What sorts of 
trim would I use? Plain ribbon? Lacy trim? I don't think I want anything 
shiny (i.e. metallic) as that would be a bit above my station. Any ideas? 
hints? tips? Thanks!

**********************
Rebecca Schmitt
So many books, so little time

We can't solve problems by using the same kind of thinking as we used when we 
created them.						-Albert Einstein

schmitt100@aol.com
**********************
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From owner-h-costume@indra.com  Wed Jul  7 08:55:02 1999
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-Poster: DRGurley@aol.com

Could someone describe cartridge pleating or cite a source for instruction? 
I'm going to be working on an Elizabethan skirt and it sounds like that may 
be the best way to handle the upholstery material I've chosen.

Thanks!
Dani G
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From owner-h-costume@indra.com  Wed Jul  7 09:15:40 1999
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From: "Franchesca Havas" <ches@io.com>
To: <h-costume@indra.com>
Subject: H-COST: pleating again :)
Date: Wed, 7 Jul 1999 09:24:53 -0500
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-Poster: "Franchesca Havas" <ches@io.com>

I have a question. It has come up that box pleats and cartridge pleats come
from different areas of Europe and time periods. Which one was in use for
Henry the VIII?

Sincerely,
F. Havas
Dallas, Texas
motto: Numquam scribae ridente fide

-----Original Message-----
From: DRGurley@aol.com <DRGurley@aol.com>
To: h-costume@indra.com <h-costume@indra.com>
Date: Wednesday, July 07, 1999 9:09 AM
Subject: Re: H-COST: Finished Outfit!!!


:
:-Poster: DRGurley@aol.com
:
:Could someone describe cartridge pleating or cite a source for instruction?
:I'm going to be working on an Elizabethan skirt and it sounds like that may
:be the best way to handle the upholstery material I've chosen.
:
:Thanks!
:Dani G
: _________________________________________________________________
: 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 Jul  7 09:58:07 1999
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To: h-costume@indra.com
Subject: Re: H-COST: Finished Outfit!!!
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-Poster: aleed <aleed@dnaco.net>


I have a cartridge-pleating tutorial online at
http://www.dnaco.net/~aleed/corsets/cartpleat/

Enjoy,

Drea Leed

On Wed, 7 Jul 1999 DRGurley@aol.com wrote:

> 
> -Poster: DRGurley@aol.com
> 
> Could someone describe cartridge pleating or cite a source for instruction? 
> I'm going to be working on an Elizabethan skirt and it sounds like that may 
> be the best way to handle the upholstery material I've chosen.
> 
> Thanks!
> Dani G
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
> 

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From: "Henk 't Jong" <scapreel@tip.nl>
To: <h-costume@indra.com>
Subject: Re: H-COST: Cotehardie Conundrum/Bohemian Bath Attendants
Date: Mon, 5 Jul 1999 18:56:31 +0200
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-Poster: "Henk 't Jong" <scapreel@tip.nl>

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

Hi all,

I wrote:
> Don't make the mistake that techniques could reach far-out places fast in
> this period; communication for example between courts, was very frequent
> indeed. 

That should have been: 'couldn't reach'. That'll teach me to answer people
in a hurry...

Henk
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From owner-h-costume@indra.com  Wed Jul  7 12:46:18 1999
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-Poster: kat@grendal.rain.com


> I have a question. It has come up that box pleats and cartridge pleats come
> from different areas of Europe and time periods. Which one was in use for
> Henry the VIII?

Both were in use. In fact, there are portraits where it is fairly 
obvious that they can be used together in the same garment!

I don't have immediate access to the specific portraits but if you 
look at the waists of the ones in Holbein's painting, the Visual 
History of Costume (16th Century), Boucher's book (20,000 years of 
Costume or whatever it is called in your country), Davenport's book 
(although it is harder to see in B&W) or any good book of 16th 
Century portraits, you may be able to find them yourself.


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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From: "Henk 't Jong" <scapreel@tip.nl>
To: <h-costume@indra.com>
Subject: Re: H-COST: Cotehardie Conundrum/Bohemian Bath Attendants
Date: Wed, 7 Jul 1999 22:15:54 +0200
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-Poster: "Henk 't Jong" <scapreel@tip.nl>

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


Hi list,

My compliments to Robin for her very lucid description of how medieval
tailors worked. I completely agree and reached my conclusions roughly the
same way, although I'm only just branching out into the 15th c now.

There's an added fact too. You'll have to realise that we are used to
making patterns on paper. Paper was rare and very expensive during almost
the whole 14th c and only used for writing on. The same goes for parchment
or vellum, which was even more expensive. Both were almost only available
in relatively small formats; about A3 or A2 at the most if parchment was
made from a foul or calf. Mostly they were from goat, lamb or sheep and the
usable part just wasn't any bigger. Paper was made in double size A4 types
maximum (well, not exactly, but near) or even single A4's. This was just
too small to make patterns on, if they had wanted or needed to, that is.

Patterns on cloth or measuring older garments were probably done, but, what
the heck, these sewing artists knew what they were doing and, IMO, worked
almost intuitively with a real tailor's eye.
 
> (By cotehardie, I'm guessing you mean the fitted dress worn by Western
> European noblewomen in the late 14th and early 15th century. I don't use
> the term quite so generally myself, but that seems to be what people mean
> nowadays.)
> 
I agree here. IMO a cotte hardi (which is how it was mostly written at the
time) is a very specific garment for the idle rich, who didn't have to bend
over while working for a living.

> Fashion tends toward to extremes, so fitting became tighter and tighter
--
> but that happened gradually, over decades. Then necklines began to inch
> wider and lower. If you take the columnar fitted dress of mid-century,
> with its relatively high jewel-neck, and cut that neckline progressively
> lower, you find that this releases pressure on the upper bosom, so the
> continuing pressure of the fabric on the lower bosom pushes the breasts
> higher. 

Actually: the courtly ladies in the Romance d'Alexandre (ms Bodley 264),
dated ca 1338, already have very low-necked dresses, which sometimes even
leave (part of) their shoulders bare.
 
> Alternatively, I've seen no illustrations suggesting a separate
foundation
> garment or body shaper under a 14th-century fitted dress. And that's
after
> examining many dozens of illustrations of women half-unlaced, or in the
> process of dressing, or nursing. Over and over, you see the fitted gown
> unlaced to show a plain unfitted chemise underneath, and nothing else.
Nor
> is there any evidence I know of in written records that names or suggests
> such a garment. I can't of course say that nothing of the sort ever
> existed, but I feel pretty confident in saying it certainly was not in
> routine wear.
> 
Nor have I in 30 years of looking at medieval pictures seen such a
foundation garment... ever.

> I would guess that the development of foundation garments helped make
> possible the regular use of patterns, and also the expansion of tailoring
> as a profession. Certainly by the 1500s, tailors could routinely work
> independently of their clients, from measurements only. 

A pretty interesting theory: I'll have to think this one over...

> Perhaps it would help if you considered that 14th-century fitted dress to
> *be* the foundation garment. After all, it was typically covered by a
> second gown; that may have been a fitted overgown (what I would call a
> cotehardie, as distinct from a fitted dress worn directly over a shift),

My sentiments exactly! Cotte hardi, that is...:-)

> or it may have been a fuller garment like a houppelande. Either way, the
> dress on the inside would be doing all the hard work of molding and
> holding the figure. That dress would have been worn as an everyday basic
> garment, and subject to intensive daily wear and perspiration.  

The perspiration was mostly caught by the shift, but practice learns that
you'll have to wash you (under)cotte regularly in summer. This  could be a
pointer in the direction that summer undercottes (or cottes) were of linen,
which keeps better in the laundry than wool does. But so far I have found
no real evidence for this. Have you already, Robin?

Cheers,

Henk
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Date: Wed, 7 Jul 1999 16:56:56 EDT
Subject: H-COST: Cartridge Pleating
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-Poster: Schmitt100@aol.com

This is a great explanation with wonderful pictures. I was doing out of a 
book with no pictures, but found that the explanations just made it *sound* 
difficult - it really was a snap! (Of course, I cheated and only did one row 
of gathering stitches, as I was using a fairly lightweight fabric.) I also 
found that quilting thread worked great as the gathering stitch thread, as 
it's coated/waxed for ease of quilting thru many layers.

By the way, Drea, your costuming pages are wonderful and I spend many 
(supposed to be working) hours drooling there! Thanks!

**********************
Rebecca Schmitt
So many books, so little time

We can't solve problems by using the same kind of thinking as we used when we 
created them.						-Albert Einstein

schmitt100@aol.com
**********************

In a message dated 7/7/99 3:41:10 PM Central Daylight Time, 
owner-h-costume-digest@indra.com writes:

> I have a cartridge-pleating tutorial online at
>  http://www.dnaco.net/~aleed/corsets/cartpleat/
>  
>  Enjoy,
>  
>  Drea Leed
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Subject: H-COST: Archival ink suggestion (shot in the dark)
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-Poster: lynnx@mc.net

> Digital printed out photos start to fade withing 6 months; i have > recently found a supplier of archival ink but not for my printer.
> Any thoughts
> Dave
> 
Ink refill kits?  What kind of printer do you have?  Also, where is this
company?  I want some! (some day... sound kinda expensive)

If they make refill kits for your printer, you could try getting a kit
(usually has a syringe), save empty cartridges, and try to get their ink
in a container you can get it out of.  Then use the kit refill your
cartridges with their ink.  (You might have to use up the ink in the
refil kit first.)

****CAUTION****!!!  
Ink refill kits work fine for some people, others get everything from
lousy output to ruined printers.  If you are not a gadget-head or are
running a gigabuck printer, BE CAREFUL, try it out on a cheaper printer,
or just *don't* - Contact the highest-up person you can at the ink co.
and ask them to make cartridges for your printer.
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From owner-h-costume@indra.com  Wed Jul  7 20:18:21 1999
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From: "Franchesca Havas" <ches@io.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Cotehardie Conundrum
Date: Wed, 7 Jul 1999 17:17:05 -0500
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-Poster: "Franchesca Havas" <ches@io.com>

So how did the term cotehardie come into being? We know of stories of why a
garment is called the gates of hell, how about this one?

Sincerely,
F. Havas
Dallas, Texas
motto: Numquam scribae ridente fide

-----Original Message-----
From: Robin Netherton <robin@dgsys.com>
To: Historic Costume List <h-costume@indra.com>
Date: Tuesday, July 06, 1999 12:31 PM
Subject: Re: H-COST: Cotehardie Conundrum/Bohemian Bath Attendants

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From owner-h-costume@indra.com  Wed Jul  7 20:18:40 1999
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From: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>
To: <h-costume@indra.com>
References: <199907072015.OAA14704@indra.com> <3783E548.309@mc.net>
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-Poster: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>


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

>
> -Poster: lynnx@mc.net
>
 > Ink refill kits?  What kind of printer do you have?  Also, where is this
> company?  I want some! (some day... sound kinda expensive)
 The co. I mentioned were offering replacement cartridges only and then only
for High end I; e expensive Canon printers. I will have to try ans ee if I
have still got the message somewhere.>
> If they make refill kits for your printer, you could try getting a kit
> (usually has a syringe), save empty cartridges, and try to get their ink
> in a container you can get it out of.  Then use the kit refill your
> cartridges with their ink.  (You might have to use up the ink in the
> refil kit first.)
I use colour ink refills on my cheap Canon printers The biggest bottles Ican
get
and black refills on all printers.Its fine for graphics etc;
 However I do most of my photographic quality output on an HP Deskjet 1120;
I dont use refills on this because the yellow always runs out first and the
refill yellow is not fine enough it blocks and stops and starts. On ordinary
paper as well as photo type paper. I might try the service that  refills the
catridges for you , but this will most probably be the same problem; they
are all still waterbased inks and so will fade rapidly.. Although I have
seen a Lex printer that includes a varnishing sytem I have not found anybody
that as actually used one .
In the predigital days when we used to use a Roneo machine it had a spray
attachment that sprayed each sheet as it came out of the back
Will someone please invent one for deskjet printers.

 Dave ,

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From owner-h-costume@indra.com  Wed Jul  7 20:20:00 1999
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Date: Wed, 07 Jul 1999 15:18:42 -0400
To: h-costume@indra.com
From: Kevin + Mara Riley <lindo@Radix.Net>
Subject: Re: H-COST: Womens'  period "plaid" info?
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-Poster: Kevin + Mara Riley <lindo@Radix.Net>

That's correct -- the term 'plaid' is a lowland term referring to the fact
that the garment is made of cloth that has been pleated (no, the pleats
aren't sewn in, at least in the early period).  You basically take your
cloak cloth, pleat it, and wrap it around you.  Since the plaid often
doubled as one's blanket at night, it wouldn't have been practical to sew
the pleats in permanently.  Plaids also could be of plain (i.e., not
tartan) cloth.

The arisaidh is NOT a skirt.  It's a piece of cloth worn in addition to
chemise, skirt, and bodice, to act as a cloak/covering. 

There are several ways of wearing the arisaidh.  One is simply to drape it
over your head, with the center of the length of cloth at the top of your
head, and then belt it around you; or pin the two front edges at your
breast, and wear it like a shawl.  Belting does help keep it out of the way
if you're going to be very active, though.

The other way is to pleat it like a man's kilt, but along the shorter width
of the cloth, not its length.  You then belt it around your waist, and pin
the top two edges at your breast (or just one of the top corners, if you so
choose).

I have seen no documentation whatsoever as to whether women's arisaidhs
were wrapped 'opposite' to men's plaids.  I think that  rumor derives from
the Victorian convention of having men's and women's garments fasten
differently.

Also, kilts are men's garments.  Properly speaking, women wear pleated
skirts, usually longer than knee-length.   The modern man's kilt basically
derives (in the latter part of the 1700s, I believe) from the 'great kilt',
but with the part of the fabric that is above the belt cut off.  The sash
is sometimes worn to simulate the effect of the top of the great plaid
(sort of).

Cheers,
Mara


At 08:56 PM 07/03/1999 -0700, you wrote:
>
>-Poster: lynnx@mc.net
>
>(FWIW to whomever: The word "plaid" had nothing to do with pattern
>originally; it meant a large piece of cloth used as a shawl, blanket,
>clothes, etc.)
>
>Alianora,
>
>Do you have any *reliable, understandable* info about the women's
>arasaid (?sp) / skirt combo, especially the size and shape of fabric
>they used?  I'd *swear* the way the pictures look, the women could have
>wrapped a sufficiently wide piece around the waist for the skirt
>(selvedge vertical) and then just draped the top like the guys did, with
>some style variations of their own.  (Also I heard the women wrapped
>their skirt/"kilts" opposite the way the men did.)
>
>Any insights on this?
>
>Thanks,
>Sister Ed


Kevin + Mara Riley
Home Page http://www.radix.net/~lindo
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From: Margo Anderson <margo@directcon.net>
Subject: Re: H-COST: Cotehardie Conundrum
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-Poster: Margo Anderson <margo@directcon.net>


>-Poster: "Franchesca Havas" <ches@io.com>
>
>So how did the term cotehardie come into being? We know of stories of why a
>garment is called the gates of hell, how about this one?

With absolutely no substantiation, I'll say that I've been told that it's a
"cote for the foolhardy".  Could be true, I suppose.

Margo

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From: "StitchWitch" <stitchwitch@excite.com>
To: h-costume@indra.com
Subject: H-COST: Fwd: More on V. of Willendorf (fwd)
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-Poster: "StitchWitch" <stitchwitch@excite.com>

>From another list, I found it to be a very interesting article.

> >
> >STONE AGE FIGURINES DRESSED TO TELL
> >Scripps Howard News Service
> >Must credit Pittsburgh Post-Gazette
> >Recommended for weekend use
> >By BYRON SPICE
> >
> >Pittsburgh Post-Gazette
> >
> >Besides a woven hat and a pair of dainty bracelets, the voluptuous
> >Venus of Willendorf doesn't wear so much as a smile. So perhaps it's
> >not surprising that the exaggerated sexual features of this stone-cold
> >babe ... a 4-inch-tall limestone figurine unearthed near Willendorf,
> >Austria, in 1908 ... have mesmerized archaeologists and art historians
> >much as the charms of Pamela Anderson Lee have distracted otherwise
> >diligent Web surfers.
> >
> >But experts now are taking a second look at the scanty bits of apparel
> >worn by Miss Willendorf and by some of the hundreds of other "Venus"
> >figurines that have been preserved from Ice Age Europe. They say the
> >necklaces, string skirts and other "Venus-wear" that do so little to
> >hide the obvious are proving to be equally revealing about the
> >hunter-gatherer societies that existed along the receding glaciers.
> >
> >These odd and mysterious figurines suggest that people living 26,000
> >years ago possessed well-developed weaving skills that were at least as
> >valuable to the community as the strength and prowess of male hunters.
> >Even the head dress worn by the Venus of Willendorf arguably reflects
> >social traditions still seen today in the babushkas worn by women in
> >Eastern Europe or even the bonnets favored by Amish women in America.
> >
> >These new insights, ironically, are derived from Venus-wear that has
> >been in plain sight for decades.
> >
> >"The vast majority of folks have simply ignored the fact that these are
> >woven fabrics," said James Adovasio, director of the Mercyhurst
> >Archaeological Institute in Erie, Pa. It's an oversight he attributes
> >to the mindset of archaeologists. Stone implements, not textiles,
> >supposedly were state of the art during the Paleolithic period, the
> >Stone Age.
> >
> >"When you have these stereotypes, you don't look beyond the
> >stereotype," he explained.
> >
> >But those assumptions began to change a couple years ago, when
> >Adovasio, his Mercyhurst colleague David Hyland and University of
> >Illinois anthropologist Olga Soffer uncovered evidence that the
> >Paleolithic people in what is now the Czech Republic were making twine,
> >fashioning nets and even producing cloth.
> >
> >The textiles themselves hadn't survived more than 20 millenia, but the
> >cordage and woven articles had left impressions in the mud floors of
> >huts. Those preserved impressions enabled Adovasio and Hyland to
> >indirectly study the long-gone textiles, even allowing them to analyze
> >types of knots.
> >
> >"Simply having the ability to make string must have dramatically
> >changed people's lives," said Elizabeth Barber, a linguist and
> >archaeologist at Occidental College, near Los Angeles. String lets
> >people haul things and catch things in nets. "I call it the string
> >revolution. It must have been as powerful as the invention of writing
> >and the wheel."
> >
> >Nets, in particular, suggest that hunter-gatherers need not have relied
> >on hunting mammoths, deer and other big game. Women and even children
> >likely would have been involved in hunting small game, constructing and
> >hanging nets and then chasing varmints into the trap.
> >
> >But studying Ice Age textiles is like chasing phantoms, so Soffer,
> >Adovasio and Hyland are pursuing other lines of evidence in hopes of
> >further bolstering their claims. The Venus figurines are one such
> >effort.
> >
> >In the case of the Venus of Willendorf, Adovasio said, they knew they
> >were dealing with an icon. When he and Soffer went to examine the
> >statuette at the Naturhistorisches Museum in Vienna, they found
> >themselves escorted to an inner room with special lighting, where
> >museum officials produced the figurine from a special leather case
> >embossed in gold.
> >
> >"I told them I needed to hold it to examine it," Adovasio said. "It was
> >like I was asking to touch the Holy Grail." When given permission, he
> >focused on the Venus' head, which has no facial features, but an
> >intricately carved covering. "They thought it was an elaborate
> >hairstyle," but it was unlike any hairdo he had ever seen. He came away
> >convinced that it was a woven cap, not woven hair, with concentric rows
> >of plaited material.
> >
> >Only a minority of the Venus figurines have any apparel. Adovasio and
> >his colleagues, however, have noted the presence of belts, bracelets,
> >various headcoverings, string skirts and bandeaux, narrow strips of
> >material worn on the torso. "Even the so-called naked ones often have
> >necklaces and bandeaux, which are often written off as tattoos," he
> >noted. "iBut tattoos with seams?"
> >
> >A notable aspect of Venus-wear is the detail in which it is depicted.
> >The figurines generally aren't very realistic ... the pear-shaped,
> >disproportioned Venus of Willendorf likely had as much resemblance to
> >women of the Paleolithic as she does to contemporary women. The Venus
> >heads usually have no faces.
> >
> >Yet the detail of the Venus-wear is tremendous. "You can tell which way
> >the string was twisted," Adovasio said. "It's really kind of amazing."
> >
> >At the simplest level, he said, the depiction of fabric provides
> >evidence that Paleolithic people were familiar with cloth, which would
> >suggest that weaving had been developing for hundreds of thousands of
> >years before the figurines were carved or molded.
> >
> >"This has been my argument for more than a quarter of a century," said
> >Alexander Marshack, an image analyst for Harvard University's Peabody
> >Museum of Archaeology and Ethnology. "The capacity was there. It is the
> >human capacity. The basic skills are human and found all over the
> >world.
> >
> >"Weaving was just a way of problem solving," he continued. "They had no
> >metal, but they used everything available in their ecology. They were
> >just like us. We have become more technically advanced, not smarter."
> >
> >His argument was based only on this rationale, rather than
> >archaeological evidence, so many scientists dismissed it. Now that
> >Soffer and Adovasio are finding textile artifacts, "I feel, perhaps, a
> >little vindicated," he said.
> >
> >But when trying to determine what these figurines meant to Paleolithic
> >people, "you have to be careful about what you deduce from the
> >evidence," he cautioned.
> >
> >"It's hard to say what they mean," agreed Rosemary Joyce, an
> >anthropologist at the University of California-Berkeley who studies
> >South American figurines dating back 3,500 years. These sorts of
> >figurines are found throughout the world and the ages and, like symbols
> >today, they likely meant different things to different people.
> >
> >It's probably safe to assume that the statuettes were a means of
> >communication used by preliterate people, she said. Just as a newspaper
> >focuses on things that are new, interesting or significant while
> >ignoring everyday details, the people who made these clay or stone
> >figurines weren't so much interested in reflecting society as they were
> >in representing moments of importance.
> >
> >So the fact that they expended so much energy on the details of apparel
> >suggests there is something important about these items. Likewise, "the
> >absence of skin (or fur) clothing thrusts the few woven objects into
> >high relief," Joyce said. Perhaps the makers are commenting on the
> >importance of textiles in their lives, or use the woven objects to
> >identify people who are weavers, or the woven objects could simply be
> >ceremonial clothing that denotes an individual's status.
> >
> >Soffer and colleagues noted that some figurines have string skirts.
> >Occidental's Barber has traced the use of string skirts from the late
> >Stone Age through the Bronze Age to present day; consistently, string
> >skirts have been a sign of fertility.
> >
> >Even today, girls in Albania wear string skirts only after reaching
> >puberty.
> >
> >Likewise, if the Venus of Willendorf is indeed wearing a head covering,
> >it too might be related to a present-day practice. Barber said women in
> >some cultures, seeing the hair as an analogue for pubic hair, routinely
> >cover their heads after marriage. It's a tradition still seen in
> >Eastern Europe and one that has been taken a step further by the Amish,
> >who cover the hair of girls and women alike.
> >
> >"You have to take all this with a grain of salt,"Barber added. "But the
> >material all hangs together."
> >
> >Symbolism aside, the evidence of Ice Age textiles continues to grow.
> >Soffer, now on sabbatical, has been traveling across Russia, Germany
> >and France, gathering photos and casts of woven clothing for Adovasio
> >and Hyland to analyze.
> >
> >She reports seeing what appear to be bone and ivory weaving tools, such
> >as battens, and some impressions of what may be basketry. "This is all
> >work very much in progress," she said in an e-mail message.
> >
> >This summer, Adovasio has joined her in France, where they hope to
> >examine the only known examples of Ice Age fabrics ... stamp-size bits
> >that, when excavated in the 1920s, were assumed to be more recent
> >textiles that had somehow gotten mixed into an Ice Age site.
> >
> >The Venus figurines not only reinforce the significance of these
> >textile artifacts, but provide the "ideological overtones" of the
> >Paleolithic peoples, Adovasio said. "They're expressing what society
> >believes was important."
> >
> >(Distributed by Scripps Howard News Service.)
> >
> >
> >
> --------- End forwarded message ----------
> 

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  Wed Jul  7 21:54:38 1999
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From: "Penny Ladnier" <penny.creative.outlets@erols.com>
To: "h-costume" <h-costume@indra.com>
Subject: H-COST: Austin Power's Designer Interview
Date: Wed, 7 Jul 1999 22:58:29 -0400
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-Poster: "Penny Ladnier" <penny.creative.outlets@erols.com>

Costume designer from Austin Powers:
http://www.cnn.com/STYLE/9907/06/appel.transcript/

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

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From owner-h-costume@indra.com  Wed Jul  7 22:25:17 1999
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Date: Wed, 7 Jul 1999 23:26:18 EDT
Subject: Re: H-COST: Womens'  period "plaid" info?
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-Poster: BarbMVD@aol.com

The plaid (pronounced "plade", is and always has been a garment.  

If I may butt in, your discussion of the arisaid seems to cover a far greater 
time period than would be appropriate, and brings the arisaid into the 
Victorian era, far overextending its actual wear. 

It is in fact one of the earlier garments but it was still worn at the end of 
the 17c. And yes, it would seem to be the female version of the belted plaid. 
 An early description : "The ancient dress . . . is a white Plade, having a 
few small stripes of black, blew and red, it reached from the Neck to the 
Heels, and was tied before on the Breast with a Buckle of Silver or Brass, 
according to the Quality of the person."  "The Plad being pleated all around, 
was tied with a Belt below the Breast; the Belt was of Leather, and several 
pieces of Silver intermixed with the leather like a Chain.  The Lower end of 
the Belt has a piece of Plate, about 8 inches long, and three in breadth, 
curiously engraven, the end of which was adorned with fine Stones or pieces 
of Corral."

There are two illustrations of the Arisad/aristad on pages 170 and 205 of 
McIan's Costumes of the Clans first published in 1845 and reprinted in 1980 
by Alfred A. Knopf as "The Clans of the Scottish Highlands.

Among the descriptions of the 1740's, the letters of Edward Burt provide 
great insight - ". . made of silk or fine worsted, chequered with various 
lively colours, two breadths wide and three yards in length, it is brought 
over the head, and may hide or discover the face according to the wearers 
fancy or accason, it reaches to the waist behind, one corner low as the ancle 
on one side, and the other part in folds hangs down from the opposite arm."

Now about the belted plaid worn by the men, the originals were long pieces of 
cloth, 12 to 15 feet, which wrapped around the wearer being pleated as he 
wrapped and fastened at the waist by a belt or a cord.  It was wrapped so as 
to leave a long length on the end which was brought over the shoulder and 
tucked in or fastened.  The modern kilt of feileadh beag (little plaid) 
consisted of a separation of the early garment into a pleated portion and a 
length to be fastened at the shoulder.  This new style was popularized about 
1720 and the sewn in place pleating was from that time.

And since the plaid is the garment, it is equally important to remember the 
definition of tartan.  In the old sense it referred to a kind of cloth, a 
thin hard material made from wool spun very fine and woven at as many as 70 
threads to the inch, its texture was more like linen.  This old hard tartan 
was extremely durable and waterproof.  In the 18th century (my time period) 
uniform clan tartans did not exist, and in Martin's writings 1703 - "Every 
isle differs from each other in their Fancy in making Plads, as to the 
Stripes in Breadth and Colours.  This Humour is as different through the main 
Land of the Highlands, in so far that they who have seen those places, are 
able at the first View of a man's Plad, to guess the Place of his Residence . 
. . "

>From the viewpoint of the reenactor up to and through the 18th century, those 
who wear the Plaid must remember to treat this fabric as functional garb, not 
the decorative nonsense of the Victorian period.

Barbara Delorey
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From owner-h-costume@indra.com  Wed Jul  7 22:28:46 1999
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Subject: H-COST: OT--Seattle, WA area
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-Poster: M311@aol.com

I have noticed that people on this list are from the Seattle area.  I am 
looking for someone from the Seattle/Everett/Lynnwood area.
My brother just moved there and is a single father.  He has 2 girls.  The one 
is chubby and he is trying to find clothes for her.  Does anyone know of a 
place that carries clothes for girls that has half sizes?  She can wear some 
14/16 but she is only 8 years old.  Trying to find the little girl styles has 
proven hard.  He has tried Walmart, Kmart and Target with not much luck.  She 
isn't real tall either.
I am to far away to sew for her and my mom said she hasn't sewn in years.
I would like private responses since this is off topic.  I just didn't know 
of a store to tell him and thought maybe you all would know.
Thanks,
Kelly
m311@aol.com
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Date: Wed, 07 Jul 1999 20:53:13 -0400
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From: Sue Shatto <Sue@VictorianMillinery.com>
Subject: H-COST: Price reduction for Miniature Millinery
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-Poster: Sue Shatto <Sue@VictorianMillinery.com>

Historic Millinery in Miniatures
Price Sheet    


 Miniature Style Price 
   Alexandra - 1893 $99.00 now $60
   Autumn Capote - 1880 $99.00 now $60
   Czarina - 1904 $79.00 now $50
   Duchess Of Leinster - 1780 $99.00 now $60 
   Fanchon - 1850 $79.00 now $50
   Glengarry - 1817 $79.00 now $50
   Green Bibi - 1830 $99.00 now $60
   Josephine - 1795 $79.00 now$50
   Leghorn - 1912 $79.00 now $60
   Lunardi - 1784 $99.00 now $60
   Pamela - 1815 $99.00 now $60
   Pink Bibi - 1821 $99.00 now $60
   Spring Capote - 1882 $99.00 now $60
   Young Victoria - 1837 $79.00 now $50
   Set Of Boxes $50.00 now $30

 All miniature shoes are now $20
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From owner-h-costume@indra.com  Wed Jul  7 23:19:47 1999
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-Poster: Julie Adams <savaskan@sd.znet.com>

I think these are the support garments in question. I've seen some with
spagetti straps, but clearly these don't have any. And anyone who'se ever
made a victorian corset cut like this, and tried it on before the bones are
in, will tell you that without something stiff, the top will roll right
over. I don't see how these garments would work without some stiffening.

http://www.idyllmtn.com/savaskan/bathhouse_babes.html

Julie Adams


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From owner-h-costume@indra.com  Wed Jul  7 23:37:41 1999
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-Poster: Margo Anderson <margo@directcon.net>

I just HAVE to take issue with this statement:

>> >A notable aspect of Venus-wear is the detail in which it is depicted.
>> >The figurines generally aren't very realistic ... the pear-shaped,
>> >disproportioned Venus of Willendorf likely had as much resemblance to
>> >women of the Paleolithic as she does to contemporary women.

Not very realistic?  IMHO, the Venus is a very realistic depiction of a very
fat woman.  Obviously,  most people today don't see a lot of fat women
naked..but that IS what we look like!

Margo

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From owner-h-costume@indra.com  Thu Jul  8 10:03:02 1999
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From: "StitchWitch" <stitchwitch@excite.com>
To: h-costume@indra.com
Subject: Re: H-COST: Fwd: More on V. of Willendorf (fwd)
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-Poster: "StitchWitch" <stitchwitch@excite.com>


> I just HAVE to take issue with this statement:
> 
> >> >A notable aspect of Venus-wear is the detail in which it is depicted.
> >> >The figurines generally aren't very realistic ... the pear-shaped,
> >> >disproportioned Venus of Willendorf likely had as much resemblance to
> >> >women of the Paleolithic as she does to contemporary women.
> 
> Not very realistic?  IMHO, the Venus is a very realistic depiction of a
very
> fat woman.  Obviously,  most people today don't see a lot of fat women
> naked..but that IS what we look like!
> 
> Margo

I wondered about that one myself. Not all of us are model thin! Who would
really want to be, with all the trouble it takes to get and stay that way
for most of us? (I realize that some folks are thin, and can do nothing
about it, which has its own problems.)

Besides, those of us who are Goddess sized get to wear lots more pretty
fabric!

Kate
----
StitchWitch

Fanaticism consists in redoubling your effort when you have forgotten your
aim. - Santayana, Life of Reason, 1905




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From owner-h-costume@indra.com  Thu Jul  8 10:09:01 1999
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From: "Hope H. Dunlap" <hhdunlap@msn.com>
To: <M311@aol.com>, <h-costume@indra.com>
Subject: H-COST: Big clothes for Little Girl
Date: Thu, 8 Jul 1999 11:08:05 -0400
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-Poster: "Hope H. Dunlap" <hhdunlap@msn.com>

I sympathize with your brother's problem.  I have a friend
with a downs syndrome girl about the same age, even heavier
than you describe and normal height.  She gets by with
carefully selected thrift store items and a neighborhood
seamstress who alters every last thing, ie the sleeves and
legs are always miles too long, and need shortening.  When
you pay $2 for a garment, you can afford to pay the
seamstress $8 to take up the legs or sleeves. This works for
tops and bottoms, but tends to be prohibitive for waisted
garments.  Every Spring and Fall there is the massive effort
to provide new clothes that fit for this quickly growing
girl.  But she always looks just super, incredibly well
coordinated and turned out.

It is pretty easy to sew for a girl who hasn't yet begun to
develop.  My   far-away female relatives sewed for me all
the time.  My mother selected and purchased the pattern in
the correct size, noted my variations in dimensions.  She
sent my relatives the pattern and changes required, and
clothes would come back.  She often sent the actual fabric
too.   This company will provide perfectly customized
patterns for her, but it is somewhat costly for a growing
girl: http://www.uniquepatterns.com/index_two.html.  The
detailed measurements taken are far better than any other
Web-based service I've seen, $39 for the initial sign-up,
$10-20 for each pattern, then there is more cost to update
as she grows.  The range of patterns for different
life-style situations is comprehensive.  Alternatively, your
brother could plug her measurements into this on-line
pattern sloper drafting site periodically and e-mail the
results to you to draft up:
http://www.panix.com/~aqn/tailoring/drafting/index.html.  It
includes bodice, sleeve, skirt, pants, and vest patterns.
On-line sources for "standard" plus-size patterns are shown
at the bottom of the second list of FAQ below.  I am
intrigued by the quality, skill, and low price of this
internet custom dressmaker in Hawaii.  Her site is well
worth visiting and considering.  She is a skilled pattern
drafter and sewer, and her prices are extremely reasonable:
http://home.att.net/~merylh/dressmak/patterns.htm.

J. C. Penney has a plus size and a super plus size catalog
for boys and girls.  Their contact is listed in the FAQ
below.  Several mall stores are really "plus size" stores in
disguise, fashions so pretty you may not realize they are
plus sizes:  April Cornell, Elisabeth, Amanda Fielding,
August Max, The Avenue, Lane Bryant. Your brother might call
the local malls and ask if they are there.  Alterations will
still be required however, due to the girl's short stature,
so this is the pricey way to go.

The Web has some super resources for "plus size" girls:
http://www.blessingsindresses.com/plus/2.htm is limited, but
good. Here is a list of resources for plus size people that
is simply extraordinary:
http://www.cs.uu.nl/wais/html/na-dir/fat-acceptance-faq/clot
hing/us1.html for stores A-K,
http://www.cs.uu.nl/wais/html/na-dir/fat-acceptance-faq/clot
hing/us2.html for stores L-Z.  These lists are maintained
quarterly, cover women, men, boys, and girls, and must be
seen to be believed.  They have western wear, 501 Levis to
size 50, school uniforms, swimsuits and sports apparel,
confirmation and party dresses, dance wear and leggings, and
riding apparel.  If you don't have Web access, write back,
and I will copy the entire current listing of hundreds of
Web, mail-order, and other stores nationwide.  The list is
extremely well annotated, and includes a number of well
known stores like Eddie Bauer and Lands' End, which you
wouldn't normally think of as plus size sources.  Specifies
precisely what you can expect to find there and the size
range and how to access them at the store, i.e. in-store,
catalog, special order.

Good luck,
Hope H. Dunlap










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From owner-h-costume@indra.com  Thu Jul  8 10:51:49 1999
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From: "Amanda Reeves" <alr@io.com>
To: <h-costume@indra.com>
Subject: H-COST: More on V. of Willendorf  and a Shakespeare question
Date: Thu, 8 Jul 1999 11:04:51 -0500
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-Poster: "Amanda Reeves" <alr@io.com>

I have to come in on this one.

> > >> >A notable aspect of Venus-wear is the detail in which it is
depicted.
> > >> >The figurines generally aren't very realistic ... the pear-shaped,
> > >> >disproportioned Venus of Willendorf likely had as much resemblance
to
> > >> >women of the Paleolithic as she does to contemporary women.

I always tell my sons that these "contemporary women"  they see on TV and
movies are computer images.........they aren't real. (a little joke from a
mom with 4 sons)

> > Not very realistic?  IMHO, the Venus is a very realistic depiction of a
> > very fat woman.  Obviously,  most people today don't see a lot of fat
women
> > naked..but that IS what we look like!

I wouldn't say VERY fat, but certainly not buff! I personally like the
softness of her curves. Can you imagine the ladies back then doing sit-ups?
-------------------------------------------------------------------------
> I wondered about that one myself. Not all of us are model thin! Who would
> really want to be, with all the trouble it takes to get and stay that way
> for most of us? (I realize that some folks are thin, and can do nothing
> about it, which has its own problems.)

I'm a belly dancer, a vegetarian, don't drink alcohol, work out (light
weight) at the gym every-other-day during the summer, take a yoga class
once a week AND I'M STILL NOT THIN! I certainly can't imagine myself
dancing without my full rounded curves!

> Besides, those of us who are Goddess sized get to wear lots more pretty
> fabric!

Even though I'm petite (5'3" size 9/10) I shop in the Plus size departments
for this very reason! Nothing feels better than large, loose, soft cloth!
(thus the appeal of ME dancing.....veils, scarves, skirts)

Now, for a costuming question. Three of my sons are in Shakespeare Under
the Stars.

	http://www.emilyann.org/sutstars.html

My 18 year old is playing Edgar in "King Lear". At one point they are going
to put him in a loin cloth (where he is posing as a madman). Would
Shakespeare have done this? We personally don't care if he's in it or not,
but they try to be completely authentic.

Amanda
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From owner-h-costume@indra.com  Thu Jul  8 12:15:09 1999
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Date: Thu, 8 Jul 1999 10:22:11 -0800
To: h-costume@indra.com
From: Lynn Downward <ldownward@mail.cho.org>
Subject: Re: H-COST: Price reduction for Miniature Millinery
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-Poster: Lynn Downward <ldownward@mail.cho.org>

>-Poster: Sue Shatto <Sue@VictorianMillinery.com>
>
>Historic Millinery in Miniatures
>Price Sheet
>
>
> Miniature Style Price
>   Alexandra - 1893 $99.00 now $60
>   Autumn Capote - 1880 $99.00 now $60
>   Czarina - 1904 $79.00 now $50
>   Duchess Of Leinster - 1780 $99.00 now $60
>   Fanchon - 1850 $79.00 now $50
>   Glengarry - 1817 $79.00 now $50
>   Green Bibi - 1830 $99.00 now $60
>   Josephine - 1795 $79.00 now$50
>   Leghorn - 1912 $79.00 now $60
>   Lunardi - 1784 $99.00 now $60
>   Pamela - 1815 $99.00 now $60
>   Pink Bibi - 1821 $99.00 now $60
>   Spring Capote - 1882 $99.00 now $60
>   Young Victoria - 1837 $79.00 now $50
>   Set Of Boxes $50.00 now $30
>
> All miniature shoes are now $20


Sue, please reprint your website for those of us dumb enough not to have
bookmarked it. (Im, certainly guilty of that.)

LynnD
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From: "StitchWitch" <stitchwitch@excite.com>
To: h-costume@indra.com
Subject: Re: H-COST: More on V. of Willendorf
Message-Id: <931454984.11261.462@excite.com>
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-Poster: "StitchWitch" <stitchwitch@excite.com>


> I wouldn't say VERY fat, but certainly not buff! I personally like the
> softness of her curves. Can you imagine the ladies back then doing
sit-ups?

Perhaps the occasional mad dash away from a saber-tooth, but not sit-ups.

I had read a theory that debated the first usage of clothing. It proponded
that, rather than covering up one's naughty bits, clothing instead accented
them. Thus, one might picture one's ancesters strolling about the early
African plains, painted and plaited with procreation in mind. An interesting
thought, that . . .

Kate
----
StitchWitch

Fanaticism consists in redoubling your effort when you have forgotten your
aim. - Santayana, Life of Reason, 1905




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Date: Thu, 8 Jul 1999 13:44:24 EDT
Subject: Re: H-COST: More on V. of Willendorf
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-Poster: RobesOf@aol.com


<< I had read a theory that debated the first usage of clothing. It proponded
 that, rather than covering up one's naughty bits, clothing instead accented
 them. Thus, one might picture one's ancesters strolling about the early
 African plains, painted and plaited with procreation in mind. An interesting
 thought, that . . . >>

I think thats been done to a degree throughout time (even now).  One example 
I read about is the cod piece having elaborate decorations, I'm assuming to 
attract the eye to one's masculinity.  Although the "naughty bits" are 
covered, they were designed to attract...with procreation in mind, maybe.  Do 
you think?

Erica
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From: "Henk 't Jong" <scapreel@tip.nl>
To: <h-costume@indra.com>
Subject: Re: H-COST: Cotehardie Conundrum
Date: Thu, 8 Jul 1999 17:20:22 +0200
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-Poster: "Henk 't Jong" <scapreel@tip.nl>

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

Hi List,

Franchesca wrote:
> So how did the term cotehardie come into being? We know of stories of why
a
> garment is called the gates of hell, how about this one?

The word 'hardi' means 'bold' or 'brave', and in this instance could have
been meant for a person who did not mind that other people say his or her
bodyshape in this narrow outfit or 'cotte'. Today it would be named a
'risky garment'.

Henk
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From owner-h-costume@indra.com  Thu Jul  8 19:25:40 1999
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Date: Thu, 08 Jul 1999 17:31:45 -0700
From: Lavolta Press <lavolta@best.com>
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Subject: H-COST: Amazing fabric store discovery
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-Poster: Lavolta Press <lavolta@best.com>

My husband and I took this week off to look for tile and fixtures for
remodeling the bathroom, with only moderate success so far. However, we
discovered the most amazing fabric store.  It's the size of a
reasonably-sized independent fabric store, and almost all the stock is
pure silk fabrics.  All the fabrics are natural--no synthetics and no
blends.  There are a few linens and cottons, but the bulk of the store
is pure silks.

They have lots of silk taffetas, plain and changeable (shot).  They have
striped taffetas--all widths of stripes and lots of color
combinations--tablecloth check taffeta, and some plaid taffeta
(surprisingly little plaid though).  (I bought two silk striped fabrics,
with subtle color gradations of very narrow stripes, that are perfect
for mid-19th-century dresses.)  They have pique taffeta (tiny woven
patterns), taffeta pintucked in diamond shapes, and taffeta shirred up
in "stripes" like the skirts of dresses in some 18th-century portraits.
They have silk taffetas printed in big toile de Jouy (sp?) designs.
They have machine-embroidered taffetas.  They have silk brocades,
including paisley patterns, patterns suitable for Renaissance costumes,
one 18th-century style pink-floral-stripes-on-white pattern (not a large
selection of this type), and some "napeolonic bees" sorts of
patterns--not bees precisely, but early 19th-century-style patterns
about the right sizes scattered over the fabric.  They have silk
organzas, plain, changeable, striped, spotted, and with various other
woven patterns. They have silk plus metal "tissue" fabric.  They have
pure silk satins in a good historic dress weight (not the thin modern
lingerie weight).  They have silk velvet--heavy weight, short pile,
probably intended for upholstery but might work for clothes.

The few linens displayed (I forget if there were cottons, and I don't
think there were wools) were OK, but nothing to get excited about in
terms of quality, rarity, price, or the size of the selection.  It's
really a place to buy silk.

The store is oriented toward decorating, which means the average fabric
width is about 54", with some 60" and some 45" widths.  For most fabrics
lots of yardage was on the rolls.  Although there are some upholstery
weight silks, and books on making curtains are displayed, most of the
silks are the proper weight for historic clothing rather than modern
upholstery weight.  (They do not, however, carry the very thin, slippery
silks popular for modern blouses.)  They have every color you can
imagine--not in every pattern, of course, but most patterns are
available in several colors.  The patterns are high-quality and tasteful
by my standards, none are outstandingly modern, and most are very
suitable for historic styles of one period or another.

Prices range from $22-$25/yard for dupionis, through $39/yard for plain
and changeable taffetas, through about $60/yard for satins and brocades,
to $120/yard for the velvet (significantly more expensive than most of
their fabrics, though it was about 60" wide). On the whole I'd say the
prices are signficantly better than Britex (since this store sells wider
fabrics) and the silk selection is bigger.  They are perfectly happy to
sell retail as well as wholesale, on the spot (rather than back
ordering), and if there is any lower limit to the yardage you can buy
they didn't tell me about it.

The store is:

The Silk Trading Co.
1616A 16th Street
San Francisco, CA 94103
(415) 282-5574

They also have a store in Los Angeles, but did not give me the address.
They say they will swatch and sell by mail.

Fran Grimble

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


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From owner-h-costume@indra.com  Thu Jul  8 19:43:43 1999
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Date: Thu, 08 Jul 1999 13:23:45 +0000
From: Dietmar <dietmar@pacbell.net>
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-Poster: Dietmar <dietmar@pacbell.net>

Greetings,

Henk wrote:

> The word 'hardi' means 'bold' or 'brave', and in this instance
> could have been meant for a person who did not mind that other
> people say his or her bodyshape in this narrow outfit or 'cotte'.
> Today it would be named a 'risky garment'.

The previously mentioned word 'foolhardy' means someone that is foolishly
brave and adventurous, so you can see the relatonship.  They also came into
use at about the same time.

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 Jul  8 19:44:34 1999
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From: "Hope H. Dunlap" <hhdunlap@msn.com>
To: <M311@aol.com>, <h-costume@indra.com>
Subject: H-COST: Unique Patterns
Date: Thu, 8 Jul 1999 13:06:08 -0400
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-Poster: "Hope H. Dunlap" <hhdunlap@msn.com>

The cost to update your measurements for Unique Patterns is
only $5.00.  Given the extraordinary accuracy of the
patterns, this might make it a viable option for your plus
size girl.  I'd guess she would need a pattern update once
per year.  To get a catalog update is $15, but there's no
requirement to get it.  The $39 initial fee includes helping
to get your measurements and to get the 200-pattern
catalogue, and the new pattern updates are on the Website.
It's a lifetime membership, and your little girl will be
ready to sew herself in 3-4 years, so she can use it the
rest of her life.

Hope H. Dunlap



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From owner-h-costume@indra.com  Thu Jul  8 19:46:06 1999
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Date: Thu, 08 Jul 1999 13:39:45 -0400
To: h-costume@indra.com
From: Sue Shatto <Sue@VictorianMillinery.com>
Subject: Re: H-COST: Price reduction for Miniature Millinery
In-Reply-To: <v04011703b3aa9c9be7ee@[172.19.1.35]>
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-Poster: Sue Shatto <Sue@VictorianMillinery.com>

I am so sorry.
Here is the address  http://www.VictorianMillinery.com
>> Miniature Style Price
>>   Alexandra - 1893 $99.00 now $60
>>   Autumn Capote - 1880 $99.00 now $60
>>   Czarina - 1904 $79.00 now $50
>>   Duchess Of Leinster - 1780 $99.00 now $60
>>   Fanchon - 1850 $79.00 now $50
>>   Glengarry - 1817 $79.00 now $50
>>   Green Bibi - 1830 $99.00 now $60
>>   Josephine - 1795 $79.00 now$50
>>   Leghorn - 1912 $79.00 now $60
>>   Lunardi - 1784 $99.00 now $60
>>   Pamela - 1815 $99.00 now $60
>>   Pink Bibi - 1821 $99.00 now $60
>>   Spring Capote - 1882 $99.00 now $60
>>   Young Victoria - 1837 $79.00 now $50
>>   Set Of Boxes $50.00 now $30
>>
>> All miniature shoes are now $20
>
>
>Sue, please reprint your website for those of us dumb enough not to have
>bookmarked it. (Im, certainly guilty of that.)
>
>LynnD
> _________________________________________________________________
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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 Jul  8 19:48:16 1999
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-Poster: Dietmar <dietmar@pacbell.net>

Greetings,

Erica wrote:

> I think thats been done to a degree throughout time (even now).
> One example I read about is the cod piece having elaborate
> decorations, I'm assuming to attract the eye to one's masculinity.
> Although the "naughty bits" are covered, they were designed to
> attract...with procreation in mind, maybe.  Do you think?

I was lead to believe that they were often used to hold poultices to combat
the venereal diseases of the day.  It wouldn't surprise me, but I don't know
the voracity of the story.

Regards,

Dietmar


"Victory or Defeat rests in God's hands;
 over Honor, we ourselves are Lord and Master."

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-Poster: Susan Fatemi <susanf@netwiz.net>

Lavolta Press wrote:
> 
.....
> The store is:
> 
> The Silk Trading Co.
> 1616A 16th Street
> San Francisco, CA 94103
> (415) 282-5574
> 
> They also have a store in Los Angeles, but did not give me the address.
> They say they will swatch and sell by mail.
> 
> Fran Grimble
> 
Thanks for posting the info., Fran. Have you tried Silk Road
on Broadway in Oakland? 45" dupioni is about $12 (?) Last
time I was in there, they had Italian foulard silks for 
about $6/yd.

Susan Fatemi

> ---------------------------------------------
> Visit our web pages!
> Books on historic costume and vintage clothes
> http://www.best.com/~lavolta/index.htm
> Historic and vintage dance
> http://www.best.com/~lavolta/dance/index.htm
> 
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME

-- 
Oh Noh! Kimonos!
susanf@netwiz.net
http://www.netwiz.net/~susanf
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From owner-h-costume@indra.com  Thu Jul  8 20:31:02 1999
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Date: Thu, 8 Jul 1999 18:37:31 -0700 (PDT)
From: Carol Mitchell <carolineri@yahoo.com>
Subject: H-COST: Bristol Faire/Chicagoland Costumer's Guild
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-Poster: Carol Mitchell <carolineri@yahoo.com>


Is there anyone on this list who asked to be on our mailing list and
has not recieved a message this month?
If so, please let me know. I've moved twice, and I know people have
been lost in the process.
We are doing a group trip to Bristol Renaissance Faire this month, and
would like to invite all interested parties to come along or meet us
there.
My e-mail address is CarolineRi@yahoo.com.
Carol Mitchell President Chicagoland Costumer's Guild
===
Carol Mitchell President Chicagoland Costumer's Guild
_________________________________________________________
Do You Yahoo!?
Get your free @yahoo.com address at http://mail.yahoo.com

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From owner-h-costume@indra.com  Thu Jul  8 20:34:14 1999
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-Poster: Lavolta Press <lavolta@best.com>

>
> Thanks for posting the info., Fran. Have you tried Silk Road
> on Broadway in Oakland? 45" dupioni is about $12 (?) Last
> time I was in there, they had Italian foulard silks for
> about $6/yd.

Yes, I've been to Silk Road in Oakland and it's a good store.  Their prices
are better, but they don't have nearly the selection the Silk Trading Company
does.  What amazed me about this store is, if you were to set up a good-sized
store devoted almost entirely to high-quality silks in weights, patterns, and
colors suitable for pre-20th-century costuming, this store would be it.  They
seem to expect people to buy for curtains; maybe people who want pure silk
curtains are furnishing in antique styles?  I'm not a decorator so I don't
know.  But I saw lots of fabrics there I have never seen before and would
never have expected to see all in one place.  This is not just your usual
selection of taffetas and dupionis (though they have some of those too, and
in wider widths than usual). It's not the kind of store where you walk around
going, "Oh, they have pure silks but a lot of them look so modern, " or "Yes,
they have some pure silk satins but they're all bridal whites and pastels,"
or "They have some good stuff but you really have to be selective because
many of the fabrics are tasteless."  _Everything_  except a few heavy
upholstery weights is perfect for one costume or another.

Fran

>
>
> Susan Fatemi
>
> > ---------------------------------------------
> > Visit our web pages!
> > Books on historic costume and vintage clothes
> > http://www.best.com/~lavolta/index.htm
> > Historic and vintage dance
> > http://www.best.com/~lavolta/dance/index.htm
> >
> >  _________________________________________________________________
> >  To leave this mailing list, send mail to majordomo@indra.com
> >  with the message UNSUBSCRIBE H-COSTUME
>
> --
> Oh Noh! Kimonos!
> susanf@netwiz.net
> http://www.netwiz.net/~susanf
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME

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


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From owner-h-costume@indra.com  Thu Jul  8 21:04:02 1999
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-Poster: Lavolta Press <lavolta@best.com>

BTW, I said I didn't see any wool but my husband is claiming he saw a couple
bolts of wool satin.

Fran

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


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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, 8 Jul 1999, Susan Fatemi wrote:

> > The Silk Trading Co.
> > 1616A 16th Street
> > San Francisco, CA 94103
> > (415) 282-5574
> > 
> > They also have a store in Los Angeles, but did not give me the address.
> > They say they will swatch and sell by mail.
> > 
> > Fran Grimble
> > 
> Thanks for posting the info., Fran. Have you tried Silk Road
> on Broadway in Oakland? 45" dupioni is about $12 (?) Last
> time I was in there, they had Italian foulard silks for 
> about $6/yd.
> 
Stop it! You're making me jealous!!!!
------------------------------------------------------------------------------
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 Jul  8 21:15:42 1999
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Date: Thu, 08 Jul 1999 19:24:18 -0700
From: Susan Fatemi <susanf@netwiz.net>
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-Poster: Susan Fatemi <susanf@netwiz.net>

I know this was discussed awhile back, but I just
finally saw the movie. Didn't like the story too
much (Agatha Christie did it better!) but the scenes
in Venice and the costumes by Sandy Powell were incredible!
   And there were at least two dresses that just had to be
Fortuny (though perhaps a trifle anachronistic for the period)
I've never been very interested in this period (1910) 
until now!
  Were the clothes authentic to this period?? They
seemed very avant-garde and "artsy". Did people wear
these gorgeous things or was it just "artistic license"?
  I always think of "Upstairs Downstairs" in this period
and the extremely uptight Lady Marjorie.
  I wish there were a big book of close-up photos,
accompanied by swatches. sigh. 

Susan Fatemi

(by comparison, I saw Phantom Menace and Ever After this
weekend, before "Dove". Not worth mentioning in the same
breath.  Queen Amidala's costumes were just wasted --
they were on screen about 5 seconds each and all the
intricate work was completely wasted. I did like the black
felt hats of the froggy people.)

-- 
Oh Noh! Kimonos!
susanf@netwiz.net
http://www.netwiz.net/~susanf
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From: "Arianne de Dragonnid  mka Grace Payne" <arianne@blackroot.org>
To: "h-costume@indra.com" <h-costume@indra.com>
Date: Thu, 08 Jul 99 22:42:59 
Priority: Normal
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-Poster: "Arianne de Dragonnid  mka Grace Payne" <arianne@blackroot.org>

On Wed, 7 Jul 1999 21:26:54 -0700 (PDT), Julie Adams wrote:

>I think these are the support garments in question. I've seen some with
>spagetti straps, but clearly these don't have any. And anyone who'se ever
>made a victorian corset cut like this, and tried it on before the bones are
>in, will tell you that without something stiff, the top will roll right
>over. I don't see how these garments would work without some stiffening.
>
>http://www.idyllmtn.com/savaskan/bathhouse_babes.html
>
>Julie Adams
```````````````````````````````````````
Everyone,

I've been to this site and have to agree with Julie.  Unless there's a good deal of artistic license involved, 
more than just dropping the spagetti straps, I would have to bet that she's found the foundation garments.  
They look like TIGHTLY fitted chemises, but nearly horizontal at the armpits, with the breasts practically up on 
a shelf and no straps in sight.  Someone on this (?) list said that the chemises were clinging because they 
were wet, but even with straps they'd have to be fairly tight to fit ANYTHING like this.  And if the absence of 
the straps ISN'T artistic license (something we will probably never know), then the bodice of the chemises 
HAS to be stiffened somehow.


Yours in the Dream,
	Arianne de Dragonnid

Shire of Castlemere, Kingdom of Trimaris

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%

"The founder of my noble line was wont to see Dragons.  His Lady rode out from the forest 
in a gown of samite and was as young on the day he died as on their wedding day."

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%

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Date: Thu, 8 Jul 1999 23:42:36 EDT
Subject: Re:  H-COST: wings of a dove
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-Poster: AlbertCat@aol.com


In a message dated 7/8/99 10:29:06 PM, you wrote:

<<Fortuny (though perhaps a trifle anachronistic for the period)
I've never been very interested in this period (1910) 
until now!
  Were the clothes authentic to this period?? They
seemed very avant-garde and "artsy". Did people wear
these gorgeous things or was it just "artistic license"?>>

Fortuny was doing his "Delphos" gowns in the period of the film....and up 
until the 1930s I think, with little changes. The type of people the main 
characters are would have indeed been avant garde and worn these things. It's 
what Rose should've looked like in "Titanic" but alas didn't. It is , after 
all "Le Belle Epoch.

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Subject: Re:  H-COST: wings of a dove
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-Poster: AlbertCat@aol.com


In a message dated 7/8/99 10:29:06 PM, you wrote:

<<I did like the black
felt hats of the froggy people.)>>

Straight outta Japanese history.....

"Phantom Menace" is the most unimaginative muck up I've ever seen! I'd seen 
it all before somewhere else.
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From owner-h-costume@indra.com  Thu Jul  8 23:13:43 1999
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-Poster: Susan Fatemi <susanf@netwiz.net>

AlbertCat@aol.com wrote:
> 
> -Poster: AlbertCat@aol.com
> 
> In a message dated 7/8/99 10:29:06 PM, you wrote:
> 
> <<I did like the black
> felt hats of the froggy people.)>>
> 
> Straight outta Japanese history.....

Actually, I think, more central asian. They found a tall black
felt headress on the "Ice maiden" (Siberia) and one of
the Froggy headresses was like Kalmyk or one of the other
Mongol sub-groups. But yes, *like* the Japanese and ancient
Chinese black hats.
 
> "Phantom Menace" is the most unimaginative muck up I've ever seen! I'd seen
> it all before somewhere else.

Too bad. All that money -- he could have done something wonderful.


-- 
Oh Noh! Kimonos!
susanf@netwiz.net
http://www.netwiz.net/~susanf
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From owner-h-costume@indra.com  Fri Jul  9 00:52:48 1999
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-Poster: AprilX@ns.net (April Athena Genung)

Another place that's very good for silks in the Bay Area is Thai Silk in Los
Altos.
Most of their things are pretty basic but they do have some beautiful hand
painted silks.  They also have the most amazing devore velvet I've ever
seen.  It's rayon but with a silk backing.  I don't know how period they are
but they do have a wide selection, and very reasonably priced.  They also do
mail order and will send swatches.
Also Fran, if you're redecorating you might want to go to Norman Bernie in
San Mateo.  Or maybe it's Cliff Bernie.  One is the owner and one is the
store name, I can never remember which is which!  They are a lot of fun too.

April

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From owner-h-costume@indra.com  Fri Jul  9 01:08:39 1999
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From: Robin Netherton <robin@dgsys.com>
To: "h-costume@indra.com" <h-costume@indra.com>
Subject: Re: H-COST: Cotehardie Conundrum/Bohemian Bath Attendants
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-Poster: Robin Netherton <robin@dgsys.com>


> On Wed, 7 Jul 1999 21:26:54 -0700 (PDT), Julie Adams wrote:
> 
> >I think these are the support garments in question. I've seen some with
> >spagetti straps, but clearly these don't have any. And anyone who'se ever
> >made a victorian corset cut like this, and tried it on before the bones are
> >in, will tell you that without something stiff, the top will roll right
> >over. I don't see how these garments would work without some stiffening.
> >
> >http://www.idyllmtn.com/savaskan/bathhouse_babes.html


On Thu, 8 Jul 1999, Arianne de Dragonnid  mka Grace Payne wrote:

> I've been to this site and have to agree with Julie.  Unless there's a
> good deal of artistic license involved, more than just dropping the
> spagetti straps, I would have to bet that she's found the foundation
> garments.  They look like TIGHTLY fitted chemises, but nearly horizontal
> at the armpits, with the breasts practically up on a shelf and no straps
> in sight.  Someone on this (?) list said that the chemises were clinging
> because they were wet, but even with straps they'd have to be fairly
> tight to fit ANYTHING like this.  And if the absence of the straps ISN'T
> artistic license (something we will probably never know), then the
> bodice of the chemises HAS to be stiffened somehow. 

This finally rang a bell for me, and I dug out my copy of Olga Sronkova's
"Gothic Woman's Fashion" (Artia: Prague, 1954, printed in Czechoslovakia,
no ISBN).  The text of this book is rather suspect and suffers further in
translation, but the illustrations are great. And she does have what I'm
guessing is the picture in question -- I don't have graphic access to the
Web, but I'm assuming the picture people have been citing shows two women
in strapless dresses with long hair and netted caps, bathing a man whose
hands are over his face and who has something, um, large and pear-shaped
in a strategic position. (The suggestive nature of that item is probably
not a coincidence, as will become clear in a moment.)

More than this, Sronkova gives us no less than SIXTEEN more illustrations
of bathhouse attendants. They are all from the same manuscript as the one
just described -- the Bible of Wenceslas IV. Sronkova tells us this is an
unfinished illuminated Bible in German, belonging to the group of
manuscripts known as the Wenceslas manuscripts. It was made for Wenceslas
IV between 1390-1400, and it "shows an intimate knowledge of the
particular tastes of the king." It is in Vienna in the State Library,
Codex 2759-2764.

Seeing these images as a group, in this context, I'm struck by a few
points. 

First: The main images on the pages of this Bible are the biblical
illustrations.  The bathhouse illustrations are actually small images in
initials or borders.  I don't know if Sronkova shows us all the
bathkeepers in the Bible, but from what she does give us, it appears that
the actual scenes of bathing are in initials (she shows two of these). 
In the other initials shown, they are standing the way you see saints or
the astrological Virgo standing, on display, holding their buckets like
attributes, with scrub brushes (? they look like leaves gathered in
bunches, or like fans) in their hands, with birds waving banners over
their heads. The border scenes are more fanciful, with the bathhouse
figures intertwined among grapevines, or riding on strange birds, or some
such.

In other words, the bathhouse ladies are a recurring decorative theme
throughout the Bible, presented as drolleries. In other Bibles, you might
find half-man-half-beast figures, or animals with hats and musical
instruments, or demons or grotesques filling these positions.

Sronkova does not show any other drolleries from this manuscript, save for
one fully gowned woman she blithely calls a "bathkeeper in holiday dress." 
(I take issue with that, as she does not even have a bucket.) But I'd
guess there are others besides bathhouse women. Sronkova makes a passing
reference: "The manuscript, the personal property of the king, is filled
with humorous comments, in the form of marginal illuminations, on the
king's likes and dislikes." The man being bathed by the bathkeepers -- in
the image discussed above as well as in the other showing a bath scene --
is supposed to be the king. (The thing sitting upended in his lap at such
a suggestive angle is one of those scrub-brush thingies the bathkeepers
are shown carrying in the other images.)  Another marginal shows the king
and a bathkeeper in stocks!  (Yes, the punishment devices with holes to
restrain the arms and legs.)  Sronkova also quotes another researcher's
theory that the woman in the bathkeeper's garment is the king's wife
Sophie, but I don't know what the rationale for that is.

It's maddening that Sronkova does not show whole pages -- just images in
isolation. I would very much like to see whether there are other human
drolleries, and of what type, and whether the presentation of the
drolleries counterpoints the action or posture of figures in the main
illustrations on the same page.

Without seeing the whole Bible, I can't draw a lot of conclusions. But
given what I do know of the context, and the fact that all these images
appear as a decorative theme in a single Bible -- and there's no evidence
that bathkeepers of this sort appear in any other sources -- I would be
particularly hesitant to view them as an accurate representation of
*anything*.

Now, context aside, let's look at the dresses. They seem to be chemises
(shifts) -- short, sleeveless, filmy, sometimes transparent. In the one
image under discussion, the dresses do look strapless, though there's a
pale area on the right-hand lady's left shoulder that may have been a
strap once. In the other sixteen illustrations (some of which have two
women in them), there are clear shoulder straps. Mostly there are two
straps on a dress; a few dresses seem to have a single strap, but these
are ones in which the woman is shown at a part-sideways angle, so it may
have been a factor of the positioning. Some dresses have black straps and
some have white. Some have interesting neck trims.  Many have fanciful
floating sashes at the waist or hips, much like one might see on angels or
similar figures in other Gothic marginal illuminations. 

Sronkova also includes many of the primary (Biblical) illustrations from
this book. And as I leafed through these, I found fully-dressed women in
many of the same postures and angles as I saw on the bathhouse ladies. For
instance, the figure of the left-hand lady in the strapless image is very
close in form to that of Delilah shearing Samson's hair. Delilah is
wearing a fitted dress with one of those extremely wide necklines that
reveals the shoulders.  If you take that same figure and eliminate the
sleeves from the garment, but preserve the other lines, including the
neckline, you have the figure of the bathhouse maiden. You can find
similar parallels between other bathkeepers and other primary images.

Sronkova shows two more-literal pictures of chemises from major
illustrations from this book, both of the birth of Samson. Both show a
woman in bed (possibly childbed). In both, the woman is covered up to
just below the bust, but you can see a straight-across neckline and black
shoulder straps. 

My guess, then, would be that for the bathkeeper drolleries, the
illustrator was showing standard "beautiful women's figures," but changing
their dress to echo flimsy chemises, often with decorations or sashes to
add a fantasy element.

That's just a guess, based on too little information. I'm sure somewhere
there's a book about the Wenceslas Bible that analyzes these drolleries in
context, and that would shed more light on their role in the pictures. But
what I feel pretty secure about right now is that I wouldn't view these as
realistic images of women working in bathhouses, or realistic
undergarments of any sort.

--Robin

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From owner-h-costume@indra.com  Fri Jul  9 02:28:08 1999
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Date: Fri, 9 Jul 1999 03:39:24 -0400
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Unique Patterns
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

Where is their web site ?

Mel
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From owner-h-costume@indra.com  Fri Jul  9 06:50:49 1999
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From: "Andrea Gideon" <andrea.gideon@erols.com>
To: "H-Costume" <h-costume@indra.com>
Subject: H-COST: slightly OT Queen Margot
Date: Fri, 9 Jul 1999 08:09:15 -0400
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-Poster: "Andrea Gideon" <andrea.gideon@erols.com>

I caught Queen Margot last night while fliping channels during a late night
baby feeding.  I set the VCR to tape the rest, however when I watched it
this morning I realized it was longer than my tape.  Could someone tell me
how it ends?  I got to the part after Henri returns to Navarre and he sends
her lover back to get Margot.
ANdrea

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From: aleed <aleed@dnaco.net>
To: h-costume@indra.com
Subject: Re: H-COST: pleating again :)
In-Reply-To: <003a01bec884$865f8dc0$ac350418@c59303-a.mckiny1.tx.home.com>
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-Poster: aleed <aleed@dnaco.net>


>From the pictures I've seen, most english Tudor dresses used box pleats.

Drea

On Wed, 7 Jul 1999, Franchesca Havas wrote:

> 
> -Poster: "Franchesca Havas" <ches@io.com>
> 
> I have a question. It has come up that box pleats and cartridge pleats come
> from different areas of Europe and time periods. Which one was in use for
> Henry the VIII?
> 
> Sincerely,
> F. Havas
> Dallas, Texas
> motto: Numquam scribae ridente fide
> 
> -----Original Message-----
> From: DRGurley@aol.com <DRGurley@aol.com>
> To: h-costume@indra.com <h-costume@indra.com>
> Date: Wednesday, July 07, 1999 9:09 AM
> Subject: Re: H-COST: Finished Outfit!!!
> 
> 
> :
> :-Poster: DRGurley@aol.com
> :
> :Could someone describe cartridge pleating or cite a source for instruction?
> :I'm going to be working on an Elizabethan skirt and it sounds like that may
> :be the best way to handle the upholstery material I've chosen.
> :
> :Thanks!
> :Dani G
> : _________________________________________________________________
> : 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 Jul  9 09:40:23 1999
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From: "Holliday, Rachel {DISC~Welwyn}" <RACHEL.HOLLIDAY@roche.com>
Subject: RE: H-COST: slightly OT Queen Margot
To: "'h-costume@indra.com'" <h-costume@indra.com>
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-Poster: "Holliday, Rachel {DISC~Welwyn}" <RACHEL.HOLLIDAY@roche.com>

Are you referring to the French film "La Reine Margot" if so then I have
this on video and consequently can tell you what happened.  Right when
Margot's lover "La Mole" returns for her with his friend they are waiting in
the street whilst the page has gone to the palace to fetch Margot and her
maid.  However the Duc d'Guis arrived and with his men at arms fights the
two would be rescuers.  La Mole is in fact shot in both knees and they are
dragged off.  Margot then arrives and finds that their attempts have been in
vain.  By this time the rather unfortunate Charles who read too much of the
book for Henri is dying.  He shows is mother the book and points out that he
read too much she of course is distaught having effectively polished off one
of her offspring.  Charles is now sweating blood.  Margot goes to him to beg
for the life of her lover.  Charles askes what the time is, naturally it is
too late.  On the scaffold La Mole is almost blind and asks his friend if
Margot is there, he lies and says that she is.  
The news is broken to the court that Charles is dead and that Henri (his
brother) is now king, while this proceeds Margot makes her escape to the
excutioner that patched up La Mole after his fight.  There she find the body
and severed head of her lover.  She asked the executioner to embalm the head
and to bury the body with her jewels.  A coach is waiting outside into which
she gets in with La Moles head, tastefully covered, her maid stays behind.
She is then shown driving off to meet her husband.
The end

Hope that does.
RAchel

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From owner-h-costume@indra.com  Fri Jul  9 09:48:22 1999
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From: "Hope H. Dunlap" <hhdunlap@msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Unique Patterns
Date: Fri, 9 Jul 1999 11:07:20 -0400
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-Poster: "Hope H. Dunlap" <hhdunlap@msn.com>

This company will provide perfectly customized patterns:
http://www.uniquepatterns.com/index_two.html.  The detailed
measurements taken are far better than any other Web-based
service I've seen, $39 for the initial sign-up, submitting
measurements per their videotape instructions, and catalogue
of current 200 patterns, $10-20 for each fully customized
pattern. When her measurements change, there is a $5 charge
to update the database.  New patterns appear on the
WebPages, or alternatively you can get a new catalogue,
optional, from time to time for $15.   The range of patterns
for different life-style situations is comprehensive.

 Hope H. Dunlap

> -----Original Message-----
> From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
> Behalf Of Hope H. Dunlap
> Sent: Thursday, July 08, 1999 1:06 PM
> To: M311@aol.com; h-costume@indra.com
> Subject: H-COST: Unique Patterns
>
>
>
> -Poster: "Hope H. Dunlap" <hhdunlap@msn.com>
>
> The cost to update your measurements for Unique Patterns
is
> only $5.00.  Given the extraordinary accuracy of the
> patterns, this might make it a viable option for your plus
> size girl.  I'd guess she would need a pattern update once
> per year.  To get a catalog update is $15, but there's no
> requirement to get it.  The $39 initial fee includes
helping
> to get your measurements and to get the 200-pattern
> catalogue, and the new pattern updates are on the Website.
> It's a lifetime membership, and your little girl will be
> ready to sew herself in 3-4 years, so she can use it the
> rest of her life.
>
> Hope H. Dunlap
>
>
>
>
____________________________________________________________
_____
>  To leave this mailing list, send mail to
majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
>


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From: "Franchesca Havas" <ches@io.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: slightly OT Queen Margot
Date: Fri, 9 Jul 1999 10:52:08 -0500
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-Poster: "Franchesca Havas" <ches@io.com>

Was up last night too and caught it. Lover and lover's buddy die, beheading.
They were accused of poisoning the King since his name was in the book his
father wrote that Catherine had poisoned for Navarra. King dies as the duo
is beheaded. Margo has her lover's head embalmed and takes it with her to
Navarra. The end credits say that she grants Navarra a divorce but remains
friends with him for the rest of his life. She outlives all her brothers and
her husband. They give a bio of the next two kings of France with the
youngest of the brothers being the most beloved of them all.

A very sad movie, very bloody, beautiful colors and I wish I could wear
those costumes!!!!!

Sincerely,
F. Havas
Dallas, Texas
motto: Numquam scribae ridente fide

-----Original Message-----
From: Andrea Gideon <andrea.gideon@erols.com>
To: H-Costume <h-costume@indra.com>
Date: Friday, July 09, 1999 7:04 AM
Subject: H-COST: slightly OT Queen Margot


:
:-Poster: "Andrea Gideon" <andrea.gideon@erols.com>
:
:I caught Queen Margot last night while fliping channels during a late night
:baby feeding.  I set the VCR to tape the rest, however when I watched it
:this morning I realized it was longer than my tape.  Could someone tell me
:how it ends?  I got to the part after Henri returns to Navarre and he sends
:her lover back to get Margot.
: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  Fri Jul  9 10:54:16 1999
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Date: Fri, 9 Jul 1999 11:23:16 EDT
Subject: H-COST: Re: cotehardie fitting
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-Poster: Gaelscot@aol.com



I dont think there's all that much info to go on. The people who believe that 
there is no fitted foundation garment seem to be able to make cotehardies 
just fine without them. I have been experimenting, assuming that I will make 
a wardrobe of cotehardies in the future (which seems to get farther off all 
the time) and it seems to me that the best plan would be to make an extremely 
fitted underkirtle or two, to take the stress off the main garments. I go 
back and forth between a full kirtle with sleeves, and something akin to the 
Bohemian stuff mentioned, with no sleeves (which would then need an 
underkirtle on top of THAT -- pretty stuffy).

But I think that if someone wants to experiment with an undergarment, then 
she should! Try it out and let the rest of us know how it works -- we might 
be convinced.

Gail Finke


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From owner-h-costume@indra.com  Fri Jul  9 12:24:33 1999
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-Poster: Margo Anderson <margo@directcon.net>


>Also Fran, if you're redecorating you might want to go to Norman Bernie in
>San Mateo.  Or maybe it's Cliff Bernie.  One is the owner and one is the
>store name, I can never remember which is which!  

It's Norman Bernie.  As I recall, they're only open on weekdays.  They're a
jobber, buying up odd lots of fabric, mostly home dec. I've seen everything
from natural scrim to great brocades,  day-glo plaid Herculon airplane seat
cover fabric, to heavy upoulstery leather there.

  I've gotten good prices on short peices, too small to cover a chair, say,
but big enough to make a pair of sleeves or a forepart.  Nothing in the
place is priced, you have to ask about everything, and I suspect that prices
are open to negotiation.  Don't expect to get a price break for buying 20
yards of something;  most of their fabric is on huge rolls.  If you want 300
yards of fuschia cotton, though, you can probably get a deal.

Margo Anderson
(who misses shopping in the Bay Area)

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From owner-h-costume@indra.com  Fri Jul  9 13:43:55 1999
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From: "Henk 't Jong" <scapreel@tip.nl>
To: <h-costume@indra.com>
Subject: Re: H-COST: Cotehardie Conundrum/Bohemian Bath Attendants
Date: Fri, 9 Jul 1999 20:52:17 +0200
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-Poster: "Henk 't Jong" <scapreel@tip.nl>

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



Hi all.

Robin wrote:
> This finally rang a bell for me, and I dug out my copy of Olga Sronkova's
> "Gothic Woman's Fashion" (Artia: Prague, 1954, printed in Czechoslovakia,
> no ISBN).  The text of this book is rather suspect and suffers further in
> translation, but the illustrations are great. 
> 
> More than this, Sronkova gives us no less than SIXTEEN more illustrations
> of bathhouse attendants. They are all from the same manuscript as the one
> just described -- the Bible of Wenceslas IV. Sronkova tells us this is an
> unfinished illuminated Bible in German, belonging to the group of
> manuscripts known as the Wenceslas manuscripts. It was made for Wenceslas
> IV between 1390-1400, and it "shows an intimate knowledge of the
> particular tastes of the king." It is in Vienna in the State Library,
> Codex 2759-2764.
> 
Ludmila Kybalova, Olga Herbenova and Milena Lamarova have some of these
bathhouse ladies in theirs 'Das grosse Bilderlexikon der Mode, vom Altertum
zur Gegenwart', also printed and published in Praha, in 1966 (of which I
own a second edition from 1975). 3 of the shifts are visible here; two have
sashes around the waist, the other is loose but fairly fitting. One is
see-through.

> and there's no evidence
> that bathkeepers of this sort appear in any other sources 
 
Oh yes, there is! In the same book mentioned by me before, there is a page
from a book called the 'Jenaer Kodex (1490-1500) in which 4 ladies in
shifts exactly like the Prague bathhouse wenches (white, loose, heavily
pleated, nearly see-through, a narrow decorated border along the upper end
and straps of the same material, a narrow dark, one of the same material as
the straps, tight belt around their waist) administer to two naked monks.
This is supposed to be another Bohemian source, but I know nothing else
about it. I'll have a look, though. So you see that a century later than
Wenzels Bible there were still scantily dressed bathhouseladies around. I
also seem to remember similar girls from ca 1500 bath scenes from Southern
Germany (Augsburg, Nurnberg?). I'll try and find out more about this.
> 
> My guess, then, would be that for the bathkeeper drolleries, the
> illustrator was showing standard "beautiful women's figures," but
changing
> their dress to echo flimsy chemises, often with decorations or sashes to
> add a fantasy element.

I'm not so sure. It seems to me that practices of this sort were rather
common in the German area (in summer?). They still are. Medieval people
weren't shy about nakedness, they sometimes found it funny, but mostly
didn't bother too much about showing their bodies. That is: if they
belonged to the upper classes they were supposed not to show their bodies
in public (young rich and influential people opposed this and invented the
tight bliaut in the 12th and the cotte hardi in the 14th c). The clergy
was, as usual, opposed to any nakedness, but only had influence over the
older, more staid and 'square' part of society. So what else is new?

> That's just a guess, based on too little information. I'm sure somewhere
> there's a book about the Wenceslas Bible that analyzes these drolleries
in
> context, and that would shed more light on their role in the pictures.
But
> what I feel pretty secure about right now is that I wouldn't view these
as
> realistic images of women working in bathhouses, or realistic
> undergarments of any sort.

I think I disagree here, but I think this practice was rather regional. It
might well have never been seen in the rest of Europe, but I've seen some
very racy medieval bath house scenes with people, bathers and keepers,
wearing no clothes at all.

Henk
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Date: Fri, 09 Jul 1999 13:20:35 +0000
From: Dietmar <dietmar@pacbell.net>
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-Poster: Dietmar <dietmar@pacbell.net>

Greetings,

Gail wrote:

> But I think that if someone wants to experiment with an
> undergarment, then she should!

What if that someone is a 'he'?  ;-)

Regards,

Dietmar


"Victory or Defeat rests in God's hands;
 over Honor, we ourselves are Lord and Master."

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From owner-h-costume@indra.com  Fri Jul  9 16:04:39 1999
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From: Robin Netherton <robin@dgsys.com>
To: h-costume@indra.com
Subject: Re: H-COST: Cotehardie Conundrum/Bohemian Bath Attendants
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-Poster: Robin Netherton <robin@dgsys.com>


On Fri, 9 Jul 1999, Henk 't Jong wrote:

I wrote:

> > My guess, then, would be that for the bathkeeper drolleries, the
> > illustrator was showing standard "beautiful women's figures," but
> changing
> > their dress to echo flimsy chemises, often with decorations or sashes to
> > add a fantasy element.

Henk wrote:

> I'm not so sure. It seems to me that practices of this sort were rather
> common in the German area (in summer?). They still are. Medieval people
> weren't shy about nakedness, they sometimes found it funny, but mostly
> didn't bother too much about showing their bodies. That is: if they
> belonged to the upper classes they were supposed not to show their bodies
> in public (young rich and influential people opposed this and invented the
> tight bliaut in the 12th and the cotte hardi in the 14th c). The clergy
> was, as usual, opposed to any nakedness, but only had influence over the
> older, more staid and 'square' part of society. So what else is new?
> ... 
> ... I think this practice was rather regional. It
> might well have never been seen in the rest of Europe, but I've seen some
> very racy medieval bath house scenes with people, bathers and keepers,
> wearing no clothes at all.

I'm sorry, I wasn't clear. I have absolutely no doubt about the existence
of scantily-clad bathhouse ladies, very likely wearing some chemise-like
garment, or even nothing at all. I agree wholeheartedly with you on that.
There's plenty of evidence of the popularity of bathhouses!

What I seriously doubt is that the shape of a woman's body in such a
garment looked exactly like the figure of a fully dressed woman (uplifted
breasts, etc.), which would be a logical conclusion only if you accept the
depictions in the Wenceslas Bible as accurate depictions of bathkeepers. 
The fact that these images were marginal illustrations, with all the
conventions usually associated with drolleries (and sexual overtones),
makes me wary of these drawings as a literal source for how real bathhouse
women looked in their flimsy clothes. 

Since the initial discussion was whether a particular image of a strapless
bathhouse dress shown in this manuscript was actually a boned undergarment
providing support to the figure -- and a source to prove that foundations
garments were worn in the 14th century -- it's worth looking closely at
the idea of whether this drawing is a reliable image of a bathkeeper's
figure. I'd be inclined to assume it's simply a "sexy female form with
bathkeeper imagery," no more realistic than another drollery that might be
a "sexy female form with bird's wings." I'm especially wary of taking an
image like this as evidence of a foundation garment given the lack of
other evidence that such a garment existed at all.

On the other hand, I'd be most happy to use the depictions of the buckets
as realistic!

--Robin

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From owner-h-costume@indra.com  Fri Jul  9 16:13:51 1999
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Date: Fri, 09 Jul 1999 16:23:14 -0500
From: Kat & Kent <kdyer@home.com>
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-Poster: Kat & Kent <kdyer@home.com>

Okay, my two cents....young, virginal (eg never pregnant) women can look
like the women in the pictures regardless of foundation garments. 
Having gone to Girl Scout camps from the time I was 9 until I was 17, I
can vouch for this.

Kat
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From owner-h-costume@indra.com  Fri Jul  9 16:34:03 1999
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Date: Fri, 09 Jul 1999 14:43:38 -0700
Subject: Re: H-COST: Re: cotehardie fitting
From: "R.L. Shep" <rlshep@jps.net>
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-Poster: "R.L. Shep" <rlshep@jps.net>

Hear! Hear!
~!~ R.L.Shep
http://www.mcn.org/e/fsbks

----------
>From: Dietmar <dietmar@pacbell.net>
>To: h-costume@indra.com
>Subject: H-COST: Re: cotehardie fitting
>Date: Fri, Jul 9, 1999, 6:20 AM
>

>
>-Poster: Dietmar <dietmar@pacbell.net>
>
>Greetings,
>
>Gail wrote:
>
>> But I think that if someone wants to experiment with an
>> undergarment, then she should!
>
>What if that someone is a 'he'?  ;-)
>
>Regards,
>
>Dietmar
>
>
>"Victory or Defeat rests in God's hands;
> over Honor, we ourselves are Lord and Master."
>
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME
>


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From: Robin Netherton <robin@dgsys.com>
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Subject: Re: H-COST: Cotehardie Conundrum/Bohemian Bath Attendants
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-Poster: Robin Netherton <robin@dgsys.com>


Catching up after a busy week...

On Wed, 7 Jul 1999, Henk 't Jong wrote:

> There's an added fact too. You'll have to realise that we are used to
> making patterns on paper. Paper was rare and very expensive during almost
> the whole 14th c and only used for writing on. The same goes for parchment
> or vellum, which was even more expensive. Both were almost only available
> in relatively small formats...
> too small to make patterns on, if they had wanted or needed to, that is.
> 
> Patterns on cloth or measuring older garments were probably done, but, what
> the heck, these sewing artists knew what they were doing and, IMO, worked
> almost intuitively with a real tailor's eye.

Yes, yes, yes. Of interest: There are several images of tailor's shops in
the extant manuscripts of the Tacuinum Sanitatus (late 1300s, Northern
Italy, with fashions not too dissimilar from France). Bolts of fabric,
garments in various stages of construction, needles, and shears are in
evidence. No sign of a pattern, even where people are cutting out
recognizable garment shapes (with visible armholes or neckholes) from
unrolled fabric. No measuring tapes either, for that matter.

But in an illumination from about a century later (Boccaccio's "Livre des
cleres et Nobles Femmes, Bib. Nat. MS. Fr. 599 -- it's in the Medieval
Woman Book of Days and probably one of the calendars somewhere), a woman
tailor (possibly allegorical -- women were probably not tailors at this
time) is shown cutting out a piece of white SOMETHING. It might be paper,
but I'd guess it's cloth. Caption writers call this a pattern. Perhaps it
is -- this would be about the time patterns or the ancestors of patterns
might emerge.  Maybe each customer would have an individual cloth pattern
developed to his/her own shape, to be used for future garments? Maybe the
tailor used a piece of linen to trace the shape of the pieces of an
existing garment, and then to transfer that shape to new fabric to make
another garment? That would be an easy way to use an existing garment as a
guide for a new one. Maybe this is for the equivalent of a muslin mockup
for fitting?  Who knows?  There's no fabric roll, just the shape lying on
the table (with visible armhole and neckhole; my guess it's for a man's
garment), and she seems to be trimming something off the bottom. But why
would you cut a pattern that's already in an identifiable shape?  Food for
thought, but I wouldn't rely too closely on the illuminator's knowledge of
tailor's techniques. I'd have to see a lot more examples of tailors at
work, and compare them to see what features appear in many places. 
(Future research project, obviously.)

I wrote:
> > Fashion tends toward to extremes, so fitting became tighter and tighter
> --
> > but that happened gradually, over decades. Then necklines began to inch
> > wider and lower. If you take the columnar fitted dress of mid-century,
> > with its relatively high jewel-neck, and cut that neckline progressively
> > lower, you find that this releases pressure on the upper bosom, so the
> > continuing pressure of the fabric on the lower bosom pushes the breasts
> > higher. 

Henk wrote:
> Actually: the courtly ladies in the Romance d'Alexandre (ms Bodley 264),
> dated ca 1338, already have very low-necked dresses, which sometimes even
> leave (part of) their shoulders bare.

(For anyone who wants to see that, there's a good image from that
manuscript on the jacket and as the frontispiece of _Fashion in the Age of
the Black Prince._) These necklines are definitely very *wide,* but
they're not deep enough in front to uncover the top half of the bosom. The
necklines actually are drawn as slightly higher in the middle than on the
sides!  Definitely not the deep scoop you get later, when you see the
S-curved spine and the pushed-up bosom.  The breasts are held up, but more
as a wide, gentle funnel shape, not as separate globes sticking out from a
high ribcage, with the upper part of the breasts exposed. 

> > I would guess that the development of foundation garments helped make
> > possible the regular use of patterns, and also the expansion of tailoring
> > as a profession. Certainly by the 1500s, tailors could routinely work
> > independently of their clients, from measurements only. 
> 
> A pretty interesting theory: I'll have to think this one over...

I'm still working on it myself. So many things seem to fall into place
together, and each step is necessary in order for us to reach, say, the
situation in the late 1500s where it's considered routine for people in
the English countryside to send their measurements to London tailors with
clothing orders. No way I could make a fitted 14th century dress from
measurements, because measurements can't account for angles, degree of
"bulge" of bosom or a flexed muscle, density and mobility of body tissue,
etc. Not a problem if all those things were forced into a standard shape
and held there reliably and you could then measure the key points of that
shape. Which would mean you could create a pattern that would be useful.

With foundation garments, also, the degree of stretch and distortion in a
piece of fabric wasn't an issue, as it is with the 14th-century fitted
styles. Once you eliminate stretch from the process, patterns become a
more logical innovation, because the shapes of the pieces will be less
variable from one garment to another.

Of course there's a lot more involved in the development of tailoring as a
profession, but I think the ability to separate the actual process of
garment-making from the client -- that is, the client no longer needs to
be present for multiple fittings -- would be one of those vital pieces. 

I know you can't get standard sizes (a later development) without being
able to rely on standard shapes for women, which are achieved through
foundation garments. I suspect I'm not the only woman around who wears
different bras for different styles or brands of clothes, because I know
that Leslie Fay or Kasper or Chaus is cut in a certain way, and I have to
make my shape match their slopers.

I wrote:
> > or it may have been a fuller garment like a houppelande. Either way, the
> > dress on the inside would be doing all the hard work of molding and
> > holding the figure. That dress would have been worn as an everyday basic
> > garment, and subject to intensive daily wear and perspiration.  

Henk wrote:
> The perspiration was mostly caught by the shift, but practice learns that
> you'll have to wash you (under)cotte regularly in summer. This  could be a
> pointer in the direction that summer undercottes (or cottes) were of linen,
> which keeps better in the laundry than wool does. But so far I have found
> no real evidence for this. Have you already, Robin?

:-) I'm guessing Henk is remembering a question I sent him some months
ago. (If you answered me, Henk, I never got it, and I'd still love your
opinion.) I've been wondering whether there's any solid evidence for linen
being worn as the primary (visible) fabric of a gown or other body garment
-- we know it was used for undergarments (chemises) and linings of body
garments, but I haven't found as much evidence for it being used as the
main fabric, despite common assumptions to the contrary.  So I'm on the
prowl. 

Given the ready availability of wool and the small wardrobes of most
people in the 14th century, I doubt many people would go to the expense of
making a linen dress just for those rare hot summer days.  I'm not even so
sure linen would make that much of a difference in European temperatures
-- I experimented with wearing identical dresses in cotton, linen, and
wool in 90-degree heat last summer (far worse than is usually seen in
Europe), and the wool was actually the most comfortable! Line it with
linen and you get the best of all worlds. 

As to the issue of laundry survival, even in summer I find that
lightweight woolen fitted dresses don't need washing that often, though
the linen chemises do. So I don't think the issue of suffering in the
laundry would necessarily be enough to cause a shift to linen for the
summer. But I wouldn't use fancy fabric (e.g. silk brocade) on a fitted
underdress, because it would suffer constant wear, physical stress, and
some perspiration.  Fancy fabrics are OK for the overgarments, which were
not subject to the same stresses and sweat, and were probably not washed
at all, just brushed. 

I've found some indications that linen was worn routinely for summer
garments in sunny Italy, and I wonder if the paler palette of Italian
clothing seen in paintings reflects an increased use of linen, which does
not hold deep colors like wool does. This is another topic for another
year -- but I'll happily collect references to linen use in Northern and
Western Europe if anyone runs across anything. 

--Robin

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-Poster: Julie Adams <savaskan@sd.znet.com>

>But
>what I feel pretty secure about right now is that I wouldn't view these as
>realistic images of women working in bathhouses, or realistic
>undergarments of any sort.
>
>--Robin

Which would be fine, except that the flimsy chemise bathhouse costume is
quite well-documented in the late 15th/early 16th c. Germany, and is the
same identical garment as shown in other Wenceslas bible pictures. And the
bucket and brush remain in use as well. I've also seen that spaggetti
strapped garment as doll clothes and children's shifts.  I guess I don't
feel confident that I can brush off that strapless gown as unreal.

Julie Adams


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Date: Fri, 9 Jul 1999 23:27:24 -0400 (EDT)
From: Robin Netherton <robin@dgsys.com>
To: h-costume@indra.com
Subject: Re: H-COST: Cotehardie Conundrum/Bohemian Bath Attendants
In-Reply-To: <l03130300630bd548e41c@[207.167.66.127]>
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-Poster: Robin Netherton <robin@dgsys.com>


I wrote:
> >But
> >what I feel pretty secure about right now is that I wouldn't view these as
> >realistic images of women working in bathhouses, or realistic
> >undergarments of any sort.

Julie responded:
> Which would be fine, except that the flimsy chemise bathhouse costume is
> quite well-documented in the late 15th/early 16th c. Germany, and is the
> same identical garment as shown in other Wenceslas bible pictures. And the
> bucket and brush remain in use as well. I've also seen that spaggetti
> strapped garment as doll clothes and children's shifts.  I guess I don't
> feel confident that I can brush off that strapless gown as unreal.

Boy, I was clear as mud there. That's what I get for writing long posts
after midnight. It would have helped if I had said "foundation garments" 
rather than "undergarments."

The issue originally under discussion was whether the strapless costume
was a structured foundation undergarment. Some people had noted the
uplifted figures of the women and suggested this provided evidence that
the garment shown had internal support, like a corset -- and that it was
therefore *not* a flimsy chemise. 

This is what I was responding to (from your earlier post, Julie):

> I think these are the support garments in question. I've seen some with
> spagetti straps, but clearly these don't have any. And anyone who'se ever
> made a victorian corset cut like this, and tried it on before the bones are
> in, will tell you that without something stiff, the top will roll right
> over. I don't see how these garments would work without some stiffening.

I was trying to say that given the context of the manuscript, I didn't see
the uplifted figures of the women as a realistic portrayal of how women's
figures looked in real bathhouse costume,* and that while the strapless
dresses might seem in this one image like boned support undergarments, I
didn't feel comfortable accepting these images as evidence of such
garments, because of the nature and purpose of the representation and the
lack of other evidence of foundation garments from this period.

I *do* most certainly agree that the images are meant to represent the
well-documented "flimsy chemise bathhouse costume" -- which is why I
pointed out the other more realistic portrayals of such a garment in the
major illustrations (the two childbed scenes). Absolutely no argument that
bathkeepers wore filmy spaghetti-strapped chemisey things; I didn't think
there was any disagreement about that, and I didn't mean to imply that I
was questioning that. I was questioning the interpretation of these
dresses as boned foundation undergarments.

I would happily use the bucket and scrub brush (or whatever that thing is) 
as realistic. I'm less secure about some other elements, such as the
floating sashes that appear on some of the Wenceslas Bible bathkeepers in
marginals that use other elements of iconographic presentation. These are
the same sort of knotted sashes routinely used in certain saints' images,
and other parts of these marginals echo other features of saints' images.
The sash may have the same sort of symbolic function in the picture as,
say, the bird-borne banners overhead -- as a joke to present the
bathkeepers as though they were saints. (And in case I wasn't clear again,
I'm not saying this means they never wore sashes. I'm saying that real
sashes probably didn't have the improbable proportions or aerodynamic
capabilities shown in these pictures. So the floating sashes may be a
idealized/exaggerated version of a more ordinary sash that was actually
worn with the more ordinary unsupported flimsy gown.) 

--Robin

* Unless they're teenagers with perky breasts, as someone noted earlier.
Good point. My research partner once did a lecture on some of the
Bottacelli Venus costumes, and noted that they could only work on
perky-bosomed teens. Maybe some bathkeepers *did* look that way, but it
wouldn't be because they were wearing boned bodices!



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From owner-h-costume@indra.com  Fri Jul  9 23:13:46 1999
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-Poster: Julie Adams <savaskan@sd.znet.com>

> . I was questioning the interpretation of these
>dresses as boned foundation undergarments.

Whether they were worn underneath another garment is certainly
questionable, but having done a fair amount of corsetry, I can attest that
no matter how perky those young ladies bosoms are, a strapless garment like
that will not stay up without some kind of stiffening. One bend-over and
the top will roll right over without some kind of boning.

>I would happily use the bucket and scrub brush (or whatever that thing is)
>as realistic. I'm less secure about some other elements, such as the
>floating sashes that appear on some of the Wenceslas Bible bathkeepers in
>marginals that use other elements of iconographic presentation. These are
>the same sort of knotted sashes routinely used in certain saints' images,

The knotted sashes are quite often seen up through the 16th c in
Germany/Bohemia on all classes of people.  In my thinking, I've seen the
scrub brushes, the sashes, the gowns, the spagetti strapped garments on
both bathhouse babes and as undergarments, the buckets, etc.  (Costuming of
the Holy Roman Empire is my focus).  Given that the other costume and prop
elements are fairly true to form,  I feel I have no basis for discounting
the strapless gowns. And given that their spagetti-strapped counterparts
are worn as undergarments, I think that it would be hard for me to say for
sure that the strapless garments would not be worn that way as well (for
Bohemian/German costumes).  Basically there is no clear proof, but enough
evidence and collaborative information that the hypothesis could go either
way in my mind.

I also made quite a few cotehardies in the German style when I was young
and high busted and I still did not have quite the same lift as the women
in these and other similar depictions. It turns out that the higher your
bust is naturally, the less lift you get from the garment pushing around
your torso.  And because the neckline is flat across the shoulders, there
is little to achieve that lift.  If the center of your bust is higher than
your armpit, the flat neckline does not uplift.  I can only say from
experience (of days LONG past) that even naturally perky looks nothing like
those women.

I also believe that women then had much more musculature than your average
woman today (but then they probably walked and lifted and worked harder
physically than most of us do today). I know that when I'm working out a
lot my bust goes up several inches compared to when I'm out of shape. When
I was young and high busted and made those cotehardies, I was doing SCA
armored fighting and swimming regularly, so I was roughly the same physical
shape as I see in many of the nudes. *sigh* Not anymore :-)

Julie Adams


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From owner-h-costume@indra.com  Fri Jul  9 23:42:56 1999
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Date: Fri, 09 Jul 1999 23:51:55 -0500
From: Kat & Kent <kdyer@home.com>
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-Poster: Kat & Kent <kdyer@home.com>

First...when I was younger and didn't need so much support I wore
strapless, tight outfits with no problem and no rolling.  It's certainly
easy to do if there is a casing and a ribbon (perhaps tied in back or
not shown in the drawing?).  Second, I wear cotehardies with no boning
or corset.  I've made them out of flannel, corduroy and cotton fabrics. 
All from the same pattern.  No problem with support and I'm currently a
38 DD.  It may have something to do with the fact that I always fully
line my cotehardies (down to the hips).  I don't know...but I do know
that it's possible to make a fully supportive cotehardie for a large
busted woman without using supportive undergarments nor boning
regardless of whether the cotehardie is side-laced, back-laced or
front-laced.

Kat
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From owner-h-costume@indra.com  Sat Jul 10 00:41:19 1999
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From: Robin Netherton <robin@dgsys.com>
To: h-costume@indra.com
Subject: Re: H-COST: Cotehardie Conundrum/Bohemian Bath Attendants
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-Poster: Robin Netherton <robin@dgsys.com>


On Fri, 9 Jul 1999, Julie Adams wrote:

> > . I was questioning the interpretation of these
> >dresses as boned foundation undergarments.
> 
> Whether they were worn underneath another garment is certainly
> questionable, but having done a fair amount of corsetry, I can attest that
> no matter how perky those young ladies bosoms are, a strapless garment like
> that will not stay up without some kind of stiffening. One bend-over and
> the top will roll right over without some kind of boning.
> ...
> Given that the other costume and prop
> elements are fairly true to form,  I feel I have no basis for discounting
> the strapless gowns. And given that their spagetti-strapped counterparts
> are worn as undergarments, I think that it would be hard for me to say for
> sure that the strapless garments would not be worn that way as well (for
> Bohemian/German costumes).

<cheerful shrug> So, our best guesses differ. That may be just a question
of what areas we're strongest in and what we find easier to explain based 
on our own experience. Differing viewpoints make for healthy exploration
and discussion.

If I have to choose an inconsistency, I personally find it easier to
assume that this single picture shows an idealized uplifted female figure
rather than assuming that boning existed in this garment when there's no
evidence for such use elsewhere in the period. But I don't normally
work with boning, while I do feel familiar with 14th-century painting
conventions and iconography, so this is the explanation that works for me
most readily.

I don't have a strong feeling about "perkiness" as an explanation for
these women's uplift; someone else suggested that idea, and I am willing
to entertain it as a possibility, as I've heard that concept presented
persuasively in another context. For my part, though, perky doesn't enter
into it: I simply don't think these women would have looked that uplifted
in life. I think they are drawn here this way because it was the
convention to use that silhouette for attractive females, regardless of
how or whether they are dressed. Given how many nudes of this time are
shown as though they are molded by clothing, I know there's precedent for
drawing attractive woman in a certain way. In this period, it's rarer to
see a woman who is being presented as attractive shown with a natural
(un-molded) figure, regardless of what she's wearing or not wearing. (You
are more likely to see a natural figure in things like medical
illustrations and other cases in which the woman is not being shown as an
object of desire.)

Did a strapless style exist? I haven't expressed an opinion on that
because I don't have a strong feeling about it. Again, if I have to choose
an inconsistency, I would sooner guess that the artist was using a set
model figure and simply eliminating the sleeves (see my earlier discussion
comparing this image to the fully dressed women in the same manuscript).
Or that he just forgot to show the straps. His addition of straps in
side-view drawings is inconsistent in other images. More important, of the
17 bathkeeper images I have on hand, only this one lacks both straps. Did
a strapless style exist? Maybe; I don't have enough information to guess. 
Was it common or routine? Based on this, probably not. 

> Basically there is no clear proof, but enough
> evidence and collaborative information that the hypothesis could go either
> way in my mind.

I may be more conservative than other people when it comes to evidence. 
I'm always nervous about relying a single image or a single manuscript. I
do grant you that the presence of realistic details elsewhere in this
image is important, but it's still internal evidence. The evidence and
corroborative information I'd want to find in this case would be
additional images of strapless dresses. If there are others in this
manuscript, that would be good. If there are others in other manuscripts
from this time and place, that would be much better. If those others
showed women in a selected range of occupations or settings (e.g. not
just bathkeepers) that would be great -- and would make for a really
strong research article. I haven't gone looking for strapless gowns
(heck, never thought about them till a day or two ago) so I have no
idea if that evidence exists.  But that's what I'd look for. The single
image is, for me, only the starting place for the search.

Or did you mean there is evidence and corroborative information for a
boned bodice at this time? If so, please share! I have yet to see any.

> >I would happily use the bucket and scrub brush (or whatever that thing is)
> >as realistic. I'm less secure about some other elements, such as the
> >floating sashes that appear on some of the Wenceslas Bible bathkeepers in
> >marginals that use other elements of iconographic presentation. These are
> >the same sort of knotted sashes routinely used in certain saints' images,
> 
> The knotted sashes are quite often seen up through the 16th c in
> Germany/Bohemia on all classes of people....

Of course. My point was about the presentation of those sashes, not their
existence. Which is why I wrote this as well:
> (...I'm not saying this means they never wore sashes. I'm saying that
> real sashes probably didn't have the improbable proportions or
> aerodynamic capabilities shown in these pictures. So the floating sashes
> may be a idealized/exaggerated version of a more ordinary sash that was
> actually worn with the more ordinary unsupported flimsy gown.) 

The knot is a common one (I've always tied my bathrobe that way, long
before I started costuming!). But the sash and that particular knot do
have iconographical significance in certain contexts, which is worth
recognizing when there are other iconographical devices being used in an
illustration.

> I also made quite a few cotehardies in the German style when I was young
> and high busted and I still did not have quite the same lift as the women
> in these and other similar depictions. It turns out that the higher your
> bust is naturally, the less lift you get from the garment pushing around
> your torso.  And because the neckline is flat across the shoulders, there
> is little to achieve that lift.  If the center of your bust is higher than
> your armpit, the flat neckline does not uplift.  I can only say from
> experience (of days LONG past) that even naturally perky looks nothing like
> those women.

>From that description, our methods are probably not the same (I do a lot
with the angle of fabric over the shoulders), and I don't know what you
mean by German style specifically, so I certainly won't question your
conclusions there. But our experience differs. My first fitted dresses
were made on an A cup (me) and gave me cleavage I'd never had before. 
Over the course of the years I grew to a G cup (I'm not overweight, I just
have strange hormones and two kids), and I've worked on a lot of other
people, so I've played with the full range.  But I'm still running into
new puzzles and new figure types, so I don't know what my method would
have done with your figure, and I don't know whether I've ever worked on
someone particularly high-busted as you describe. Something to watch
for... 

I do agree that the degree of prominence of the bust shown in these
illustrations suggests a substantial enough bosom that it needs some
support to sit that high, but I also find I can get that profile from the
dress, without foundation garments. So that comes back to my thought that
the bathhouse ladies are drawn conventionally, with the figures they would
have if they were fully dressed. 

And it is well after midnight, so I have probably written something muddy
again. I will withdraw from this conversation before I get more confusing
(my deadlines have suffered while I have played on the list these past few
days).

--Robin

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From owner-h-costume@indra.com  Sat Jul 10 01:59:48 1999
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Date: Sat, 10 Jul 1999 03:08:24 EDT
Subject: Re: H-COST: wings of a dove
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-Poster: MissMela@aol.com

Fortuny was making "Fortuny Gowns" as early as 1906, so the dresses in Wings 
of the Dove were not anachronistic but very "current." The rest of the 
clothes were dead on for the artsy, avant-garde crowd, the crowd that 
actually bought and wore Paul Poiret dresses. Many of the gowns were actual 
vintage clothing (their use in film, an entire different topic)!  There are 
several costume books that show this type of clothing, but usually they are 
limited to one example per book. Mela
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From owner-h-costume@indra.com  Sat Jul 10 05:01:00 1999
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Date: Sat, 10 Jul 1999 06:08:40 EDT
Subject: Re: H-COST: Chinese ball buttons
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-Poster: AnnBWass@aol.com

This is to the person that I promised to send the Chinese ball button 
directions to:

I had been saving the message with your address so I could send you the 
directions and must have deleted it in a  moment of forgetfulness.  If you 
are still in need of the directions, please respond to me again privately, 
and I promise to get them to you promptly.

Ann Wass
annbwass@aol.com
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From owner-h-costume@indra.com  Sat Jul 10 07:16:48 1999
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Subject: H-COST: weaving book
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-Poster: "jmhr@alltel.net" <jmhr@alltel.net>

I was browsing eBay and came across this title - a good book for anyone
interested in the history of weaving/dying:
Rare C1817 Maufacturers Assistant-Wool&Cotn
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=127693201

Melissa

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From owner-h-costume@indra.com  Sat Jul 10 11:04:14 1999
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From: "Hope H. Dunlap" <hhdunlap@msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: wings of a dove
Date: Sat, 10 Jul 1999 12:19:51 -0400
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-Poster: "Hope H. Dunlap" <hhdunlap@msn.com>

There is a good photo of a 1920 fortuny gown and jacket
shown here: http://members.aol.com/ShanJens/index3.html
Note how the hem of the gown spreads out on the floor around
her feet like the foot of a champagne glass.

See http://www.camrax.com/pages/search.htm and type in
"fortuny" and click on the images request to get the biggest
and best images of Fortuny gowns in one place.  Search for
"poiret" and "gallenga" here too.

At http://www.costumes.org/pages/1910links.htm there are
some additional  links for Fortuny, particularly towards the
bottom.  Key words are Fortuny, Raymond Duncan (Isadora's
brother, who made clothes in a similar manner) Dephos,
Knossos.

Hope H. Dunlap



> -----Original Message-----
> From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
> Behalf Of MissMela@aol.com
> Sent: Saturday, July 10, 1999 3:08 AM
> To: h-costume@indra.com
> Subject: Re: H-COST: wings of a dove
>
>
>
> -Poster: MissMela@aol.com
>
> Fortuny was making "Fortuny Gowns" as early as 1906, so
the
> dresses in Wings
> of the Dove were not anachronistic but very "current." The
> rest of the
> clothes were dead on for the artsy, avant-garde crowd, the
crowd that
> actually bought and wore Paul Poiret dresses. Many of the
> gowns were actual
> vintage clothing (their use in film, an entire different
> topic)!  There are
> several costume books that show this type of clothing, but
> usually they are
> limited to one example per book. Mela
>
____________________________________________________________
_____
>  To leave this mailing list, send mail to
majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
>


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From owner-h-costume@indra.com  Sat Jul 10 15:41:33 1999
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Date: Sat, 10 Jul 1999 16:50:20 -0400
To: h-costume@indra.com
From: Kevin + Mara Riley <lindo@Radix.Net>
Subject: Re: H-COST: Womens'  period "plaid" info?
In-Reply-To: <3c85c960.24b5745a@aol.com>
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-Poster: Kevin + Mara Riley <lindo@Radix.Net>

At 11:26 PM 07/07/1999 -0400, you wrote:
>
>-Poster: BarbMVD@aol.com
>
>The plaid (pronounced "plade", is and always has been a garment.  
>
>If I may butt in, your discussion of the arisaid seems to cover a far
greater 
>time period than would be appropriate, and brings the arisaid into the 
>Victorian era, far overextending its actual wear. 

Yes, maybe if the original poster had indicated the time period desired... 
I took it for granted that we're talking the mid-1700s, which is the period
I'm currently involved in.  The Victorian era with its romaticized nonsense
certainly messed up the whole scene!  The MacIan illustrations are the only
ones I've found; some of his stuff is a bit far-fetched, but at least these
two portrayals seem in keeping with what has been described elsewhere.

http://www47.pair.com/lindo/Scotland.htm



Kevin + Mara Riley
Home Page http://www.radix.net/~lindo
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From owner-h-costume@indra.com  Sat Jul 10 17:36:47 1999
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From: "Allison Thurman" <athurman@cybergal.com>
To: <h-costume@indra.com>
Subject: H-COST: kilt patterns?
Date: Sat, 10 Jul 1999 18:49:43 -0400
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-Poster: "Allison Thurman" <athurman@cybergal.com>

ive been reading the recent thread on kilts and plaids with interest. my
husband has been talking about my making him a kilt for a while, and im
finally looking into it, but i have some questions.

ive located a kilt pattern at folkwear patterns site, but ive heard that
their patterns can be inconsistent, especially considering sizing. as hes a
big guy the pattern must be large enough! is this true of folkwear patterns,
and if so what are some other kilt pattern sources?

also the pleating concerns me as ive never made a pleated garment before.
would a pleating board (as sold at clothilde) be helpful, or will the
pattern include directions for pleating? are the pleats sewn in or merely
pressed and attached to a waistband?

thanks in advance!
allison


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From owner-h-costume@indra.com  Sat Jul 10 18:02:58 1999
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Date: Sat, 10 Jul 1999 16:17:08 -0700 (PDT)
From: Sarah Toney <sarah_and_pooh@yahoo.com>
Subject: Re: H-COST: kilt patterns?
To: h-costume@indra.com
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-Poster: Sarah Toney <sarah_and_pooh@yahoo.com>

I have found that pleats are relatively easy if you
are patient... don't rush, or they won't be
consistent... but when you take the time, they come
out wonderfully...

I generally pin the pleats and then press them to make
sure they look right before I do any sewing
(especially when using an expensive fabric.)

Sarah



--- Allison Thurman <athurman@cybergal.com> wrote:
> 
> -Poster: "Allison Thurman" <athurman@cybergal.com>
> 
> ive been reading the recent thread on kilts and
> plaids with interest. my
> husband has been talking about my making him a kilt
> for a while, and im
> finally looking into it, but i have some questions.
> 
> ive located a kilt pattern at folkwear patterns
> site, but ive heard that
> their patterns can be inconsistent, especially
> considering sizing. as hes a
> big guy the pattern must be large enough! is this
> true of folkwear patterns,
> and if so what are some other kilt pattern sources?
> 
> also the pleating concerns me as ive never made a
> pleated garment before.
> would a pleating board (as sold at clothilde) be
> helpful, or will the
> pattern include directions for pleating? are the
> pleats sewn in or merely
> pressed and attached to a waistband?
> 
> thanks in advance!
> allison
> 
> 
> 
>
_________________________________________________________________
>  To leave this mailing list, send mail to
> majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
> 

_________________________________________________________
Do You Yahoo!?
Get your free @yahoo.com address at http://mail.yahoo.com

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From: "Kyna Grannd" <kynagrannd@granndgarb.com>
To: <h-costume@indra.com>
References: <NBBBJIKOELMDJKCBANNHAEPODDAA.athurman@cybergal.com>
Subject: Re: H-COST: kilt patterns?
Date: Sat, 10 Jul 1999 19:16:00 -0400
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-Poster: "Kyna Grannd" <kynagrannd@granndgarb.com>


----- Original Message -----
From: Allison Thurman <athurman@cybergal.com>
To: <h-costume@indra.com>
Sent: Saturday, July 10, 1999 6:49 PM
Subject: H-COST: kilt patterns?


>
> -Poster: "Allison Thurman" <athurman@cybergal.com>
>
> ive been reading the recent thread on kilts and plaids with interest. my
> husband has been talking about my making him a kilt for a while, and im
> finally looking into it, but i have some questions.
>
> ive located a kilt pattern at folkwear patterns site, but ive heard that
> their patterns can be inconsistent, especially considering sizing. as hes
a
> big guy the pattern must be large enough! is this true of folkwear
patterns,
> and if so what are some other kilt pattern sources?

First thing you should realize is that the Folkwear "pattern" isn't a
pattern but rather instructions on how to measure, pleat and fit your
plaid...so it will work with most any size.

Another source here on the Internet that I'd found helpful was at:

http://waveweb.innet.be/janb/kilt_making.html

>
> also the pleating concerns me as ive never made a pleated garment before.
> would a pleating board (as sold at clothilde) be helpful, or will the
> pattern include directions for pleating? are the pleats sewn in or merely
> pressed and attached to a waistband?
>

Both Folkwear and this website give instructions on pleating. Since how you
pleat involves the set of the plaid (distance between threads of color in
the plaid design) I don't know that a pleating board will help. It's really
not hard...sort of monotonous though :)

The pleats will/should be sewing in and kilts are the one time where you hem
the garment FIRST then pleat sew etc. You really want to make sure you buy
real kilt making plaid...it will be WORSTED WOOL. This is a wool that holds
pleating much better. If you paid less than $35/yard it isn't worsted wool.
The bargain wool blends just don't look as nice. It won't be because of your
sewing/pleating ability...but others won't know that. Honestly, the drape of
the kilt was very disappointing with inferior wool.

Hope this helps!

~Kyna
Grannd Garb


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From owner-h-costume@indra.com  Sat Jul 10 18:23:55 1999
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From: "Amanda Reeves" <alr@io.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: kilt patterns? and size
Date: Sat, 10 Jul 1999 18:37:44 -0500
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-Poster: "Amanda Reeves" <alr@io.com>

I was told at the last Ren Faire we went to that my husband's size kilt was
13 yards as opposed to the 9 yard tradition.

How do you gauge?

Thanks,
Amanda (Texas)

----------
> From: Kyna Grannd <kynagrannd@granndgarb.com>
> To: h-costume@indra.com
> Subject: Re: H-COST: kilt patterns?
> Date: Saturday, July 10, 1999 6:16 PM
> 
> 
> -Poster: "Kyna Grannd" <kynagrannd@granndgarb.com>
> 
> 
> ----- Original Message -----
> From: Allison Thurman <athurman@cybergal.com>
> To: <h-costume@indra.com>
> Sent: Saturday, July 10, 1999 6:49 PM
> Subject: H-COST: kilt patterns?
> 
> 
> >
> > -Poster: "Allison Thurman" <athurman@cybergal.com>
> >
> > ive been reading the recent thread on kilts and plaids with interest.
my
> > husband has been talking about my making him a kilt for a while, and im
> > finally looking into it, but i have some questions.
> >
> > ive located a kilt pattern at folkwear patterns site, but ive heard
that
> > their patterns can be inconsistent, especially considering sizing. as
hes
> a
> > big guy the pattern must be large enough! is this true of folkwear
> patterns,
> > and if so what are some other kilt pattern sources?
> 
> First thing you should realize is that the Folkwear "pattern" isn't a
> pattern but rather instructions on how to measure, pleat and fit your
> plaid...so it will work with most any size.
> 
> Another source here on the Internet that I'd found helpful was at:
> 
> http://waveweb.innet.be/janb/kilt_making.html
> 
> >
> > also the pleating concerns me as ive never made a pleated garment
before.
> > would a pleating board (as sold at clothilde) be helpful, or will the
> > pattern include directions for pleating? are the pleats sewn in or
merely
> > pressed and attached to a waistband?
> >
> 
> Both Folkwear and this website give instructions on pleating. Since how
you
> pleat involves the set of the plaid (distance between threads of color in
> the plaid design) I don't know that a pleating board will help. It's
really
> not hard...sort of monotonous though :)
> 
> The pleats will/should be sewing in and kilts are the one time where you
hem
> the garment FIRST then pleat sew etc. You really want to make sure you
buy
> real kilt making plaid...it will be WORSTED WOOL. This is a wool that
holds
> pleating much better. If you paid less than $35/yard it isn't worsted
wool.
> The bargain wool blends just don't look as nice. It won't be because of
your
> sewing/pleating ability...but others won't know that. Honestly, the drape
of
> the kilt was very disappointing with inferior wool.
> 
> Hope this helps!
> 
> ~Kyna
> Grannd Garb
> 
> 
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
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From owner-h-costume@indra.com  Sat Jul 10 18:46:40 1999
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From: "Kyna Grannd" <kynagrannd@granndgarb.com>
To: <h-costume@indra.com>
References: <199907102334.SAA14834@discordia.io.com>
Subject: Re: H-COST: kilt patterns? and size
Date: Sat, 10 Jul 1999 19:47:07 -0400
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-Poster: "Kyna Grannd" <kynagrannd@granndgarb.com>



>
> -Poster: "Amanda Reeves" <alr@io.com>
>
> I was told at the last Ren Faire we went to that my husband's size kilt
was
> 13 yards as opposed to the 9 yard tradition.
>
> How do you gauge?
>

 My rule of thumb is for a little kilt use 8 yards of 27" wide material (4
yards of 54", you can hide the seam in the pleats very easily), for up to a
46" hip measurement.
I add between 6 and 8 inches for every inch of hip measurement beyond 46".

Hope this helps some more :)

~Kyna

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From owner-h-costume@indra.com  Sat Jul 10 20:50:41 1999
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-Poster: Susan Fatemi <susanf@netwiz.net>

MissMela@aol.com wrote:
> 
> -Poster: MissMela@aol.com
> 
> Fortuny was making "Fortuny Gowns" as early as 1906, so the dresses in Wings
> of the Dove were not anachronistic but very "current." The rest of the

Right. But it seems I saw (and can't remember where, now) some of
his pre-1920 dresses and they looked more "dated". The dresses in 
the film looked more like they might have come from a period later
than 1910.

susan

-- 
Oh Noh! Kimonos!
susanf@netwiz.net
http://www.netwiz.net/~susanf
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From owner-h-costume@indra.com  Sat Jul 10 22:04:50 1999
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Date: Sat, 10 Jul 1999 23:13:28 EDT
Subject: H-COST: Parasol/Umbrella covering help
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-Poster: AnnoraK@aol.com

I bought an early 20th C. parasol/umbrella the other day.  It's one of the 
rather long-handled ones, about 4 feet from the tip to the handle-end.   The 
frame is in great shape, all the hinges working, no bends or breaks.  
Unfortunately, its fabric has basically self-destructed -- there's not a 
complete panel left.  :-(  I want to recover it, and intend to just use it as 
an accessory piece from time to time, not as a working umbrella, tho the 
option to use it as a parasol would be nice.

My questions are:  What kind of fabric do I use for the new cover?  The 
original appears to have been a green-and-pink silk brocade, which I am 
definitely NOT interested in duplicating.  

And since the old cover is fragile at best and does not have a whole section 
to use as a pattern, is there anything I need to be careful with when taking 
measurements for a new one?

Thanx!
Jen
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From owner-h-costume@indra.com  Sun Jul 11 00:09:20 1999
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From: "Broneske" <unicorn@softcom.net>
To: <h-costume@indra.com>
Subject: Re: H-COST: Parasol/Umbrella covering help
Date: Sat, 10 Jul 1999 22:18:29 -0700
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-Poster: "Broneske" <unicorn@softcom.net>

A few years ago, I re-covered an old parasol frame, and it came out rather
well.  What I did was I threaded a piece of string through the holes at the
end of the ribs and "opened" the parasol, adjusting the thread so that it
was the shape I wanted.  I then carefully took some paper and laid it over
the bowed, invisible "triangle" that was created and traced it.  What I came
out with was a triangle with slightly bowed out sides.  I then added a seam
allowance, cut it out of fabric (I just used a white muslin and trimmed it
with some pretty pink ribbons and lace - simple, easy and reflects the sun's
rays) and sewed it together.

I then placed it over the frame, checked to make sure that the seams lined
up with the ribs and then sewed the points down at the holes in the ends of
the ribs.  Any small errors I covered with trim.

If anyone is interested, I will put a picture of the finished parasol up on
the web and will post the URL.

I have another frame that I have been meaning to cover with a black silk,
but (sigh*) haven't had the time or inclination to do it yet. ;)

Joan Broneske

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From owner-h-costume@indra.com  Sun Jul 11 10:36:34 1999
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Date: Sun, 11 Jul 1999 11:49:28 -0400
To: h-costume@indra.com
From: Sue Shatto <Sue@VictorianMillinery.com>
Subject: H-COST: Wild Wild West
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-Poster: Sue Shatto <Sue@VictorianMillinery.com>

 I have been waiting almost 2 years for this movie because I sold them many
costumes for it.  I had a feeling, I was going to be disappointed when the
leading lady said on the Today show that one of the reasons she took the
part was because she was going to be dressed in period attire.  She said
she came out that first day in this lovely long dress and the director said
"we need to see more boobs, shorten that dress!"  She said she ran around
in undergarments the whole time.
Meanwhile, we all had been studying the pictures of the outfits and were
having a contest to see who could pick oput an outfit first.  What a
disappointment!





Cordially,

Sue Shatto

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

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From owner-h-costume@indra.com  Sun Jul 11 11:07:37 1999
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From: "Genevieve de Courtanvaux" <gdc@airmail.net>
To: <h-costume@indra.com>
Subject: Re: H-COST: Wild Wild West
Date: Sun, 11 Jul 1999 11:16:41 -0500
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-Poster: "Genevieve de Courtanvaux" <gdc@airmail.net>

Now, I wasn't dissapointed at all.....I rather enjoyed the costumes. They
were not supposed to be 100% accurate they are supposed to be fun (which is
what I thought they were). I know you worked hard on them to make them as
period as you could and I can understand your dissapointment in seeing what
they did to your hard work. But, the tv show and the movie were never
supposed to be period they both were loosly based in period. In other words
they were fantasy. So my two cents is that I enjoyed the outfits especially
the women's clothing.
Carol Ross
-----Original Message-----
From: Sue Shatto <Sue@VictorianMillinery.com>
To: h-costume@indra.com <h-costume@indra.com>
Date: Sunday, July 11, 1999 10:51 AM
Subject: H-COST: Wild Wild West


>
>-Poster: Sue Shatto <Sue@VictorianMillinery.com>
>
> I have been waiting almost 2 years for this movie because I sold them many
>costumes for it.  I had a feeling, I was going to be disappointed when the
>leading lady said on the Today show that one of the reasons she took the
>part was because she was going to be dressed in period attire.  She said
>she came out that first day in this lovely long dress and the director said
>"we need to see more boobs, shorten that dress!"  She said she ran around
>in undergarments the whole time.
>Meanwhile, we all had been studying the pictures of the outfits and were
>having a contest to see who could pick oput an outfit first.  What a
>disappointment!
>
>
>
>
>
>Cordially,
>
>Sue Shatto
>
>Sue@VictorianMillinery.com
>http://www.VictorianMillinery.com
>
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME
>

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From owner-h-costume@indra.com  Sun Jul 11 11:43:51 1999
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From: Sarah Toney <sarah_and_pooh@yahoo.com>
Subject: Re: H-COST: Wild Wild West
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-Poster: Sarah Toney <sarah_and_pooh@yahoo.com>

The movie was supposed to be "Victorian Gadget-tech".
This "era" never really existed, so they can't really
be "wrong"...  (unless, of course, Jules Vernes'
stories were true and I'm missing something. ;-)

It is too bad that you are unhappy with the way your
costumes were used... I think everything looks
awesome!

Sarah

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From owner-h-costume@indra.com  Sun Jul 11 15:47:55 1999
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Date: Sun, 11 Jul 1999 16:59:37 -0400
To: h-costume@indra.com
From: Sue Shatto <Sue@VictorianMillinery.com>
Subject: Re: H-COST: Wild Wild West
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-Poster: Sue Shatto <Sue@VictorianMillinery.com>

Carol,
	I might not have communicated the scenerio just exactly as I shuold have.
These were not reproductions I had made, they were originals.  I'm glad you
enjoyed the movie, though.

At 11:16 AM 7/11/99 -0500, you wrote:
>
>-Poster: "Genevieve de Courtanvaux" <gdc@airmail.net>
>
>Now, I wasn't dissapointed at all.....I rather enjoyed the costumes. They
>were not supposed to be 100% accurate they are supposed to be fun (which is
>what I thought they were). I know you worked hard on them to make them as
>period as you could and I can understand your dissapointment in seeing what
>they did to your hard work. But, the tv show and the movie were never
>supposed to be period they both were loosly based in period. In other words
>they were fantasy. So my two cents is that I enjoyed the outfits especially
>the women's clothing.
>Carol Ross
>-----Original Message-----
>From: Sue Shatto <Sue@VictorianMillinery.com>
>To: h-costume@indra.com <h-costume@indra.com>
>Date: Sunday, July 11, 1999 10:51 AM
>Subject: H-COST: Wild Wild West
>
>
>>
>>-Poster: Sue Shatto <Sue@VictorianMillinery.com>
>>
>> I have been waiting almost 2 years for this movie because I sold them many
>>costumes for it.  I had a feeling, I was going to be disappointed when the
>>leading lady said on the Today show that one of the reasons she took the
>>part was because she was going to be dressed in period attire.  She said
>>she came out that first day in this lovely long dress and the director said
>>"we need to see more boobs, shorten that dress!"  She said she ran around
>>in undergarments the whole time.
>>Meanwhile, we all had been studying the pictures of the outfits and were
>>having a contest to see who could pick oput an outfit first.  What a
>>disappointment!
>>
>>
>>
>>
>>
>>Cordially,
>>
>>Sue Shatto
>>
>>Sue@VictorianMillinery.com
>>http://www.VictorianMillinery.com
>>
>> _________________________________________________________________
>> 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
>
>

Cordially,

Sue Shatto

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

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From owner-h-costume@indra.com  Sun Jul 11 20:04:47 1999
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From: "Marsha S. McLean" <msmclean@interlog.com>
Subject: H-COST: h-costume, slightly ot, dolls for costuming
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-Poster: "Marsha S. McLean" <msmclean@interlog.com>

I am looking for a source of heads for dolls, wood or porcelain.  I want an
animal head, not fussy what animal, tho there are some i wouldn't want.
Does anyone know of a place tat sells these?  I would settle for a human
head the size of a lemon (same size for animal) with no hair, or
Elizabethan-able hair.

Thanks!!  This is for a LLOOOONNNGGG dreamt of project.

Marsha

Let us be elegant or DIE
 



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From owner-h-costume@indra.com  Mon Jul 12 08:31:43 1999
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From: "Hope H. Dunlap" <hhdunlap@msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: h-costume, slightly ot, dolls for costuming
Date: Mon, 12 Jul 1999 09:49:40 -0400
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-Poster: "Hope H. Dunlap" <hhdunlap@msn.com>

IF you use the master search engine
http://www.metacrawler.com, and type in your key words,
"porcelain doll parts" and "dollmaking supplies" and "doll
making" you'll find quite a few on-line sources.  I
understand that little animal sculptures of this kind are
made for sale today-- the whole animal, not just the head,
anyway--and that the  wood used is poplar, and carved with a
dremel tool.
There is a female artist in the Germantown section of
Philadelphia who makes wooden fantasy animals for sale, but
I don't know her name or address.

Hope H. Dunlap


> -----Original Message-----
> From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
> Behalf Of Marsha S. McLean
> Sent: Sunday, July 11, 1999 9:15 PM
> To: h-costume-digest@indra.com
> Subject: H-COST: h-costume, slightly ot, dolls for
costuming
>
>
>
> -Poster: "Marsha S. McLean" <msmclean@interlog.com>
>
> I am looking for a source of heads for dolls, wood or
> porcelain.  I want an
> animal head, not fussy what animal, tho there are some i
> wouldn't want.
> Does anyone know of a place tat sells these?  I would
settle
> for a human
> head the size of a lemon (same size for animal) with no
hair, or
> Elizabethan-able hair.
>
> Thanks!!  This is for a LLOOOONNNGGG dreamt of project.
>
> Marsha
>
> Let us be elegant or DIE
>
>
>
>
>
____________________________________________________________
_____
>  To leave this mailing list, send mail to
majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
>


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-Poster: <aquazoo@patriot.net>


This just in from Williamsburg:

We have more details now about the "18th-Century Clothing: Revealing 
Fashions" conference and the Textile Art Studies program that follows it 
in January 2000.  (This makes a long message.) Later this month [July] we 
will mail program brochures.  Please encourage anyone who is interested 
to contact us.  Program details and the registration form will be on the 
Colonial Williamsburg web site soon at www.history.org under "What's New" 
in the Williamsburg Institute's 2000 Calendar.  

Thank you for helping "spread the word" about these exciting programs.  

-Pat Hearn
_________________________________

Williamsburg Institute and the Colonial Williamsburg Foundation present

18th-Century Clothing: Revealing Fashions
January 9-11, 2000

Clothes tell us a lot about our 18th-century counterparts. They tell us 
what people considered beautiful, which fabrics were used and how 
technology affected cutting and sewing garments. Clothing also shows us 
that ideal body shape was as important then as it is now. Women, men and 
children enhanced the shape of their bodies with stays, hoops and 
tailoring details to achieve the ideal silhouette. Fabric was expensive, 
garments were scarce and clothing was carefully made and remade.

Join Colonial Williamsburg staff and visiting experts to look closely at 
18th-century clothing. This two-day symposium allows study of a new 
exhibition, Revealing Fashions (December 4, 1999 - September 4, 2000), 
which displays clothing in ways not usually seen in museums: inside out, 
open to show linings and construction or stretched flat to indicate the 
cutting plan. Speakers will share new research and fresh insights about 
techniques of cut and construction, clothing in period portraits, 
masterpieces of costume from British collections, children's garments and 
body shape and deportment. Participants will discover how elegant 
18th-century clothing was hand-sewn and embellished with colorful 
brocading, printing, applied trims, needlework and quilting. 
Opportunities for special behind-the-scenes tours will be available.

Program Highlights

Study time in the Revealing Fashions exhibition and self-guided tours of 
Historic Area trade shops related to fashion and costume for early 
arrivals

Sunday, January 9

Optional one-hour introductory tours of Colonial Williamsburg's Costume 
Design Center Sunday afternoon

Special study opportunities for conference registrants in the Revealing 
Fashions exhibition and the DeWitt Wallace Gallery textile study area 

A presentation of clothing in the 18th-century style with commentary by 
Janea Whitacre, manager of Fashion Trades at Colonial Williamsburg, and 
reception welcoming registrants Sunday evening

Monday, January 10

*Connoisseurship: The Art and Mystery of Clothing; with Linda Baumgarten, 
curator of textiles and costumes, Colonial Williamsburg

*A short gown, an apron and a hat: English Dress in the 18th Century; 
with Clare Rose, independent researcher, Winchester, England

*Clothing Then and Now: 18th-Century Styles on Modern Bodies; with 
Richard Hill, manager, Costume Design Center, Colonial Williamsburg

*Dressed for the Wall: Costume in Colonial Portraits; with Claudia Brush 
Kidwell, curator of Costume Collection, National Museum of American 
History, Smithsonian Institution, Washington, D.C.

Tuesday, January 11

*Costumes Close-Up: An Inside Look?; with Linda Baumgarten

*Clues in the Cloth: Conservation of Historic Costume; with Loreen 
Finkelstein, conservator of textiles, Colonial Williamsburg

*Slips and Sprigs: Clothing Children during the 18th Century; with Clare 
Rose

*Short Gowns, Bedgowns and Jackets, 1750 - 1800: A Survey of Current 
Knowledge; with Claudia Kidwell and Sally Queen, Alexandria, Virginia

Opportunity to meet speakers, ask questions and obtain autographs for 
speakers' books and Costume Close-Up, the new publication accompanying 
the exhibition.

*The pleasure of your company is requested for dessert; An after-dinner 
dessert reception, featuring costumes created and modeled by conference 
registrants. Please submit costume descriptions in advance. Please do not 
model antique clothing.

Registration Information

Conference registration must be made in advance and must be accompanied 
by payment of the $225 registration fee and full payment of all optional 
program fees. The conference registration fee includes the opening 
reception, coffee breaks, a dessert reception, special study time in the 
Revealing Fashions exhibition and opportunities to examine textile study 
storage drawers in the DeWitt Wallace Gallery, conference presentations 
proposed in this program and a Patriot's Pass. The Patriot's Pass is good 
for one year and provides admission to all Colonial Williamsburg museums 
and exhibition buildings.

For a conference brochure, registration materials and additional 
information, contact:

Registrar, 18th-Century Clothing
Williamsburg Institute
Colonial Williamsburg Foundation
Post Office Box 1776
Williamsburg, Virginia 23187-1776

Telephone (757) 220-7182, fax (757) 565-8630 or e-mail tengle@cwf.org

Conference size is limited and registrations will be processed in the 
order received. You may register by mail or fax. We cannot accept 
registrations by telephone.  Information will also be available at 
www.history.org under "What's New" in the Williamsburg Institute's 2000 
Calendar.
Lodging and Dining at Colonial Williamsburg

The following special conference rates are available for "18th-Century 
Clothing" registrants. To make your room and dining reservations, please 
call (800) 261-9530, Monday through Friday, 9 a.m. until 5 p.m.

Hotel rates for single or double occupancy, per night (rates do not 
include applicable taxes): 
Woodlands Guest Rooms 	$50
Woodlands Suites 	$60
Williamsburg Lodge - Main, East or South Wing 	$85
Williamsburg Lodge - Tazewell or West Wing 	$105
		______________________________________________

TEXTILE ART STUDIES AT COLONIAL WILLIAMSBURG
January 12-15, 2000

The Williamsburg Institute presents the second Textile Art Studies at 
Colonial Williamsburg.  This year a variety of needlework classes are 
complemented by costume workshops examining the intricacies of 
18th-century clothing and accessories. Visiting experts join Colonial 
Williamsburg staff to offer exciting opportunities to acquire new skills 
and knowledge.  

For additional information about the related Williamsburg Institute 
conference, "18th-Century Clothing:  Revealing Fashions," January 9-11, 
2000 and the new exhibition "Revealing Fashions at the DeWitt Wallace 
Gallery" (December 4, 1999-September 4, 2000), contact the Williamsburg 
Institute Registrar (see information below).


Behind the Scenes at Colonial Williamsburg's Textile Collection
Wednesday, January 12, 2000
Tour A - 9-10:30 a.m.	
Tour B - 10:30 a.m.-Noon
Linda Baumgarten and Kim Ivey, Colonial Williamsburg
$15

Special opportunities to see examples of Colonial Williamsburg's textiles 
collections in the curators' flat storage facility.  Viewing the entire 
collection would be impossible; however, the tour reveals the rich 
documentation and resources available for the study of 17th- and 
18th-century quilts, coverlets and other extraordinary textiles.  Groups 
are limited to 25 participants.


Decorative Fringe I:  Introducing the Finishing Touch for 18th-Century 
Apparel
Wednesday, January 12, 2000
9 a.m.-Noon
Rick Hill, Colonial Williamsburg
$50

Rick Hill, manager of Colonial Williamsburg's Costume Design Center, 
leads this beginner's hands-on workshop that introduces a variety of 
decorative fringes used to enhance apparel during the colonial period.  
Using materials provided, participants learn how to make two types of 
fringe to complete in class or at home.  Refreshments for a break are 
included.  Class size is limited to 30 students.  [Note:  This repeats 
last year's popular class.  See Decorative Fringe II below.]


Ann Holewll Sampler
Session I - Wednesday, January 12, 2000
Session II - Thursday, January 13, 2000
10 a.m.- 4 p.m.
Joanne Harvey
$125

Ann Holewll's 1699 sampler is an example of a late 17th-century 
polychrome sampler using multiple banded designs, including a verse and 
various randomly placed motifs.  This important English sampler is one of 
a group of embroideries worked under the guidance of Juda or Judeth 
Hayle.  Known examples in this group were worked between 1691 and 1710.  
A common design element is an embellished square containing the maker's 
initials.  Many of these samplers also include the initials "IH" 
identifying the teacher.  The verse on Ann Holewll's sampler reads, "Look 
well to what yov take in hand for larning is better then hovse or land 
when land is gone and money is spent then larning is most excelent.?"  
Colonial Williamsburg acquired this sampler in 1998 with funds 
contributed by Friends of the Textile Collection.

This piece is worked with floss on a linen ground and uses a variety of 
stitches, such as cross, double running, satin and other accents.  
Refreshments for morning and afternoon breaks are provided.  Lunch is on 
your own.  Class size is limited to 35 students.

Joanne Harvey is a well-known teacher and student of historical 
needlework.  She has developed meticulous reproductions of several 
samplers in the Colonial Williamsburg collection, including those 
stitched by Mercy Hopkins (1800) and Elizabeth Cotton (1698).  The Ann 
Holewll sampler is her most recent project in conjunction with Colonial 
Williamsburg.  Joanne owns The Examplarery, Dearborn, Michigan.


Constructing an 18th-Century Infant's Gown
Wednesday, January 12, 2000
1:30-4:30 p.m.
Clare Rose, Winchester, England
$55

Participants learn how to construct a "slip" gown worn by infants and 
young children from about 1750 until 1790.  It was ingeniously 
constructed from two large pieces of fabric that was pleated to shape and 
sleeves were added. Fashioned in printed linen, fine lawn or silk satin, 
such gowns were widely sold and must have been in the repertoire of every 
seamstress.  Clare Rose provides for each student a master pattern she 
has drafted from surviving examples in British museum collections.  
Participants use the pattern to cut and assemble a tissue paper mockup 
and learn how to shape the bodice with tucks and pleats.  Class 
discussion includes using variant constructions for different weights of 
fabric and the positioning of applied or quilted decoration.

Bring scissors, a 12-inch ruler, needle and basting thread, sticky 
(Scotch) tape, a 12-inch piece of muslin for practice stitches 
(optional), and paper for taking notes.  Refreshments for a break are 
provided.  Class size is limited to 30 students.

Clare Rose is an authority on children's clothing in the 18th century and 
author of _Children's Clothes since 1750_.  Former curator of textiles at 
York Castle Museum, she is now an independent researcher and writer with 
a special interest in the history of children's clothes and 18th-century 
quilting in Britain.  She is an experienced dressmaker and quilter who 
has taught many workshops in quilting techniques, including classes at 
Quilt Expo Europa.


Feet of Ingenuity:  Calceaology, An Old Science
Session I - Wednesday, January 12, 2000
Session II - Friday, January 14, 2000
2-4:30 p.m.
Al Saguto, Colonial Williamsburg
$50

Master boot and shoemaker D. A. Saguto leads a workshop that blends a 
practical background explaining the architecture and anatomy of 
18th-century shoes using archaeological examples and slides, and an 
overview of construction, styles, terminology and techniques being 
rediscovered from 18th-century textbooks about the trade.  This is a 
special opportunity for those curious about fashionable shoes and for 
those interested in authenticity in reproducing colonial era footwear.  
Refreshments for a break are provided.  Class size is limited to 20 
students.  


Sarah Leonard's Wedding Pocket
Wednesday, January 12, 2000
6-9:30 p.m.
Joanne Harvey
$75

Sarah Leonard of Warwick, Massachusetts, married David Mayo on December 
15, 1786.  Documentation accompanying this needlework indicates that 
Sarah spun and wove the foundation for her wedding pocket.  She also spun 
and dyed the wool she used to do her embroidery.  This wonderful pocket 
reflects the domestic form of crewel embroidery so prominent in the 
embellishment of garments and accessories during the 18th century.

The beauty of this pocket is the simplicity of its meandering floral 
design.  Its monochromatic blue color scheme is indicative of crewel 
embroideries in the Massachusetts area.  The pocket measures 13 inches by 
17 inches.  This reproduction is worked on a linen ground using Appleton 
Crewel Wool.  Stem stitch, New England laid stitch and running stitch are 
used.  Class does not include dinner.  Class size is limited to 35 
students.


Suit Coats behind the Seams:  Studying Pattern and Materials
Session I - Thursday, January 13, 2000
Session II - Friday, January 14, 2000
9:30 a.m.-Noon
Florine Carr
$55

This hands-on class introduces students to museum research techniques.  
Using two antique coats from Colonial Williamsburg-s collections, Florine 
Carr explains how men-s 18th-century suit coats were shaped and 
constructed.  Students discover how museum staff study and catalogue 
antique clothing, how to analyze construction techniques and fabric 
thread counts and how to use basic microscopic analysis of materials.  
Each participant receives a magnifier-thread counter, white gloves for 
use in handling antique textiles and information to take home.  No 
previous experience is required.  Class size is limited to 20 students.

Florine Carr is co-author with Linda Baumgarten and John Watson of 
_Costume Close-up_, a new book of clothing patterns from Colonial 
Williamsburg's collections.  She is a textile specialist docent at the 
Bayou Bend Collection, Houston, Texas.


Caring for Costume and Accessories
Thursday, January 13, 2000
9:30 a.m.-4 p.m.
Loreen Finkelstein, Colonial Williamsburg
$100

Textile conservator Loreen Finkelstein discusses textile conservation 
treatments performed for the "Revealing Fashions" exhibition.  The class 
includes a tour of the textile conservation laboratory emphasizing 
special conservation equipment and procedures.  Participants explore 
causes of deterioration and methods and materials for use in proper 
storage and display.  They learn about stitching techniques used for 
conservation of costumes.  Textile conservation technician Olivia Eller 
explains and demonstrates procedures used in the dye laboratory to 
produce fabrics suitable for use in treatment.  Each participant receives 
a packet of useful information with a reading list, supply list, 
synthetic dye recipes and stitch guide.  Participants may bring historic 
costumes for discussion.  Refreshments for breaks are provided.  Lunch is 
on your own.  Class size is limited to 20 students.


Tasselmaking Workshop:  Introducing Passementerie
Thursday, January 13, 2000
9 a.m.-4 p.m.
Upholstery Conservation Staff, Colonial Williamsburg
$100

Upholstery conservator Leroy Graves and staff of the conservation 
laboratory lead participants in the step-by-step process of making a 
five-inch trimmed tassel.  The tassel is fashioned after those made for 
the elegant circa 1770 drapery bed on display in the recently refurbished 
Peyton Randolph House chamber.  Each participant can take home a tassel 
of his/her own making and an appreciation for the fine art of 
passementerie.  Refreshments for a morning and afternoon break are 
provided.  Lunch is on your own.  Class size is limited to 15 students.


Making a Gown in the 18th-Century Manner
Thursday, January 13, 2000
Janea Whitacre and Doris Warren, Colonial Williamsburg
9 a.m.-4:30 p.m.
$100

This workshop explores several methods of gown making as practiced by the 
mantua maker in the 18th century.  Participants see the cuttings and 
fittings for a single gown, then stitch their way through the project.  
Bring a thimble and the desire to sew!  The completed gown is the newest 
style from London, according to The Lady's Magazine of May 1775.  The 
gown made by the class will be displayed at the Margaret Hunter Millinery 
Shop throughout the year 2000.  Refreshments for morning and afternoon 
breaks are provided.  Lunch is on your own.  Class size is limited to 18 
students.


18th-Century Pinball
Thursday, January 13, 2000
6-9:30 p.m.
Joanne Harvey
$60

For centuries the common needle and pin have been regarded as precious 
commodities because of their scarcity.  A slide presentation explores the 
wonderful array of needlework tools.  Among these tools, a needlework box 
or waist-hung chatelaine usually included a pincushion.  Participants 
fashion an 18th-century-style pinball using queen stitches.  The pinball 
is worked in silk on 35-count cream linen and includes a ribbon to 
enhance the piece.  Participants may order a handmade sterling silver 
pinball ring at an additional cost.  Class does not include dinner.  
Class size is limited to 35 students.  [Note:  This repeats last year's 
popular class.]


Coloring Needlework Yarns with 18th-Century Dyes
Friday, January 14, 2000
9 a.m.-4:30 p.m.
Max Hamrick, Colonial Williamsburg
$100

This class explores the myths and realities of how and why cloth was 
colored in 18th-century Virginia.  Participants have opportunities to 
prepare dyes for use, set up the dye kettles and color yarns suitable for 
18th-century needlework projects using the prepared dyes.  Max Hamrick, 
Colonial Williamsburg's weaving specialist and dyer, conducts this class 
in the Historic Area.  Refreshments for a morning and afternoon break are 
provided.  Lunch is on your own.  Class size is limited to 15 students.


Sew On and Sew Forth
Friday, January 14, 2000
9 a.m.-Noon
Brenda Rosseau, Colonial Williamsburg
$50

Explore the variety of stitches practiced in the 18th-century guided by 
an expert from Colonial Williamsburg's Costume Design Center.  
Participants assemble a reference book of construction samples, including 
multiple seam types, finishing techniques, buttonholes and covered 
buttons.  Refreshments for a break are provided.  Class size is limited 
to 30 students.  [Note:  This repeats last year's popular class.]


Decorative Fringe II:  More Finishing Touches for 18th-Century Apparel
1:30-4:30 p.m.
Rick Hill, Colonial Williamsburg
$50

In response to many requests, Rick Hill leads an intermediate hands-on 
workshop focusing on the variety of trims used to ornament clothing.  
Using materials provided, participants learn to make two different types 
of fringe based on antique samples.  Prerequisite:  Decorative Fringe I 
(see above) and basic crochet skills.  Refreshments for an afternoon 
break are provided.  Class size is limited to 30 students.


Keeping It Covered:  Hats for Fashionable Women and Men
Saturday, January 15, 2000
9 a.m.-Noon
Frances M. Burroughs and Susan B. Hard, Colonial Williamsburg
$50

Explore the design, construction and manufacture of fashionable hats of 
the second half of the 18th century - felt hats for men and silk hats for 
women.  A slide presentation introduces a demonstration of blocking and 
decorating hats.  Participants receive a list of sources and instructions 
for reproducing at home their own stylish 18th-century headwear.  
Refreshments are provided for a break.  Class size is limited to 30 
students.


Introduction to Wigmaking:  Weaving Hair on a Tress Loom
Session I - 9-Noon, Saturday, January 15, 2000
Session II - 2-5 p.m., Saturday, January 15, 2000
Betty Kelly and Regina Blizzard, Colonial Williamburg
$50

A wig was a basic part of men's fashion in the 18th century and making a 
wig was a long and involved process.  The most time-consuming aspect was 
wefting the hair or weaving it so that lengths could be stitched onto the 
caul.  This class teaches the basic hand skills and techniques needed to 
weave on a tress loom the hairs principally used in 18th-century 
wigmaking:  yak hair, horse hair and human hair.  Classes are limited to 
8 students.


For All Classes
Participants should bring personal embroidery aids, such as scissors, 
thimbles and battery-powered lights and magnifiers if desired.  All 
levels of expertise are welcomed.


REGISTRATION INFORMATION
For a program brochure, registration materials and additional 
information, contact:

Registrar, Textile Art Studies
Williamsburg Institute
Colonial Williamsburg Foundation
P O Box 1776
Williamsburg VA 23187-1776

Telephone (757) 220-7182, fax (757) 565-8630 or e-mail tengle@cwf.org.  
Information will also be available at www.history.org under "What's New" 
in the Williamsburg Institute's 2000 Calendar.

LODGING AND DINING AT COLONIAL WILLIAMSBURG

The following special conference rates are available for Textile Art 
Studies registrants.  To make your room and dining reservations, please 
call (800) 261-9530, Monday through Friday, 9:00 a.m. until 5:00 p.m.

Hotel rates for single or double occupancy, per night:  (rates do not 
include applicable taxes)
Woodlands Guest Rooms   $50
Woodlands Suites   $60
Williamsburg Lodge - Main, East or South Wing   $85
Williamsburg Lodge - Tazewell or West Wing   $105


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From owner-h-costume@indra.com  Mon Jul 12 14:02:17 1999
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From: "Jessica Wilbur" <jessica@pop.net>
To: h-costume@indra.com
Date: Mon, 12 Jul 1999 15:15:15 -0400
Subject: H-COST: Question on Ashelford
Priority: normal
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-Poster: "Jessica Wilbur" <jessica@pop.net>

Hello,

I just received my copy of Jane Ashelford's _Visual History of Costume: 16th Century_. 
<happy dance> As I was looking through it yesterday, I noticed Holbein's sketch of Anne 
Boleyn, which is thought to have been done while she was pregnant. It's the one where 
she's wearing a linen cap which has a strap or tie under her chin. Well, the caption next to 
it said "An unknown lady" with the date (which I've now forgotten) and attributed to Holbein. 
I'm confused as to why she would note it this way, since Holbein wrote on the sketch, 
"Anna Bollein Queen". The description in the caption matches the sketch, so it's not like 
the picture got switched during layout of the book. And elsewhere in the book, Ashelford 
makes reference to "the unknown lady in plate 24". I can't imagine why this would be. 
Holbein labelled many of his sketches with the subjects' names, and he could hardly have 
been mistaken about the identity of a sketch of the queen.

So can anyone think of a reason as to why this sketch would be labelled as "an unknown 
lady"?

Thanks,
--Jessica
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From owner-h-costume@indra.com  Mon Jul 12 15:45:35 1999
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Date: Mon, 12 Jul 1999 16:55:42 -0400 (EDT)
From: Robin Netherton <robin@dgsys.com>
To: h-costume@indra.com
Subject: Re: H-COST: Question on Ashelford
In-Reply-To: <QQgxou20862.199907121911@smtp1-alterdial.uu.net>
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-Poster: Robin Netherton <robin@dgsys.com>


On Mon, 12 Jul 1999, Jessica Wilbur wrote:

> ... I noticed Holbein's sketch of Anne Boleyn, which is thought to have
> been done while she was pregnant. It's the one where she's wearing a
> linen cap which has a strap or tie under her chin. Well, the caption
> next to it said "An unknown lady" with the date (which I've now
> forgotten) and attributed to Holbein. I'm confused as to why she would
> note it this way, since Holbein wrote on the sketch, "Anna Bollein
> Queen". The description in the caption matches the sketch, so it's not
> like the picture got switched during layout of the book. And elsewhere
> in the book, Ashelford makes reference to "the unknown lady in plate
> 24". I can't imagine why this would be. Holbein labelled many of his
> sketches with the subjects' names, and he could hardly have been
> mistaken about the identity of a sketch of the queen.
> 
> So can anyone think of a reason as to why this sketch would be labelled
> as "an unknown lady"? 

>From _Holbein and the Court of Henry VIII_, a nice little exhibit catalog
published by the Queen's Gallery, Buckingham Palace, 1978: "It is most
unlikely that the instcription identifies the sitter correctly. Probably
the most authentic portrait of Anne Boleyn is that in the National
Portrait Gallery, which is unconnected with this drawing. The drawing by
Holbein now in the British Museum is no longer thought to represent her,
and the inscription on that drawing is certainly not contemporary." 

In other words, there's evidence that the inscription was added later, and
wrongly. I do not know whether that means that other inscriptions were
also added after Holbein's death. That would make sense, though. The
drawings themselves were collected from Holbein's effects after he died
suddenly from the plague in 1543. They were apparently made into a book
for King Edward VI and later given away or sold; the first definitive
mention of the book is in a personal inventory of 1590. The Queen's
Gallery catalog lists a wondrously complex chain of ownership as the book
passed through many people's hands, through gift and purchase, returning
to the royal family and leaving it again once or twice more before coming
back to the Crown for good by 1675.

On the basis of some heraldic drawings on the back of the page (the book
continues), there have been two possible identifications suggested for
this lady:  Margaret, Lady Lee, the sister of Sir Thomas Wyatt (unlikely
when compared to another known picture); or Wyatt's wife, Elizabeth, the
sister of Lord Cobham. 

--Robin

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From owner-h-costume@indra.com  Mon Jul 12 16:26:01 1999
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Date: Mon, 12 Jul 1999 17:21:02 -0500
From: Hope Greenberg <hope.greenberg@uvm.edu>
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-Poster: Hope Greenberg <hope.greenberg@uvm.edu>

Robin Netherton wrote:

> In other words, there's evidence that the inscription was added later, and
> wrongly. I do not know whether that means that other inscriptions were
> also added after Holbein's death. 

Yes, the most famous/obvious being the drawing labelled "Mistress Jak"
who was Edward VI's nurse. It is more probably (based on the drawing
style and clothing and similarity of appearance) a study sketch for one
of the figures in the Thomas More family portrait. There is another
mis-labelled one that has since been identified as another study sketch
for one of More's daughters--the name escapes me now. Overall the
general rule of thumb now is don't trust any Holbein label!

- Hope
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From owner-h-costume@indra.com  Mon Jul 12 16:42:16 1999
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From: "Jessica Wilbur" <jessica@pop.net>
To: h-costume@indra.com
Date: Mon, 12 Jul 1999 17:55:04 -0400
Subject: Re: H-COST: Question on Ashelford
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-Poster: "Jessica Wilbur" <jessica@pop.net>



> 
> -Poster: Hope Greenberg <hope.greenberg@uvm.edu>
> 
> Robin Netherton wrote:
> 
> > In other words, there's evidence that the inscription was added later, and
> > wrongly. I do not know whether that means that other inscriptions were
> > also added after Holbein's death. 
> 
> Yes, the most famous/obvious being the drawing labelled "Mistress Jak"
> who was Edward VI's nurse. It is more probably (based on the drawing
> style and clothing and similarity of appearance) a study sketch for one
> of the figures in the Thomas More family portrait. There is another
> mis-labelled one that has since been identified as another study sketch
> for one of More's daughters--the name escapes me now. Overall the
> general rule of thumb now is don't trust any Holbein label!
> 
> - Hope

Thanks!! I'm glad I asked!  =)

--Jessica


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From owner-h-costume@indra.com  Mon Jul 12 17:26:24 1999
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Date: Mon, 12 Jul 1999 18:35:18 EDT
Subject:  Re: H-COST: Hunting kilt?
To: Joel Thompson <sleipnir@gateway.net>, h-costume@indra.com
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-Poster: Appin1@aol.com

Some of the oldest surviving tartans (pre-1745) come from the Hebrides & are 
very bright -- orange/green. So the dyes were colorfast & were bright.

Members of clans were recognized byt the plant or badge they wore in their 
bonnets, not by the color or sett of the tartan. The painting of the battle 
of Culloden, done aboutr 20 years after the fact, but using real participants 
as models, shows Highlanders wearing several different tartans. Each garment 
-- hose, pladi, waistcoat and coat -- is of a different tartan. But members 
of a clan wear the same spring of heather or oak leaf in their bonnets.

While not an expert on Highland clothing, I AM the coordinator of an 18th 
century Highland living history group and we have done extensive research 
into clothing and folkways of the Highlands.

An excellent resource is H. F. McClintock, "Old Irish & Hihgland Dress" last 
published in 1950 and still the seminal work on the subject. Grab a copy if 
you can find one.

Kathleen Norvell
Coordinator, Appin Regiment, 
Jacobite Rebellion, 1745-46 
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From owner-h-costume@indra.com  Mon Jul 12 18:43:56 1999
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Date: Mon, 12 Jul 1999 18:24:03 EDT
Subject:  Re: H-COST: Hunting kilt?
To: Joseph & Christine <malruck@rma.edu>, h-costume@indra.com
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-Poster: Appin1@aol.com

Joseph -- YOu are quite right about clan, "ancient" & "hunting" tartans. The 
"Sobieski Stuarts" made up quite a lot of what we now consider today as 
gospel regarding tartans & kilts. They published a book on the subject in the 
mid-19th century & the damage is still being felt.

I have photos that prove you can take a bunch of Highlanders dressed in the 
loudest tartans inaginable (like "loud Mcleod" & Buchanan) out into the woods 
and "hide the Highlander." They cannot be seen in the trees & underbrush, 
even in the winter because the pattern of the tartan acts like camoflauge.

I have never heaard of doubling the fabric by folding it over when you throw 
the plaid, however. The great kilt ("breaccan mor")traditionally consisted of 
two widths of fabric (generally 30" or so wide each, to make it around 60" 
wide) by at least 6 yds. long. The lower half of that 60" wide material 
covered the "nether regions" (similar to the modern kilt, but unpleated), 
while the top half of it was pulled over the shoulder or head for protection 
from the weather. There are many contemporary illustrations of Highlanders 
seen from the rearthat show them with the top half of the great kilt puleed 
up like that.

Kathleen Norvell
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From owner-h-costume@indra.com  Mon Jul 12 18:45:43 1999
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Date: Mon, 12 Jul 1999 15:25:41 +0000
From: Dietmar <dietmar@pacbell.net>
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-Poster: Dietmar <dietmar@pacbell.net>

Greetings all,

Robin Netherton wrote:

>> In other words, there's evidence that the inscription was added
>> later, and wrongly. I do not know whether that means that other
>> inscriptions were also added after Holbein's death. 

Hope added:

>   <snip happens>   There is another mis-labelled one that has
> since been identified as another study sketch for one of More's
> daughters--the name escapes me now. Overall the general rule of
> thumb now is don't trust any Holbein label!

That sounds a bit harsh, but not far from true.  There is an inherent problem
with identifying the art from that period.  This is especially true of German
woodcuts.  By their very nature, there were a number of prints made before the
blocks were destroyed or sometimes sold to bookprinters.  Often the blocks and
prints were not signed or numbered in any way.  Monograms were often added
years later, usually in hopes of adding to the value.  Sometimes lower quality
prints were made centuries later and disreputable dealers would sell them as
older original prints.  Hundreds of prints were attributed to Albrecht Durer
even though he had nothing to do with them.

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  Mon Jul 12 18:46:47 1999
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Date: Mon, 12 Jul 1999 09:47:25 -0700
From: Merouda the True of Bornover <keltia@serv.net>
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Subject: Re: H-COST: Re: cotehardie fitting
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-Poster: Merouda the True of Bornover <keltia@serv.net>

WRT fitting cotehardies.  I have found that when you don't use straight seams
over the bosom, you get a very supportive fit.  My cotehardie's front seam is
quite curvy, straight from the hips up to right under the breasts.  Then it
flares out and then back in.  Kind of like a question mark.  When the gown is
laced up however, the line appears straight, my breasts are quite supported.
Quite.  This kind of fit takes some work but worth it.  It has been suggested to
me that the bath house shifts have been fitted in a similar way, with the huge
curve at the side seams on the front pieces of the garment.  I need no fitted
foundation but I do wear a linen shift underneath in the style of the garment in
Kohler.  Cut on the bias.  Superb fit.


> I dont think there's all that much info to go on. The people who believe that
> there is no fitted foundation garment seem to be able to make cotehardies
> just fine without them. I have been experimenting, assuming that I will make
> a wardrobe of cotehardies in the future (which seems to get farther off all
> the time) and it seems to me that the best plan would be to make an extremely
> fitted underkirtle or two, to take the stress off the main garments. I go
> back and forth between a full kirtle with sleeves, and something akin to the
> Bohemian stuff mentioned, with no sleeves (which would then need an
> underkirtle on top of THAT -- pretty stuffy).
>
> But I think that if someone wants to experiment with an undergarment, then
> she should! Try it out and let the rest of us know how it works -- we might
> be convinced.
>
> Gail Finke
>
>  _________________________________________________________________
>  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  Mon Jul 12 18:48:10 1999
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Date: Mon, 12 Jul 1999 13:52:36 -0700 (PDT)
From: Margretta de Vries <smstrss@yahoo.com>
Subject: H-COST: german translations
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-Poster: Margretta de Vries <smstrss@yahoo.com>


On a personal note, if people have short texts, I am
fluent in both German and English, and could translate
most texts well, if anyone is interested.  I've had
experience doing both directions, German to English
and English to German.

contact me, if interested!

margretta
===

Margretta de Vries

_________________________________________________________
Do You Yahoo!?
Get your free @yahoo.com address at http://mail.yahoo.com

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From owner-h-costume@indra.com  Mon Jul 12 18:49:17 1999
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Subject: Re: H-COST: Question on Ashelford
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-Poster: Merouda the True of Bornover <keltia@serv.net>

> In other words, there's evidence that the inscription was added later, and
> wrongly. I do not know whether that means that other inscriptions were
> also added after Holbein's death.

Thanks for info. :)  There is a portrait of Bess of Hardwick, Countess of
Shrewsbury that has "Marie Reigna" painted into the background.  This was also
common practice, to paint the current reign but in this case, the Holbein
sketch would have read Henry not Anne.  So, thanks again for the
clarification!
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  Mon Jul 12 18:49:37 1999
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From: "Jessica Wilbur" <jessica@pop.net>
To: h-costume@indra.com
Date: Mon, 12 Jul 1999 17:28:53 -0400
Subject: Re: H-COST: Question on Ashelford
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-Poster: "Jessica Wilbur" <jessica@pop.net>

Thanks! I had just received a similar reply, privately. I didn't know that the names on the 
sketches were later additions. That certainly does clear up a lot of things. =) Though I am 
a little surprised to see the date on the catalog you mention. I've seen more recent 
publications that still label that picture as Anne Boleyn. You would think that twenty years 
after they figured out it wasn't her, that it would be common knowledge (I'm not 
contradicting what you've said, just pondering the way misconceptions can persist!) 

Do you know if the catalog you mention is still in print?

Thanks for your help!
--Jessica

> 
> -Poster: Robin Netherton <robin@dgsys.com>
> 
> 
> On Mon, 12 Jul 1999, Jessica Wilbur wrote:
> 
> > ... I noticed Holbein's sketch of Anne Boleyn, which is thought to have
> > been done while she was pregnant. It's the one where she's wearing a
> > linen cap which has a strap or tie under her chin. Well, the caption
> > next to it said "An unknown lady" with the date (which I've now
> > forgotten) and attributed to Holbein. I'm confused as to why she would
> > note it this way, since Holbein wrote on the sketch, "Anna Bollein
> > Queen". The description in the caption matches the sketch, so it's not
> > like the picture got switched during layout of the book. And elsewhere
> > in the book, Ashelford makes reference to "the unknown lady in plate
> > 24". I can't imagine why this would be. Holbein labelled many of his
> > sketches with the subjects' names, and he could hardly have been
> > mistaken about the identity of a sketch of the queen.
> > 
> > So can anyone think of a reason as to why this sketch would be labelled
> > as "an unknown lady"? 
> 
> >From _Holbein and the Court of Henry VIII_, a nice little exhibit catalog
> published by the Queen's Gallery, Buckingham Palace, 1978: "It is most
> unlikely that the instcription identifies the sitter correctly. Probably
> the most authentic portrait of Anne Boleyn is that in the National
> Portrait Gallery, which is unconnected with this drawing. The drawing by
> Holbein now in the British Museum is no longer thought to represent her,
> and the inscription on that drawing is certainly not contemporary." 
> 
> In other words, there's evidence that the inscription was added later, and
> wrongly. I do not know whether that means that other inscriptions were
> also added after Holbein's death. That would make sense, though. The
> drawings themselves were collected from Holbein's effects after he died
> suddenly from the plague in 1543. They were apparently made into a book
> for King Edward VI and later given away or sold; the first definitive
> mention of the book is in a personal inventory of 1590. The Queen's
> Gallery catalog lists a wondrously complex chain of ownership as the book
> passed through many people's hands, through gift and purchase, returning
> to the royal family and leaving it again once or twice more before coming
> back to the Crown for good by 1675.
> 
> On the basis of some heraldic drawings on the back of the page (the book
> continues), there have been two possible identifications suggested for
> this lady:  Margaret, Lady Lee, the sister of Sir Thomas Wyatt (unlikely
> when compared to another known picture); or Wyatt's wife, Elizabeth, the
> sister of Lord Cobham. 
> 
> --Robin
> 
>  _________________________________________________________________
>  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 Jul 12 19:38:58 1999
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Date: Mon, 12 Jul 1999 20:47:01 -0400 (EDT)
From: Robin Netherton <robin@dgsys.com>
To: h-costume@indra.com
Subject: Re: H-COST: Question on Ashelford
In-Reply-To: <QQgxpd11266.199907122125@smtp1-alterdial.uu.net>
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-Poster: Robin Netherton <robin@dgsys.com>


On Mon, 12 Jul 1999, Jessica Wilbur wrote:

> Thanks! I had just received a similar reply, privately. I didn't know
> that the names on the sketches were later additions. That certainly does
> clear up a lot of things. =) Though I am a little surprised to see the
> date on the catalog you mention. I've seen more recent publications that
> still label that picture as Anne Boleyn. You would think that twenty
> years after they figured out it wasn't her, that it would be common
> knowledge (I'm not contradicting what you've said, just pondering the
> way misconceptions can persist!) 

Once something is in the literature, it tends to get re-cited and repeated
for a VERY long time. People would have no reason to question its validity
unless they happen to have seen the more recent research.

> Do you know if the catalog you mention is still in print?

Good question. I got it at the Queen's Gallery in, hmmm, 1985 or so. 
Title is "Holbein and the court of Henry VIII. There's no author or ISBN. 
Publisher is "The Queen's Gallery, Buckingham Palace," dated 1978-79. 
Printer is Lund Humphries (London & Bradford). I think you'd have your
best luck by checking with a good used art book store in England
(Zwemmer's, Ian Shipley, Blackwell), or with the Queen's Gallery directly.
It's a lovely little book -- 144 pages, trade paperback size, a few color
pix and lots of b/w.

--Robin


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From owner-h-costume@indra.com  Mon Jul 12 22:55:13 1999
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Date: Tue, 13 Jul 1999 00:06:59 -0400
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: Re: H-COST: Question on Ashelford
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>I just received my copy of Jane Ashelford's _Visual History of Costume:
>16th Century_. <happy dance> As I was looking through it yesterday, I
>noticed Holbein's sketch of Anne Boleyn, which is thought to have been
>done while she was pregnant. It's the one where she's wearing a linen >cap
which has a strap or tie under her chin. Well, the caption next to >it said
"An unknown lady" with the date (which I've now forgotten) and >attributed
to Holbein...

Unfortunately, this is just an example of one of Ashelford's more obvious
errors in my opinion.  She has good pictures but, her text needs to be
taken with a rather large grain of salt at times.

Enjoy the book.

Cheers,
Danielle (who is gloating over the copy of Alcega she received for her
birthday yesterday!) <bg> 

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From owner-h-costume@indra.com  Mon Jul 12 23:30:54 1999
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Date: Tue, 13 Jul 1999 00:38:58 EDT
Subject: H-COST: Grommet Setters???
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-Poster: AnnoraK@aol.com

In keeping with a recent thread . . .

In conjunction with my first foray into corsetry, I am shopping for the 
aforementioned grommet setter.  I know that Greenberg & Hammer is the best 
place for grommets, but I can't seem to get a catalog out of them,  tho I've 
asked twice in the past six months.   So, I'm going elsewhere for these.  My 
problem is the setter.  The only size 00 setter that I can find (either 
online or in a catalog) is AlterYears' $40 one.  Since I don't know how often 
I'm going to be using this beast, I really don't feel like spending that much 
on one.   Do any of the other grommet sources (Richard the Thread, etc.) sell 
setters to go with them?  Or is there anywhere in the DC Metro area where I 
can pick one up?  

Thanx!
Jen
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          for <h-costume@indra.com>; Mon, 12 Jul 1999 22:12:08 -0700
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From: "Kyna Grannd" <kynagrannd@granndgarb.com>
To: <h-costume@indra.com>
References: <2df5de66.24bc1ce2@aol.com>
Subject: Re: H-COST: Grommet Setters???
Date: Tue, 13 Jul 1999 01:02:06 -0400
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-Poster: "Kyna Grannd" <kynagrannd@granndgarb.com>

Fastener Supply Company is who I go to for grommets, eyelets and setters. I
had the same problem with Greenberg & Hammer....6 requests via email AND
phone in the past 6 months and still nothing...no catalog...no email
response...they DID however answer the phone :\

www.fastener-supply.com

or call San Francisco at 415-392-6968  or Los Angeles at 213-749-2271

~Kyna
----- Original Message -----
From: <AnnoraK@aol.com>
To: <h-costume@indra.com>
Sent: Tuesday, July 13, 1999 12:38 AM
Subject: H-COST: Grommet Setters???


>
> -Poster: AnnoraK@aol.com
>
> In keeping with a recent thread . . .
>
> In conjunction with my first foray into corsetry, I am shopping for the
> aforementioned grommet setter.  I know that Greenberg & Hammer is the best
> place for grommets, but I can't seem to get a catalog out of them,  tho
I've
> asked twice in the past six months.   So, I'm going elsewhere for these.
My
> problem is the setter.  The only size 00 setter that I can find (either
> online or in a catalog) is AlterYears' $40 one.  Since I don't know how
often
> I'm going to be using this beast, I really don't feel like spending that
much
> on one.   Do any of the other grommet sources (Richard the Thread, etc.)
sell
> setters to go with them?  Or is there anywhere in the DC Metro area where
I
> can pick one up?
>
> Thanx!
> Jen
>  _________________________________________________________________
>  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 Jul 13 03:20:27 1999
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From: "Joseph & Christine" <malruck@rma.edu>
To: "Historic Costume Mailing List" <h-costume@indra.com>
Subject: Re: H-COST: Hunting kilt?
Date: Tue, 13 Jul 1999 04:30:08 -0400
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-Poster: "Joseph & Christine" <malruck@rma.edu>

Hi Kathleen,

>I have never heard of doubling the fabric by folding it over when you
>throw the plaid, however.

This was the first I'd heard of it, and the only place I've heard of it.  I
have no idea who David Stewart of Garth was, save that he wrote "Sketches of
the Highlanders of Scotland," published in Edinburgh in 1822.

(snip) There are many contemporary illustrations of Highlanders
>seen from the rear that show them with the top half of the great kilt
>pulled up like that.

I think I may have not been clear - it's folded lengthwise, so you have
about 60" by three yards instead of six.  That gives you the covering you
describe, and makes the thing a whole lot easier to "throw."  I wore it that
way at the Potomac Celtic festival, and it really works well.

Regards,

Joseph



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From owner-h-costume@indra.com  Tue Jul 13 08:46:02 1999
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To: h-costume-digest@indra.com
From: pulliam@acadia.net (Deborah Pulliam)
Subject: H-COST: correcting info
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-Poster: pulliam@acadia.net (Deborah Pulliam)

<<Once something is in the literature, it tends to get re-cited and repeated
for a VERY long time. People would have no reason to question its validity
unless they happen to have seen the more recent research.>>

Another good example of this is the often-quoted (erroneous) information
that Eleanora of Toledo was buried in the same gown she wears in the
portrait by Bronzino.

The tomb was  open briefly in 1858, someone saw *something* that reminded
him of the portrait, and made that statement. It was disproved when the
conservation work in the 1980s, but it's still being quoted (unfortunately,
it was published in many places.)


Deborah


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From owner-h-costume@indra.com  Tue Jul 13 08:53:09 1999
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From: "Hope H. Dunlap" <hhdunlap@msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Grommet Setters???
Date: Tue, 13 Jul 1999 08:45:31 -0400
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-Poster: "Hope H. Dunlap" <hhdunlap@msn.com>

What period corset are you trying to make?  Grommets would
be incorrect well into the 19th Century.  You might consider
skipping the  grommets entirely. Use a small awl or nail to
work open a hole of the right size between threads of the
fabric.  Do not cut any threads.  Then  buttonhole stitch
the edges of the new round opening. This is strong and lasts
quite well.  Trick is to work open the hole, not cut it.
I've used grommets and unless you do this anyway before you
set the grommet, the fabric will eventually pull out of the
teeth.  Hope this might help.

Hope H. Dunlap



> -----Original Message-----
> From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
> Behalf Of AnnoraK@aol.com
> Sent: Tuesday, July 13, 1999 12:39 AM
> To: h-costume@indra.com
> Subject: H-COST: Grommet Setters???
>
>
>
> -Poster: AnnoraK@aol.com
>
> In keeping with a recent thread . . .
>
> In conjunction with my first foray into corsetry, I am
> shopping for the
> aforementioned grommet setter.  I know that Greenberg &
> Hammer is the best
> place for grommets, but I can't seem to get a catalog out
of
> them,  tho I've
> asked twice in the past six months.   So, I'm going
elsewhere
> for these.  My
> problem is the setter.  The only size 00 setter that I can
> find (either
> online or in a catalog) is AlterYears' $40 one.  Since I
> don't know how often
> I'm going to be using this beast, I really don't feel like
> spending that much
> on one.   Do any of the other grommet sources (Richard the
> Thread, etc.) sell
> setters to go with them?  Or is there anywhere in the DC
> Metro area where I
> can pick one up?
>
> Thanx!
> Jen
>
____________________________________________________________
_____
>  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 Jul 13 10:59:17 1999
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Date: Tue, 13 Jul 1999 12:04:19 -0400
From: Jennie Chancey <jchancey@rica.net>
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Subject: H-COST: Anyone watch "The Hunley" on TNT?
References: <v01520d00b3b0fedb631c@[205.217.218.75]>
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-Poster: Jennie Chancey <jchancey@rica.net>

This was Ted Turner's film about the Civil War submarine that sank the
_Housatonic_ in Charleston Harbor.  I thought most of the men's costumes
were decent (though Gen. Beauregard's looked a bit too crisp and shiny
for 1864), but the majority of the women's costumes were awful.  I don't
think I saw one woman with a corset underneath her dress.  Some of the
gowns were nicely done, but there were too many women in the "white
blouse and skirt" combo that, from photos and fashion plates, we know
were not widely worn until after the War.  The "ladies of the evening"
shown in the barroom scenes were also off quite a bit--I saw two with
late 1870s and early 1880s necklines.  And the hairstyle of Lt. Dixon's
dead fiancee' was such a 1990s take on the 1860s--pouffy on top and with
the hair smoothed over the ears rather than the flat top and side poufs
to make the face look wider.

Anybody else?

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


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From owner-h-costume@indra.com  Tue Jul 13 12:35:55 1999
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Date: Tue, 13 Jul 1999 13:42:30 EDT
Subject: Re: H-COST: Grommet Setters???
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-Poster: MzScahlett@aol.com

In a message dated 7/12/1999 21:40:54 Pacific Daylight Time, AnnoraK@aol.com 
writes:

<< AlterYears' $40 one.  Since I don't know how often 
 I'm going to be using this beast, I really don't feel like spending that 
much 
 on one.   Do any of the other grommet sources (Richard the Thread, etc.) 
sell 
 setters to go with them?  Or is there anywhere in the DC Metro area where I 
 can pick one up?  
  >>
The one I got cost me about $40 but it is "adjustable" (it has different 
heads that slip on so it works with various size grommets. I don't think 
you'll do much better for anything worth using.  

angela
+++++
Angela F. Lazear
Costumes & Custom Clothing
Theatrical Costume Design
"The truth of it is, I have no shirt."
W. Shakespeare
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From owner-h-costume@indra.com  Tue Jul 13 13:30:17 1999
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Date: Tue, 13 Jul 1999 14:36:27 EDT
Subject: Re: H-COST: Anyone watch "The Hunley" on TNT?
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-Poster: AlbertCat@aol.com

In a message dated 7/13/99 12:12:35 PM Eastern Daylight Time, 
jchancey@rica.net writes:

<< This was Ted Turner's film about the Civil War submarine that sank the
 _Housatonic_ in Charleston Harbor.  I thought most of the men's costumes
 were decent (though Gen. Beauregard's looked a bit too crisp and shiny
 for 1864), but the majority of the women's costumes were awful. >>
Turner films are notoriously low on costume budget. Most things were probably 
rented....and women's things may have come from local costumers in 
Charleston. I'm guessing though 'cause I didn't see or work on the project 
but I know people who worked on the film about the iron clads....that's what 
I base my gossip on here.
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From owner-h-costume@indra.com  Tue Jul 13 13:41:04 1999
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Date: Tue, 13 Jul 1999 11:06:35 -0700 (PDT)
From: Sarah Toney <sarah_and_pooh@yahoo.com>
Subject: Re: H-COST: Grommet Setters???
To: h-costume@indra.com
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-Poster: Sarah Toney <sarah_and_pooh@yahoo.com>

I hate to say this, since these are really pretty bad,
but if you are really concerned about money and aren't
going to use it much, Jo-Ann Fabrics sells a cheap-o
hand held one for $10 or so... but they really are
JUNK... 

Sarah


--- MzScahlett@aol.com wrote:
> 
> -Poster: MzScahlett@aol.com
> 
> In a message dated 7/12/1999 21:40:54 Pacific
> Daylight Time, AnnoraK@aol.com 
> writes:
> 
> << AlterYears' $40 one.  Since I don't know how
> often 
>  I'm going to be using this beast, I really don't
> feel like spending that 
> much 
>  on one.   Do any of the other grommet sources
> (Richard the Thread, etc.) 
> sell 
>  setters to go with them?  Or is there anywhere in
> the DC Metro area where I 
>  can pick one up?  
>   >>
> The one I got cost me about $40 but it is
> "adjustable" (it has different 
> heads that slip on so it works with various size
> grommets. I don't think 
> you'll do much better for anything worth using.  
> 
> angela
> +++++
> Angela F. Lazear
> Costumes & Custom Clothing
> Theatrical Costume Design
> "The truth of it is, I have no shirt."
> W. Shakespeare
> 
>
_________________________________________________________________
>  To leave this mailing list, send mail to
> majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
> 

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From: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>
To: <h-costume@indra.com>
References: <43a1d8de.24bcd486@aol.com>
Subject: Re: H-COST: Tewkesbury
Date: Tue, 13 Jul 1999 19:51:51 +0100
Organization: Heritage Matters at Words to the Wise
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-Poster: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>


 Having just processed the first sets of pics from The re-enactment at
Tewkesbury at the weekend, I am starting to upload them to

 www.soft.net.uk/wysewords/tewkesbury

Ii should have most of the better ones up by the weekend. By then I should
also have processed the second set which is of cloesups of the battle
itself.
Dave
LD MUNDY
Editor Heritage Matters

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From owner-h-costume@indra.com  Tue Jul 13 14:11:18 1999
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Date: Tue, 13 Jul 1999 15:18:31 EDT
Subject: Re: H-COST: Anyone watch "The Hunley" on TNT?
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-Poster: Simone89@aol.com


<< This was Ted Turner's film about the Civil War submarine that sank the
> _Housatonic_ in Charleston Harbor.  I thought most of the men's costumes
> were decent (though Gen. Beauregard's looked a bit too crisp and shiny
 >for 1864), but the majority of the women's costumes were awful. >>
>Turner films are notoriously low on costume budget. Most things were 
probably 
>rented....and women's things may have come from local costumers in 
>Charleston. I'm guessing though 'cause I didn't see or work on the project 
>but I know people who worked on the film about the iron clads....that's what 
>I base my gossip on here.
 
Funny y'all should say how awful the women's costumes were. Alot of Civil War 
reenactors worked on that film. I was very amused when one of the ladies I 
work with brought in her 'gowns' to show me what she wore for it. It was 
brown and white cotton- very plain chemise and shirt, no bodice. For an 
SCAdian who does  Elizabethan...... well I'm no expert on the Civil War era 
(even if I am from Charleston) but I was shocked at what she considered 
'good' clothing.
Simone89@aol.com

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From owner-h-costume@indra.com  Tue Jul 13 14:13:57 1999
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Date: Tue, 13 Jul 1999 12:26:02 -0700 (PDT)
From: Sarah Toney <sarah_and_pooh@yahoo.com>
Subject: Re: H-COST: Tewkesbury
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-Poster: Sarah Toney <sarah_and_pooh@yahoo.com>

I have a question... I put this addy into my browser
and it couldn't find it... will I not be able to
access it from the US? (I'm not up on how these things
work... I dunno).

Sarah

 
>  Having just processed the first sets of pics from
> The re-enactment at
> Tewkesbury at the weekend, I am starting to upload
> them to
> 
>  www.soft.net.uk/wysewords/tewkesbury
> 
> Ii should have most of the better ones up by the
> weekend. By then I should
> also have processed the second set which is of
> cloesups of the battle
> itself.
> Dave
> LD MUNDY
> Editor Heritage Matters
> 
> 
>
_________________________________________________________________
>  To leave this mailing list, send mail to
> majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
> 

_________________________________________________________
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Get your free @yahoo.com address at http://mail.yahoo.com

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From: "Jessica Wilbur" <jessica@pop.net>
To: h-costume@indra.com
Date: Tue, 13 Jul 1999 14:56:44 -0400
Subject: Re: H-COST: correcting info
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-Poster: "Jessica Wilbur" <jessica@pop.net>



> 
> -Poster: pulliam@acadia.net (Deborah Pulliam)
> 
> <<Once something is in the literature, it tends to get re-cited and repeated
> for a VERY long time. People would have no reason to question its validity
> unless they happen to have seen the more recent research.>>
> 
> Another good example of this is the often-quoted (erroneous) information
> that Eleanora of Toledo was buried in the same gown she wears in the
> portrait by Bronzino.
> 
> The tomb was  open briefly in 1858, someone saw *something* that reminded
> him of the portrait, and made that statement. It was disproved when the
> conservation work in the 1980s, but it's still being quoted (unfortunately,
> it was published in many places.)
> 

Such as Ashelford, for example.  ;-)  Seriously, that misinformation is in the caption next 
to the picture of Elenora of Toledo. I've also noticed a picture is included in this book which 
is often labelled as Catherine Howard, but is now thought to be Elizabeth Seymour, Jane's 
sister. So I think whoever mentioned that Ashelford's text is not totally accurate was right 
on the money.  =(   Who can you trust these days?

--Jessica


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From owner-h-costume@indra.com  Tue Jul 13 14:32:43 1999
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Date: Tue, 13 Jul 1999 15:38:27 -0400 (EDT)
From: Parsla Liepa <parsla@engin.umich.edu>
To: h-costume@indra.com
Subject: Re: H-COST: Tewkesbury
In-Reply-To: <19990713192602.28424.rocketmail@web801.mail.yahoo.com>
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-Poster: Parsla Liepa <parsla@engin.umich.edu>


Nor could I. (That this is a UK site doesn't matter.) I could, however,
get to the main Heritage Matters site, http://www.soft.net.uk/wysewords/ . 

Parsla


<I have a question... I put this addy into my browser
<and it couldn't find it... will I not be able to
<access it from the US? (I'm not up on how these things
<work... I dunno).
< 
<>  Having just processed the first sets of pics from
<> The re-enactment at
<> Tewkesbury at the weekend, I am starting to upload
<> them to
<> 
<>  www.soft.net.uk/wysewords/tewkesbury
<> 
<> Ii should have most of the better ones up by the
<> weekend. By then I should
<> also have processed the second set which is of
<> cloesups of the battle
<> itself.
<> Dave
<> LD MUNDY
<> Editor Heritage Matters
<> 
<> 
<>
<_________________________________________________________________
<>  To leave this mailing list, send mail to
<> majordomo@indra.com
<>  with the message UNSUBSCRIBE H-COSTUME
<> 
<
<_________________________________________________________
<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
<


    Parsla

	Vita brevis est, saxulum edeste.
*****************************************************************************

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From owner-h-costume@indra.com  Tue Jul 13 15:16:05 1999
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Date: Tue, 13 Jul 1999 13:20:19 -0700
To: h-costume-digest@indra.com
From: Leslie Helms <leslieh@canfield.com>
Subject: H-COST: Grommets and Tewkesbury
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-Poster: Leslie Helms <leslieh@canfield.com>

If you must use grommets, use a very stout interfacing under them to give
more meat for the metal to bite into.  You might try canvas/sailmakers'
shops to see if you can have them professionally inserted, IF you can find
someone who can do a small enough size.  Better yet, don't use 'em at all.
Try a strip of sturdy canvas as interfacing and use the awl method.  You
can put just a few stitches around each one and reinforce with Fray Check
or such.

I couldn't get the Tewkesbury URL to work either.  It seems to be an
address problem just in the last two words of the address; the soft/net/UK
server was responding.

Leslie
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From owner-h-costume@indra.com  Tue Jul 13 15:18:58 1999
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From: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>
To: <h-costume@indra.com>
References: <19990713192602.28424.rocketmail@web801.mail.yahoo.com>
Subject: Re: H-COST: Tewkesbury
Date: Tue, 13 Jul 1999 21:24:13 +0100
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-Poster: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>

Sorry you were a bit quick of the mark.
I am now just starting the first of the uploads
I am doing it slowly and with large pics so that people can download them or
look at the details so its a slow process.
Dave
LD MUNDY
Editor Heritage Matters
----- Original Message -----
From: Sarah Toney <sarah_and_pooh@yahoo.com>
To: <h-costume@indra.com>
Sent: Tuesday, July 13, 1999 8:26 PM
Subject: Re: H-COST: Tewkesbury


>
> -Poster: Sarah Toney <sarah_and_pooh@yahoo.com>
>
> I have a question... I put this addy into my browser
> and it couldn't find it... will I not be able to
> access it from the US? (I'm not up on how these things
> work... I dunno).
>
> Sarah
>
>
> >  Having just processed the first sets of pics from
> > The re-enactment at
> > Tewkesbury at the weekend, I am starting to upload
> > them to
> >
> >  www.soft.net.uk/wysewords/tewkesbury
> >
> > Ii should have most of the better ones up by the
> > weekend. By then I should
> > also have processed the second set which is of
> > cloesups of the battle
> > itself.
> > Dave
> > LD MUNDY
> > Editor Heritage Matters
> >
> >
> >
> _________________________________________________________________
> >  To leave this mailing list, send mail to
> > majordomo@indra.com
> >  with the message UNSUBSCRIBE H-COSTUME
> >
>
> _________________________________________________________
> 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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To: <h-costume@indra.com>
References: <Pine.SOL.4.02.9907131536220.11000-100000@mi.engin.umich.edu>
Subject: Re: H-COST: Tewkesbury
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-Poster: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>

Sorry you were a bit quick of the mark.
I am now just starting the first of the uploads
I am doing it slowly and with large pics so that people can download them or
look at the details so its a slow process.

 Dave
LD MUNDY
Editor Heritage Matters
----- Original Message -----
From: Parsla Liepa <parsla@engin.umich.edu>
To: <h-costume@indra.com>
Sent: Tuesday, July 13, 1999 8:38 PM
Subject: Re: H-COST: Tewkesbury


>
> -Poster: Parsla Liepa <parsla@engin.umich.edu>
>
>
> Nor could I. (That this is a UK site doesn't matter.) I could, however,
> get to the main Heritage Matters site, http://www.soft.net.uk/wysewords/ .
>
> Parsla
>
>
> <I have a question... I put this addy into my browser
> <and it couldn't find it... will I not be able to
> <access it from the US? (I'm not up on how these things
> <work... I dunno).
> <
> <>  Having just processed the first sets of pics from
> <> The re-enactment at
> <> Tewkesbury at the weekend, I am starting to upload
> <> them to
> <>
> <>  www.soft.net.uk/wysewords/tewkesbury
> <>
> <> Ii should have most of the better ones up by the
> <> weekend. By then I should
> <> also have processed the second set which is of
> <> cloesups of the battle
> <> itself.
> <> Dave
> <> LD MUNDY
> <> Editor Heritage Matters
> <>
> <>
> <>
> <_________________________________________________________________
> <>  To leave this mailing list, send mail to
> <> majordomo@indra.com
> <>  with the message UNSUBSCRIBE H-COSTUME
> <>
> <
> <_________________________________________________________
> <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
> <
>
>
>     Parsla
>
> Vita brevis est, saxulum edeste.
>
****************************************************************************
*
>
>  _________________________________________________________________
>  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 Jul 13 15:46:54 1999
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From: "John Page" <kdp@tiac.net>
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Subject: H-COST: Re: Ladies' trousers, 12thC
Date: Tue, 13 Jul 1999 17:08:12 -0400
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-Poster: "John Page" <kdp@tiac.net>

Hi, List!

A friend just got back from France and she claims to have seen a bas relief
in a Toulouse church showing two women with trousers under their dresses. 
She said the women were wearing somewhat loose, mid-calf dresses with round
necklines and elbow length sleeves;  under this they were wearing ankle
length trousers with seams up the fronts of the legs.

Has anyone seen this?

Thanks,
Kristin Page


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From owner-h-costume@indra.com  Tue Jul 13 15:48:18 1999
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From: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>
To: <h-costume@indra.com>
References: <Pine.SOL.4.02.9907131536220.11000-100000@mi.engin.umich.edu>
Subject: Re: H-COST: Tewkesbury update
Date: Tue, 13 Jul 1999 21:53:37 +0100
Organization: Heritage Matters at Words to the Wise
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-Poster: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>

 Sorry for the slight delay; After convincing the server that it should let
me in I had to bribe a colleague to give me some of his space.
If you are not getting to the site with the previous URl
try the shoter version
  > <>  www.soft.net.uk/wysewords/tewkesbu.htm
> <>
 The opening page is up . I hope to have gallery one up by midnight.
If you discover any problems please let me know;
Every time I go to Tewkesbury the sun shines and I get badly sunburnt. So
bear with me thru my suffering.
thanks
Dave

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From owner-h-costume@indra.com  Tue Jul 13 15:54:27 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>

> Nor could I. (That this is a UK site doesn't matter.) I could, however,
> get to the main Heritage Matters site, http://www.soft.net.uk/wysewords/ .

While I got to the Heritage Matters site, I couldn't find the photos.  Can you
give more information than this?  There are too many links to choose from.


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


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

I haven't seen it but having the name of the church would help track it down.
Did she take pictures?  If not, who's got the rope.  *G*

> A friend just got back from France and she claims to have seen a bas relief
> in a Toulouse church showing two women with trousers under their dresses.
> She said the women were wearing somewhat loose, mid-calf dresses with round
> necklines and elbow length sleeves;  under this they were wearing ankle
> length trousers with seams up the fronts of the legs.

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


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Date: Tue, 13 Jul 1999 17:17:10 -0400 (EDT)
From: Parsla Liepa <parsla@engin.umich.edu>
To: h-costume@indra.com
Subject: Re: H-COST: Re: Ladies' trousers, 12thC
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-Poster: Parsla Liepa <parsla@engin.umich.edu>


<A friend just got back from France and she claims to have seen a bas relief
<in a Toulouse church showing two women with trousers under their dresses. 
<She said the women were wearing somewhat loose, mid-calf dresses with round
<necklines and elbow length sleeves;  under this they were wearing ankle
<length trousers with seams up the fronts of the legs.

Sounds Middle-Eastern to me.  Kind of like what we in the SCA call a gwazi
coat? 

    Parsla

	Vita brevis est, saxulum edeste.
*****************************************************************************

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From owner-h-costume@indra.com  Tue Jul 13 16:53:02 1999
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From: pulliam@acadia.net (Deborah Pulliam)
Subject: H-COST: correcting info again
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-Poster: pulliam@acadia.net (Deborah Pulliam)

<<Seriously, that misinformation is in the caption next to the picture of
Elenora of Toledo. I've also noticed a picture is included in this book
which is often labelled as Catherine Howard, but is now thought to be
Elizabeth Seymour, Jane's sister. So I think whoever mentioned that
Ashelford's text is not totally accurate was right
on the money.>>

I'm certainly not going to get into defending Jane Ashelford's book, as I
don't always agree with her conclusions. It's a good collection of period
graphics, though.

However, I would like to point out that scholarship and research are part
of a continuous process. In the case of the portrait of Elizabeth Seymour,
once thought to be Catherine Howard, look at the publication date of
Ashelford's book. I believe it was published in the mid 1980s, and probably
never updated when it was republished -- that's not Ashelford's fault. I
don't think *any* of the books in that series went into second editions,
until they were collected (and edited down) into the large format, by
Aileen Ribeiro.

15 years is a long time ago, particularly in clothing history. She can't be
held accountable for discoveries made after her book was published.

It's up to the reader to read carefully and critically, and read widely.



Deborah


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From owner-h-costume@indra.com  Tue Jul 13 17:09:16 1999
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-Poster: Merouda the True of Bornover <keltia@serv.net>

> don't think *any* of the books in that series went into second editions,
> until they were collected (and edited down) into the large format, by
> Aileen Ribeiro.

Oh, please do tell more!  I haven't heard of this, but have found the books to
be most helpful with all of the pictorial documentation.

Thanks,  Cynthia

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


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-Poster: "Jessica Wilbur" <jessica@pop.net>


> 
> -Poster: pulliam@acadia.net (Deborah Pulliam)
> 
> <<Seriously, that misinformation is in the caption next to the picture of
> Elenora of Toledo. I've also noticed a picture is included in this book
> which is often labelled as Catherine Howard, but is now thought to be
> Elizabeth Seymour, Jane's sister. So I think whoever mentioned that
> Ashelford's text is not totally accurate was right
> on the money.>>
> 
> I'm certainly not going to get into defending Jane Ashelford's book, as I
> don't always agree with her conclusions. It's a good collection of period
> graphics, though.
> 
True, though I could wish that more of them were in color. Ah, well, c'est la vie...

> However, I would like to point out that scholarship and research are part
> of a continuous process. In the case of the portrait of Elizabeth Seymour,
> once thought to be Catherine Howard, look at the publication date of
> Ashelford's book. I believe it was published in the mid 1980s, and probably
> never updated when it was republished -- that's not Ashelford's fault. I
> don't think *any* of the books in that series went into second editions,
> until they were collected (and edited down) into the large format, by
> Aileen Ribeiro.
> 
True. I want to say that the edition I have is dated 1992, but I may be thinking of something 
else, so don't quote me on it. I'll check when I get home. And it's very possible that it 
wasn't updated, or at least not the parts we're discussing. That was something I had not 
considered.

> 15 years is a long time ago, particularly in clothing history. She can't be
> held accountable for discoveries made after her book was published.
> 
A very good point. I just thought it odd that she would be aware of the mislabelling of 
Holbein's sketch, yet still be under misconceptions about other portraits. But I will admit 
that I don't know that much about the timing of new discoveries and new ways of thinking 
concerning identity of portrait subjects, so my comments certainly may not be accurate 
either.

> It's up to the reader to read carefully and critically, and read widely.
> 
Also a good point. Thanks!

--Jessica


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From owner-h-costume@indra.com  Tue Jul 13 19:06:19 1999
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Subject: H-COST: Re: Hunley on TNT  (Long)
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-Poster: ArcadiaCB@aol.com

Have to throw in my $.02 on this.  Previous comments are my sentiments 
exactly.  It was very interesting to watch this production. I have a friend 
who works as an assistant costumer/ wardrobe assistant  (or whatever the 
title is) on movies, including a lot of TNT movies.  She was asked to work on 
this one and refused to work in the costuming when she found out that Michael 
Boyd was the head costumer--he doesn't know anything about the period, won't 
learn and won't listen to anyone and just isn't a nice person for other 
reasons.  Her particular period of expertise is the mid 19th c--when she has 
time to do living history events with us (mostly prior to her involvement 
with movies), her things were wonderful, she also has an extensive collection 
of originals. She knows the period. But in the movie world, she's a peon. The 
main costumers--who may not know the period--are the last word. Sometimes she 
can get things changed,(like the gratuitous sex scene in "Lincoln" where he 
*unbuttons* her chemise and takes it off) but usually has to defer to the 
head costumer, who does it their way with their ideas of the period  The 
"stars" generally have their own designers, who seem to never know the period 
and only start to "research" it a few weeks before production. I've worked on 
several films with my friend since a lot get filmed in this area (most recent 
"Day Lincoln was Shot"  (TNT)and "Love Letter" (Hallmark Hall of Fame).  
Another of my friends has worked as a casting coordinator for "good 
civilians" --people who know the period, have the correct clothing & 
accessories, women are all corseted--as opposed to the "regular reenactors" 
(men generally can't get too bad since they are in uniform, but a lot of 
women are only in the hobby to follow the guys and do no research  and look 
awful) and "street extras"  who wear what the production company provides 
(often very ill-fitting, poorly made and totally incorrect) and you can tell 
the different groups on screen by the clothing and manner. I also have other 
male friends who are often involved in extra casting who know men's clothing, 
but not women's and have hired some awful looking women (they just *assume* 
the women also do research in what they wear) and  they have promised a 
certain number of bodies.  When my friend (the costume asst) is working, she 
will try to cover up incorrect clothing, change bonnets/hats, etc., ones more 
correct and age suitable, try to get the worst ones stuck way in the back 
(but the farbs always want to be in front). My friends have loaned our own 
extra bits to try to rectify some of the mistakes--we always travel with lots 
since since the production people never know exactly what they want the scene 
to be and we may feel the need to change to something more appropriate. 
Unfortunately, the one person you can never change is "the star" who has 
their own designer with their own ideas of the period (no matter how 
incorrect). Our joke for the field hospital scene in "Love Letter" was that 
Jennifer Jason Leigh was frantically searching for a good costumer and 
hairdresser (or she should have been!). 
      I don't know the budget details, except that lots of money is spent on 
some of the totally inappropriate things the stars wear. While attending the 
props sale for "Lincoln", I looked at the clothing they were selling just for 
a laugh--these were all made for the production, then later sold. They did 
have corsets--made from the Past Patterns  pattern--although only minimally 
boned and that was plastic boning.  The "bonnets" (I hesitate to call them 
that) were these very strange bits of eyelet (yes) and other trims, none with 
the correct shape--and of course the 1830s felt hat blanks that had been 
trimmed (southern women never had a new bonnet in 20 years and never thought 
about cutting down the old shape). Of the newly made women's dresses, there 
were only one or two that were halfway decent -- very plain and being sold 
for hundreds of dollars.  For  "Love Letter" some of the costumes (but 
obviously not the stars) came from Angels in London.
  As for the hairstylists, these are usually hired from the locals, so again, 
usually have no knowledge of the period. The head hairstylist on "Love 
Letter" insisted that everyone's hair be plastered and greased down so as to 
better show off the ringlets on the star. 
 Anyway, the gest of this whole thing is that it was very interesting to 
watch "Hunley"  to see just how bad the women's clothing was since my friend 
did not work in costuming (she worked in another area) where she could try to 
correct/hide some of the things. And they were just as awful as expected--the 
great uncorseted, incorrectly beheaded.  Actually I think I did see the 
correct shape of one bonnet hiding behind a gentleman's head. But mostly, it 
was awful.
      So why do we keep doing this?  It's long days for little pay, very 
early and/or very late hours.  I kept relating to the extras in the rainy 
parade scene in "Hunley" (been there, done that). We gripe and moan and 
complain about all the inaccuracies. But for just coming around every few 
years, it's a way to spend hours and days with friends and have some 
memories--and then later try to see if you can see yourself on film (I know 
I'm in that scene somewhere). Occasionally we can get historical inaccuracies 
changed--but in the end--"it's Hollywood, not History" And the hope that one 
day a film will be done correctly--both historically and clothing wise. 
    Sorry for rambling--it's just one of my pet peeves, from all 
perspectives, seeing it on TV or film, working as an extra, and knowing what 
my friend who works as an "insider" has to put up with since she has the 
knowledge but not the clout to do it correctly.
     Charlene
     
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From owner-h-costume@indra.com  Tue Jul 13 19:08:47 1999
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-Poster: Chantal Pecourt <chanty@idsi.net>

Hello
	I am beginning my involvement with Rev War and am in need of patterns.  I
once had a catalog of clothes and patterns, it was small, about the size of
a slim paper back book. It focused mainly on Scottish clothes and fabrics
but the lady did custom period corsetry for a reasonable price. I can't
fidn my catalog and was wondering if anyone knew of this place or another
that would be able to create the correct undergarments. I am confident in
my ability to sew the outer-clothing but a corset seems difficult, esp with
no patters. On that note, if anyone knows of patterns for the proper corset
that would be great too. The ones I am looking at have the tie shoulder
straps and are not sleeveless.


Thanks so much!!


Chantal

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From owner-h-costume@indra.com  Tue Jul 13 19:57:55 1999
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Subject: Re: H-COST: Re: Hunley on TNT  (Long)
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-Poster: Margo Anderson <margo@directcon.net>

 ArcadiaCB@aol.com wrote:
>
>Have to throw in my $.02 on this.  Previous comments are my sentiments 
>exactly.  It was very interesting to watch this production. I have a friend 
>who works as an assistant costumer/ wardrobe assistant  (or whatever the 
>title is) on movies, including a lot of TNT movies.  She was asked to work on 
>this one and refused to work in the costuming when she found out
that________ was the head costumer--he doesn't know anything about the
period, won't 
>learn and won't listen to anyone and just isn't a nice person for other 
>reasons. 

I'd just like to say that I feel it's poor form to say this sort of thing,
especially when it's hearsay, and to name names, which is why I deleted the
name in question.  Does your friend know that you're posting her stories?
Film is  a small world, and your description of her skills and knowledge
could make her easily identifiable. There are many many more members of this
list than you might think, and some of them are employed in the industry.
It's quite possible that another costumer in a position to hire her will
decide not to, having seen this on the list.  

>,(like the gratuitous sex scene in "Lincoln" where he 
>*unbuttons* her chemise and takes it off)

And why is this incorrect?  I haven't seen the film in question,  but a
number of mid 19th century chemises have  front buttoned plackets. 

Margo Anderson 

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Date: Tue, 13 Jul 1999 18:24:20 -0700
Subject: Re: H-COST: Re: Hunley on TNT  (Long)
From: "R.L. Shep" <rlshep@jps.net>
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-Poster: "R.L. Shep" <rlshep@jps.net>

I am afraid that I consider much of this posting *totally
inappropiate*......
~!~ R.L.Shep
http://www.mcn.org/e/fsbks

----------
>From: ArcadiaCB@aol.com
>To: h-costume@indra.com
>Subject: H-COST: Re: Hunley on TNT  (Long)
>Date: Tue, Jul 13, 1999, 5:14 PM
>

>
>-Poster: ArcadiaCB@aol.com
>
>Have to throw in my $.02 on this.  Previous comments are my sentiments 
>exactly.  It was very interesting to watch this production. I have a friend

>who works as an assistant costumer/ wardrobe assistant  (or whatever the 
>title is) on movies, including a lot of TNT movies.  She was asked to work
on 
>this one and refused to work in the costuming when she found out that
Michael 
>Boyd was the head costumer--he doesn't know anything about the period,
won't 
>learn and won't listen to anyone and just isn't a nice person for other 
>reasons.  Her particular period of expertise is the mid 19th c--when she
has 
>time to do living history events with us (mostly prior to her involvement 
>with movies), her things were wonderful, she also has an extensive
collection 
>of originals. She knows the period. But in the movie world, she's a peon.
The 
>main costumers--who may not know the period--are the last word. Sometimes
she 
>can get things changed,(like the gratuitous sex scene in "Lincoln" where he

>*unbuttons* her chemise and takes it off) but usually has to defer to the 
>head costumer, who does it their way with their ideas of the period  The 
>"stars" generally have their own designers, who seem to never know the
period 
>and only start to "research" it a few weeks before production. I've worked
on 
>several films with my friend since a lot get filmed in this area (most
recent 
>"Day Lincoln was Shot"  (TNT)and "Love Letter" (Hallmark Hall of Fame).  
>Another of my friends has worked as a casting coordinator for "good 
>civilians" --people who know the period, have the correct clothing & 
>accessories, women are all corseted--as opposed to the "regular reenactors"

>(men generally can't get too bad since they are in uniform, but a lot of 
>women are only in the hobby to follow the guys and do no research  and look

>awful) and "street extras"  who wear what the production company provides 
>(often very ill-fitting, poorly made and totally incorrect) and you can
tell 
>the different groups on screen by the clothing and manner. I also have
other 
>male friends who are often involved in extra casting who know men's
clothing, 
>but not women's and have hired some awful looking women (they just *assume*

>the women also do research in what they wear) and  they have promised a 
>certain number of bodies.  When my friend (the costume asst) is working,
she 
>will try to cover up incorrect clothing, change bonnets/hats, etc., ones
more 
>correct and age suitable, try to get the worst ones stuck way in the back 
>(but the farbs always want to be in front). My friends have loaned our own 
>extra bits to try to rectify some of the mistakes--we always travel with
lots 
>since since the production people never know exactly what they want the
scene 
>to be and we may feel the need to change to something more appropriate. 
>Unfortunately, the one person you can never change is "the star" who has 
>their own designer with their own ideas of the period (no matter how 
>incorrect). Our joke for the field hospital scene in "Love Letter" was that

>Jennifer Jason Leigh was frantically searching for a good costumer and 
>hairdresser (or she should have been!). 
>      I don't know the budget details, except that lots of money is spent
on 
>some of the totally inappropriate things the stars wear. While attending
the 
>props sale for "Lincoln", I looked at the clothing they were selling just
for 
>a laugh--these were all made for the production, then later sold. They did 
>have corsets--made from the Past Patterns  pattern--although only minimally

>boned and that was plastic boning.  The "bonnets" (I hesitate to call them 
>that) were these very strange bits of eyelet (yes) and other trims, none
with 
>the correct shape--and of course the 1830s felt hat blanks that had been 
>trimmed (southern women never had a new bonnet in 20 years and never
thought 
>about cutting down the old shape). Of the newly made women's dresses, there

>were only one or two that were halfway decent -- very plain and being sold 
>for hundreds of dollars.  For  "Love Letter" some of the costumes (but 
>obviously not the stars) came from Angels in London.
>  As for the hairstylists, these are usually hired from the locals, so
again, 
>usually have no knowledge of the period. The head hairstylist on "Love 
>Letter" insisted that everyone's hair be plastered and greased down so as
to 
>better show off the ringlets on the star. 
> Anyway, the gest of this whole thing is that it was very interesting to 
>watch "Hunley"  to see just how bad the women's clothing was since my
friend 
>did not work in costuming (she worked in another area) where she could try
to 
>correct/hide some of the things. And they were just as awful as
expected--the 
>great uncorseted, incorrectly beheaded.  Actually I think I did see the 
>correct shape of one bonnet hiding behind a gentleman's head. But mostly,
it 
>was awful.
>      So why do we keep doing this?  It's long days for little pay, very 
>early and/or very late hours.  I kept relating to the extras in the rainy 
>parade scene in "Hunley" (been there, done that). We gripe and moan and 
>complain about all the inaccuracies. But for just coming around every few 
>years, it's a way to spend hours and days with friends and have some 
>memories--and then later try to see if you can see yourself on film (I know

>I'm in that scene somewhere). Occasionally we can get historical
inaccuracies 
>changed--but in the end--"it's Hollywood, not History" And the hope that
one 
>day a film will be done correctly--both historically and clothing wise. 
>    Sorry for rambling--it's just one of my pet peeves, from all 
>perspectives, seeing it on TV or film, working as an extra, and knowing
what 
>my friend who works as an "insider" has to put up with since she has the 
>knowledge but not the clout to do it correctly.
>     Charlene
>     
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME
>


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-Poster: "Franchesca Havas" <ches@io.com>

I must agree. We are not here to tear down a movie for their lack of
whatever. We are here to actually discuss history of dress and how to
reconstruct it for ourselves or something like that I think.....

Sincerely,
F. Havas
Dallas, Texas
motto: Numquam scribae ridente fide


----- Original Message -----
From: R.L. Shep <rlshep@jps.net>
To: <h-costume@indra.com>
Sent: Tuesday, July 13, 1999 8:24 PM
Subject: Re: H-COST: Re: Hunley on TNT (Long)


:
: -Poster: "R.L. Shep" <rlshep@jps.net>
:
: I am afraid that I consider much of this posting *totally
: inappropiate*......
: ~!~ R.L.Shep
: http://www.mcn.org/e/fsbks
:
: ----------
: >From: ArcadiaCB@aol.com
: >To: h-costume@indra.com
: >Subject: H-COST: Re: Hunley on TNT  (Long)
: >Date: Tue, Jul 13, 1999, 5:14 PM
: >
:
: >
: >-Poster: ArcadiaCB@aol.com
: >
: >Have to throw in my $.02 on this.  Previous comments are my sentiments
: >exactly.  It was very interesting to watch this production. I have a

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From owner-h-costume@indra.com  Tue Jul 13 21:21:28 1999
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Date: Tue, 13 Jul 1999 22:30:04 EDT
Subject: H-COST: Apology
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-Poster: ArcadiaCB@aol.com

My apology to all. The prior comments just struck a note on a subject of 
particular interest to me I should have written  the note to air my $.02 then 
deleted it.  Sorry to have offended anyone. Now I'll just slink off. 
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From owner-h-costume@indra.com  Tue Jul 13 21:28:45 1999
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-Poster: Margo Anderson <margo@directcon.net>

At 10:30 PM 7/13/99 EDT, you wrote:
>
>-Poster: ArcadiaCB@aol.com
>
>My apology to all. 

And mine, too.  I realized after posting that I should have replied privately.

Margo

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From owner-h-costume@indra.com  Tue Jul 13 21:29:42 1999
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Date: Tue, 13 Jul 1999 19:39:31 -0700
From: Erin Gault <flapper@pacifier.com>
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Subject: Re: H-COST: Grommet Setters???
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-Poster: Erin Gault <flapper@pacifier.com>

I bought a grommet setter of that size at a hardware store. Not all stores stock
that small of a size though, so you may have to look around. I think I paid about
$15.00. It is fairly heavy duty and is not a gun-type that you find at fabric
stores. Another place you might check is a store that makes items for boats using
canvas. I have actually had them grommet a corset for me when I didn't have time.
I'm sure they can at least order the supplies to do it yourself.

Erin

AnnoraK@aol.com wrote:

> -Poster: AnnoraK@aol.com
>
> In keeping with a recent thread . . .
>
> In conjunction with my first foray into corsetry, I am shopping for the
> aforementioned grommet setter.  I know that Greenberg & Hammer is the best
> place for grommets, but I can't seem to get a catalog out of them,  tho I've
> asked twice in the past six months.   So, I'm going elsewhere for these.  My
> problem is the setter.  The only size 00 setter that I can find (either
> online or in a catalog) is AlterYears' $40 one.  Since I don't know how often
> I'm going to be using this beast, I really don't feel like spending that much
> on one.   Do any of the other grommet sources (Richard the Thread, etc.) sell
> setters to go with them?  Or is there anywhere in the DC Metro area where I
> can pick one up?
>
> Thanx!
> Jen
>  _________________________________________________________________
>  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 Jul 13 22:55:36 1999
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Date: Wed, 14 Jul 1999 00:04:16 EDT
Subject: Re: H-COST: Grommet Setters???
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-Poster: RobesOf@aol.com


<< I bought a grommet setter of that size at a hardware store. Not all stores 
stock
 that small of a size though, so you may have to look around. I think I paid 
about
 $15.00. It is fairly heavy duty and is not a gun-type that you find at fabric
 stores. Another place you might check is a store that makes items for boats 
using
 canvas. I have actually had them grommet a corset for me when I didn't have 
time.
 I'm sure they can at least order the supplies to do it yourself.
 
Good idea, Erin!  I forgot about canvas suppliers carrying grommets.  You 
might try Beacon Fabrics (a supplier of boating canvas, etc.)  I'm not sure 
how small their sizes go, but they are in the $15 - $20 range for a kit.  
They have a web site  
<A HREF="http://www.beaconfabric.com/">Beacon Fabric and Notions - Catalog 
Sales - Your Sewing Resource!
</A>  You can send an email to receive their catalog.  Good luck!

Erica
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From owner-h-costume@indra.com  Tue Jul 13 23:32:31 1999
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To: h-costume@indra.com
From: "Carol J. Bell Cannon" <cjcannon@greymists.com>
Subject: Re: H-COST: Grommet Setters???
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

        My little anvil/grommet setter came from Tandy Leather.  It was
less than $20.  Carol
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From owner-h-costume@indra.com  Wed Jul 14 03:45:06 1999
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Date: Wed, 14 Jul 1999 09:56:02 +0000 (GMT)
From: teddy1 <teddy1@mdx.ac.uk>
Subject: H-COST: Re: h-costume-digest V4 #430
In-reply-to: <199907140015.SAA20075@indra.com>
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-Poster: teddy1 <teddy1@mdx.ac.uk>

Hi Dave,
 
> - -Poster: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>

>   > <>  www.soft.net.uk/wysewords/tewkesbu.htm
> > <>
>  The opening page is up . I hope to have gallery one up by midnight.
> If you discover any problems please let me know;

I hastened to check this out as I hoped to spot myself in one of the 
pictures.  No luck.... to my surprize, however, in the first picture in 
Gallery one has my other half dead centre.  I'd recognizae that 
mitre and chasuble anywhere!

> Every time I go to Tewkesbury the sun shines and I get badly
> sunburnt. So bear with me thru my suffering. thanks Dave 

Surely you didn't get sunburn *last* year - it was the Tewkesbury 
"Rainy-Season" that weekend!

The pictures look great - even if I do have to print them out (B&W) 
to see them clearly as our tech people reset all our graphics to "16 
colour" every time we have an upgrade, and then don't get 'round to 
resetting them until just before the next upgrade....<g>
Teddy
(Trustworthy Evil-Bunny of Destiny, part-time Knave and Creature of
air and darkness, apparently!)
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From: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>
To: <h-costume@indra.com>
Subject: H-COST: "Aristocrats" on BBC1
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-Poster: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>

Any UK list members watching this series? (It's about the daughters of the Duke of Richmond from the 1740s onwards.) I'm no expert on 18th cent. fashions but the general "look" seems excellent to me - but did styles really change so little between the 1740s and 1760s? All the ladies have worn  gowns with saque (sp?) backs and wide-brimmed hats throughout, with little sense of developing fashions so far.

Kate Bunting
Library, University of Derby

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From: "Holliday, Rachel {DISC~Welwyn}" <RACHEL.HOLLIDAY@roche.com>
Subject: RE: H-COST: "Aristocrats" on BBC1
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-Poster: "Holliday, Rachel {DISC~Welwyn}" <RACHEL.HOLLIDAY@roche.com>

I'm not sure about the "home fashions" but court fashion changed very
little.  So far I'm really enjoying the series.  There was an interesting
article in the telegraph last weekend about Louisa's house.  It is still as
she left it, a succession of males with no time to redecorate meant that the
interiors were left untouched but sadly uncared for.  At the time of filming
it was being renovated otherwise they would have used it for the filming.  I
think it is now owned but the Irish Government.
Rachel

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Date: Wed, 14 Jul 1999 07:11:29 -0400
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: "Aristocrats" on BBC1
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

Good series I wondered too about the uniformity of the dresses ?

Not my period though !

What did you think of the cloak (not sure which sister but she too Sarah
(/) and the baby back to bruv

Mel
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From owner-h-costume@indra.com  Wed Jul 14 06:05:46 1999
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Date: Wed, 14 Jul 1999 13:16:35 +0200
From: "Holliday, Rachel {DISC~Welwyn}" <RACHEL.HOLLIDAY@roche.com>
Subject: RE: H-COST: "Aristocrats" on BBC1
To: "'h-costume@indra.com'" <h-costume@indra.com>
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-Poster: "Holliday, Rachel {DISC~Welwyn}" <RACHEL.HOLLIDAY@roche.com>

Wasn't it Louisa, the one with the husband that does what he's told.
Haven't got a clue whether it was period or not but I would love to make one
it looked fantastic.  I'm going to have to go back over the video and make a
sketch of it.
Rachel

Roche Products Limited
40 Broadwater Road
Welwyn Garden City
Hertfordshire
AL7 3AY
Tel: 01707 366441
Registration Number 100674

> -----Original Message-----
> From:	Melanie Wilson [SMTP:MelanieWilson@compuserve.com]
> Sent:	Wednesday, July 14, 1999 12:11 PM
> To:	INTERNET:h-costume-digest@indra.com
> Subject:	H-COST: "Aristocrats" on BBC1
> 
> 
> -Poster: Melanie Wilson <MelanieWilson@compuserve.com>
> 
> Good series I wondered too about the uniformity of the dresses ?
> 
> Not my period though !
> 
> What did you think of the cloak (not sure which sister but she too Sarah
> (/) and the baby back to bruv
> 
> Mel
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
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Subject: Re: H-COST: 18th century clothes
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-Poster: "Kathryn L. Herb" <kayherb@juno.com>

Chantal,

I like Janice Ryan's stays pattern myself.  If you want to have someone
else do yours, contact Deb Jarrett Peterson at 610-287-6939.  She does
very good work by mail with your measurements, in a variety of styles,
and the at best prices I've seen yet.  She loves to talk 18c clothing, so
don't hesitate to ask her questions or for advice if you contact her. 
(Usual disclaimer -- just know her work, her research and her knowledge!)

Kay Herb
kayherb@juno.com

___________________________________________________________________
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From owner-h-costume@indra.com  Wed Jul 14 07:30:49 1999
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Date: Wed, 14 Jul 1999 08:41:32 -0400
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Costume books on eBay
To: LIST historic costume <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

Costume in Pictures by Phillis Cunnington

150 illustrations of contempory artists from the Middle ages to the 20th C.
 Ex-lib PB in Good condition

     http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=131478470


English Costume of the 17th Century by Iris Brooke

Shows the evolution of costume during this century, Includes many of Iris
Brookes excellent drawings, both line and coloured, and a consise easy to
understand description of each item.  Iris Brooke as ever covers not only
garments, but Hair styles and headwear.  Ex lib HB in VG condition


     http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=131478325


English Costume of the Early Middle Ages by Iris Brooke

Shows the evolution of costume during the 10th to 13th centuries, Includes
many of Iris Brookes excellent drawings, both line and coloured, and a
consise easy to understand description of each item.  Iris Brooke as ever
covers not only garments, but Hair styles and headwear.  Ex lib HB in VG
condition, probable repair to spine.


     http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=131478152


English Costume of the Later Middle Ages by Iris Brooke

Shows the evolution of costume during the 14th and 15th centuries, Includes
many of Iris Brookes excellent drawings, both line and coloured, and a
consise easy to understand description of each item.  Iris Brooke as ever
covers not only garments, but Hair styles and headwear.  Ex lib HB in VG
condition, with slightly damaged dust wrapper.


     http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=131477937

Dress & Undress by Iris Brooke

Shows the evolution of costume 1660-1800, Includes many of Iris Brookes
excellent drawings, both line and coloured, and a consise easy to
understand description of each item.  Iris Brooke as ever covers not only
garments, but Hair styles and headwear.  She goes on to explain the terms
dress and undress in their period contexts Ex lib HB in VG condition.


     http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=131477747

Mel
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From owner-h-costume@indra.com  Wed Jul 14 08:57:19 1999
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Date: Wed, 14 Jul 1999 10:08:19 EDT
Subject: Re: H-COST: Re: Hunley on TNT  (Long)
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-Poster: AlbertCat@aol.com

In a message dated 7/13/99 8:17:35 PM Eastern Daylight Time, 
ArcadiaCB@aol.com writes:

<<  Sorry for rambling--it's just one of my pet peeves, from all 
 perspectives, seeing it on TV or film, working as an extra, and knowing what 
 my friend who works as an "insider" has to put up with since she has the 
 knowledge but not the clout to do it correctly. >>


Don't apologize, my Dear; I've never read a better description of what goes 
on in cheap, fast, made-for TV, period movies. I hate working on them but I 
get $20 an hour & those hours add up big time.

Just to make those of you in shock feel a little better........

On the big films I've worked on like "Interview with the Vampire" & "Last of 
the Mohicans", we made 60% of the extras and correctly [corsets, cut]. My 
favorite job was "Mohicans" where I got to develop a woman's jacket from 
original sources, and then make 15 of them with variations [cuffs or ruffles 
or nothing on the sleeve....button, or hook & eye or lace down CF...etc.] 
from incredible fabrics. Of course they had budget budget budget & time time 
time....but it can be done right & be a total joy to work on some films.
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Subject: Re: H-COST: Re: Hunley on TNT  (Long)
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-Poster: AlbertCat@aol.com

In a message dated 7/13/99 9:52:26 PM Eastern Daylight Time, ches@io.com 
writes:

<< 
 I must agree. We are not here to tear down a movie for their lack of
 whatever. We are here to actually discuss history of dress and how to
 reconstruct it for ourselves or something like that I think.....
  >>

I don't think any of her statements will hurt anybody. Lighten up...her 
description is exactly what I've been through a number of times. It sounds 
cynical but is very accurate. It's really no worse than posting about how 
awful things look....now we know why.
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From owner-h-costume@indra.com  Wed Jul 14 11:59:01 1999
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-Poster: kat@grendal.rain.com


> A friend just got back from France and she claims to have seen a bas relief
> in a Toulouse church showing two women with trousers under their dresses. 
> She said the women were wearing somewhat loose, mid-calf dresses with round
> necklines and elbow length sleeves;  under this they were wearing ankle
> length trousers with seams up the fronts of the legs.

Haven't seen anything like this. How does she know they were women? 
What was the context (which in church reliefs are especially 
important because sometimes they were done to show some wierd 
iconography like "women of elsewhere" or "women who think they are 
men and should be burned.")?

Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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From owner-h-costume@indra.com  Wed Jul 14 13:44:14 1999
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Date: Wed, 14 Jul 1999 14:57:22 -0400
To: h-costume@indra.com
From: Chantal Pecourt <chanty@idsi.net>
Subject: Re: H-COST: 18th century clothes
In-Reply-To: <19990709.172151.5231.0.kayherb@juno.com>
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-Poster: Chantal Pecourt <chanty@idsi.net>

Hello
	Thanks for the info. Where can one get Janice Ryan's patterns? Does Deb
Jarrett have email?

Thank you!


Chantal

At 07:40 AM 7/14/99 -0400, you wrote:
>
>-Poster: "Kathryn L. Herb" <kayherb@juno.com>
>
>Chantal,
>
>I like Janice Ryan's stays pattern myself.  If you want to have someone
>else do yours, contact Deb Jarrett Peterson at 610-287-6939.  She does
>very good work by mail with your measurements, in a variety of styles,
>and the at best prices I've seen yet.  She loves to talk 18c clothing, so
>don't hesitate to ask her questions or for advice if you contact her. 
>(Usual disclaimer -- just know her work, her research and her knowledge!)
>
>Kay Herb
>kayherb@juno.com
>
>___________________________________________________________________
>Get the Internet just the way you want it.
>Free software, free e-mail, and free Internet access for a month!
>Try Juno Web: http://dl.www.juno.com/dynoget/tagj.
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
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From owner-h-costume@indra.com  Wed Jul 14 14:24:58 1999
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-Poster: kat@grendal.rain.com


> Wasn't it Louisa, the one with the husband that does what he's told.
> Haven't got a clue whether it was period or not but I would love to make one
> it looked fantastic.  I'm going to have to go back over the video and make a
> sketch of it.

There is a book about the series which shows many costume details, 
sketches and the like. (Unfortunately, I can't seem to find it this 
morning. I picked it up in England at a bookstore in one of the train 
stations.)

Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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From owner-h-costume@indra.com  Wed Jul 14 17:17:15 1999
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Subject: H-COST: Eliz. footwear?
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-Poster: Schmitt100@aol.com

I am in the process of working on my hubby's outfit for Eliz. England. We are 
mid - to - upper middle class. The footwear vendors at our local Renn Faire 
tend towards the moccasin-type shoe/boot. This does not feel right to me. 
What would be appropriate footwear for him? Where would I be able to 
purchase? 

**********************
Rebecca Schmitt
So many books, so little time

We can't solve problems by using the same kind of thinking as we used when we 
created them.						-Albert Einstein

schmitt100@aol.com
**********************
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From owner-h-costume@indra.com  Wed Jul 14 17:25:35 1999
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-Poster: The Purple Elephant <csmart@physics.adelaide.edu.au>

On Wed, 14 Jul 1999, KATE M BUNTING wrote:

> 
> -Poster: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>
> 
> Any UK list members watching this series? (It's about the daughters of the Duke of Richmond from the 1740s onwards.) I'm no expert on 18th cent. fashions but the general "look" seems excellent to me - but did styles really change so little between the 1740s and 1760s? All the ladies have worn  gowns with saque (sp?) backs and wide-brimmed hats throughout, with little sense of developing fashions so far.
> 
I haven't seen the series, but I ran across a book about it the other day
and was flipping through. This isn't really my period, but I did notice
that some of the skirts on the gowns were 'chevron-pleated' and I do recall
Hunnisett saying that was a theatrical technique.....
------------------------------------------------------------------------------
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 Jul 14 17:28:06 1999
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Date: Wed, 14 Jul 1999 18:38:39 -0400
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Veiling
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

Anyone know of a supplier, preferably in the UK but mail order US would do

Thanks

Mel
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From owner-h-costume@indra.com  Wed Jul 14 17:34:32 1999
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-Poster: Merouda the True of Bornover <keltia@serv.net>

> Anyone know of a supplier, preferably in the UK but mail order US would do

I've never heard of a supplier for veiling.  What do you mean by veiling?  Can
you get your hands on fine linen or silk.  That would work.

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


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Subject: H-COST: Elizabethan Footwear
Date: Wed, 14 Jul 1999 19:08:29 -0400
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-Poster: "Andrea Gideon" <andrea.gideon@erols.com>

This is a multi-part message in MIME format.

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My husband and I both got ours from Syke's Sutlering.  They are hand made by
Sarah Jasper and very authentic looking.

 http://users.aol.com/sykesutler/intro.html

Andrea

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From owner-h-costume@indra.com  Wed Jul 14 18:00:31 1999
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Subject: Re: H-COST: 18th century clothes
Message-ID: <19990709.202801.5231.5.kayherb@juno.com>
References: <4.1.19990713201906.0096d780@pop.idsi.net>
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-Poster: "Kathryn L. Herb" <kayherb@juno.com>

Well, nothin' like giving information without including half of it! 
<sheepish grin>  Tidy's Storehouse (tidys@brandywine.com) carries J. P.
Ryan as do other sutlers whose names I can't bring to mind at this
second.  Deb's e-mail is debpeterson@juno.com.

Kay Herb
kayherb@juno.com

On Wed, 14 Jul 1999 14:57:22 -0400 Chantal Pecourt <chanty@idsi.net>
writes:
>
>-Poster: Chantal Pecourt <chanty@idsi.net>
>
>Hello
>	Thanks for the info. Where can one get Janice Ryan's patterns? 
>Does Deb
>Jarrett have email?
>
>Thank you!
>
>
>Chantal
>
>At 07:40 AM 7/14/99 -0400, you wrote:
>>
>>-Poster: "Kathryn L. Herb" <kayherb@juno.com>
>>
>>Chantal,
>>
>>I like Janice Ryan's stays pattern myself.  If you want to have 
>someone
>>else do yours, contact Deb Jarrett Peterson at 610-287-6939.  She 
>does
>>very good work by mail with your measurements, in a variety of 
>styles,
>>and the at best prices I've seen yet.  She loves to talk 18c 
>clothing, so
>>don't hesitate to ask her questions or for advice if you contact her. 
>
>>(Usual disclaimer -- just know her work, her research and her 
>knowledge!)
>>
>>Kay Herb
>>kayherb@juno.com
>>
>>___________________________________________________________________
>>Get the Internet just the way you want it.
>>Free software, free e-mail, and free Internet access for a month!
>>Try Juno Web: http://dl.www.juno.com/dynoget/tagj.
>> _________________________________________________________________
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>> with the message UNSUBSCRIBE H-COSTUME
>
>
> _________________________________________________________________
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> with the message UNSUBSCRIBE H-COSTUME

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Date: Wed, 14 Jul 1999 21:32:54 EDT
Subject: Re: H-COST: 18th century clothes
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-Poster: DzMzLzy@aol.com

In a message dated 7/14/99 12:00:20 PM Pacific Daylight Time, chanty@idsi.net 
writes:

<< 	Thanks for the info. Where can one get Janice Ryan's patterns? Does 
Deb
 Jarrett have email? >>

Use any good search engine for sewing patterns and you can find them on the 
web.  I don't know the URL, but the company name is J.P.Ryan 

Liz Gerds
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From: "Joel Thompson" <sleipnir@gateway.net>
To: <h-costume@indra.com>
Subject: Re: H-COST: Re: Ladies' trousers, 12thC
Date: Wed, 14 Jul 1999 23:08:21 -0400
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-Poster: "Joel Thompson" <sleipnir@gateway.net>




claims to have seen a bas relief
in a Toulouse church showing two women with trousers under their dresses. 
She said the women were wearing somewhat loose, mid-calf dresses with round
necklines and elbow length sleeves;  under this they were wearing ankle
length trousers with seams up the fronts of the legs.

This sounds a lot like an illustration that I found several months ago. It's in "Historic Costume in Pictures" by Braun and Schneider, plate 13, the 11th century.  It shows a Norman woman looking remarkably like the  description Kristin gives, except the woman in the illustration is definitely wearing hosen. I had heretofore credited the picture  to  Victorian imagination, but perhaps there is some merit after all.  Still, I would like to have more evidence that medieval women ever showed their legs, whether wearing hosen, trousers, or whatever. 

Waiting for more.....
Linda Rice




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Date: Wed, 14 Jul 1999 23:28:08 -0500
From: Marc Carlson <marc-carlson@utulsa.edu>
Subject: Re: H-COST: Elizabethan Footwear
To: h-costume@indra.com
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-Poster: Marc Carlson <marc-carlson@utulsa.edu>

> From: Schmitt100@aol.com
> Date: Wed, 14 Jul 1999 18:27:28 EDT
> Subject: H-COST: Eliz. footwear?
>
> - -Poster: Schmitt100@aol.com
>
> I am in the process of working on my hubby's outfit for Eliz. England. We are
> mid - to - upper middle class. The footwear vendors at our local Renn Faire
> tend towards the moccasin-type shoe/boot. This does not feel right to me.
> What would be appropriate footwear for him? Where would I be able to
> purchase?

Um, no, a moccasin-type anything is not correct for any sort of Elizabethan shoe.  If you
go to the website that Andrea suggested and take a look at the men's shoe they have there, and picture that with no heel, you can see one of the two major popular styles.  The other is a more of a slipper looking thing.  I don't know of anyone who makes them for sale, but I suspect that there must be someone.  If you are interested in making them yourself, let me know and I'll give you what help I can.

(BTW, for the record,  the designs for Tudor shoes at "http://www.pbm.com/~lindahl/carlson/SHOEHOME.HTM"
 are mostly flawed.  The _Mary Rose_ shoe is ok, and the "Lady's Elizabethan shoe" is barely
ok (the sole is the wrong shape).  I am informed by those who know that the toggle latched shoe
is "pure crap".  Unfortunately, I don't have anything to replace them with at the moment.  I am planning on going to London in the Fall to get a better idea of what these should look like.)

Marc Carlson
marc-carlson@utulsa.edu

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From owner-h-costume@indra.com  Thu Jul 15 04:41:51 1999
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Date: Thu, 15 Jul 1999 11:51:42 +0200
From: "Holliday, Rachel {DISC~Welwyn}" <RACHEL.HOLLIDAY@roche.com>
Subject: H-COST: Boning suppliers
To: "Historic Costume List (E-mail)" <h-costume@indra.com>
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-Poster: "Holliday, Rachel {DISC~Welwyn}" <RACHEL.HOLLIDAY@roche.com>

I am looking for a supplier of boning.  I am due to start work on an
Elizabethan bodice and farthingale and require boning for both.  I would
prefer this supplier to be in the UK or if elsewhere to accept credit cards.
Thanks
Rachel
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Date: Thu, 15 Jul 1999 11:43:49 +0000 (GMT)
From: teddy1 <teddy1@mdx.ac.uk>
Subject: H-COST: Sideless surcotes question
To: h-costume-digest@indra.com
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-Poster: teddy1 <teddy1@mdx.ac.uk>

Hello listmembers, 

I'm doing a "collective knowledge" question here...

At the Tewkesbury battle-reenactment last weekend, i was drawn 
to a traders' stall that had a garment on display that was made 
from a beautiful purple silk brocade.

The garment in question was the top half of a "sideless-surcote"  
When the stallholder explained that this was all she could make 
out of the remnant she had used I asked what she was going to 
use for the skirts and she told me that there *were* no skirts to go 
with it.  She said she had made several of these garments to be 
worn over fitted gowns and that there were both skirted and 
unskirted versions of this garment.

This doesn't sound right to me.  I don't recall ever seeing a 
picture/diagram/painting/illo that showed an unskirted version of 
these surcotes... or have I seen them and just assumed the skirts 
that showed below them were the surcote rather than the skirts of 
the gown beneath?

Anyone out there care to comment.  The trader didn't have any of 
her sources with ehr and was unable to give me details without 
them, and I only ever see her at this annual event, so am unlikely 
to get any further by that route.

Puzzled





Teddy
(Trustworthy Evil-Bunny of Destiny, part-time Knave and Creature of
air and darkness, apparently!)
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From: rio@austin.rr.com (StrangeGirl)
To: h-costume@indra.com
Subject: Re: H-COST: Sideless surcotes question
Date: Thu, 15 Jul 1999 11:27:51 GMT
Organization: The Corner of my Desk
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-Poster: rio@austin.rr.com (StrangeGirl)

On Thu, 15 Jul 1999 11:43:49 +0000 (GMT),  teddy1 <teddy1@mdx.ac.uk>
wrote:

>The garment in question was the top half of a "sideless-surcote"  
>When the stallholder explained that this was all she could make 
>out of the remnant she had used I asked what she was going to 
>use for the skirts and she told me that there *were* no skirts to go 
>with it.  She said she had made several of these garments to be 
>worn over fitted gowns and that there were both skirted and 
>unskirted versions of this garment.

Wow. I've *never*ever* heard this one before. Seriously!

Erm. It sounds as though she's taking the fossilized court  versions
of the sideless surcote over-literally. This type are shown with the
skirts pleated/gathered into the supporting band around the hips. I
trust this was the type she had for sale?

(pause here, while I rush to my bookshelf and dig for references)

This seems to be the final form of the sideless surcote just before it
went out of fashion for everything besides ceremonial court wear.
Having made this type once or twice, I can see where she got confused,
especially if she was using only redrawings and dodgy 19th and 20th c.
theatrical costume texts for reference. Racinet, for one infamous
example. (which I have, but is -deservedly- in storage for the time
being)

In all my research, I have *never* seen anything that could be
*reliably* construed as a sidless-surcote-bodice-thing-without-skirts.
Ever. Maybe some poor redrawings from victorian costume books, which
may have the girdle showing where it never does in primary source art,
or have the skirts shown as the same colour as the undergown.
(Racinet, again, comes to mind. Blame the colourists, if you must. I
do.)

Did she perhaps mention where she found this gem of knowledge? If it
is indeed true (which I find *extremely* doubtful as I am currently
researching this period in depth and have seen nothing like this in
the artwork I have been studying) I would love to know what sort of
documentation she has based it on. New sources are always welcome.

OTOH, it could be another reenactor-myth. "so-and-so said this was
done, so it was done"... I have had to steer around enough of those in
my time. :P Or it could possibly be a cheap theatre trick (a little
budget extender learnt in school, perhaps?) to double the scenes got
from one costume gown? I can see this used by a small repertory
theatre group or a low-budget school Shakespeare production.

Margery, wondering about this now  *quizzical*

~~~~~~~~~~~~~~There is no spoon~~~~~~~~~~~~~~~~
{*to reply take "spambegone" from my reply-to address*}
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From owner-h-costume@indra.com  Thu Jul 15 07:11:43 1999
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Date: Thu, 15 Jul 1999 08:22:52 -0400 (EDT)
From: Kevin & Mara Riley <lindo@Radix.Net>
To: h-costume@indra.com
Subject: Re: H-COST: Grommet Setters???
In-Reply-To: <378BF863.B37DF90E@pacifier.com>
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-Poster: Kevin & Mara Riley <lindo@Radix.Net>

What period is your corset?  Grommets aren't period for the 1700s, so you
might not need them.


> AnnoraK@aol.com wrote:
> 
> > -Poster: AnnoraK@aol.com
> >
> > In keeping with a recent thread . . .
> >
> > In conjunction with my first foray into corsetry, I am shopping for the
> > aforementioned grommet setter.  I know that Greenberg & Hammer is the best
> > place for grommets, but I can't seem to get a catalog out of them,  tho I've
> > asked twice in the past six months.   So, I'm going elsewhere for these.  My
> > problem is the setter.  The only size 00 setter that I can find (either
> > online or in a catalog) is AlterYears' $40 one.  Since I don't know how often
> > I'm going to be using this beast, I really don't feel like spending that much
> > on one.   Do any of the other grommet sources (Richard the Thread, etc.) sell
> > setters to go with them?  Or is there anywhere in the DC Metro area where I
> > can pick one up?
> >
> > Thanx!
> > Jen
> >  _________________________________________________________________
> >  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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Date: Thu, 15 Jul 1999 08:40:40 -0400 (EDT)
From: Kevin & Mara Riley <lindo@Radix.Net>
To: h-costume@indra.com
Subject: Re: H-COST: 18th century clothes
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-Poster: Kevin & Mara Riley <lindo@Radix.Net>

James Townsends carries J. P. Ryan's patterns:
http://www.jastown.com/

Cheers,
Mara

> >-Poster: Chantal Pecourt <chanty@idsi.net>
> >
> >Hello
> >	Thanks for the info. Where can one get Janice Ryan's patterns? 
> >Does Deb
> >Jarrett have email?
> >
> >Thank you!

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From: "Amanda Reeves" <alr@io.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Veiling
Date: Thu, 15 Jul 1999 08:55:23 -0500
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-Poster: "Amanda Reeves" <alr@io.com>

I'm a belly dancer and there are a lot of suppliers for veils. Is this what
you are looking for? If so, I'm happy to send you some web sites.

Amanda

----------
> From: Melanie Wilson <MelanieWilson@compuserve.com>
> To: LIST historic costume <h-costume-digest@indra.com>
> Subject: H-COST: Veiling
> Date: Wednesday, July 14, 1999 5:38 PM
> 
> 
> -Poster: Melanie Wilson <MelanieWilson@compuserve.com>
> 
> Anyone know of a supplier, preferably in the UK but mail order US would
do
> 
> Thanks
> 
> Mel
>  _________________________________________________________________
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From owner-h-costume@indra.com  Thu Jul 15 08:46:36 1999
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Date: Thu, 15 Jul 1999 09:57:26 -0400
To: h-costume@indra.com
From: Donna Kenton <kenton@neaccess.net>
Subject: Re: H-COST: Sideless surcotes question
In-Reply-To: <3793bf26.344475431@smtp-server.austin.rr.com>
References: <8A3A3145D04@mdx-ref1.nw.mdx.ac.uk>
 <8A3A3145D04@mdx-ref1.nw.mdx.ac.uk>
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-Poster: Donna Kenton <kenton@neaccess.net>

At 11:27 AM 7/15/99 GMT, you wrote:
>
>-Poster: rio@austin.rr.com (StrangeGirl)
>
>On Thu, 15 Jul 1999 11:43:49 +0000 (GMT),  teddy1 <teddy1@mdx.ac.uk>
>wrote:
>
>>The garment in question was the top half of a "sideless-surcote"  
>>When the stallholder explained that this was all she could make 
>>out of the remnant she had used I asked what she was going to 
>>use for the skirts and she told me that there *were* no skirts to go 
>>with it.  She said she had made several of these garments to be 
>>worn over fitted gowns and that there were both skirted and 
>>unskirted versions of this garment.
>
>Wow. I've *never*ever* heard this one before. Seriously!
>
>Erm. It sounds as though she's taking the fossilized court  versions
>of the sideless surcote over-literally. This type are shown with the
>skirts pleated/gathered into the supporting band around the hips. I
>trust this was the type she had for sale?

It's also possible that she was using an idea taken from a modern pattern.
I've seen costuming patterns -- albeit BAD ones! -- where the "fitted
bodice" was merely a vest worn over a chemise.  I can see how someone might
stretch that idea to another style to create the illusion.

Donna Kenton

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Subject: H-COST: medieval clothing patterns
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-Poster: KLWasden@aol.com

Does anyone have any information regarding online or printed catalogs for 
medieval clothing and/or patterns?

Thanks,
Kevin
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From owner-h-costume@indra.com  Thu Jul 15 10:32:29 1999
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Subject: Re: H-COST: Sideless surcotes question
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-Poster: cynthia j ley <cley@juno.com>

Re: Unskirted surcoats:

That doesn't sound right to me either--although I am just a novice
costumer. :-)

The ladies' version as far as I know always has a skirt, although it
isn't usually a separate piece. A ladies surcoat is a sort of shoulder to
floor affair.

Men wore fighting surcoats, and even these had a shorter skirt on them.


I think I'm more puzzled than you are. 



					Arlys

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From owner-h-costume@indra.com  Thu Jul 15 10:36:29 1999
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Date: Thu, 15 Jul 1999 08:48:30 -0700
From: Merouda the True of Bornover <keltia@serv.net>
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-Poster: Merouda the True of Bornover <keltia@serv.net>

Well, I "do" 14th century and from all my research (granted, there's
always more research to do) I have never seen such a thing.  The only
thing it reminds me of are some of those costuming books that show some
kind of vesty thing worn with bliauts.  And I seriously doubt the
accuracy of those too.    Cynthia

> The garment in question was the top half of a "sideless-surcote"
> When the stallholder explained that this was all she could make
> out of the remnant she had used I asked what she was going to
> use for the skirts and she told me that there *were* no skirts to go
> with it.

--
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 Jul 15 11:56:24 1999
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From: "Hope H. Dunlap" <hhdunlap@msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: medieval clothing patterns
Date: Thu, 15 Jul 1999 12:56:28 -0400
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-Poster: "Hope H. Dunlap" <hhdunlap@msn.com>



Medieval patterns are on-line at http:www.alteryears.com,
http://www.fortunecity.com/bally/treelee/147/patterns.htm,
and http://www.richardthethread.com.





> -----Original Message-----
> From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
> Behalf Of KLWasden@aol.com
> Sent: Thursday, July 15, 1999 11:12 AM
> To: h-costume@indra.com
> Subject: H-COST: medieval clothing patterns
>
>
>
> -Poster: KLWasden@aol.com
>
> Does anyone have any information regarding online or
printed
> catalogs for
> medieval clothing and/or patterns?
>
> Thanks,
> Kevin
>
____________________________________________________________
_____
>  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 Jul 15 12:11:16 1999
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-Poster: Merouda the True of Bornover <keltia@serv.net>

These are my SCA merchants bookmarks

http://www.historicenterprises.com./black_swan/
http://www.geocities.com/Area51/Lair/5459/bliaut.html
http://www.medievalwares.com/
http://www.datasys.net/polish/merchantsrow.html
http://www.heavymetalinc.com/
http://www.historicenterprises.com/swanlion/
http://www.extremezone.com/~medieval/products.htm
http://www.acadiacom.net/bendaw/
http://www.concentric.net/~Stircraz/linkpage.html
http://www.pillagedvillage.com/pillagedvillage/pvonline.cgi/TrimMain
http://www.pbm.com/~lindahl/merchants/

> Does anyone have any information regarding online or printed catalogs for
> medieval clothing and/or patterns?

--
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 Jul 15 12:36:24 1999
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Date: Thu, 15 Jul 1999 19:44:43 +0200
To: h-costume@indra.com
From: Nina Marcks v W <nina.marcks@swipnet.se>
Subject: Re: H-COST: medieval clothing patterns
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-Poster: Nina Marcks v W <nina.marcks@swipnet.se>

Harper House has mediaval patterns among a lot of other patterns for all
historical costumes. They can be found on

www.longago.com

I have just learned that Harper House now has a completly new owner and I
have got very quick answers via e-mail on all my questions.

Nina in Sweden



At 11:12 1999-07-15 EDT, you wrote:
>
>-Poster: KLWasden@aol.com
>
>Does anyone have any information regarding online or printed catalogs for 
>medieval clothing and/or patterns?
>
>Thanks,
>Kevin
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME
>
>


####################################
Nina Marcks v W
Sweden
e-mail:nina.marcks@swipnet.se
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-Poster: Margo Anderson <margo@directcon.net>

After some years away, I'm getting back into the SCA.  Having displayed
insufficient reluctance, I am now the Mistress of Arts for our shire, and
I've been asked to do a "basic costuming" workshop. 

I'm all too familar with the standard  "Mr. T-tunic is our friend" approach,
using modern materials, trim, and sewing methods to produce a quick and easy
medievaloid garment.   I'd like to at least touch on how these things would
have been constructed in period. 


How would the keyhole neck have been finished?  The rest of a tunic seems to
have been carefully cut to conserve fabric and use the full width as much as
possible.  Somehow, the idea of then cutting out a shaped facing doesn't
seem likely.  Would they have bound the edge?  If so, with self fabric or a
woven trim, possible a decorative one?  Or would it have just been rolled
and hemmed, which is difficult to do smoothly?

I know to caution them to use wool and linen, and I can show examples of
trims and embroideries that are good or bad.  Anything else I should tell
them?  

Margo Anderson


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From owner-h-costume@indra.com  Thu Jul 15 12:48:52 1999
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From: Marie Schulte <mschulte@post.its.mcw.edu>
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Subject: H-COST: Re: T-tunics
To: h-costume@indra.com
Date: Thu, 15 Jul 1999 12:51:28 -0500 (CDT)
In-Reply-To: <199907151746.KAA20198@zeus.directcon.net> from "Margo Anderson" at Jul 15, 99 10:46:14 am
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-Poster: Marie Schulte <mschulte@post.its.mcw.edu>

Why not look through _Cut of my cote_, published through the Royal
Ontario Museum, I think.  It gives several diagrams of different shirts,
tunics, and coats (I think).  Many that fall in the SCA period were made
of simple squares and triangles.....at least from what I recall.
Moreover, my copy is in storage.  Maybe someone else with this invaluable
pamphlet could comment.

-marie

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From owner-h-costume@indra.com  Thu Jul 15 13:06:44 1999
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-Poster: Kat & Kent <kdyer@home.com>

I've made tons of t-tunics and not a one had a keyhole neckline.  I've
cut 'v's, circular, and square.  Finished them by using a small hem. 
Sometimes I would add trim about a 1/4" from the edge and sometimes I
trimmed them by using colored or metallic thread and a fancy stitch when
I was hemming.  Mistress Nerak makes keyhole t-tunics and uses a facing
(usually of a complementary color and then turns it to the front and
does a fancy stitch at the neckline and the edge of the facing.

Kat
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Subject: Re: H-COST: H-cost:  T-tunics, etc
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-Poster: AlbertCat@aol.com

In a message dated 7/15/99 2:18:02 PM Eastern Daylight Time, kdyer@home.com 
writes:

<< 
 I've made tons of t-tunics and not a one had a keyhole neckline.  I've
 cut 'v's, circular, and square.  Finished them by using a small hem. 
 Sometimes I would add trim about a 1/4" from the edge and sometimes I
 trimmed them by using colored or metallic thread and a fancy stitch when
 I was hemming.  Mistress Nerak makes keyhole t-tunics and uses a facing
 (usually of a complementary color and then turns it to the front and
 does a fancy stitch at the neckline and the edge of the facing.
  >>

This is not my period but I think it's safe to assume that just about any 
method we might think of today, that is not machine oriented, would have been 
thought of back then. A shaped facing does not seem out of place; especially 
if it made up &/or pieced together from scraps. A contrasting facing seems OK 
if the fabric is left over from something else...scraps again. Rolled hems & 
straight facings will obviously work as mentioned above. Hand bindings & 
decorative embroidered overcastings all seem appropriate.
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From owner-h-costume@indra.com  Thu Jul 15 13:37:21 1999
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Date: Thu, 15 Jul 1999 11:48:41 -0700
From: Merouda the True of Bornover <keltia@serv.net>
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-Poster: Merouda the True of Bornover <keltia@serv.net>

> I'd like to at least touch on how these things would
> have been constructed in period.

Several of the bog tunics from Marc Carlsons website
http://www.geocities.com/Athens/Parthenon/5923/  show pattern shapes.

There is a photo in Joan Evans' "Dress in Medieval France" that shows an extant
"chainse".  This is a basic t-tunic.  The neck is a basic circle.  The "keyhole"
cut, really just a slit, is to the left of center.  It appears that the cut of
the neckhole has been finished with a bias tape like method.  Then an
embellishment of either embroidery, trim, or fabric in a square with the
neckhole cut out is sewn down.  The sleeve ends are heaviliy embroidered, even
pearls are used, maybe about 2-3" wide.  So is the hem, the trim at hem is about
5" wide.

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 Jul 15 13:55:36 1999
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From: "Jennifer Gibson" <chula@midwest.net>
To: <h-costume@indra.com>
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Subject: H-COST:  Garment Colors in the Civil War Era
Date: Thu, 15 Jul 1999 13:53:13 -0500
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-Poster: "Jennifer Gibson" <chula@midwest.net>

Hello,

I am new to the list as well as the world of living history.  I am in the
process of beginning what will no doubt be a huge amount of research on the
Civil War to adequately develop a persona.

Would anyone happen to know where I could find information on the colors
used in clothing of the Civil War era?  I will greatly appreciate any leads.

Thanks so much, Jenny

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From owner-h-costume@indra.com  Thu Jul 15 14:55:28 1999
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From: "Jessica Wilbur" <jessica@pop.net>
To: h-costume@indra.com
Date: Thu, 15 Jul 1999 16:04:43 -0400
Subject: Re: H-COST: correcting info again
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-Poster: "Jessica Wilbur" <jessica@pop.net>

Hello again,

Just a quick note as a point of information: the paperback copy of Ashelford that I have 
was published in 1993. The original edition was published in 1983, or thereabouts. 

--Jessica

> 
> However, I would like to point out that scholarship and research are part
> of a continuous process. In the case of the portrait of Elizabeth Seymour,
> once thought to be Catherine Howard, look at the publication date of
> Ashelford's book. I believe it was published in the mid 1980s, and probably
> never updated when it was republished -- that's not Ashelford's fault. I
> don't think *any* of the books in that series went into second editions,
> until they were collected (and edited down) into the large format, by
> Aileen Ribeiro.
> 
> 15 years is a long time ago, particularly in clothing history. She can't be
> held accountable for discoveries made after her book was published.
> 
> It's up to the reader to read carefully and critically, and read widely.
> 
> 
> 
> Deborah
> 
> 
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
> 


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From owner-h-costume@indra.com  Thu Jul 15 15:37:46 1999
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Date: Thu, 15 Jul 1999 16:46:10 -0400
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Boning UK
To: "INTERNET:h-costume-digest@indra.com" <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

>I am looking for a supplier of boning.  I am due to start work on an
Elizabethan bodice and farthingale and require boning for both.  I would
prefer this supplier to be in the UK or if elsewhere to accept credit
cards.

Now here I can help !

What type, steel, spiral, nylon (ugh !)

I use spiral for Victorian corsets, very comfortable & steel for my
bustles.

Both from the UK.

Mel
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Date: Thu, 15 Jul 1999 16:46:09 -0400
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Veiling
To: "INTERNET:h-costume-digest@indra.com" <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

>I'm a belly dancer and there are a lot of suppliers for veils. Is this
what
you are looking for? If so, I'm happy to send you some web sites.

Me too but I'm afraid not, it is for wearing over ones face with a hat, net
like but not with hugh holes like modern veiling.

Mel
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Date: Thu, 15 Jul 1999 16:46:11 -0400
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Veiling
To: "INTERNET:h-costume-digest@indra.com" <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

>I've never heard of a supplier for veiling.  What do you mean by veiling? 


it is like a fine soft net

>Can
you get your hands on fine linen or silk.  That would work.

Yes but it isn't what I want ! :)

I have some on my side saddle topper, but it is old,....   1930s or so & I
can't find anything similar now

Mel
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Date: Thu, 15 Jul 1999 15:48:51 -0800
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-Poster: Lynn Downward <ldownward@mail.cho.org>

>-Poster: Melanie Wilson <MelanieWilson@compuserve.com>
>
>>I've never heard of a supplier for veiling.  What do you mean by veiling?
>
>
>it is like a fine soft net
>
>>Can
>you get your hands on fine linen or silk.  That would work.
>
>Yes but it isn't what I want ! :)
>
>I have some on my side saddle topper, but it is old,....   1930s or so & I
>can't find anything similar now
>
>Mel


Mel, Have you looked at millinery supplies houses?  Or wedding stores?
Those are very obvious, but you could try.  I know of supply houses in New
York and Los Angeles that do shipping, but I don't have the names handy and
I'll be away for the weekend starting in about 1 1/2 hours.  AH, the name
of the place in L.A. is Embellishments and I think they have a website.

Good luck in you rhunt!
LynnD
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From: <lisaleon@hawaii.edu>
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Subject: Re: H-COST: Re: T-tunics
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-Poster: <lisaleon@hawaii.edu>

> Why not look through _Cut of my cote_, published through the Royal
> Ontario Museum, I think.  It gives several diagrams of different shirts,
> tunics, and coats (I think).

After a quick skim, here are the ones that are pre 17C:
-Egyptian, Coptic, 4th century:  The whole garment was woven to shape;
sleeves and neck hole were woven into the fabric.
-Egyptian, Coptic, 5th-6th century:  Also woven to shape with neck hole
woven in.
Text says that there are a number of other Egyptian shirts dating from the
4th to 12th cent. that were woven to shape.
-Egyptian, Islamic, 10th-12th cent.:  Neckline and short slit along the
shoulder seam bound with a narrow band of silk.  Doesn't say if it was cut
on the bias but I would imagine it was cut on the straight of the grain.
-French (probably, said to have belonged to St. Louis), 13th cent.:
Slightly rounded triangular [does that make sense?] neck hole that was
bound with a narrow strip of fabric; strips cross to make an X at the
center front of the V-neck.  I remember seeing a pattern for this
somewhere--maybe in Tilke?

>From _Daily Life in Chaucer's England_.  This book has an extensive
bibliography but no specific references for the following.
"In many surviving unlined garments, neck and wrist openings are faced
with a narrow linen or silk strip to cut down on chafing.  Often the edges
of wool garments were left unfinished, since the heavily felted wool
resisted fraying.  Raw edges of cuffs and collars were sometimes finished
by tablet-weaving a fine braid directly onto the cloth, probably using a
weft thread on a needle.  Many rough openings that were not faced or
finished with tablet-woven edging were turned back and trimmed with a
narrow silk or linen ribbon folded over the edge."

The MoL Textiles and Clothing book also documents narrow strip facings.
It specifically says that on all their surviving finds the silk is a tabby
weave and cut on the straight; no bias strips known to be used.
 
Also mentions hemmed single turnings, tablet woven edges and felting of
wool as cutting down on fraying of raw edges.

HTH,
lisa/annora

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-Poster: "Marsha S. McLean" <msmclean@interlog.com>

Some years ago I gave up on grommets and started using machined buttonholes.
They are much more authentic that grommets, and I've NEVER had one rip out.
These are the ultimate in cheap and strong, plus they always match your fabric.

marsha

Let us be elegant or DIE
 



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-Poster: Heather <lynnx@mc.net>

I've heard Good Things about these guys:

http://www.greenduck.com/index.shtml

Sister Ed
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Date: Thu, 15 Jul 1999 19:04:56 -0700
To: h-costume@indra.com
From: "Carol J. Bell Cannon" <cjcannon@greymists.com>
Subject: Re: H-COST: medieval clothing patterns
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

Try:  http://www.greenduck.com  or write to:  <theducks@greenduck.com>  The
proprietors are reliable and have merchanted in the Society for Creative
Anachronism and at Northern Renaissance Fair [Novato, CA] for years.  I
recommend them.  Jane and Steve Urbach are their names in modern day life.
Good fortune.  Carol 

At 11:12 AM 7/15/99 -0400, you wrote: -Poster: KLWasden@aol.com Does anyone
have any information regarding online or printed catalogs for medieval
clothing and/or patterns? Thanks, Kevin

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Date: Thu, 15 Jul 1999 19:01:14 -0700
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-Poster: Russell Hedges <russellh@home.com>



	Hello.

	I am new here, and have been lurking for a while.  This list is pretty
high powered! I have been around costumers for many years, but haven't
done much myself.  And most of what I have done has been Science
Fiction. I have recently been introduced to ballroom dancing, and
vintage dancing.  So now I want to costume for the Victorian age.  I am
male, so the beautiful gowns are out.  But, would anyone here know where
I could find information on American Miltary uniforms of the 1890's? I
was thinking of doing a Rough Rider, like Teddy Roosevelt.
	Bully.  If you are wondering why I chose now to delurk, last Sunday was
the Victorian Grand Ball in Pasadena.  The weekend before that, Night in
Vienna here in San Diego.  I was dressed well enough, but the halls were
filled with fantastic ball gowns, and a few men wearing fantastic
clothes too.  I want to be one of those men.
	I hope I didn't ramble too much.  Searching the Web has revealed
sources for finished clothing.  I want patterns. I know I need help.

	Thank you.

	Russell Hedges
	San Diego
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-Poster: Susan Fatemi <susanf@netwiz.net>

Parsla Liepa wrote:
> 
..
> Nor could I. (That this is a UK site doesn't matter.) I could, however,
> get to the main Heritage Matters site, http://www.soft.net.uk/wysewords/ .
> 
> Parsla
> 

Thanks for typing the http:// in the address.
I get so much mail, I don't even go to the sites I
can't just click on.

Susan F.
-- 
Oh Noh! Kimonos!
susanf@netwiz.net
http://www.netwiz.net/~susanf
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From: "Hope H. Dunlap" <hhdunlap@msn.com>
To: <h-costume@indra.com>
Subject: H-COST: Medieval Patterns and T-Tunics
Date: Thu, 15 Jul 1999 22:56:22 -0400
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-Poster: "Hope H. Dunlap" <hhdunlap@msn.com>

More medieval patterns on the Web:

>From the homepage at
http://www.geocities.com/Athens/Parthenon/5923/, at the left
hand menu, click on making stuff.  Some Clothing of the
Middle Ages section is the best you'll find on the Web,
everything diagrammed and very well documented for you, at
http://www.geocities.com/Athens/Parthenon/5923/cloth/bockhom
e.html.
Thank you to I. Marc Carlson.  More really terrific tunic
documentation at http://www.leatherworks.com/viktunics.htm
specifies the keyhole neckline as a ninth and tenth century
Swedish thing, for example.  Discusses seams techniques,
fabrics and weaves, cut, and origins of actual garments,
good bibliography.

These two sites take it a step further , showing how to cut
the pieces efficiently out of a single length of fabric:

The 10-gore dress pattern:
http://www.virtualelpaso.com/neverwinter/dress/dress.htm

T-tunic, the period way:
http://www.fpnet.co.nz/users/m/maggiem/works/mystuff/TUNICS.
HTML


And this for great background information on making things
in period, use the scrollable table of contents on the left
of the page: http://moas.atlantia.sca.org/topics.htm#text

For the tablet-woven trim, neck facing, cuffs, and belts,
the clearest directions I've seen are at:
http://www.mtsu.edu/~kgregg/dmir/new/bonnie/twpatterns.html
Even if you don't make your own, you can get a feel for the
style of tablet woven decoration.

Design inspiration for cotehardies as well as some alternate
cutting diagrams, but not documented:
http://www.pipcom.com/~tempus/cotehardie/cotehardie.html

Have fun!










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Subject: Re: H-COST: Grommet setters
Date: Thu, 15 Jul 99 23:22:54 -0000
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-Poster: <aquazoo@patriot.net>

Marsha wrote,

>Some years ago I gave up on grommets and started using machined buttonholes.
>They are much more authentic that grommets, and I've NEVER had one rip out.
>These are the ultimate in cheap and strong, plus they always match your 
>fabric.

     It depends on what you're doing. Grommets are fine for 19thC 
corsets. I hope when you say machined buttonholes you mean when you set 
the machine on the eyelet size. I've seen people use regular buttonholes 
for eyelets, and I think it looks just like machine done buttonholes! 
It's no better than grommets for the non-grommet time periods.

     Hand stitched eyelets are not difficult and do not take long. The 
trick is to use a bodkin or awl to make the hole - snip as few threads as 
necessary for the size hole you want. Stretching the hole packs the 
threads of the fabric together, making the hole stronger.

     In 18thC stays, the eyelet holes are stitched only as much as 
necessary to hold it open. In some cases, as few as four stitches! For 
most cases more like twelve stitches. They are whipstitches, not hand 
buttonhole stitches. So I find that punching a hole and making a couple 
of stitches goes much faster than making a machine buttonhole and 
snipping it open.

     Also, in extant garments the thread on the eyelet is usually cream 
linen, not a color thread that matches the fabric. 

     -Carol
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From: "Arianne de Dragonnid  mka Grace Payne" <arianne@blackroot.org>
To: "h-costume@indra.com" <h-costume@indra.com>
Date: Thu, 15 Jul 99 23:48:44 
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Subject: Re: H-COST: Sideless surcotes question
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-Poster: "Arianne de Dragonnid  mka Grace Payne" <arianne@blackroot.org>

Good Gentles, Teddy wrote:

(snip)
>The garment in question was the top half of a "sideless-surcote"  
>When the stallholder explained that this was all she could make 
>out of the remnant she had used I asked what she was going to 
>use for the skirts and she told me that there *were* no skirts to go 
>with it.  She said she had made several of these garments to be 
>worn over fitted gowns and that there were both skirted and 
>unskirted versions of this garment.
>
>This doesn't sound right to me.  I don't recall ever seeing a 
>picture/diagram/painting/illo that showed an unskirted version of 
>these surcotes... or have I seen them and just assumed the skirts 
>that showed below them were the surcote rather than the skirts of 
>the gown beneath?
>
>Anyone out there care to comment.
(snip)

I have also never encountered this in a book.  I HAVE encountered it once on somebody.  To be honest, I 
would never wear such a garment after seeing the way it looked on her.  It was cut out right, but it needed 
the weight of the skirt to stay where it belonged.  I highly doubt there was ever such a garment.  The lady 
appeared to be new to the Society, so I politely tried to talk with her about her garb.  I am known to be quite 
(I've been told TOO) polite, but she didn't take my attempt at conversation very well.  She had made it the 
way it was supposed to be, and she didn't care what anyone else thought.  I had to give up.  If she really was 
a newcomer, then the job she did on her surcote top was quite impressive, making me sincerely hope that 
soon someone helps her realize that it really should have a skirt.

Yours in the Dream,
	Arianne de Dragonnid

Shire of Castlemere, Kingdom of Trimaris

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%

"The founder of my noble line was wont to see Dragons.  His Lady rode out from the forest 
in a gown of samite and was as young on the day he died as on their wedding day."

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%

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From: Robin Netherton <robin@dgsys.com>
To: h-costume@indra.com
Subject: Re: H-COST: Sideless surcotes question
In-Reply-To: <8A3A3145D04@mdx-ref1.nw.mdx.ac.uk>
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-Poster: Robin Netherton <robin@dgsys.com>

On Thu, 15 Jul 1999, teddy1 wrote:

> This doesn't sound right to me.  I don't recall ever seeing a 
> picture/diagram/painting/illo that showed an unskirted version of 
> these surcotes... or have I seen them and just assumed the skirts 
> that showed below them were the surcote rather than the skirts of 
> the gown beneath?

You're right, it was a misinterpretation. But she may indeed have gotten
it from a book. I've seen at least two or three Victorian or early
20th-century costume books that have repeated this same misinterpretation.
My favorite is the one that went on at length about the chic little
fur-trimmed "jackets" that women wore over their fitted dresses.
Apparently the author looked at images of women in sideless surcotes
(meaning a long open-sided gown with fur edging and a fur placket,
decorated with a row of front buttons, worn over a fitted dress that
showed at the sides and sleeves) -- but he assumed that the skirt
represented the underdress, whereas the outer layer was a jacket with long
tight sleeves, wide bands of fur trim in elegant curves, and a front
button closure He then proceeded to draw about 20 sketches of various
styles of this jacket -- which were of course the shapes of the fur trims
and fur plackets from the misinterpreted images. The author said one
version was actually sleeveless, just the skeletal shape of the fur trim
only. (I want to say this was one of Henry Shaw's books, but I may be
wrong. I have the Xeroxes at home, and I'm on the road, so if anyone wants
the cite, write me and I'll look it up next week.) 

I think I don't need to tell anyone on this list that this jacket did not
exist!

I have used that book, and several others, in a lecture on Victorian
misinterpretations of medieval sources. I got many of these books off
open-stack library shelves. There are a lot of old books sitting out
there in public libraries, and people who are just starting out in
costume research have no way of knowing that the older books are not
reliable -- particularly if that's all their local library has.

I wouldn't be surprised if this particular misconception was repeated in
more than one costume book that followed. Authors in the first half of
this century are notorious for picking up their information from earlier
costume books, not from direct examination of the sources themselves. That
was understandable in the day when pictures of manuscripts were hard to
come by, and color pictures very rare. Today, we have no such excuse -- we
can see good reproductions of massive quantitites of medieval art in books
and on the Web.

--Robin

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From owner-h-costume@indra.com  Fri Jul 16 01:15:57 1999
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Date: Thu, 15 Jul 1999 16:23:00 +0000
From: Dietmar <dietmar@pacbell.net>
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-Poster: Dietmar <dietmar@pacbell.net>

Greetings all,

Margo wrote:

> After some years away, I'm getting back into the SCA.  Having
> displayed insufficient reluctance, I am now the Mistress of Arts
> for our shire, and I've been asked to do a "basic costuming"
> workshop. 

Commiserations...I just stepped up as our baronial herald.

> I'm all too familar with the standard  "Mr. T-tunic is our friend"
> approach, using modern materials, trim, and sewing methods to
> produce a quick and easy medievaloid garment.   I'd like to at
> least touch on how these things would have been constructed in
> period. 

By all means, show them as many medieval patterns as possible.

> How would the keyhole neck have been finished?  The rest of a
> tunic seems to have been carefully cut to conserve fabric and
> use the full width as much as possible.  Somehow, the idea of
> then cutting out a shaped facing doesn't seem likely.  Would
> they have bound the edge?  If so, with self fabric or a woven
> trim, possible a decorative one?  Or would it have just been
> rolled and hemmed, which is difficult to do smoothly?

Probably all of the above.  I believe there is also evidence that Vikings cut
silk into strips for use as decorative trim and edge binding.

> I know to caution them to use wool and linen, and I can show
> examples of trims and embroideries that are good or bad.
> Anything else I should tell them?  

Well, at 6'1", I have no problem making a floor length tunic with 4 yards of
45" wide fabric using a medieval cutting pattern.  It's nice to point out that
medieval patterns are very economical and that there are plenty of them.

Oh yeah.  Accessorize, accessorize, accessorize!!  The right accessories
complete the outfit.

Marie wrote:

> Why not look through _Cut of my cote_, published through the Royal
> Ontario Museum, I think.  It gives several diagrams of different
> shirts, tunics, and coats (I think).  Many that fall in the SCA
> period were made of simple squares and triangles...at least from
> what I recall.

I only remember one period pattern in 'Cut my Cote' and that was the St. Louis
tunic.  (I might have bought it if I saw more.)  There were two others that
they lumped together.  One was middle eastern from the 18th century.  The
other was an early 19th century Canadian child's fur jacket that they
speculate could be similar in pattern to medieval clothing.  These are only my
recollections, but I haven't seen the book in years.

Regards,

Dietmar


"Victory or Defeat rests in God's hands;
 over Honor, we ourselves are Lord and Master."

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Date: Fri, 16 Jul 1999 11:06:40 +0200
From: "Holliday, Rachel {DISC~Welwyn}" <RACHEL.HOLLIDAY@roche.com>
Subject: RE: H-COST: Boning UK
To: "'h-costume@indra.com'" <h-costume@indra.com>
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-Poster: "Holliday, Rachel {DISC~Welwyn}" <RACHEL.HOLLIDAY@roche.com>

Whatever is appropriate for Elizabethan, I rather imagine steel.  I have no
idea what spiral is.
Rachel

Roche Products Limited
40 Broadwater Road
Welwyn Garden City
Hertfordshire
AL7 3AY
Tel: 01707 366441
Registration Number 100674

> -----Original Message-----
> From:	Melanie Wilson [SMTP:MelanieWilson@compuserve.com]
> Sent:	Thursday, July 15, 1999 9:46 PM
> To:	INTERNET:h-costume-digest@indra.com
> Subject:	H-COST: Boning UK
> 
> 
> -Poster: Melanie Wilson <MelanieWilson@compuserve.com>
> 
> >I am looking for a supplier of boning.  I am due to start work on an
> Elizabethan bodice and farthingale and require boning for both.  I would
> prefer this supplier to be in the UK or if elsewhere to accept credit
> cards.
> 
> Now here I can help !
> 
> What type, steel, spiral, nylon (ugh !)
> 
> I use spiral for Victorian corsets, very comfortable & steel for my
> bustles.
> 
> Both from the UK.
> 
> Mel
>  _________________________________________________________________
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Date: Fri, 16 Jul 1999 10:31:59 +0000 (GMT)
From: teddy1 <Teddy@mdx.ac.uk>
Subject: Re: H-COST: Sideless surcotes question
To: h-costume-digest@indra.com
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-Poster: teddy1 <Teddy@mdx.ac.uk>

> - -Poster: rio@austin.rr.com (StrangeGirl)

> Wow. I've *never*ever* heard this one before. Seriously!

Me either, that's why I thought I'd ask.
 
> Erm. It sounds as though she's taking the fossilized court  versions
> of the sideless surcote over-literally. This type are shown with the
> skirts pleated/gathered into the supporting band around the hips. I
> trust this was the type she had for sale?

Narrow centre-front strip (neckline to hips), slightly wider back 
strip and the bottom edge of the "armhole" connecting the two at hip 
level.

I'm in the middle of making a sideless in gold brocade for a friend's 
wedding in a few weeks... slightly earlier with wider front and back 
panels... but I caut it through from shoulder to hem and was planning 
to add fur "guards" around the neck and armholes in a similar shape 
as would be covered by this trader's purple velvet "garment"

I've never made one before, however, and thought there might have 
been something I'd missed 

> Maybe some poor redrawings from victorian costume books, which may
> have the girdle showing where it never does in primary source art,
> or have the skirts shown as the same colour as the undergown.
> (Racinet, again, comes to mind. Blame the colourists, if you must.
> I do.)

*This* is what I thought most likely whan I asked her about her
sources... 

> Did she perhaps mention where she found this gem of knowledge? If it
> is indeed true (which I find *extremely* doubtful as I am currently
> researching this period in depth and have seen nothing like this in
> the artwork I have been studying) I would love to know what sort of
> documentation she has based it on. New sources are always welcome.

I asked but got very little by way of reply other than that she 
hadn't got them with her at the event but had seen it in "several" 
places... and she flitted off into another subject area and showed me 
pictures of some very nice early Victorian stuff she'd made for a 
museum.

Being as we are both "conversational-butterflies," I was quite happy 
to flit from subject to subject and it didn't occur to me that I 
hadn't pressed for more details until after i had left the event....
 
Teddy 
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Date: Fri, 16 Jul 1999 06:49:53 -0400
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Boning UK
To: "INTERNET:h-costume-digest@indra.com" <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

>Whatever is appropriate for Elizabethan, I rather imagine steel.  I have
no
idea what spiral is.

Spiral is steel but a kind of flat spring with ends on, it allows movement
in more directions.

Steel Boning is £24  a 20 m roll 12mm wide, or  £1.50 per metre plus
postage at cost to a max of £4.25 in the UK

Mel
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Date: Fri, 16 Jul 1999 11:55:08 +0000 (GMT)
From: teddy1 <Teddy@mdx.ac.uk>
Subject: Re: H-COST: Sideless surcotes question
To: h-costume-digest@indra.com
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-Poster: teddy1 <Teddy@mdx.ac.uk>

> Subject: Re: H-COST: Sideless surcotes question
> 
> - -Poster: teddy1 <Teddy@mdx.ac.uk>
> I'm in the middle of making a sideless in gold brocade for a friend's 
> wedding in a few weeks... slightly earlier with wider front and back 
> panels... but I caut it through from shoulder to hem and was planning 
> to add fur "guards" around the neck and armholes in a similar shape 
> as would be covered by this trader's purple velvet "garment"

Ooops!  My typing is bad at the best of times, now my fingers are 
putting in different words than I was menaing to use....

What I meant to put in the paragraph above was....

I *cut*  it through from shoulder to hem and was planning to add fur
"guards" around the neck and armholes in a similar shape as would be
covered by this trader's purple *silk brocade* "garment"

Teddy
(Rushing through checking his e-mail between jobs...<g>)

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From: "Holliday, Rachel {DISC~Welwyn}" <RACHEL.HOLLIDAY@roche.com>
Subject: RE: H-COST: Boning UK
To: "'h-costume@indra.com'" <h-costume@indra.com>
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-Poster: "Holliday, Rachel {DISC~Welwyn}" <RACHEL.HOLLIDAY@roche.com>

Mel 
Where do you get this from?
Rachel

Roche Products Limited
40 Broadwater Road
Welwyn Garden City
Hertfordshire
AL7 3AY
Tel: 01707 366441
Registration Number 100674

> -----Original Message-----
> From:	Melanie Wilson [SMTP:MelanieWilson@compuserve.com]
> Sent:	Friday, July 16, 1999 11:50 AM
> To:	INTERNET:h-costume-digest@indra.com
> Subject:	H-COST: Boning UK
> 
> 
> -Poster: Melanie Wilson <MelanieWilson@compuserve.com>
> 
> >Whatever is appropriate for Elizabethan, I rather imagine steel.  I have
> no
> idea what spiral is.
> 
> Spiral is steel but a kind of flat spring with ends on, it allows movement
> in more directions.
> 
> Steel Boning is £24  a 20 m roll 12mm wide, or  £1.50 per metre plus
> postage at cost to a max of £4.25 in the UK
> 
> Mel
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
 _________________________________________________________________
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From: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>
To: <h-costume@indra.com>
References: <Pine.SOL.4.02.9907131536220.11000-100000@mi.engin.umich.edu> <378E94BD.63F1@netwiz.net>
Subject: Re: H-COST: Tewkesbury
Date: Fri, 16 Jul 1999 12:11:53 +0100
Organization: Heritage Matters at Words to the Wise
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-Poster: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>

Just in case; here it is again; properly, as there is no link from the main
site
 http://www.soft.net.uk/wysewords/tewkesbu.htm
Gallery four is now up
Some more films of the the battle proper are awaiting my attention at the
moment and should be available over the weekend;
I should be able to keep them there for a month.
This  was a bit of an experiment; but judging by the hits on the site since
its announcement; there has been considerable interest. The feedback has
also been welcome, so at least a few of those hits found something of
interest.
There are a couple of other events that we are planning to cover, so its
possible to do it again.
Suggestions and invitations for future coverage are most welcome.
++
In answer to many FAQ; Heritage Matters is a free on subscription magazine
aimed at  professionals in the Tourism/Heritage industry in the UK;.
Production is limited and we do not want to push our subscription list up to
no effect. , which means outside UK;
Contents of each issue are listed on our website and we can mail a copy of
any individual article on request.
We dont charge for printouts of pictures but do request an SAE;
I am sorry if this seems like advertising; but rather than make money I am
just trying to keep our costs down
 Dave
LD MUNDY
Editor Heritage Matters
  , http://www.soft.net.uk/wysewords/ .
 >
> Thanks for typing the http:// in the address.
> I get so much mail, I don't even go to the sites I
> can't just click on.
>
> Susan F.



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References: <199907151746.KAA20198@zeus.directcon.net> <378E2D09.9E815846@serv.net> <012701becef3$7106d300$4709ebd0@default> <378E926A.3CB9BB5E@home.com>
Subject: Re: H-COST: Newbie - and the Spanish American War
Date: Fri, 16 Jul 1999 12:38:16 +0100
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-Poster: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>


 ----- Original Message -----
 >
> -Poster: Russell Hedges <russellh@home.com>
>
> I am  male, so the beautiful gowns are out.

Are you sure about this.
One of the Societies I belong to , admittedly set up as an antidote to so
many women wearing miltary uniforms at events, only meets once a year; on
which occassion, we all get a chance to put on the frocks.
It can hurt buts its fun. ( Heavy corsetting does not bode well with lots of
ale)
The Chevalier Beaumont D'Eu was an important guest at many Napoleonic period
balls.
Why not set a precedent.
Dave
( before anybody asks ; no ; its the one event from which my camera is
banned)

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From owner-h-costume@indra.com  Fri Jul 16 08:13:42 1999
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Subject: H-COST: Trim on Ebay
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-Poster: Stephen Bergdahl <madly@2xtreme.net>

Dear Listed

I have just but up for bid a very nice Red & Black Medieval trim.
Perfict for Ren Fair or SCA.  Check it out at:

http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=131427828


Happy Days!

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From owner-h-costume@indra.com  Fri Jul 16 08:27:56 1999
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From: "Cathy Harding" <charding@nwlink.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Tewkesbury
Date: Fri, 16 Jul 1999 06:44:48 -0700
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-Poster: "Cathy Harding" <charding@nwlink.com>

Are there any no-battle scenes?  Like campsites, camp kitchens, clothing
closeups?

Maeve

> -----Original Message-----
> From: owner-h-costume@indra.com [mailto:owner-h-costume@indra.com]On
> Behalf Of dave;editors(Heritage Matters)
> Sent: Friday, July 16, 1999 4:12 AM
> To: h-costume@indra.com
> Subject: Re: H-COST: Tewkesbury
>
>
>
> -Poster: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>
>
> Just in case; here it is again; properly, as there is no link
> from the main
> site
>  http://www.soft.net.uk/wysewords/tewkesbu.htm
> Gallery four is now up
> Some more films of the the battle proper are awaiting my attention at the
> moment and should be available over the weekend;
> I should be able to keep them there for a month.
> This  was a bit of an experiment; but judging by the hits on the
> site since
> its announcement; there has been considerable interest. The feedback has
> also been welcome, so at least a few of those hits found something of
> interest.
> There are a couple of other events that we are planning to cover, so its
> possible to do it again.
> Suggestions and invitations for future coverage are most welcome.
> ++
> In answer to many FAQ; Heritage Matters is a free on subscription magazine
> aimed at  professionals in the Tourism/Heritage industry in the UK;.
> Production is limited and we do not want to push our subscription
> list up to
> no effect. , which means outside UK;
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> any individual article on request.
> We dont charge for printouts of pictures but do request an SAE;
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> just trying to keep our costs down
>  Dave
> LD MUNDY
> Editor Heritage Matters
>   , http://www.soft.net.uk/wysewords/ .
>  >
> > Thanks for typing the http:// in the address.
> > I get so much mail, I don't even go to the sites I
> > can't just click on.
> >
> > Susan F.
>
>
>
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From owner-h-costume@indra.com  Fri Jul 16 08:36:29 1999
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Date: Fri, 16 Jul 1999 09:47:01 EDT
Subject: H-COST: medieval seam finishing
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-Poster: Gaelscot@aol.com



BTW: I have read a couple of those sources (MOL book, etc.) that mention 
finishing some medieval seams with strips of silk or linen. But (perhaps it's 
just my slow wit) I've never been able to figure out what this means. Does it 
mean that the strip would be INSIDE the garment, covering the raw edges to 
keep them from fraying and/or rubbing the skin? I do this on necklines with 
bias tape, or with extra strips of whatever fabric I have sitting around, 
which works very well. Or does it mean that the raw edges are on the OUTSIDE 
of the garment, covered with a protective and decorative strip of fabric? 
I've done that too. Both methods work and look nice, but I have no idea 
whether either was actually done at any time in the middle ages. 

As for the keyhole neck -- well, I've always done it as a contrasting facing 
that's topstitched to the front of the garment. But I was taught that as a 
newbie, and I always assumed that it was an attractive but modern solution. 
It's been many years since I've done one. 

Gail Finke

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

DzMzLzy@aol.com wrote:

> In a message dated 7/16/99 11:17:49 AM Pacific Daylight Time, keltia@serv.net
> writes:
>
> >  The _Museum of London Textiles and Clothing_ book published by the Museum
> of London but now out of print.
>
> I'm not sure if this book is actually out-of-print.  The difficulty in
> getting this book (and other from the MOL) is that they have changed US
> distributors several times over the last few years, and each time they do the
> "old" distributor lists the books as no-longer-available.
>
> Could someone in the UK confirm if this book is truly out-of-print?
> Thanks

The Stationery Office (http://www.tsonline.co.uk/) shows it in print (£32).  I
didn't check all the books in the series.

--Charlene

--
One may be my very good friend, and yet not of my opinion.  -- Margaret Cavendish



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From: "Dan Fenwick" <daniel@fenwick.sparks.nv.us>
To: <h-costume@indra.com>
References: <24139935.24c0d3f4@aol.com>
Subject: Re: H-COST: medieval seam finishing
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-Poster: "Dan Fenwick" <daniel@fenwick.sparks.nv.us>


> I'm not sure if this book is actually out-of-print.  The difficulty in
> getting this book (and other from the MOL) is that they have changed US
> distributors several times over the last few years, and each time they do
the
> "old" distributor lists the books as no-longer-available.
>
> Could someone in the UK confirm if this book is truly out-of-print?
> Thanks

I had no luck trying to get them direct from HMSO.

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-Poster: DzMzLzy@aol.com

In a message dated 7/16/99 11:17:49 AM Pacific Daylight Time, keltia@serv.net 
writes:

>  The _Museum of London Textiles and Clothing_ book published by the Museum 
of London but now out of print.

I'm not sure if this book is actually out-of-print.  The difficulty in 
getting this book (and other from the MOL) is that they have changed US 
distributors several times over the last few years, and each time they do the 
"old" distributor lists the books as no-longer-available. 

Could someone in the UK confirm if this book is truly out-of-print?
Thanks

Liz Gerds
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From owner-h-costume@indra.com  Fri Jul 16 14:30:56 1999
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From: "Jessica Wilbur" <jessica@pop.net>
To: h-costume@indra.com
Date: Fri, 16 Jul 1999 14:52:18 -0400
Subject: Re: H-COST: medieval seam finishing
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-Poster: "Jessica Wilbur" <jessica@pop.net>

Hello,

> 
> -Poster: Merouda the True of Bornover <keltia@serv.net>
> 
> > What is the MOL book, please?

>  There are five
> books in the series, Textiles and Clothing, Dress Accessories, Shoes
> and Pattens, Household Goods, and Horse something or other.  These
> books are a  God send to the medieval re-enactor.

Just a minor note: there are now six books in the series. I saw the newest one last night. It 
is on pilgrim badges and other cast-metal items. Very cool! And yes, these books are a 
godsend-- they are often the only chance we have to see pictures of extant items. The only 
thing better is seeing the actual item itself!

--Jessica
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From owner-h-costume@indra.com  Fri Jul 16 14:31:00 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>

> What is the MOL book, please?

I am operating on the assumption that it is the _Museum of London
Textiles and Clothing_ book published by the Museum of London but now
out of print.  The book deals with archealogical finds along the
Thames River in London.  Much land was reclaimed during the years 1150
and 1450 by doing landfill dumps.  Each dump can be dated by how close
to the river it is and by records of when that particular land
reclamation was done.  Many items where tossed into these landfills
such as shoes, clothing, household goods, dress accessories, and horse
accoutrements.  The Museum of London cataloged these items and then
found experts in these fields to analyze the goods.  There are five
books in the series, Textiles and Clothing, Dress Accessories, Shoes
and Pattens, Household Goods, and Horse something or other.  These
books are a  God send to the medieval re-enactor.

--
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 Jul 16 14:31:04 1999
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From: Merouda the True of Bornover <keltia@serv.net>
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References: <19990716161835.29832.rocketmail@web807.mail.yahoo.com> <008c01becfaa$086ffee0$2bf67ad1@pavilion> <378F6614.776E8E99@serv.net> <003801becfb3$19a39880$a2cd7ad1@pavilion>
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-Poster: Merouda the True of Bornover <keltia@serv.net>

> I wasn't assuming that it doesn't happen, I wanted to know where it DOES
> happen.

But see, what I meant was, it happens *everywhere*.  Just in such minute numbers
compared to the total population that most of us *don't* know someone it
happened to.  There is no place that it happens while all other places have no
incidents at all.  To say "I know someone that had that happen to them and they
live in the West" would eventually start "The folks in the West are authenticity
police" rumors.  You've heard those kinds of rumors, we all have, whether we're
in the SCA or not.

> Everyone talks about how they've heard of someone saying this, that
> and the other, but know one has ever really been the vicitm or witnessed it
> firsthand.  The poster then replied that she actually didn't play with the
> SCA, she just heard that thiat was how people in the SCA are.

Which is another reason why I don't think we should get into "It happens in
AnTir but not in Meridies" type of conversation.  That statement would be as
false as the statement that "that is how most of us are in the SCA".  Giving one
particular area a reputation for this type of discourtesy is at best
misleading.  It is human nature for someone to play the one-up-manship game in
every location on earth in every group, in every faction, in every century.  It
isn't something that happens solely in the SCA, as the first poster pointed out,
and it isn't something that happens solely in one region of the SCA.  People are
people everywhere you go.

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


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From: "Gia Gavino-Gattshall" <ggavino@serv.net>
To: <h-costume@indra.com>
Subject: Re: H-COST: Badmouthing other costumers
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-Poster: "Gia Gavino-Gattshall" <ggavino@serv.net>

HI listers!

I had to laugh at costume "snarking"!  While I am a costuming fanatic, I
know that there are those who aren't.  So be it; I try not to snark, albeit
sometimes I'm not successful....  It's more fun to go out of my way to
compliment a lovely bit of work, for I know *I* appreciate compliments!
There are times when I can't find anything nice to say, so I don't.  When in
private, discussing the flaws of another person's costuming is instructive
and helps me to analyze what *I* could do better (oh, is *that* how that
really looks...I do that, too...oops!  Lets try something different..)

I am one of those *weird* folks that truly enjoys sewing garments by hand.
I've sewn several t tunics a chemise and one italian ren gown by hand...just
because I wanted to.  And because linen *feels* so good to handle!

Anyhow,  have fun stitching!
Gia/Giacinta
>>and then proceeded to *physically* go over my friends bodice and what
>>was wrong with it, "The fit is all wrong" "the fabric..." etc etc etc,
>>pulling at fabric here and turning her there.  She was absolutely
>>right in her critique and my friend knew it because she already knew
>>everything she had done wrong with the dress which made it even worse
>>because the critique implied that my friend was stupid as well.
>
>WHY do people think this kind of thing will make them look better?  In my
>younger, nastier days, my favorite hobby was lambasting other people's
>costumes (while wearing my own lurex-trimmed Elizabethans with the grommets
>up the back, mind you)  but at least I did it behind their backs.  (come to
>think of it, that didn't make things any better.)
>
>My worst example of this happened to me when my sister was working at a
>vintage clothing store in San Francisco.  A customer started telling her
>what a hot Ren Faire costumer she was.  Naturally, my sister said, "Oh, do
>you know my sister, Margo?"  The woman said "Oh yes, I know her.." .and
>proceded to trash me and my costuming.  So extensively, as a matter of
fact,
>that the store owner, who was present,  backed out on a large project for
>which he was planning to commision me.  Her little exercise in self esteem
>cost me $5000.  Ah, karma.
>
>Incidentally, the person in question is on this list. I don't know if she
>ever thought about possible consequences, but maybe next time she will.
>
>That's when I gave up my habit of costume snarking.  These days, I keep my
>mouth shut unless someone specifically says "What did I do wrong on this
>costume, and how can I fix it?"
>
>Margo Anderson
>


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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>

> Where do you play with the SCA?  I've lived in 3 different Kingdoms and have
> been active for about 10 years and have never had anyone make that sort of
> comment to me, nor have I witnssed anyone making those sort of comments to
> someone.

Please don't assume that because you haven't experienced this in your neck of
the woods that it doesn't happen there and that because you know of one instance
that it happened somewhere else that it *does* happen *there*.  :)  It isn't
something specific to one geographical area.  What it does say is that most
folks would never consider being so rude as to comment on another's poor
taste/skill/knowledge in costuming.  Which is probably why you were fortunate
not to witness it where you live.  :)  Most of us haven't witnessed that kind of
behavior in our areas, but one truly bad story becomes legend and pretty soon
newcomers are being warned about folks who have to play the Know It All.

Just my $.02 worth,
Cynthia

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


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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>

> The other thing about this is, unfortunately, there
> are some people who are rude about it... [telling newcomers that
> their clothing isn't authentic]

And some folks consider, that no matter how kind the person is in
their delivery of the information, giving unsolicited
opinions/advice/info about what is wrong with someones clothing to be
rude, period.

I'll never forget the evening that I was standing with my fellow Lady
in Waiting after a large SCA Baronial event.  A woman whose costuming
is okay at best came up and said in an even tone (no snottiness or
superiority) that she really wanted to sew for the Baroness, that she
could really help her have a nicer wardrobe (never even cluing in that
that is what *I* was doing in the name of improvement ;-> or that she
was implying that the Baroness didn't already have a nice wardrobe)
and then proceeded to *physically* go over my friends bodice and what
was wrong with it, "The fit is all wrong" "the fabric..." etc etc etc,
pulling at fabric here and turning her there.  She was absolutely
right in her critique and my friend knew it because she already knew
everything she had done wrong with the dress which made it even worse
because the critique implied that my friend was stupid as well.  What
she succeeded in doing is making herself look like a jerk and she
insured that she will *NEVER* sew a single official stitch during
*this* investiture.

> I was told
> that my costuming was all wrong because I "did it
> wrong" and didn't I know that "true SCA members sew
> everything by hand."

I have a reputation in my Barony for sewing everything by hand, it's
kind of joke, "Oh, that's Merouda for ya".  One friend nearly choked
on her mead when she found out my hood was polarfleece.  *LOL*  I love
that one.  I seriously doubt that very many SCA members sew every
stitch of every garment by hand, if any of us do.

I am sorry that you had this experience.  Even though the SCA is
supposed to be based on Chivalry, Courtesy, etc, sometimes you just
can't take the rude out folks.  The good news is that 99% of the
players would never think of such a thing.

> Now, while I know this isn't
> true of all, these are the things people tend to hear
> more loudly.

Sad but true.  However, I think that if someone came up and said "My
lady, that is Lovely fabric, I wish I could find such nice things"
even though the fabric is *perfect* for Italian Renn and they made a
Viking underdress and over tunic out of it, you would remember such a
gracious compliment.

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


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-Poster: "Andrea Gideon" <andrea.gideon@erols.com>


> -Poster: Sarah Toney <sarah_and_pooh@yahoo.com>
>
> The other thing about this is, unfortunately, there
> are some people who are rude about it... I was told
> that my costuming was all wrong because I "did it
> wrong" and didn't I know that "true SCA members sew
> everything by hand."  Now, while I know this isn't
> true of all, these are the things people tend to hear
> more loudly.
>
> Sarah
Where do you play with the SCA?  I've lived in 3 different Kingdoms and have
been active for about 10 years and have never had anyone make that sort of
comment to me, nor have I witnssed anyone making those sort of comments to
someone.
Andrea

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-Poster: cynthia j ley <cley@juno.com>


On Fri, 16 Jul 1999 12:18:35 -0400 (EDT) Sarah Toney
<sarah_and_pooh@yahoo.com> writes:
>
>-Poster: Sarah Toney <sarah_and_pooh@yahoo.com>
>
>The other thing about this is, unfortunately, there
>are some people who are rude about it... I was told
>that my costuming was all wrong because I "did it
>wrong" and didn't I know that "true SCA members sew
>everything by hand."  

In the immortal words of Rowan Atkinson, "Utter Crap."

Now, while I know this isn't true of all, these are the things people
tend to hear
>more loudly.

It's not true of many. I know numerous SCA costumers who use their
machines for the work that can be machined--some things have to be done
by hand, and those are. Who has the time to be a purist?

i sew by hand, but then, I'ld hardly call myself a costumer, and I don't
own a machine. ;)



					Arlys

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Subject: Re: H-COST: Sideless surcotes question
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-Poster: Sarah Toney <sarah_and_pooh@yahoo.com>

The other thing about this is, unfortunately, there
are some people who are rude about it... I was told
that my costuming was all wrong because I "did it
wrong" and didn't I know that "true SCA members sew
everything by hand."  Now, while I know this isn't
true of all, these are the things people tend to hear
more loudly.

Sarah


--- Merouda the True of Bornover <keltia@serv.net>
wrote:
> 
> -Poster: Merouda the True of Bornover
> <keltia@serv.net>
> 
> > appeared to be new to the Society, so I politely
> tried to talk with her about her garb.  I am known
> to be quite
> > (I've been told TOO) polite, but she didn't take
> my attempt at conversation very well.
> 
> Is it possible that she had been warned that there
> were people who would come up to a person and
> proceed to tell
> them that their clothing isn't right?  I know that
> I, as a newbie, was warned about this very thing. 
> Sometimes
> it's best to wait until they ask you.  :)
> 
> --
> Cynthia Long
> Merouda the True of Bornover
> Barony of Madrone
> Kingdom of An Tir
> 
> 
> 
>
_________________________________________________________________
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-Poster: Merouda the True of Bornover <keltia@serv.net>

> BTW: I have read a couple of those sources (MOL book, etc.) that mention
> finishing some medieval seams with strips of silk or linen. But (perhaps it's
> just my slow wit) I've never been able to figure out what this means.

There are a couple pictures in the Museum of London Textiles and Clothing (MOL)
book that show quite clearly how the silk facings were applied.  In one case, a
neckline, the slim strip of silk was stitched on top of the turned back edge with
two parallel rows of running stitch.  On the inside of the garment.  In a second
case, a sleeve buttonhole edge, the silk was also on the inside of the garment.
The silk was caught with the needle at the same time as the garment fabric when
the tablet woven edging (not the same as trim at all) was applied.  It was
further secured when the button holes were sewn.  No other attachment was used.

> As for the keyhole neck -- well, I've always done it as a contrasting facing
> that's topstitched to the front of the garment. But I was taught that as a
> newbie, and I always assumed that it was an attractive but modern solution.
> It's been many years since I've done one.

The truth is, we don't really know.  There just isn't that much extant evidence
available.  Illuminations can show us that there was trim or some type of
embellishment around a neckhole but it can't show us if it was embroidery, card
woven trim, fabric, etc.  And it can't show us whether or not the garment fabric
was turned outside and covered by the trim or not.  Several of the bog findings
don't appear to my eyes to have any trim around the neck at all.  And the MOL
book has very little.  There is one tiny scrap of silk tablet woven trim but it
doesn't tell us how it was attached and to what it was attached.

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


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References: <000001becf91$5eec3ae0$9e8514d1@oemcomputer>
Subject: Re: H-COST: Tewkesbury
Date: Fri, 16 Jul 1999 16:16:21 +0100
Organization: Heritage Matters at Words to the Wise
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-Poster: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>



> -Poster: "Cathy Harding" <charding@nwlink.com>
>
> Are there any no-battle scenes?  Like campsites, camp kitchens, clothing
> closeups?
>
> Maeve
  I am sorry no apart from the odd one or two that are already posted .
This is not a good event for this, even more so   as I arrived late and the
camping areas were completely deserted as everybody was then assembling for
the battle; Afterwards I had to leave quickly to get a US guest to the
Abbey.
Funnily enough my actual brief for this event was  " lots of action pics
none of those sitting around the cooking pot poses that we usually have"
In the selection posted I have chosen the better ones for showing of the
costume. amongst other criteria...so many different people to please.
We have a selection of campsite/med market pics from last year's Robin Hood
Festival. I could post a few when I get the chance.
 We have a big event coming up at Keddlestone hall for our bank holiday
weekend, I am working on a stall for the whole three days. It is easier to
get pics when in costume so I am hopeful.
Dave


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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>

> appeared to be new to the Society, so I politely tried to talk with her about her garb.  I am known to be quite
> (I've been told TOO) polite, but she didn't take my attempt at conversation very well.

Is it possible that she had been warned that there were people who would come up to a person and proceed to tell
them that their clothing isn't right?  I know that I, as a newbie, was warned about this very thing.  Sometimes
it's best to wait until they ask you.  :)

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


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From: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>
To: <h-costume@indra.com>
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Subject: Re: H-COST: Sideless surcotes question
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-Poster: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>



>
> -Poster: Merouda the True of Bornover <keltia@serv.net>
 > Is it possible that she had been warned that there were people who would
come up to a person and proceed to tell
> them that their clothing isn't right?  I know that I, as a newbie, was
warned about this very thing.  Sometimes
> it's best to wait until they ask you.  :)

What has happened to the Uk anchronism police this year? Well and last year.
They have been very quiet. Is it because everything is now correct. We used
to run a competition for the person who got the most tellings off in a year.
There was a prize and then we discovered that some people were deliberately
introducing anachronisms and parading up and down in full view of known
members of the AP in order to get points so we stopped it , the prize that
is.  Maybe this why there have been less reports;  I doubt if they have
given up enjoying themselves by spoiling other peoples fun.
Perhaps the clarion call of "excuse me , but WHO exactly are you supposed to
be" is now a thing of the past. Destined to the re-enactment with the
attitudes that one very large and famous re-enactment society had for
disabled people; suggesting they stayed at home and made little models.
I have seen people in tears after attacks by the AP , having spent hours and
hours putting together a costume. I have also seen the other side of the
coin. At an event three years ago which I will not identify I was able to
stop a female colleague from taking a swing at two members of the AP;
However I was not able to continue my peacemaking duties as another
encounter ensued and a member of the AP spent the rest of the event wearing
a not very period dressing over a split lip. Not that I would recommend such
actions;
However there are other ways of dealing with them, true to most periods; the
treatment for women who say too much is called "Scold's Bridle"
I believe they are called something worse in the US.
 Right Garb snarks just spotted in it a later posting; great !
Dave


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From owner-h-costume@indra.com  Fri Jul 16 14:42:23 1999
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-Poster: "schuck@vci.net" <schuck@vci.net>

What is the MOL book, please?

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

)
>and then proceeded to *physically* go over my friends bodice and what
>was wrong with it, "The fit is all wrong" "the fabric..." etc etc etc,
>pulling at fabric here and turning her there.  She was absolutely
>right in her critique and my friend knew it because she already knew
>everything she had done wrong with the dress which made it even worse
>because the critique implied that my friend was stupid as well. 

WHY do people think this kind of thing will make them look better?  In my
younger, nastier days, my favorite hobby was lambasting other people's
costumes (while wearing my own lurex-trimmed Elizabethans with the grommets
up the back, mind you)  but at least I did it behind their backs.  (come to
think of it, that didn't make things any better.)

My worst example of this happened to me when my sister was working at a
vintage clothing store in San Francisco.  A customer started telling her
what a hot Ren Faire costumer she was.  Naturally, my sister said, "Oh, do
you know my sister, Margo?"  The woman said "Oh yes, I know her.." .and
proceded to trash me and my costuming.  So extensively, as a matter of fact,
that the store owner, who was present,  backed out on a large project for
which he was planning to commision me.  Her little exercise in self esteem
cost me $5000.  Ah, karma.

Incidentally, the person in question is on this list. I don't know if she
ever thought about possible consequences, but maybe next time she will.  

That's when I gave up my habit of costume snarking.  These days, I keep my
mouth shut unless someone specifically says "What did I do wrong on this
costume, and how can I fix it?"

Margo Anderson


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Date: Fri, 16 Jul 1999 13:37:36 -0400
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Boneing UK
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

>Where do you get this from?

I buy it trade with a load of othe items, as far as I know they only do
trade, but if you want some I could get some if you wanted

Mel
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From: "Andrea Gideon" <andrea.gideon@erols.com>
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Subject: Re: Garb Snarks wasRe: H-COST: Sideless surcotes question
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-Poster: "Andrea Gideon" <andrea.gideon@erols.com>


> Please don't assume that because you haven't experienced this in your neck
of
> the woods that it doesn't happen there and that because you know of one
instance
> that it happened somewhere else that it *does* happen *there*.

I wasn't assuming that it doesn't happen, I wanted to know where it DOES
happen.  Everyone talks about how they've heard of someone saying this, that
and the other, but know one has ever really been the vicitm or witnessed it
firsthand.  The poster then replied that she actually didn't play with the
SCA, she just heard that thiat was how people in the SCA are.
Andrea

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Date: Fri, 16 Jul 1999 13:16:24 -0400 (EDT)
From: Sarah Toney <sarah_and_pooh@yahoo.com>
Subject: Re: Garb Snarks wasRe: H-COST: Sideless surcotes question
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-Poster: Sarah Toney <sarah_and_pooh@yahoo.com>

Actually, I have never played with the SCA... I took
this comment to be common of many of the players and
chose not to go... I have since re-thought my stance
on it and would love to play... but alas I have other
things to do... mostly being a Noble in NERO instead.
;-)  

Incidentally, the person who said this to me had come
to a NERO event where *I* do the costuming.  

Sarah


--- Andrea Gideon <andrea.gideon@erols.com> wrote:
> 
> -Poster: "Andrea Gideon" <andrea.gideon@erols.com>
> 
> 
> > -Poster: Sarah Toney <sarah_and_pooh@yahoo.com>
> >
> > The other thing about this is, unfortunately,
> there
> > are some people who are rude about it... I was
> told
> > that my costuming was all wrong because I "did it
> > wrong" and didn't I know that "true SCA members
> sew
> > everything by hand."  Now, while I know this isn't
> > true of all, these are the things people tend to
> hear
> > more loudly.
> >
> > Sarah
> Where do you play with the SCA?  I've lived in 3
> different Kingdoms and have
> been active for about 10 years and have never had
> anyone make that sort of
> comment to me, nor have I witnssed anyone making
> those sort of comments to
> someone.
> Andrea
> 
> 
>
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>  To leave this mailing list, send mail to
> majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
> 

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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 a minor note: there are now six books in the series. I saw the newest one last night. It
> is on pilgrim badges and other cast-metal items. Very cool! And yes, these books are a
> godsend-- they are often the only chance we have to see pictures of extant items. The only
> thing better is seeing the actual item itself!

Yes!  Thank you.  I saw that a couple months ago.  Fantastic.  What really spiked my attention
was that some of the badges are downright obscene.  All kinds of little pewter badges with
phallic symbols and people in "unusual" (*laugh*) positions.  Amazing.  I'd never have imagined
that the medieval mind would have such fun with sexual humor.

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


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

> The Stationery Office (http://www.tsonline.co.uk/) shows it in print (£32).  I
> didn't check all the books in the series.

Excellent source!  Thanks.  But remember, when these are sold out that's that.  The
Museum Publications Department told me that they are not printing any more editions
at this time.  You can hope that the popularity of the books will prompt them to
print another edition.

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


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

> >  The _Museum of London Textiles and Clothing_ book published by the Museum
> of London but now out of print.
> Could someone in the UK confirm if this book is truly out-of-print?

I recently purchased my copy of MOL Shoes & Pattens directly from the Museum.
They told me that these books were no longer in print, but they just happened to
still have a few copies of the Shoes & Pattens (thank god!!).  If their usual
distributors don't have them now, they won't have them later.

FWIW, Cynthia

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


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From: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>
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-Poster: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>


> I recently purchased my copy of MOL Shoes & Pattens directly from the
Museum.
> They told me that these books were no longer in print, but they just
happened to
> still have a few copies of the Shoes & Pattens (thank god!!).  If their
usual
> distributors don't have them now, they won't have them later.
>
If anyone is currently looking for this ; try The Museum of Footwear in
Northampton (uk) I have a recollection of seeing several copies and can only
think that it was there.
Dave

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From owner-h-costume@indra.com  Fri Jul 16 18:39:46 1999
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-Poster: kat@grendal.rain.com

>>.  The poster then replied that she actually didn't play with the
> > SCA, she just heard that thiat was how people in the SCA are.
> 
> Which is another reason why I don't think we should get into "It happens in
> AnTir but not in Meridies" type of conversation.  That statement would be as
> false as the statement that "that is how most of us are in the SCA".  Giving one
> particular area a reputation for this type of discourtesy is at best
> misleading.  It is human nature for someone to play the one-up-manship game in
> every location on earth in every group, in every faction, in every century.  It
> isn't something that happens solely in the SCA, as the first poster pointed out,
> and it isn't something that happens solely in one region of the SCA.  People are
> people everywhere you go.

Lordy, a hearty amen to that!

I've been involved in many forums (SCA, Costume Con, SciFi, here, 
etc) and one of the things I've found is that *every* group has some 
of it. Sometimes it will be rampant, sometimes subtle. It's still 
there. (And it's not just in recreational groups. It happens in work 
places as well. And it's not just women doing it. Some of the most 
major discourtesies I've had done to me of this sort have been from 
men.)

If you don't like the people around you, try hanging with a different 
group within the main group. Just like there are discourteous people 
everywhere, you can also find people of similar interests who are 
kind, courteous, etc. Avoiding a group for one or two bad experiences 
will just keep your from finding those people you want to be around.


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Date: Fri, 16 Jul 1999 21:20:13 -0400
From: Cat Devereaux <CatDevereaux@compuserve.com>
Subject: H-COST: AlterYears Eliz. Corset Patern Sizing
To: "h-costume@indra.com" <h-costume@indra.com>
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-Poster: Cat Devereaux <CatDevereaux@compuserve.com>

A couple of weeks back there was a discussion on
pattern sizing, specifically corsets.  Here's a forward from
AlterYears.   -Cat-
**********************************
To  those of you discussing the sizing on Alter Years Patterns:

Janet Anderson passed parts of the discussion on to me as I am the
pattern’s designer.  Every person is built slightly differently and
when I was first creating the size chart for these patterns I
discovered that every pattern company I found had a different set of
measurements listed as their standard.  I took each of those in to
consideration along with the American Standard Retail sizing charts out
of a book called The Manufacturers Handbook which is widely used as a
training manual for the garment industry.  I then attempted to come up
with a viable size chart for the Alter Years pattern line.

I am afraid that the Standard American Body is a fallacy.  Since
historical patterns are usually much more fitted than modern clothing
there is almost always some sort of alteration necessary to these
patterns in order for them to fit the modern body the way they should.

To take the initial question specifically:   The top of the corset when
completed should sit just above the center line of your breast.  The
bottom point of the corset should sit approximately two inches below
the belly button or at a place most comfortable to the individual
wearer.  The side seam length measurement method in the pattern usually
assures that fit along with sitting the top edge at the side far enough
down out of the armhole as to not strangle the wearer.  Many people are
very sensitive under the arm and cut that even lower to accommodate. 
All of these very fitted patterns need to be customized to each
individual taste, body shape and comfort.  If you are more comfortable
with your corset higher under your arms and you have a high bust by all
means make it only as short as you feel you should.  You can always cut
the underarm down lower after you have put together the two main corset
pieces.

I hope this information is useful  to you and it helps you to properly
fit the corset to your own preferences. Many thanks to those of you who
had such nice things to say about the pattern line.

Sincerely,
Robin Pavlosky
Alter Years Pattern Designer 
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From: "Diane Perry (Melangell)" <melangell@earthlink.net>
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Date: Fri, 16 Jul 1999 19:50:59 +0000
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-Poster: "Diane Perry (Melangell)" <melangell@earthlink.net>

> 
> 
> > I'm not sure if this book is actually out-of-print.  The difficulty in
> > getting this book (and other from the MOL) is that they have changed US
> > distributors several times over the last few years, and each time they do
> the
> > "old" distributor lists the books as no-longer-available.
> >
> > Could someone in the UK confirm if this book is truly out-of-print?
> > Thanks
> 
> I had no luck trying to get them direct from HMSO.
> 
>
I happen to be friends with the owners of Green Duck books, and asked 
them about a month ago about getting the Dress Accessories book my 
MOL.  This is what they told me.  HMSO (Her Majesties Stationary 
Office) has been dissolved.  It is now The Stationary Office.  Some 
of the books previously printed by HMSO will not be carried by the 
new Stationary Office.  The MOL books will not be reprinted.  When 
the available copies are sold out, that is it.  Just try to obtain a 
copy of the new hardback (will not be out in paperback) book on 
Household Items.  It is too bad since these books are wonderful and I 
only have 3 of them.

Diane Perry

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Date: Fri, 16 Jul 1999 19:41:58 -0700
To: h-costume@indra.com
From: "Carol J. Bell Cannon" <cjcannon@greymists.com>
Subject: H-COST: Fwd: Garb 'snarks'
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

>I wrote to Andrea to tell her my personal, firsthand story.  I am NOT a
costuming person, as any number of folk could tell you.  I sew to have
clothes to wear.  However, NO ONE deserves this kind of treatment from
ANYONE, and especially NOT in a Society where Chivalry and Courtoisie are
supposed to be an integral part of what we do.  imnsho only, of course.
Andrea, I apologize that you will see this twice, but I wanted people to
know it does indeed happen.  I will make sure I am never at fault for being
the costuming critic of this ilk. Carol, aka: Gráinne ingen Domnaill
Ildánaig, Cynagua, West 
>
>>Dear Lady, How fortunate you are!  I went to a class on Documentation at
one Collegium.  I was wearing a simple yellow overgown.  Someone who shall
remain nameless, but was dressed in hideously garish [and therefore very
likely a 'period' combo] colors in full Elizabethans, who was sitting
amongst folk who were obviously her good and longtime friends, from across
the table looked down her nose at me, and drawled, "Only Jews wore yellow
in period."  As I was a foreign language major and knew that was not true
for ALL of Europe, I nearly opened mouth...but thought better of it.  Who
needs permanent enemies?  I came within a heartbeat of responding:  "You
have a problem with my people, milady?"... and going on to tell her that
while the sumptary laws in her small area of the world might have been
thus, it was thus and so in this city in Germany, and thus and such in that
area of the British Isles...and... .  Those persons unfortunately do exist.
 However, one thing that often diffuses/confuses them is to start asking
them questions... .  They become so involved in helping educate the poor,
ignorant creature that they forget to be snide.
>> Gráinne ingen Domnaill Ildánaig 
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From owner-h-costume@indra.com  Fri Jul 16 21:35:04 1999
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From: "Franchesca Havas" <ches@io.com>
To: <h-costume@indra.com>
References: <24139935.24c0d3f4@aol.com> <378F7DF7.4947753E@serv.net> <005601becfd8$917397f0$81065cc3@herimats>
Subject: Re: H-COST: medieval seam finishing
Date: Fri, 16 Jul 1999 21:41:29 -0500
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-Poster: "Franchesca Havas" <ches@io.com>

I went to the First site you all mentions see them for sale there and just
ordered the entire series. 300.00!!! But I am convinced that she who dies
with the most books WINS!

Buahhhhhahahahah

Sincerely,
F. Havas
Dallas, Texas
motto: Numquam scribae ridente fide

----- Original Message -----
From: dave;editors(Heritage Matters) <dave@wysewords.softnet.co.uk>
To: <h-costume@indra.com>
Sent: Friday, July 16, 1999 4:54 PM
Subject: Re: H-COST: medieval seam finishing


:
: -Poster: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>
:
:
: > I recently purchased my copy of MOL Shoes & Pattens directly from the
: Museum.
: > They told me that these books were no longer in print, but they just
: happened to
: > still have a few copies of the Shoes & Pattens (thank god!!).  If their
: usual
: > distributors don't have them now, they won't have them later.
: >
: If anyone is currently looking for this ; try The Museum of Footwear in
: Northampton (uk) I have a recollection of seeing several copies and can
only
: think that it was there.
: Dave
:
:  _________________________________________________________________
:  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 Jul 16 23:56:46 1999
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Date: Sat, 17 Jul 1999 01:06:50 EDT
Subject: H-COST: Off the costuming subject/ On the etiquette subject
To: h-costume@indra.com
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-Poster: RobesOf@aol.com

My off the subject $.02:

It seems many (or even all) of us have had someone criticize our hard work, 
looks, personality or whatever at some time or another in life.  It is not 
pleasant, but its not going away either.  My humble suggestion to those who 
would like to learn how to deal with others they "feel" are rude, is to read 
some etiquette books.  Yes, although I often think it is everyone else in the 
world and not me who needs it, I am wrong.  A good etiquette book will give 
all the training you will ever need on how to gracefully handle awkward 
positions that others may have unintentionally put you in.   I prefer Miss 
Manners as she has a wild sense of humor as well as good advice.  Try one of 
her new books "Miss Manners Guide for the Turn of the Millennium".   You will 
learn to look good, make others look good and laugh it off later.   Hope this 
helps some of you.

Now let's get back to talking about the good stuff...costumes :-D

Erica
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From owner-h-costume@indra.com  Sat Jul 17 08:04:22 1999
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From: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>
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References: <E115KQB-0000BS-00@mongoose.slip.net>
Subject: Re: H-COST: Fwd: Garb 'snarks'
Date: Sat, 17 Jul 1999 14:11:56 +0100
Organization: Heritage Matters at Words to the Wise
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-Poster: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>

 Subject: H-COST: Fwd: Garb 'snarks'



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

 .. and going on to tell her that
while the sumptary laws in her small area of the world might have been
thus, it was thus and so in this city in Germany, and thus and such in that
area of the British Isles...and...

Carol, Would you care to tell us something on this subject; It sounds
fascinating and I must admit ignorance.

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From owner-h-costume@indra.com  Sat Jul 17 08:44:48 1999
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From: pulliam@acadia.net (Deborah Pulliam)
Subject: H-COST: museum of london book
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-Poster: pulliam@acadia.net (Deborah Pulliam)

<<> Could someone in the UK confirm if this book is truly out-of-print?
> Thanks

I had no luck trying to get them direct from HMSO.>>

They still had plenty of copies at the Museum of London bookshop this
spring (May).


Deborah


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From owner-h-costume@indra.com  Sat Jul 17 09:23:03 1999
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Date: Sat, 17 Jul 1999 07:35:47 -0700
To: h-costume@indra.com
From: "Carol J. Bell Cannon" <cjcannon@greymists.com>
Subject: Re: H-COST: Fwd: Garb 'snarks'
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

At 02:11 PM 7/17/99 +0100, you wrote:
>
>-Poster: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>
>Carol, Would you care to tell us something on this subject; It sounds
>fascinating and I must admit ignorance.
                   I would if I remembered that much about it.  It was over
30 years ago that I studied it.  Sumptary laws have to do with who can wear
what.  The German laws I was reading about involved differences between
Geneva and Stuttgart, if I recall rightly.  One example is the English laws
that forbade persons of less than a certain station to wear more than so
many ells of fabric in a shirt--whereupon the Irish began making theirs
with as much fabric as they could fit into the sleeves, and resulting in
the leines popular at Renaissance Fairs nowadays.  Or the forbidding of the
wearing of the kilt.  Others had to do with forcing Jews, prostitutes and
other "undesirables" to wear a certain color, so that they would be easily
identifiable.  Still others made certain bird feathers the province of
those with certain titles.  Those latter, I know NOTHING of...only have
heard that they existed.  I'm certain Susan Carroll-Clark and some of the
others here are more capable of answering your question than I.  Carol  
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From owner-h-costume@indra.com  Sat Jul 17 10:10:20 1999
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Date: Sat, 17 Jul 1999 16:12:39 +0100
To: h-costume@indra.com
Cc: "INTERNET:h-costume-digest@indra.com" <h-costume-digest@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: H-COST: Veiling
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-Poster: Jean Waddie <anne@montgomerie.demon.co.uk>

In message <199907151646_MC2-7D2F-C5FD@compuserve.com>, Melanie Wilson
<MelanieWilson@compuserve.com> writes
>
>-Poster: Melanie Wilson <MelanieWilson@compuserve.com>
>
>>I'm a belly dancer and there are a lot of suppliers for veils. Is this
>what
>you are looking for? If so, I'm happy to send you some web sites.
>
>Me too but I'm afraid not, it is for wearing over ones face with a hat, net
>like but not with hugh holes like modern veiling.
>
>Mel

If you don't want modern nylon-net bridal veiling, would silk veiling
do?  It's very soft and limp - almost cobwebby.  I'm going to recommend
a place, but of course I have neither a London phone book nor A-Z here -
try McCulloch and Wallace, I think it's Duke Street, London.  It's down
one of the streets just opposite John Lewis on Oxford Street.  they do
supplies for schools and art colleges, and they should be able to show
you samples of all sorts of things if you describe what you want.  I
should think they would do mail order, if you find their phone number.
Sorry to be so unhelpful about addresses etc!

Jean
-- 
Jean Waddie
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Date: Sat, 17 Jul 1999 15:53:13 +0100
To: h-costume@indra.com
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: H-COST: "Aristocrats" on BBC1
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-Poster: Jean Waddie <anne@montgomerie.demon.co.uk>

In message <s78c75ee.014@csv6.derby.ac.uk>, KATE M BUNTING
<K.M.Bunting@derby.ac.uk> writes
>
>-Poster: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>
>
>Any UK list members watching this series? (It's about the daughters of the Duke 
>of Richmond from the 1740s onwards.) I'm no expert on 18th cent. fashions but 
>the general "look" seems excellent to me - but did styles really change so 
>little between the 1740s and 1760s? All the ladies have worn  gowns with saque 
>(sp?) backs and wide-brimmed hats throughout, with little sense of developing 
>fashions so far.
>
>Kate Bunting
>Library, University of Derby
>
Yes, I agree - gorgeous looks, but they are very bad at showing the
passage of time.  It's not only the clothes, though - in the first
episode or two, Caroline's son was born and grew to about five years
old, while the youngest sister (I'm not sure if it was Sarah or Cecilia
at that point) didn't grow at all, nor even change her dress!

I also have to say, it's not the greatest adaptation.  If you're
interested in the 18th century, read the book, because it gives a really
wonderful insight into the lives of the very top in society - both the
differences from now and the astonishing similarities.

I was disappointed about the costumes, because one of the things I liked
most about the recent Vanity Fair was the changing fashions - suddenly I
understood how the Jane Austen look developed into the Bronte look, as
scene by scene her waistline got lower and tighter and her sleeves got
bigger.  That was great.

Jean
-- 
Jean Waddie
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From: "Mary-Gayle Jany" <talk2meg@midwest.net>
To: <h-costume@indra.com>
Subject: H-COST: sumptuary regulations
Date: Sat, 17 Jul 1999 10:23:43 -0500
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-Poster: "Mary-Gayle Jany" <talk2meg@midwest.net>

     Shucks...I can't find the original request for information.  However,
in '97 I wrote a rather extensive paper on the sumptuary laws governing the
color requirements required for prostitutes and Jews, so perhaps I can help
with this question.

    The laws in all European countries required various articles of
clothing and colors be worn by prostitutes to 'mark' them from the general
population.  The same applied to Jewish.  I found 34 references between
1158 AD and 1560, which includes  London, Venice, Avignon, Arles, Penenas,
Castelnaudary, Gloucester, Exeter, Westminster, Beaucaire, Toulouse, Paris,
Hull, Dijon, Lyons, Amiens, parts of Germany (specifically Nuremberg,
Frauenwirt, And Strasbough), and Florence.  I have no doubt that there are
numerous other examples.
     In a nutshell:  Prostitutes were forbidden in many locals BY LAW from
turning away clients.  The two exceptions allowed by law were of lepers and
Jewish men, not a pretty comment.   
     In Germany, prostitutes were required by law to wear a yellow band of
cloth in 1493.  
     In numerous locals, red became the color of choice to identify
prostitutes.  France seems particularly set on requiring red.

Meg
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From: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>
To: <h-costume@indra.com>
References: <199907171530.KAA06270@cdale3.midwest.net>
Subject: Re: H-COST: sumptuary regulations
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-Poster: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>


Meg, Thank You.
Is your own paper available anywhere? Or is there any sources that you would
suggest?
I am particularly interested in the English cities 1400 on.
Dave
> -Poster: "Mary-Gayle Jany" <talk2meg@midwest.net>
>
>      Shucks...I can't find the original request for information.  However,
> in '97 I wrote a rather extensive paper on the sumptuary laws governing
the
> color requirements required for prostitutes and Jews, so perhaps I can
help
> with this question.
>
 ETC>
> Meg
>  _________________________________________________________________


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-Poster: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>

Thanks anyway.I would appreciate any leads or suggested reading that anyone
on the list may care to suggest.
Dave

>
> -Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>
>
 >                    I would if I remembered that much about it.  It was
over
> 30 years ago that I studied it.  Sumptary laws have to do with who can
wear
 etv

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From owner-h-costume@indra.com  Sat Jul 17 11:34:28 1999
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From: "Dan Fenwick" <daniel@fenwick.sparks.nv.us>
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Subject: Re: H-COST: museum of london book
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-Poster: "Dan Fenwick" <daniel@fenwick.sparks.nv.us>

> They still had plenty of copies at the Museum of London bookshop this
> spring (May).
>
>
> Deborah

Thank you.  I just called and ordered a copy that they say they'll ship out
tomorrow.  They are also going to send me a publications catalogue.



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From: "Mary-Gayle Jany" <talk2meg@midwest.net>
To: <h-costume@indra.com>
Subject: Re: H-COST: sumptuary regulations
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-Poster: "Mary-Gayle Jany" <talk2meg@midwest.net>

     Dave:
     If you're near a university library, you'll have good luck.  Do a
cross reference search including prostitution, sumptuary laws, and Jewish.
     I note that your address is in the United Kingdom.  You have (?)
access to a start far beyond my humble means.
     Try the following titles:

     Allison, K. J., ed.  The City of Kingdom upon Hull: A History of the
County of York: East Riding.  vol. 1.  London: Oxford UP, 1969.
     Goldberg, P. J. P.  Women, Work, and Life Cycle in a Medieval Economy:
 Women in York and Yorkshire c. 1300-1520.  Oxford: Clarendon Press, 1992.
     Karras, Ruth Mazo.  Common Women: Prostitution and Sexuality in
Medieval England.  Oxford: Oxford UP, 1996.

    There's also a reprint of Stow's Annales of England available, but I
don't remember whether it covers the years in which you are interested.  

      Do you read German well?
Meg

----------
> From: dave;editors(Heritage Matters) <dave@wysewords.softnet.co.uk>
> To: h-costume@indra.com
> Subject: Re: H-COST: sumptuary regulations
> Date: Saturday, July 17, 1999 10:52 AM
> 
> 
> -Poster: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>
> 
> 
> Meg, Thank You.
> Is your own paper available anywhere? Or is there any sources that you
would
> suggest?
> I am particularly interested in the English cities 1400 on.
> Dave
> > -Poster: "Mary-Gayle Jany" <talk2meg@midwest.net>
> >
> >      Shucks...I can't find the original request for information. 
However,
> > in '97 I wrote a rather extensive paper on the sumptuary laws governing
> the
> > color requirements required for prostitutes and Jews, so perhaps I can
> help
> > with this question.
> >
>  ETC>
> > Meg
> >  _________________________________________________________________
> 
> 
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
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From: "Henk 't Jong" <scapreel@tip.nl>
To: <h-costume@indra.com>
Subject: Re: H-COST: Cotehardie Conundrum/Blanket
Date: Sat, 17 Jul 1999 20:30:27 +0200
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-Poster: "Henk 't Jong" <scapreel@tip.nl>

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

 
Hi all,

Robin wrote:
> :-) I'm guessing Henk is remembering a question I sent him some months
> ago. (If you answered me, Henk, I never got it, and I'd still love your
> opinion.)

You haven't because I'm still searching and haven't found anything
defininite yet.

 I've been wondering whether there's any solid evidence for linen
> being worn as the primary (visible) fabric of a gown or other body
garment
> -- we know it was used for undergarments (chemises) and linings of body
> garments, but I haven't found as much evidence for it being used as the
> main fabric, despite common assumptions to the contrary.  So I'm on the
> prowl. 
> 
You say: as much. Does that mean you have found some?

> Given the ready availability of wool and the small wardrobes of most
> people in the 14th century, I doubt many people would go to the expense
of
> making a linen dress just for those rare hot summer days.

I know about prices of cloth in the late 13th to 15th c, but I can tell you
that linen was a hell of a lot cheaper than wool in our region (Holland,
Flanders, Northern France). That is: except for the fine kerchief linen of
Doornik, Reims or Paris, of course, but that wasn't used for underwear or
linings.

Incidentally: do any of you know if 'blanket' is a woollen or linen (white
or light coloured: blanc=white) cloth. It was used for cotte and chaperon
linings in the early 14th c. In my opinion it can't have been a thick
roughed woollen cloth to make blankets from, this was called fustian at the
time. But what else could it have been? Any suggestions?

  I'm not even so
> sure linen would make that much of a difference in European temperatures
> -- I experimented with wearing identical dresses in cotton, linen, and
> wool in 90-degree heat last summer (far worse than is usually seen in
> Europe), and the wool was actually the most comfortable! Line it with
> linen and you get the best of all worlds. 

A lined woollen cotte is very hot in even our summers; I tried it. It works
better in winter. A linen cotte works OK.

> I've found some indications that linen was worn routinely for summer
> garments in sunny Italy, 

So why not in Northern Europe where linen was cheap and plentiful?

and I wonder if the paler palette of Italian
> clothing seen in paintings reflects an increased use of linen, which does
> not hold deep colors like wool does. 

Most well known Italian paintings of the middle ages (Giotto, Cimabue,
Martini) are done on walls in fresco technique; this has paler colours than
miniatures because they are fused with chalks. Italian miniatures are every
bit as colourful as Northern European ones as are altar paintings in
tempera.

This is another topic for another
> year -- but I'll happily collect references to linen use in Northern and
> Western Europe if anyone runs across anything. 

Looking forward to your results. I'll keep you and the list posted if and
when I find something,

Henk
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-Poster: Russell Hedges <russellh@home.com>



"dave;editors(Heritage Matters)" wrote:
> 
> -Poster: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>
> 
>  ----- Original Message -----
>  >
> > -Poster: Russell Hedges <russellh@home.com>
> >
> > I am  male, so the beautiful gowns are out.
> 
> Are you sure about this.
> One of the Societies I belong to , admittedly set up as an antidote to so
> many women wearing miltary uniforms at events, only meets once a year; on
> which occassion, we all get a chance to put on the frocks.

<snip>

Well. . . . The same frock that looks stunning on a woman would only
look silly on a man.  I have seen some women who looked really good in
uniform, but few men who could do justice to any gown.
I appreciate the humor of the idea, but I think if I want laughs, I'll
come to a ball as Harpo Marx, my favorite Marxist.
	
Honk honk.


Russell Hedges
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Date: Sat, 17 Jul 1999 16:55:14 -0400
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Veiling
To: "INTERNET:h-costume-digest@indra.com" <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

Thanks Jean

Try http://www.bt.com/phonenetuk/

On line UK directory enquires

Mel
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From owner-h-costume@indra.com  Sat Jul 17 15:45:08 1999
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Date: Sat, 17 Jul 1999 16:55:13 -0400
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: MCCULLOCH & WALLIS LTD WHSLE FABRICS, HBDSHRY,
To: "INTERNET:h-costume-digest@indra.com" <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

MCCULLOCH & WALLIS LTD WHSLE FABRICS, HBDSHRY, 25 Dering
   St, W1.
                                                                     (0171)
629 0311 
 3
   MCCULLOCH & WALLIS LTD WHSLE FABRICS, HBDSHRY, 25 Dering
   St, W1.
                                                                     (0171)
409 0725 
 4
   MCCULLOCH & WALLIS LTD WHSLE FABRICS, HBDSHRY FAX.
                                                                     (0171)
491 2481 
 5
   MCCULLOCH & WALLIS LTD WHSLE FABRICS, HBDSHRY FAX.
                                                                     (0171)
491 9578 


Mel
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From owner-h-costume@indra.com  Sat Jul 17 20:07:19 1999
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From: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>
To: <h-costume@indra.com>
References: <199907171806.NAA28875@cdale3.midwest.net>
Subject: Re: H-COST: sumptuary regulations
Date: Sun, 18 Jul 1999 02:17:08 +0100
Organization: Heritage Matters at Words to the Wise
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-Poster: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>

Thank You ;
Thus armed I shall venture forth
(except for the Karras which I have somewhere and realise that this may have
been niggling at the back of my mind when my interest was reborn)
The York source will be of great interest
German is a no no for me.
Thanks again and to every body else that has repsponded
dave


>
> -Poster: "Mary-Gayle Jany" <talk2meg@midwest.net>
>
>      Dave:
>      If you're near a university library, you'll have good luck.  Do a
> cross reference search including prostitution, sumptuary laws, and Jewish.
>      I note that your address is in the United Kingdom.  You have (?)
> access to a start far beyond my humble means.
>      Try the following titles:
>
>      Allison, K. J., ed.  The City of Kingdom upon Hull: A History of the
> County of York: East Riding.  vol. 1.  London: Oxford UP, 1969.
>      Goldberg, P. J. P.  Women, Work, and Life Cycle in a Medieval
Economy:
>  Women in York and Yorkshire c. 1300-1520.  Oxford: Clarendon Press, 1992.
>      Karras, Ruth Mazo.  Common Women: Prostitution and Sexuality in
> Medieval England.  Oxford: Oxford UP, 1996.
>
>     There's also a reprint of Stow's Annales of England available, but I
> don't remember whether it covers the years in which you are interested.
>
>       Do you read German well?
> Meg
>
> ----------
> > From: dave;editors(Heritage Matters) <dave@wysewords.softnet.co.uk>
> > To: h-costume@indra.com
> > Subject: Re: H-COST: sumptuary regulations
> > Date: Saturday, July 17, 1999 10:52 AM
> >
> >
> > -Poster: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>
> >
> >
> > Meg, Thank You.
> > Is your own paper available anywhere? Or is there any sources that you
> would
> > suggest?
> > I am particularly interested in the English cities 1400 on.
> > Dave
> > > -Poster: "Mary-Gayle Jany" <talk2meg@midwest.net>
> > >
> > >      Shucks...I can't find the original request for information.
> However,
> > > in '97 I wrote a rather extensive paper on the sumptuary laws
governing
> > the
> > > color requirements required for prostitutes and Jews, so perhaps I can
> > help
> > > with this question.
> > >
> >  ETC>
> > > Meg
> > >  _________________________________________________________________
> >
> >
> >  _________________________________________________________________
> >  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  Sun Jul 18 09:40:00 1999
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Subject: Re: H-COST: Badmouthing other costumers
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-Poster: cynthia j ley <cley@juno.com>

You know, one thing we compliment most of us can manage, even though the
fit might be  wrong, the fabric's wrong for the style or period, is,
"That color looks great on you."

Offering assistance with costuming, done in a friendly and tactful
manner, is seldom turned down.

Kindness first.

And those you talk to get turned on by the idea of making their own garb,
rather than turned off.



					Arlys


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-Poster: leif drews <drewscph@post12.tele.dk>


--------------6AC4121248610B155C962D4C
Content-Type: text/plain; charset=iso-8859-1
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Hello all
I know that most of you mostly are involved in the medieval period, but
i hope that someone could help me a little again.
It is about 18th century stays again.
I have made a correct enlargement of a pair of halfboned stays from
Norah Waughs book, they are at page 40 in the book, the period is
177oies.
When i put my paper pattern to my dresstand, the sides of the bustline
is much two high.
I dont mean the lowest bustline, it is all right, but the side towards
the shoulderstraps.
When the boning is done, there will be a wrong angle here, it wont turn
inwards towards the body here.
My dresstand is a size 38 a small size, but maybe i cant put the corset
to this, when the bust isnt flexible like a real person.
Should i make a new dresstand and make it flexible with wool? Would that
be a better way to do it.
Gennerally i think that the bustlines in old stays is much two high.
Should i just make a new bustline and ignore the authentity here? The
bust must have been changed during the years, maybe it is because they
wore stays from small girls, and the bust was forsed upwards all the
time.
I would love to here from anybody who have experient the same things. It
is such a shame that i have nobody to try it on at the moment.
Bjarne in Copenhagen.
--


Leif Drews
Åboulevard 5, 3 th
1635  København V

Bjarne Drews
Åboulevard 5,3.th
1635 København V

tlf. 35 37 13 70

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

Homepage: http://members.tripod.com/~DeeDee_Revia/1index.html


--------------6AC4121248610B155C962D4C
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Content-Transfer-Encoding: 7bit

<HTML>
<BODY TEXT="#000000" BGCOLOR="#FFFFFF" LINK="#0000EE" VLINK="#551A8B" ALINK="#0000EE">
Hello all
<BR>I know that most of you mostly are involved in the medieval period,
but i hope that someone could help me a little again.
<BR>It is about 18th century stays again.
<BR>I have made a correct enlargement of a pair of halfboned stays from
Norah Waughs book, they are at page 40 in the book, the period is 177oies.
<BR>When i put my paper pattern to my dresstand, the sides of the bustline
is much two high.
<BR>I dont mean the lowest bustline, it is all right, but the side towards
the shoulderstraps.
<BR>When the boning is done, there will be a wrong angle here, it wont
turn inwards towards the body here.
<BR>My dresstand is a size 38 a small size, but maybe i cant put the corset
to this, when the bust isnt flexible like a real person.
<BR>Should i make a new dresstand and make it flexible with wool? Would
that be a better way to do it.
<BR>Gennerally i think that the bustlines in old stays is much two high.
Should i just make a new bustline and ignore the authentity here? The bust
must have been changed during the years, maybe it is because they wore
stays from small girls, and the bust was forsed upwards all the time.
<BR>I would love to here from <U>anybody </U>who have experient the same
things. It is such a shame that i have nobody to try it on at the moment.
<BR>Bjarne in Copenhagen.
<BR>--
<BR>&nbsp;

<P>Leif Drews
<BR>&Aring;boulevard 5, 3 th
<BR>1635&nbsp; K&oslash;benhavn V

<P>Bjarne Drews
<BR>&Aring;boulevard 5,3.th
<BR>1635 K&oslash;benhavn V

<P>tlf. 35 37 13 70

<P>Homepage: <A HREF="http://home0.inet.tele.dk/drewscph">http://home0.inet.tele.dk/drewscph</A>

<P>Homepage: <A HREF="http://members.tripod.com/~DeeDee_Revia/1index.html">http://members.tripod.com/~DeeDee_Revia/1index.html</A>
<BR>&nbsp;
</BODY>
</HTML>

--------------6AC4121248610B155C962D4C--

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From owner-h-costume@indra.com  Sun Jul 18 12:13:02 1999
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Subject: Re: H-COST: 18th. c. anatomy
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-Poster: BarbMVD@aol.com

I have made literally dozens of stays from this diagram and had no problem at 
all.  If you have enlarged the pattern (which is sometimes necessary) I can 
only assume that you made an error somewhere along the line.  Perhaps you can 
tell us what you did to adapt this diagram? If memory serves, the original 
would be about 34 bust & 24 waist in measurement (allow 2" for tightening), 
but the 14" center front may not require adjustment.

Please don't try to invent or redesign.  As in any garment patterned from a 
diagram, please remember that the original was made for an individual who may 
or may not have been of average proportions. Remember too that the stays not 
only raise the breast by compressing below the nipple, but the side area you 
refer to produces shaping and cleavage.

Barbara Delorey
18cWoman@onelist.com
DAR/Reenactors:	http://hometown.aol.com/barbmvd/page/dar.htm
Battle Road Clothing:	http://www.ziplink.net/~mrkmcc/delory.htm
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From owner-h-costume@indra.com  Sun Jul 18 12:16:27 1999
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From: "K & J Hopkins" <khopkins@cyberhighway.net>
To: <h-costume@indra.com>
Subject: H-COST: Greetings
Date: Sun, 18 Jul 1999 09:41:50 -0600
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-Poster: "K & J Hopkins" <khopkins@cyberhighway.net>

I am new to this list server.

My name is Kathlene and I live in Boise, ID.  I belong to the SCA, but have
been interested in costume ever since my mom found a vintage shirt waist
for me to wear during the Nevada state centennial celebration in 1965. 
During Jr. High and High School, I searched the thrift stores for 40's
women's suits so, I could wear the jackets with my patched jeans.  My
mother (again)  scored 2 black Victorian petticoats that I wore with my
knee high lace-up boots and homemade, India print, midriff blouse.

These days my everyday clothes are more conservative.  The SCA provides the
'dressing up' outlet.  In the SCA, my costuming interest seems to be
focusing in on the Italian Renaissance.  Oh, I still want to make at least
one Tudor and Elizabethan, but Italian Ren is 'it', as far as I am
concerned. 

The problem is, that there just doesn't seem to be much out there in the
way of information.  Oh, I know about Birbari's, Dress in Italian Painting.
 I have 2 book searches going for it (the Tracery and Bibliofind).  And I
have been busy at Kinko's making color copies from giant art books of
Italian Painting, to put in a binder.  But, if there is anyone else out
there with a passion for Italian Ren, and you can point me in some other
directions, please let me know.

Thank you,

Kathlene
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-Poster: leif drews <drewscph@post12.tele.dk>

As for the enlargement, i scanned the pattern on my computer and made it smaller.

Then i use an "ennascope", a devide like the ones you look on dias pictures with
and enlarge the pattern to the size and draw on paper along the lines.
The proportions is quite autentic.
There is a bone that goes all the way up at the farthest side of the bustline and
as far as i can se it will stick up in the air here, and not go into the
shoulder.
It is very difficult for me to explain for me because i am not that good in
english.
The original bust on my dresstand needs to be pushed at least 4- 5 cm. upwards if
it should fit this corset pattern. It fits all other places, only not here,
either i have to cut off 4 cm. from the farthest outside of the bustline, or i
must make another dresstand.
Thankyou for answering my question.
Bjarne.

BarbMVD@aol.com skrev:

> -Poster: BarbMVD@aol.com
>
> I have made literally dozens of stays from this diagram and had no problem at
> all.  If you have enlarged the pattern (which is sometimes necessary) I can
> only assume that you made an error somewhere along the line.  Perhaps you can
> tell us what you did to adapt this diagram? If memory serves, the original
> would be about 34 bust & 24 waist in measurement (allow 2" for tightening),
> but the 14" center front may not require adjustment.
>
> Please don't try to invent or redesign.  As in any garment patterned from a
> diagram, please remember that the original was made for an individual who may
> or may not have been of average proportions. Remember too that the stays not
> only raise the breast by compressing below the nipple, but the side area you
> refer to produces shaping and cleavage.
>
> Barbara Delorey
> 18cWoman@onelist.com
> DAR/Reenactors: http://hometown.aol.com/barbmvd/page/dar.htm
> Battle Road Clothing:   http://www.ziplink.net/~mrkmcc/delory.htm
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME



--


Leif Drews
Åboulevard 5, 3 th
1635  København V

Bjarne Drews
Åboulevard 5,3.th
1635 København V

tlf. 35 37 13 70

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

Homepage: http://members.tripod.com/~DeeDee_Revia/1index.html


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From owner-h-costume@indra.com  Sun Jul 18 13:44:18 1999
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Subject: Re: H-COST: 18th.century anatomy
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-Poster: BarbMVD@aol.com

Bjarne -
The only suggestion I can make is to try it on human form, or you might cut 
the garment out of corrugated cardboard and lace it on for a pre-fitting, 
before making any major changes in the stays.
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From owner-h-costume@indra.com  Sun Jul 18 13:56:05 1999
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-Poster: leif drews <drewscph@post12.tele.dk>

What a splendid idea to make a cardboard pre-fitting corset first.
Why didnt i think of that before.......
Thankyou very much for that idea.
Bjarne.

Leif Drews
Åboulevard 5, 3 th
1635  København V

Bjarne Drews
Åboulevard 5,3.th
1635 København V

tlf. 35 37 13 70

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

Homepage: http://members.tripod.com/~DeeDee_Revia/1index.html


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From owner-h-costume@indra.com  Sun Jul 18 14:14:18 1999
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From: "Karie Mitchell" <allessandre@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: Re: Garb Snarks.. Off Topic
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-Poster: "Karie Mitchell" <allessandre@hotmail.com>

De-lurking for the moment.

Allessandre here.  I live in Ansteorra, our clothing is what I would 
consider, "reasonable".  We have to make accomodations because of the
heat and most of us run around in chitons during the summer months (which 
runs from mid-May to late September, give or take a couple of weeks).

We have some members who do exquisite work, some who do reasonable work, and 
some that do downright, hideous, I-don't-even-want-to-go-there, work. Our 
Laurels are reasonable people (and have gotten more so in the past year or 
two - I think).  For us, I believe, most of the "snarkiness" is over.

Our Laurels are trying to improve the caliber of authentic clothing here and 
go out of their way to make pleasing comments and constructive criticism on 
garments made, especially when the advice is asked for.

Does this mean that occasionally someone makes, for whatever reason, a 
snotty comment about something someone's wearing?  Yes. Especially if that 
person is tired, cranky, or just so frustrated with what he/she thinks ought 
to be "easy".

I think what we ought to have here is forgiveness to others who might hurt 
us, either purposefully or more likely by accident.  And we ought to have 
tolerance for others who do not do costuming first and foremost.  And advice 
and knowledge for those who are seeking.

Thanks for your time.  Back to lurking mode....


_______________________________________________________________
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From owner-h-costume@indra.com  Sun Jul 18 14:47:01 1999
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-Poster: leif drews <drewscph@post12.tele.dk>

I am so sorry about this confusion, with the adjustment. I se now that
when the shoulderstraps is laced tight, the bustline will fitt
beautifully.  The corset is surposed to sit tight to the armholes or
what?
Sorry about this confusion i made, It was one of the bones that i
thoaght would point up in the air, but when it is fitted to the
shoulderstraps, it will bend inwards just nice.
Another question though!
Do you make your costumes on a dresstand that is fitted to the period?
A modern dresstand is not good to fit garments on i think, the bust is
wrong.
Just curious.
Bjarne

--


Leif Drews
Åboulevard 5, 3 th
1635  København V

Bjarne Drews
Åboulevard 5,3.th
1635 København V

tlf. 35 37 13 70

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

Homepage: http://members.tripod.com/~DeeDee_Revia/1index.html


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From owner-h-costume@indra.com  Sun Jul 18 15:31:15 1999
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Date: Sun, 18 Jul 1999 13:32:40 -0700
From: Denning <denning@redshift.com>
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-Poster: Denning <denning@redshift.com>


Does anyone know where I can find (hopefully easily available &
useful-so I don't have to look forever for information :D) books,
websites or
patterns on period French dress -medieval to Renaissance mostly, maybe a

little English dress from those periods. Noblewomen to rich
merchant(idealized rich peasant) types.

Also....
     the same, but for a rich Italian merchat?      (both for females)

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Subject: Re: H-COST: 18th. c. stays
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-Poster: AlbertCat@aol.com

In a message dated 7/18/99 3:06:05 PM Eastern Daylight Time, 
drewscph@post12.tele.dk writes:

<< 
 What a splendid idea to make a cardboard pre-fitting corset first.
 Why didnt i think of that before.......
 Thankyou very much for that idea.
 Bjarne.
  >>
While we're on the topic.......
When the corsets were made for "Last of the Mohicans" they were cut in drill, 
then either ....in muslin and put together and the vents [the channels for 
the bones] sewn in.... or the vents were formed by grosgrain ribbon. Each 
piece was made up separately with large seam allowances & boned. The pieces 
were sewn together & fitted on the actress. The thing was taken apart, 
corrections made [some cutting down of bones was sometimes involved] then the 
top fabric was cut & based on over the muslin. Following the machine 
stitching on the muslin/drill, all the vents were hand sewn through all three 
thicknesses of fabric. The hand sewing is all that shows on the outside. Then 
the corset was sewn back together, seam allowances trimmed & finished, and 
the bindings applied.

I didn't make one but only did some hand work on the vents. I however plan to 
follow this proceedure when I do make a fancy pair of stays....that might be 
seen.
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-Poster: AlbertCat@aol.com

In a message dated 7/18/99 3:57:09 PM Eastern Daylight Time, 
drewscph@post12.tele.dk writes:

<< Do you make your costumes on a dresstand that is fitted to the period?
 A modern dresstand is not good to fit garments on i think, the bust is
 wrong.
 Just curious.
  >>
I have a foam dummy that squishes. But this too is not flesh & I have to pad 
the top of the bust because it doesn't get pushed up like flesh but just 
squishes in....like foam. Also a dummy slightly smaller than you need can be 
padded to the correct shape.
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From: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>
To: <h-costume@indra.com>
References: <379239E8.E73EF999@redshift.com>
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Date: Sun, 18 Jul 1999 23:10:13 +0100
Organization: Heritage Matters at Words to the Wise
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-Poster: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>

Help !!!Its been a lifetime (it seems) but I cant remember how I subscribed
to this list and a friend wants to join us;
Please remind me.
 Dave
LD MUNDY
Editor Heritage Matters


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From owner-h-costume@indra.com  Sun Jul 18 19:49:44 1999
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From: Lavolta Press <lavolta@best.com>
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-Poster: Lavolta Press <lavolta@best.com>

I have for sale five discount copies of the first edition of _After a
Fashion:  How to Reproduce, Restore, and Wear Vintage Styles_.  This
book gives instructions for making reproduction costumes from Middle
Ages to Art Deco, plus buying, cleaning, mending, and altering vintage
clothes from Victorian to Art Deco.  (It is not a pattern book, but we
also sell two of those.)  Both women's and men's clothes are discussed.
It is 8 1/2 by 11 inches, 357 pages, and illustrated with 147 line
drawings.  Copies are in very good condition except a little cover
scuffing or fading.  The price is $21 (plus sales tax for California
residents) plus $4 shipping.

More details are on our web site:

http://www.best.com/~lavolta/index.htm

Frances Grimble



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


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From owner-h-costume@indra.com  Sun Jul 18 20:43:16 1999
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Subject: H-COST: Re: Use of linen in Renaissance Italy (Was Cotehardie
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-Poster: Nancygwyn@aol.com

In Henk's posting of July 17th he included from someone named Robin the 
following quote

> I've found some indications that linen was worn routinely for summer
> garments in sunny Italy, 

Robin (or Henk), I'd be very interested in hearing more about your research, 
sources, etc.  Please elaborate more on this comment, either to the list or 
privately.

Thank you.

Nancy Stengel
(Maddalena Salutati)
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From owner-h-costume@indra.com  Sun Jul 18 21:30:45 1999
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Date: Sun, 18 Jul 1999 19:50:35 -0700
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-Poster: Scott Hulett <mhull@earthlink.net>

Henk and Robin,
    Yes please. I would very much like to know of linen usage during summer in
Renaissance/Late Renaissance Italy.
Thanks much, jd

Nancygwyn@aol.com wrote:

> -Poster: Nancygwyn@aol.com
>
> In Henk's posting of July 17th he included from someone named Robin the
> following quote
>
> > I've found some indications that linen was worn routinely for summer
> > garments in sunny Italy,
>
> Robin (or Henk), I'd be very interested in hearing more about your research,
> sources, etc.  Please elaborate more on this comment, either to the list or
> privately.
>
> Thank you.
>
> Nancy Stengel
> (Maddalena Salutati)
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME

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From owner-h-costume@indra.com  Sun Jul 18 21:39:37 1999
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Date: Sun, 18 Jul 1999 19:47:16 -0700
From: Diana H <dch@inreach.com>
Organization: Well, I wouldn't call it organized......
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-Poster: Diana H <dch@inreach.com>

> These days my everyday clothes are more conservative.  The SCA
> provides the
> 'dressing up' outlet.  In the SCA, my costuming interest seems to be
> focusing in on the Italian Renaissance.  Oh, I still want to make at
> least
> one Tudor and Elizabethan, but Italian Ren is 'it', as far as I am
> concerned.
>
> The problem is, that there just doesn't seem to be much out there in
> the
> way of information.  Oh, I know about Birbari's, Dress in Italian
> Painting.
>  I have 2 book searches going for it (the Tracery and Bibliofind).
> And I
> have been busy at Kinko's making color copies from giant art books of
> Italian Painting, to put in a binder.  But, if there is anyone else
> out
> there with a passion for Italian Ren, and you can point me in some
> other
> directions, please let me know.

Kathleen,

I am also in the SCA (West) and consider my forte to be Italian Renn
dress.  I was curious as to what type of info you are looking for as
research.  Personally, I do alot of searches for Italian painters on the
Internet and have a collection of some wonderful art books of Italian
painters.  I also keep a binder of pictures I have either photocopied or
printed.  I usually use this binder to teach a class in Italian Renn.
since it is in chronological order.

As for construction, I try to take clues from examples of existing
clothing pieces when I can find them and use the techniques available.
I do my own patterning and can usually look at a style of dress and
figure out how the pieces fit together.  So I can't really point you in
the direction of patterns except to say that there are some to be found
in the book by Hunnisett called "Period Costume for Stage & Screen:
Medieval to 1500"

There is a book called "Dress in Renaissance Italy 1450-1550" but the
name of the author escapes me at the moment.  It is unfortunately out of
print but may be available at your University library.  It is a good
overview of Italian dress and fabrics and whatnot.  No patterns that I
remember, though.

I hope this gives you some info to start off with.  I would be happy to
discuss Italian Renn with you or anyone else.  We can do it off list if
you would like.  I am always happy to share with others what I know and
help them find it if I don't :~>

Cheers,

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 Jul 18 23:08:41 1999
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From: "Michelle" <mandrake@mypad.com>
To: "costume list" <h-costume@indra.com>
Subject: H-COST: Italian Ren patterns
Date: Sun, 18 Jul 1999 21:19:17 -0700
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-Poster: "Michelle" <mandrake@mypad.com>

This is a multi-part message in MIME format.

------=_NextPart_000_0078_01BED163.319A0EE0
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There is a company called Period Patterns that puts out an Italian dress =
pattern. It includes several styles.  You can order that one or other =
patterns through Alter Years.  =20
   Period Patterns assumes pretty extensive sewing knowlege and some of =
it can be quite tricky but, their patterns are nice.  They include a bit =
of historical information along with the pattern.=20
    Let me know if you would like the number of Alter Years to request a =
catalog.  They carry corseting supplies and a multitude of pattern, etc. =
from historical to Halloween.

  Mandrake

------=_NextPart_000_0078_01BED163.319A0EE0
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<META content=3D'"MSHTML 4.72.3110.7"' name=3DGENERATOR>
</HEAD>
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<DIV><FONT size=3D2>There is a company called Period Patterns that puts =
out an=20
Italian dress pattern. It includes several styles.&nbsp; You can order =
that one=20
or other patterns through Alter Years.&nbsp;&nbsp; </FONT></DIV>
<DIV><FONT size=3D2>&nbsp;&nbsp; Period Patterns assumes pretty =
extensive sewing=20
knowlege and some of it can be quite tricky but, their patterns are =
nice.&nbsp;=20
They include a bit of historical information along with the=20
pattern.&nbsp;</FONT></DIV>
<DIV><FONT size=3D2>&nbsp;&nbsp;&nbsp; Let me know if you would like the =
number of=20
Alter Years to request a catalog.&nbsp; They carry corseting supplies =
and a=20
multitude of pattern, etc. from historical to Halloween.</FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>&nbsp; Mandrake</FONT></DIV></BODY></HTML>

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From owner-h-costume@indra.com  Sun Jul 18 23:26:44 1999
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From: "Arianne de Dragonnid  mka Grace Payne" <arianne@blackroot.org>
To: "apprentice@egroups.com" <apprentice@egroups.com>
Date: Mon, 19 Jul 99 00:26:29 
Priority: Normal
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-Poster: "Arianne de Dragonnid  mka Grace Payne" <arianne@blackroot.org>

Good Gentles,

About a month ago, on one of the lists I'm on (no idea which one, and I can't find the message), I got a 
message on doing self-CPR.  Unsure whether it was for real or not, I forwarded it to my Mom, who sent it on to 
my uncle, a heart specialist in Boston.  Below are my uncle's remarks on the subject and the original email.  I 
have deleted my uncle's name and such for his privacy.

My apologies if you're on many of the same lists I'm on and get this a zillion times, but it's certainly valuable 
information.

Yours,
	Arianne de Dragonnid
Shire of Starhaven, Kingdom of Trimaris

`````````````````````````````
My uncle's remarks:

>If the cause of the arrest is bradycardia, the technique described (cough
>CPR) will support the circulation if it is performed every 1-2 seconds. I
>have personally instructed a patient to perform the maneuver until we could
>get a pacemaker inserted.
>
>If the cause of the arrest is ventricular tachycardia there is a small
>chance that cough will convert the rhythm back to normal.  It would not
>work for ventricular fibrillation.
>
>Bottom line-- it is worth a try if a person is starting tofaint from a
>heart attack.

``````````````````````````````````
And the original post:

> > >Let's say it's 4:17 p.m. and you're driving home (alone of course)
> > >after an unusually hard day on the job.  Not only was the workload
> > >extraordinarily heavy, you also had a disagreement with your boss,
> > >and no matter how hard you tried he just wouldn't see your side of
> > >the situation.  You're really upset and the more you think about it
> > >the more uptight you become.  All of a sudden you start experiencing
> > >severe pain in your chest that starts to radiate out into your arm
> > >and up into your jaw.  You are only about five miles from the
> > >hospital nearest your home.  Unfortunately you don't know if you'll
> > >be able to make it that far.  What can you do?  You've been trained
> > >in CPR but the guy that taught the course neglected to tell you how
> > >to perform it on yourself.
> > >The other evening I received an e-mail from Dave Guilliot that is a
> > >reprint of an article that was published in the newsletter of
> > >Rochester General Hospital.  It gives you a course of action should
> > >you find yourself alone and think that you are having a heart attack.
> > >Before passing it on to anyone else (I didn't recognize the source),
> > >I felt it was necessary to get a more learned opinion as to the
> > >validity of the procedure so I dropped it off for Dr. Domangue (Plant
> > >Medical Director) to comment on.  His comment was very brief:  "You
> > >should do this."  Therefore, below is the complete article as I
> > >received it.  Again, Special thanks to Dave Guilliot for making us
> > >aware of this procedure.
> > >
> > >HOW TO SURVIVE A HEART ATTACK WHEN ALONE
> > >
> > > (Since many people are alone when they suffer a heart attack, this
> > >article seemed in order.)
> > >
> > >Without help, the person whose heart stops beating properly and who
> > >begins to feel faint, has only about 10 seconds left before losing
> > >consciousness.  However, these victims can help themselves by
> > >coughing repeatedly and very vigorously.  A deep breath should be
> > >taken before each cough, and the cough must be deep and prolonged,
> > >as when producing sputum from deep inside the chest.  A breath and
> > >a cough must be repeated about every two seconds without let up
> > >until help arrives, or until the heart is felt to be beating
> > >normally again.
> > >
> > >Deep breaths get oxygen into the lungs and coughing movements squeeze
> > >the heart and keep the blood circulating.  The squeezing pressure on
> > >the heart also helps it regain normal rhythm.  In this way, heart
> > >attack victims can get to a phone and, between breaths, call for
> > >help.
> > >
> > >Tell as many other people as possible about this.  It could save
> > >their lives!




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From owner-h-costume@indra.com  Sun Jul 18 23:39:32 1999
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From: "Arianne de Dragonnid  mka Grace Payne" <arianne@blackroot.org>
To: "h-costume@indra.com" <h-costume@indra.com>
Date: Mon, 19 Jul 99 00:40:37 
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-Poster: "Arianne de Dragonnid  mka Grace Payne" <arianne@blackroot.org>

Good Gentles,

About a month ago, on one of the lists I'm on (no idea which one, and I can't find the message), I got a 
message on doing self-CPR.  Unsure whether it was for real or not, I forwarded it to my Mom, who sent it on to 
my uncle, a heart specialist in Boston.  Below are my uncle's remarks on the subject and the original email.  I 
have deleted my uncle's name and such for his privacy.

My apologies if you're on many of the same lists I'm on and get this a zillion times, but it's certainly valuable 
information.

Yours,
	Arianne de Dragonnid
Shire of Castlemere, Kingdom of Trimaris

`````````````````````````````
My uncle's remarks:

>If the cause of the arrest is bradycardia, the technique described (cough
>CPR) will support the circulation if it is performed every 1-2 seconds. I
>have personally instructed a patient to perform the maneuver until we could
>get a pacemaker inserted.
>
>If the cause of the arrest is ventricular tachycardia there is a small
>chance that cough will convert the rhythm back to normal.  It would not
>work for ventricular fibrillation.
>
>Bottom line-- it is worth a try if a person is starting tofaint from a
>heart attack.

``````````````````````````````````
And the original post:

> > >Let's say it's 4:17 p.m. and you're driving home (alone of course)
> > >after an unusually hard day on the job.  Not only was the workload
> > >extraordinarily heavy, you also had a disagreement with your boss,
> > >and no matter how hard you tried he just wouldn't see your side of
> > >the situation.  You're really upset and the more you think about it
> > >the more uptight you become.  All of a sudden you start experiencing
> > >severe pain in your chest that starts to radiate out into your arm
> > >and up into your jaw.  You are only about five miles from the
> > >hospital nearest your home.  Unfortunately you don't know if you'll
> > >be able to make it that far.  What can you do?  You've been trained
> > >in CPR but the guy that taught the course neglected to tell you how
> > >to perform it on yourself.
> > >The other evening I received an e-mail from Dave Guilliot that is a
> > >reprint of an article that was published in the newsletter of
> > >Rochester General Hospital.  It gives you a course of action should
> > >you find yourself alone and think that you are having a heart attack.
> > >Before passing it on to anyone else (I didn't recognize the source),
> > >I felt it was necessary to get a more learned opinion as to the
> > >validity of the procedure so I dropped it off for Dr. Domangue (Plant
> > >Medical Director) to comment on.  His comment was very brief:  "You
> > >should do this."  Therefore, below is the complete article as I
> > >received it.  Again, Special thanks to Dave Guilliot for making us
> > >aware of this procedure.
> > >
> > >HOW TO SURVIVE A HEART ATTACK WHEN ALONE
> > >
> > > (Since many people are alone when they suffer a heart attack, this
> > >article seemed in order.)
> > >
> > >Without help, the person whose heart stops beating properly and who
> > >begins to feel faint, has only about 10 seconds left before losing
> > >consciousness.  However, these victims can help themselves by
> > >coughing repeatedly and very vigorously.  A deep breath should be
> > >taken before each cough, and the cough must be deep and prolonged,
> > >as when producing sputum from deep inside the chest.  A breath and
> > >a cough must be repeated about every two seconds without let up
> > >until help arrives, or until the heart is felt to be beating
> > >normally again.
> > >
> > >Deep breaths get oxygen into the lungs and coughing movements squeeze
> > >the heart and keep the blood circulating.  The squeezing pressure on
> > >the heart also helps it regain normal rhythm.  In this way, heart
> > >attack victims can get to a phone and, between breaths, call for
> > >help.
> > >
> > >Tell as many other people as possible about this.  It could save
> > >their lives!

Yours in the Dream,
	Arianne de Dragonnid

Shire of Castlemere, Kingdom of Trimaris

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%

"The founder of my noble line was wont to see Dragons.  His Lady rode out from the forest 
in a gown of samite and was as young on the day he died as on their wedding day."

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%

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From owner-h-costume@indra.com  Mon Jul 19 00:23:40 1999
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Subject: Re: H-COST: medieval seam finishing
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-Poster: seamstrix@juno.com

For those of you interested in the Museum of London books but are trapped
here in the US, Blackheath Books out of Milwaukee (and Bristol RenFaire)
carries them and will do mail order. They can be contacted at :Blackheath
Books 3454 N. Weil Street Milwaukee WI 53212. They also carry Juan
deAlcega!


Karen
___________________________________________________________________
Get the Internet just the way you want it.
Free software, free e-mail, and free Internet access for a month!
Try Juno Web: http://dl.www.juno.com/dynoget/tagj.
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From owner-h-costume@indra.com  Mon Jul 19 01:35:07 1999
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-Poster: lynnx <lynnx@mc.net>

La poulet gauche (sp?) is a SCA medieval "bar" that has the garb
diagrams for their "Poster Girl" (server from a period picture of a bar
or inn or whatever) and may have some links.

http://www.lepg.org/

Sister Ed
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From owner-h-costume@indra.com  Mon Jul 19 06:20:56 1999
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From: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>
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-Poster: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>

I'm not a medievalist, but I thought your photos were most impressive, Dave.

I'm only a mile or 2 from Kedleston Hall and wondered what the Bank Holiday event was that you mentioned. (Just curiosity - I shall be at Chichester with the Sealed Knot over Bank Hol.)

Kate Bunting
Library, University of Derby

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From: "Andrea Gideon" <andrea.gideon@erols.com>
To: "H-Costume" <h-costume@indra.com>
Subject: H-COST: cartridge pleating
Date: Mon, 19 Jul 1999 09:11:27 -0400
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-Poster: "Andrea Gideon" <andrea.gideon@erols.com>

How much fabric is needed for a cartridge pleated skirt?  Is it so many
times the waist or is it just so many yards?
Andrea

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From owner-h-costume@indra.com  Mon Jul 19 08:19:57 1999
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-Poster: AlbertCat@aol.com

In a message dated 7/19/99 9:04:41 AM Eastern Daylight Time, 
andrea.gideon@erols.com writes:

<< 
 How much fabric is needed for a cartridge pleated skirt?  Is it so many
 times the waist or is it just so many yards?
 Andrea
  >>

With flat pleating you have to figure this out exactly....for full returns 
it's 3 times the finished length [because you end up with 3 continuous 
layers] Cartridge pleats on the other hand have only the rise of the 
pleat...one point....attached to a finished length. So the depth of the pleat 
determines the total length. If the pleats are 1/2" deep you can get X amount 
into 1" of, say, waistband. But you can place the rise of the pleats 1/8" 
apart [and get 8 pleats] or squeeze them in to 1/16" & get twice as much 
fabric. Also [confused yet?] you can put 8 [or 16] pleats that are 1" deep & 
get twice as much fabric that way since the depth of the pleat is not 
attached to the waist band. Because of all of this....you can get a huge 
amount of fabric onto a small space. 

If you're confused about the way cartridge pleats work...do a sample. Try 
shallow or deep pleats. When are they too shallow; too deep to sit right? See 
how much you can squish the pleats next to each other.  How far apart can 
they sit and still look good? It's different with different fabrics.
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From owner-h-costume@indra.com  Mon Jul 19 08:40:33 1999
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Date: Mon, 19 Jul 1999 09:52:03 -0400 (EDT)
From: Robin Netherton <robin@dgsys.com>
To: h-costume@indra.com
Subject: H-COST: Blanket cloth
In-Reply-To: <199907171828.UAA18563@worldonline.nl>
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-Poster: Robin Netherton <robin@dgsys.com>


On Sat, 17 Jul 1999, Henk 't Jong wrote:

> Incidentally: do any of you know if 'blanket' is a woollen or linen (white
> or light coloured: blanc=white) cloth. It was used for cotte and chaperon
> linings in the early 14th c. In my opinion it can't have been a thick
> roughed woollen cloth to make blankets from, this was called fustian at the
> time. But what else could it have been? Any suggestions?

Funny you should ask -- I just did some work on the term "blanket" a few
weeks ago for a client, when I was writing up some material on sumptuary
laws.

The subject came up when I quoted the English sumptuary law of 1362,
specifying that:
	"...carters, ploughmen, oxherds, cowherds, shepherds, swineherds,
dairymen, and `all manner of people of the estate of a groom, attending to
husbandry, and all other people that have not goods nor chattles to the
value of 40 shillings' may not wear anything but blanket cloth and russet,
costing 12 pence a yard. They are ordered to wear girdles of linen,
according to their estate, and not to eat or drink excessively." [From
Frances Baldwin's landmark study on these laws, _Sumptuary Legislation and
Personal Regulation in England_ (Johns Hopkins, 1926).]

This establishes that blanket and russet are cheap cloth and the basic (in
fact the only) cloth considered (by the nobility) as suitable for peasant
wear at this time. That alone would probably indicate wool, but we don't
have to guess. In a footnote, Baldwin says: "From 1259-1400, the cheapest
kinds of woolens were bluett, russet and blanket. In the first of these,
two qualities at least may be traced: the second was an inferior article;
the third cheapest of all. The first two terms point to the color of the
cloth. Blanket was undyed stuff. `Russet' was sometimes used to designate
cloth made from black wool. When bluett was quoted by the piece, it was
superior in quality to bluett sold by the yard. In 1284, a piece of bluett
cost L5 14s 9d., and in 1286 L4 13s 4d. As a rule, the price was low --
before the Black Death, it averaged 1s 7 1/2d. per yard, while russet
averaged 1s 4d. Blanket was never very high and occasionally very cheap.
It was used especially for long, loose garments, which were usually very
ample, containing from eight to ten yards of material. Blanket and russet
were the fabrics prescribed for the peasants to wear by the ordinance of
1363 (Rogers, Agriculture and Prices, vol. i, p. 575ff)."

Baldwin is an old source, but the pertinent facts here are backed by a
source I absolutely LOVE: Christopher Dyer's splendid study of medieval
household economics, called _Standards of Living in the Later Middle Ages,
1200-1450_ (I think Cambridge U. Press, 1989).  Dyer (what an appropriate
name!) also mentions blanket and russet, with additional information on
prices quoted in documents of various times. He also defines them as
Baldwin does. I would give you the exact quote, but I'm preparing to move
house and I just packed up the 900s (my husband files our books by Dewey
Decimal!), so I'm working from memory on that one.

Anyway, apparently the distinguishing feature of blanket and russet is
color, with blanket being undyed white wool and russet being undyed black
wool. Bear in mind that black *wool* does not mean black *cloth* -- a
"black sheep" is any sheep that is not white, and they come in many
colors, including browns and greys (research biologists are now trying to
breed back some of the lost colors of medieval sheep).  True black *color*
required expensive dye. 

The next level up of wool is "bluett," which is evidently the same cloth
dyed with readily available earth dyes in the blue/green ranges. That's
consistent with the idea that color is a determining factor in the value
of cheap woolen cloth: bluetts (dyed) were more expensive than russets
(natural greys/browns), which were more expensive than blankets (undyed
white wool).

Russet was evidently considered more attractive than blanket on the basis
of color alone -- Dyer cites references in medieval contracts to employers
supplying laborers or pensioners with tunics of russet lined with
blanket, but not the other way around.

Oh, I've made a long post on linen in Italy and elsewhere, but it hasn't
appeared yet -- probably too long to post automatically so we have to wait
for Elizabeth's approval. Funny how I keep overflowing the length limit on
my posts...

--Robin


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-Poster: Cynthia Virtue <cvirtue@thibault.org>

I'm hoping to get the obscurity prize for this week on H-Costume. ;)

Last week, my husband and I were in Oslo for a conference.  Since I was
merely along for the ride, I got to go to a lot of museums and so forth.
 It was great!

The "traditional" costume for women includes at least one of (and
sometimes several) a round brooch with 6-20 spangles  that are suspended
from wire bits that project outward from the plane of the main brooch. 
These spangles are roughly the size and proportions of a contact lens,
although they can be a bit larger.  The concave side faces out, so they
flash as the person moves.  The size of the brooch can be from about
1.5" in diameter to 5" in diameter, and made of gold or silver, or both.

When I went to the Industrial Museum (the functional equivalent of the
V&A in London, designed to showcase a wide variety of styles and
practical items for the benefit of students in the applied arts) I saw
some examples of similar things:

Their collection of plaque belts from the 15th century:  They were all
silver, and mounted on leather or fine fabric.  One of them had spangles
like the ones on the brooches.  A postcard of an ornamented drinking
horn 'from the 15th century', which we found at the historic museum in
town, also had spangles hanging from a band near the lip.  The
Industrial musem had many annular brooches, although none with spangles
per se.

So my question is: how recently is the brooch-with-spangles combination?
 A lot of the "traditional" costume is known to be relatively recent,
borne upone a tide of regional identification in the past century,
although based at least partly on some historical costumes.  (This from
brochures and exhibits at the Norse Folk Museum.)  The trouble is, the
exhibits about costume don't break things down into dates about specific items.

cv

(As a postscript, apparently many women and men will spend a couple
hundred dollars on a traditional outfit, because you can wear it to any
formal occasion for the rest of your life.  I suppose it's rather like
getting a tailcoat here in the US -- a little old fashioned, but always
proper and in style for big occasions.  We did see two wedding parties
at the castle which had about half the women guests dressed traditionally.)
--
"The more you can increase fear of drugs & crime, welfare mothers,
immigrants & aliens, the more you control all the people."  -- Noam Chomsky
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-Poster: SNSpies@aol.com

Hello.

Interesting question.  Try contacting the Vesterheim Norwegian-American 
Museum.  They have answered questions for me before.

 <A HREF="http://www.vesterheim.org/index.htm">Vesterheim Norwegian-American 
Museum
</A> 

Nancy
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-Poster: kat@grendal.rain.com


> How much fabric is needed for a cartridge pleated skirt?  Is it so many
> times the waist or is it just so many yards?
> Andrea

Usually you want to have 4-5 times the width of the waistband you're 
pleating onto. Since that will vary from person to person, doing x 
yards won't work. 

You can use more than 5 times around if you want it very, very full, 
but if you use less than 4 times, you might as well pleat it. (Most 
flat pleating gives you about 3 times the waistwidth.)

Also, if you want it more full at the bottom but still only 4-5 times 
at the waist, you can use a trapezoid shaped piece where the top is 
narrower than the bottom.

If you are using hoops, measure the bottom hoop then add some for 
petticoats and some ease over it (or the bottom will keep migrating 
up the hoop when worn.)


Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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-Poster: Cynthia Virtue <cvirtue@thibault.org>

Here's one example, if my description was puzzling:

Quick load:

http://piximg.corbis.com/cpe/256wm/10500579.jpg

Corbis.com describes the picture as: 

                                Norwegian Folk Dancer
                                Voss, Norway
                                ca. 1980s

                                A portrait of a Norwegian folk
                                dancer in her traditional clothing
                                in Voss, Norway.

cv
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-Poster: kat@grendal.rain.com


> There is a book called "Dress in Renaissance Italy 1450-1550" but the
> name of the author escapes me at the moment.  It is unfortunately out of
> print but may be available at your University library.  It is a good
> overview of Italian dress and fabrics and whatnot.  No patterns that I
> remember, though.

Jacqueline Herald. Excellent book.

Artists of the time period are very good about showing costume 
details in this period. Look at lots and lots of art books.


Kat 

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

In a message dated 7/19/99 10:52:00 AM Eastern Daylight Time, 
kat@grendal.rain.com writes:

<< Usually you want to have 4-5 times the width of the waistband you're 
 pleating onto. Since that will vary from person to person, doing x 
 yards won't work. 
  >>
Hmmmm..seems to me that "4-5 times" and the fact that it "will vary from 
person to person" puts us right back at X. 

Do a sample if you're confused because the properties of the fabric as well 
as all the other variables [X ,Y and Z] make a difference. Velvet will not 
pleat like cotton. Just "draw up" one panel or gore of the skirt to see.
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-Poster: Margo Anderson <margo@directcon.net>

At 09:11 AM 7/19/99 -0400, you wrote:
>
>-Poster: "Andrea Gideon" <andrea.gideon@erols.com>
>
>How much fabric is needed for a cartridge pleated skirt?  Is it so many
>times the waist or is it just so many yards?
>Andrea


Well, it depends somewhat on the period, and the size of the wearer.  For an
Elizabethan overskirt,  I usually use 3 panels of 45" fabric seamed together
for bodies up to around size 18.  Larger than that, it really looks better
to use another panel, or to use three 60" panels.  

I don't hold with using the fabric lengthwise and pleating along a selvedge
edge, especially if there's a matching bodice cut on lengthwise grain.
Cutting crosswise can not only affct the color, but the drape of the skirt
fabric.  Take the time to do two more seams and the results will be much
better. 

Margo

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-Poster: Fopdejour1@aol.com

In a message dated 7/19/99 1:05:21 PM !!!First Boot!!!, 
andrea.gideon@erols.com writes:

> How much fabric is needed for a cartridge pleated skirt?  Is it so many
>  times the waist or is it just so many yards?
>  Andrea
>  


To figure this out, you need to figure how many pleats go into an 
inch....this will depend on the size of your pleats.  Measure an inch, and 
see how many pleats you can fit.  (The smaller the pleat, the less fabric you 
will need)  After you have done that, undo he pleating and measure it.  
Multiply that by how many inches your waist is, and add seam allowances.


Charles

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-Poster: cemsophie@planet-interkom.de


> 
> For those of you interested in the Museum of London books but are trapped
> here in the US, Blackheath Books out of Milwaukee (and Bristol RenFaire)
> carries them and will do mail order. They can be contacted at :Blackheath
> Books 3454 N. Weil Street Milwaukee WI 53212. They also carry Juan
> deAlcega!
> 
Well, I'm not trapped in the US but in Germany. I have been to the 
Musuem but I didn't find many of their books in teh museums shop. 
Have you got a list of their publications? Do you know whether it's 
possible to order them directly from the museum? to Germany the 
shipping cost shouldn't be too high ;-).
Sophie
> ___________________________________________________________________
> Get the Internet just the way you want it.
> Free software, free e-mail, and free Internet access for a month!
> Try Juno Web: http://dl.www.juno.com/dynoget/tagj.
>  _________________________________________________________________
>  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 Jul 19 14:25:49 1999
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From: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>
To: <h-costume@indra.com>
References: <s7931aa1.012@csv6.derby.ac.uk>
Subject: Re: H-COST: Re: Tewkesbury
Date: Mon, 19 Jul 1999 19:56:16 +0100
Organization: Heritage Matters at Words to the Wise
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-Poster: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>

Kate , Thank You. I dont have full details yet; but it is a sort of historic
crafts thing. Always interesting from a costume point of view; I should nt
mock but I do enjoy it when I see people re-enacting the mediaval fayres of
the 1950s with mopcap and apron.and the best Sunday frock.
I know there is some re-enactment but not sure  what it might be.
I shall be taking pics of course but also  carrying out my role as
apprentice basket and trap maker.
As you live so close and have not heard about it I am a trifle concerned
about the advertising.
Are combatting or cam following at Chichester?
The last civil war event I attended was at Worcester Commandery ; a
wonderful place; I did a very un puritan puppet shew to a group of Roundhead
officers who had been having a conference of some sort  ( possible on the
subject of brewing judging by the state of some of them). A very responsive
audience they were too.
 Dave
LD MUNDY
Editor Heritage Matters
----- Original Message -----
 -Poster: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>

I'm not a medievalist, but I thought your photos were most impressive, Dave.

I'm only a mile or 2 from Kedleston Hall and wondered what the Bank Holiday
event was that you mentioned. (Just curiosity - I shall be at Chichester
with the Sealed Knot over Bank Hol.)

Kate Bunting
Library, University of Derby



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From owner-h-costume@indra.com  Mon Jul 19 14:26:08 1999
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References: <Pine.GSO.3.96.990719094441.19192B-100000@dgs.dgsys.com>
Subject: Re: H-COST: Blanket cloth
Date: Mon, 19 Jul 1999 20:11:39 +0100
Organization: Heritage Matters at Words to the Wise
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-Poster: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>

Thank you Robin for a very informative piece; When might we be seeing the
Linen one as promised? I look forward to it.
Can you provide any indication of the actual weight of the materials you
mention; from some of the points you make it seem it was a lot lighter than
I had imagined.  I must admit I have been misunderstanding references to
"blanket " for some time and am try to quantify just howf ar out I have
been.
 When you get the oppurtunity that is.
Have a smooth and peacefum moving day
Dave
> -Poster: Robin Netherton <robin@dgsys.com>
 >
> Funny you should ask -- I just did some work on the term "blanket" a few
> weeks ago for a client, when I was writing up some material on sumptuary
> laws. Etc.
>
>

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From owner-h-costume@indra.com  Mon Jul 19 14:39:24 1999
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From: Ariyana Kylstram <ariyana@cats.UCSC.EDU>
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Subject: H-COST: cartridge pleating
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-Poster: Ariyana Kylstram <ariyana@cats.UCSC.EDU>


It really does depend on the period and the look you want.  I have a 28" 
waist (or so) and have pleated everything from 3-5 60" panels together.  
The more fabric, the more weight you have to carry on your body, but 
sometimes the look is worth it.

.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  Mon Jul 19 15:31:42 1999
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Subject: Re: H-COST: cartridge pleating
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-Poster: Donna Kenton <kenton@neaccess.net>

At 12:50 PM 7/19/99 -0700, you wrote:
>
>-Poster: Ariyana Kylstram <ariyana@cats.UCSC.EDU>
>
>
>It really does depend on the period and the look you want.  I have a 28" 
>waist (or so) and have pleated everything from 3-5 60" panels together.  
>The more fabric, the more weight you have to carry on your body, but 
>sometimes the look is worth it.

Which is what underpinnings are for!  If you're carrying serious quantities
of heavy fabric, those hoops or that bumroll really does the trick for
helping distribute and reduce the stress on your body.  I've also found
that a bumroll works wonderfully for back support when you have to sit on
plain wooden chairs for any length of time.

Donna 


_____________________________________________________________
Donna Kenton * donna@dabbler.com * http://www.dabbler.com
Baroness Rosalind Bennett * EK Chronicler
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From owner-h-costume@indra.com  Mon Jul 19 16:05:36 1999
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From: "Michelle" <mandrake@mypad.com>
To: "costume list" <h-costume@indra.com>
Subject: H-COST: pattern out of print
Date: Mon, 19 Jul 1999 14:16:14 -0700
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-Poster: "Michelle" <mandrake@mypad.com>

This is a multi-part message in MIME format.

------=_NextPart_000_0008_01BED1F1.4292E800
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In the catalog I meantioned earlier, there was a pattern I wanted a copy =
of.  It was put together by a museum out of London (unfortunately, I =
don't know which one).  The pattern, which is actually supposed to be a =
lot of information, along with a scale model of the dress, is no longer =
in print.  They  were calling it the "Escape the Revolution" dress.  =
Circa the French Revolution.  A picture of the back side of it is in the =
catalog.
     Does anyone have this pattern?  I am dying to see what the front =
looks like and would like to purchase a copy.

   Michelle

------=_NextPart_000_0008_01BED1F1.4292E800
Content-Type: text/html;
	charset="iso-8859-1"
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 HTML//EN">
<HTML>
<HEAD>

<META content=3Dtext/html;charset=3Diso-8859-1 =
http-equiv=3DContent-Type>
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</HEAD>
<BODY bgColor=3D#b8b8b8>
<DIV><FONT color=3D#000000 size=3D2>In the catalog I meantioned earlier, =
there was a=20
pattern I wanted a copy of.&nbsp; It was put together by a museum out of =
London=20
(unfortunately, I don't know which one).&nbsp; The pattern, which is =
actually=20
supposed to be a lot of information, along with a scale model of the =
dress, is=20
no longer in print.&nbsp; They&nbsp; were calling it the &quot;Escape =
the=20
Revolution&quot; dress.&nbsp; Circa the French Revolution.&nbsp; A =
picture of=20
the back side of it is in the catalog.</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2>&nbsp;&nbsp;&nbsp;&nbsp; Does anyone =
have this=20
pattern?&nbsp; I am dying to see what the front looks like and would =
like to=20
purchase a copy.</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT color=3D#000000 size=3D2>&nbsp;&nbsp; =
Michelle</FONT></DIV></BODY></HTML>

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From owner-h-costume@indra.com  Mon Jul 19 17:18:01 1999
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To: h-costume@indra.com
Subject: Re: H-COST: Norwegian jewelry question
Date: Tue, 20 Jul 99 10:35:19 GMT
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-Poster: trekona@erols.com

Hi,

> So my question is: how recently is the brooch-with-spangles combination?
>  A lot of the "traditional" costume is known to be relatively recent,
> borne upone a tide of regional identification in the past century,
> although based at least partly on some historical costumes.  (This from
> brochures and exhibits at the Norse Folk Museum.)  The trouble is, the
> exhibits about costume don't break things down into dates about specific 
> items.
    Also remember that the "traditional" costumes in Norway are a little, um, 
different. That is, some of the aspects were derived and set in place by the 
Norwegian Costume Board (some of the embroideries were only found on a pillow 
in someone's attic, but now it's a design on the apron or dress!). Many of the 
costumes were set from a picture someone found and the Board worked something 
out as best they could - but no extant clothes were found. A company called 
Husfliden regulates the entire costume sale and construction (you have to take 
their classes and be approved before you are allowed to make one of the 
traditional costumes, and there shall be no mixing and matching of different 
regional bits!).
    As far as the spangly brooch (gorgeous, isn't it! especially with the 
dished bits faced in gold in with all the rest being silver. T'aint cheap, 
either) goes, I don't know about Norwegian costume development (yet! well, the 
later periods anyway), but I do know that in the later 17th cent in Sweden the 
brooches were beginning to get some dangly bits - not necessarily the dished 
spangles of the Norwegians, but linked dangly bits all the same.
    As Nancy suggested, Vesterheim is a good place to check - they are very 
friendly and helpful there.

> (As a postscript, apparently many women and men will spend a couple
> hundred dollars on a traditional outfit,
    oh, those bunads (tradition fancy costume) cost a lot more than a couple 
hundred

>  because you can wear it to any
> formal occasion for the rest of your life.  I suppose it's rather like
> getting a tailcoat here in the US -- a little old fashioned, but always
> proper and in style for big occasions.  We did see two wedding parties
> at the castle which had about half the women guests dressed traditionally.)
    yes it is common to do this. Also many times people in a wedding party will 
rent/borrow a bunad from someone else who already has one, thus saving money 
and time. Unfortunately they will also pick out the hand-sewing and refit the 
outfit!

    -Judy Mitchell

> --
> "The more you can increase fear of drugs & crime, welfare mothers,
> immigrants & aliens, the more you control all the people."  -- Noam Chomsky
>  _________________________________________________________________
>  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 Jul 19 17:35:02 1999
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	 Mon, 19 Jul 1999 15:44:49 -0700
From: "Hope H. Dunlap" <hhdunlap@msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Norwegian jewelry question
Date: Mon, 19 Jul 1999 18:51:39 -0400
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-Poster: "Hope H. Dunlap" <hhdunlap@msn.com>

I don't remember about  spangles, but someone fished a
dessert plate size circular brooch out of a Swedish river
not so very long ago, surmised to belong to an 8th century
(?) Swedish princess.  Lots of overlapping history between
Sweden and Norway, as they were at times the same kingdom.
Going from memory here, but I remember seeing an image of it
on  a Swedish museum Web site.

Hope H. Dunlap



> -----Original Message-----
> From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
> Behalf Of trekona@erols.com
> Sent: Tuesday, July 20, 1999 6:35 AM
> To: h-costume@indra.com
> Subject: Re: H-COST: Norwegian jewelry question
>
>
>
> -Poster: trekona@erols.com
>
> Hi,
>
> > So my question is: how recently is the
brooch-with-spangles
> combination?
> >  A lot of the "traditional" costume is known to be
> relatively recent,
> > borne upone a tide of regional identification in the
past century,
> > although based at least partly on some historical
costumes.
>  (This from
> > brochures and exhibits at the Norse Folk Museum.)  The
> trouble is, the
> > exhibits about costume don't break things down into
dates
> about specific
> > items.
>     Also remember that the "traditional" costumes in
Norway
> are a little, um,
> different. That is, some of the aspects were derived and
set
> in place by the
> Norwegian Costume Board (some of the embroideries were
only
> found on a pillow
> in someone's attic, but now it's a design on the apron or
> dress!). Many of the
> costumes were set from a picture someone found and the
Board
> worked something
> out as best they could - but no extant clothes were found.
A
> company called
> Husfliden regulates the entire costume sale and
construction
> (you have to take
> their classes and be approved before you are allowed to
make
> one of the
> traditional costumes, and there shall be no mixing and
> matching of different
> regional bits!).
>     As far as the spangly brooch (gorgeous, isn't it!
> especially with the
> dished bits faced in gold in with all the rest being
silver.
> T'aint cheap,
> either) goes, I don't know about Norwegian costume
> development (yet! well, the
> later periods anyway), but I do know that in the later
17th
> cent in Sweden the
> brooches were beginning to get some dangly bits - not
> necessarily the dished
> spangles of the Norwegians, but linked dangly bits all the
same.
>     As Nancy suggested, Vesterheim is a good place to
check -
> they are very
> friendly and helpful there.
>
> > (As a postscript, apparently many women and men will
spend a couple
> > hundred dollars on a traditional outfit,
>     oh, those bunads (tradition fancy costume) cost a lot
> more than a couple
> hundred
>
> >  because you can wear it to any
> > formal occasion for the rest of your life.  I suppose
it's
> rather like
> > getting a tailcoat here in the US -- a little old
> fashioned, but always
> > proper and in style for big occasions.  We did see two
> wedding parties
> > at the castle which had about half the women guests
dressed
> traditionally.)
>     yes it is common to do this. Also many times people in
a
> wedding party will
> rent/borrow a bunad from someone else who already has one,
> thus saving money
> and time. Unfortunately they will also pick out the
> hand-sewing and refit the
> outfit!
>
>     -Judy Mitchell
>
> > --
> > "The more you can increase fear of drugs & crime,
welfare mothers,
> > immigrants & aliens, the more you control all the
people."
> -- Noam Chomsky
> >
____________________________________________________________
_____
> >  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  Mon Jul 19 17:48:58 1999
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From: Cynthia Virtue <cvirtue@thibault.org>
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-Poster: Cynthia Virtue <cvirtue@thibault.org>

Judy wrote:
> Husfliden regulates the entire costume sale and construction (you have to take
> their classes and be approved before you are allowed to make one of the
> traditional costumes, and there shall be no mixing and matching of different
> regional bits!).

Are you saying that you can't make your own without the class, or only
that you can't be certified to sell your own product to others without
the class?

> > proper and in style for big occasions.  We did see two wedding parties
> > at the castle which had about half the women guests dressed traditionally.)

I forgot to mention that the brides wore modern white/cream gowns with
veils, etc, just as you'd see in the US.

--
"The more you can increase fear of drugs & crime, welfare mothers,
immigrants & aliens, the more you control all the people."  -- Noam Chomsky
 _________________________________________________________________
 To leave this mailing list, send mail to majordomo@indra.com
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From owner-h-costume@indra.com  Mon Jul 19 19:21:27 1999
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From: "Megan McHugh" <mchug@mindspring.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: medieval seam finishing
Date: Mon, 19 Jul 1999 20:35:41 -0400
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-Poster: "Megan McHugh" <mchug@mindspring.com>

I've ordered from them before.  Go to the web site, get the phone number,
and call them up during regular business hours.  They should be able to help
you, if they have the item in question.
-----Original Message-----
From: cemsophie@planet-interkom.de <cemsophie@planet-interkom.de>
To: h-costume@indra.com <h-costume@indra.com>; owner-h-costume@indra.com
<owner-h-costume@indra.com>
Date: Monday, July 19, 1999 3:34 PM
Subject: Re: H-COST: medieval seam finishing



-Poster: cemsophie@planet-interkom.de


>
> For those of you interested in the Museum of London books but are trapped
> here in the US, Blackheath Books out of Milwaukee (and Bristol RenFaire)
> carries them and will do mail order. They can be contacted at :Blackheath
> Books 3454 N. Weil Street Milwaukee WI 53212. They also carry Juan
> deAlcega!
>
Well, I'm not trapped in the US but in Germany. I have been to the
Musuem but I didn't find many of their books in teh museums shop.
Have you got a list of their publications? Do you know whether it's
possible to order them directly from the museum? to Germany the
shipping cost shouldn't be too high ;-).
Sophie
> ___________________________________________________________________
> Get the Internet just the way you want it.
> Free software, free e-mail, and free Internet access for a month!
> Try Juno Web: http://dl.www.juno.com/dynoget/tagj.
>  _________________________________________________________________
>  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 Jul 19 19:48:48 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: Fw: Museum of London Shop inquiry
Date: Mon, 19 Jul 1999 19:59:13 -0500
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-Poster: "Franchesca Havas" <ches@io.com>

Here is where there are some copies of the book but I ordered mine from The
Stationery Office (http://www.tsonline.co.uk/) .

Sincerely,
F. Havas
Dallas, Texas
motto: Numquam scribae ridente fide

----- Original Message -----
From: <shop@museumoflondon.org.uk>
To: <ches@io.com>
Sent: Saturday, July 17, 1999 6:45 AM
Subject: RE: Museum of London Shop inquiry


:
: Dear Franchesca V. Havas.
: Thank you for your e-mail.
: We have the books  "Medieval Horse and Its Equipment" and "Shoes and
: Pattens" available in our shop. The books "Dress Accessories" and
"Textiles
: and Clothing" are now out of print, and there are no plans of re-printing
: them.
:  "Medieval Horse..." is o9.95 and "Shoes and Pattens" is o7.99.
: You can purchase these paying by credit card (VISA or MasterCard), where
we
: will need the card number, expiry date and card holder's name.
: Please allow an extra o5.15 for postage (WORLDWIDE AIRMAIL) and packing
per
: book.
: Thank you,
: Maja Fick Hansen
:  ----------
: From: ches@io.com
: To: , shop
: Subject: Museum of London Shop inquiry
: Date: Saturday, July 17, 1999 7:34AM
:
: Email = ches@io.com
: address = 4419 Cedarcrest Dr.
: McKinney, Texas
: name = Franchesca V. Havas
: postcode = 75070
: query = I am interested in purchasing the series of books that are titled
: Museum of London  - Textiles and Clothing, Dress Accessories, Shoes
: and Pattens, Household Goods, and Horse something or other
: submit = Submit query
:  -------------------------------
: Remote Host: 209.39.60.2
: Remote IP: 209.39.60.2
: User Agent: Mozilla/4.0 (compatible; MSIE 4.01; Windows NT)
: Referer: http://www.museum-london.org.uk/MOLsite/mailshop.htm
:

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From owner-h-costume@indra.com  Mon Jul 19 20:07:34 1999
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Date: Mon, 19 Jul 1999 21:18:39 -0400
From: Cynthia Virtue <cvirtue@thibault.org>
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-Poster: Cynthia Virtue <cvirtue@thibault.org>

Thanks, Nancy!  I'll check with that museum.

(For those who might be curious about the trip in general, the trip
report is now webbed at http://www.virtue.to/virtue/articles/Oslo.html 
It includes museum & medieval ruin information, and two book recommendations.)

--
"The more you can increase fear of drugs & crime, welfare mothers,
immigrants & aliens, the more you control all the people."  -- Noam Chomsky
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From owner-h-costume@indra.com  Mon Jul 19 20:19:58 1999
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Date: Mon, 19 Jul 1999 21:30:29 -0400 (EDT)
From: Robin Netherton <robin@dgsys.com>
To: h-costume@indra.com
Subject: Re: H-COST: Blanket cloth
In-Reply-To: <004701bed21e$044dec20$e7075cc3@herimats>
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-Poster: Robin Netherton <robin@dgsys.com>


On Mon, 19 Jul 1999, dave;editors(Heritage Matters) wrote:

> Thank you Robin for a very informative piece; When might we be seeing the
> Linen one as promised? I look forward to it.

I sent it yesterday; it was probably too long for automatic posting and
needs to be approved by the listowner. That's what I get for being
longwinded :-)  Perhaps I should break those long ones up into parts
(chapters? eek).

> Can you provide any indication of the actual weight of the materials you
> mention; from some of the points you make it seem it was a lot lighter than
> I had imagined.  I must admit I have been misunderstanding references to
> "blanket " for some time and am try to quantify just howf ar out I have
> been.

Blanket and russet were garment fabrics and could be used as a lining, so
my guess would be a medium-weight wool -- substantial enough for hard
daily wear, but not as heavy as a, um, blanket.

I also had been thrown off a long time by the term "blanket,"  because it
made me think of a heavy covering. Henk provided a useful way of thinking
of the name: blanc = white, and blanket is white (undyed) wool. My Oxford
English Dictionary backs this as the original derivation and meaning of
the word, but apparently the term was picked up fairly early on to also
refer to a square of wool covering; citations to that use go back almost
as far as references to blanket as a garment fabric, and both meanings
were used for several centuries.

--Robin

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Date: Mon, 19 Jul 1999 18:42:12 -0700
From: Diana H <dch@inreach.com>
Organization: Well, I wouldn't call it organized......
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-Poster: Diana H <dch@inreach.com>

> > For those of you interested in the Museum of London books but are
> trapped
> > here in the US, Blackheath Books out of Milwaukee (and Bristol
> RenFaire)
> > carries them and will do mail order. They can be contacted at
> :Blackheath
> > Books 3454 N. Weil Street Milwaukee WI 53212. They also carry Juan
> > deAlcega!
> >
> Well, I'm not trapped in the US but in Germany. I have been to the
> Musuem but I didn't find many of their books in teh museums shop.
> Have you got a list of their publications? Do you know whether it's
> possible to order them directly from the museum? to Germany the
> shipping cost shouldn't be too high ;-).

Sophie,

There is a site on the internet called the Internet Bookshop.  It is
based in the UK and will ship overseas to you at a reasonable price.
The address is:

http://www.bookshop.co.uk/hme/hmepge.asp?siteno=1

They charge 15% of book price to ship to EC countries or 3.00 Sterling
whichever is more.

Dress Accessories would be approx 90 DM for you
Medieval Horse & Equipment would be 63 DM
Textiles & Clothing would be 72 DM

I didn't find the others but that doesn't mean they aren't there.  And
for those of us in the US, this site is great for hard to find things
but they will charge you 30% of the cost of books for shipping <OUCH!!>
so choose wisely.....

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  Mon Jul 19 21:44:19 1999
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Date: Mon, 19 Jul 1999 22:48:08 -0400 (EDT)
From: Parsla Liepa <parsla@engin.umich.edu>
To: h-costume@indra.com
Subject: Re: H-COST: Norwegian jewelry question
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-Poster: Parsla Liepa <parsla@engin.umich.edu>


<(For those who might be curious about the trip in general, the trip
<report is now webbed at http://www.virtue.to/virtue/articles/Oslo.html 
<It includes museum & medieval ruin information, and two book recommendations.)

Very nice! 

Now my turn. I'll be spending four months in the same area of the world;
touring to Berlin, Dresden, Prague, Vienna, Budapest, Cracow, and Warsaw
for 3 weeks.  (And, this is the best part..I get four credit hours for it,
too!) I doubt that I'll have much say in where the tour guide takes us,
but what should I be on the lookout for, museums in my spare time, etc?

After that month, I'll be spending three and a half months in Riga
(Latvia), and suggestions are certainly welcome for that as well. 

    Parsla

	Vita brevis est, saxulum edeste.
*****************************************************************************


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From owner-h-costume@indra.com  Mon Jul 19 22:41:06 1999
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Date: Mon, 19 Jul 1999 22:47:29 -0400
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: Re: H-COST: Elizabethan Footwear
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

>> I am in the process of working on my hubby's outfit for Eliz. England. ...
>> What would be appropriate footwear for him? Where would I be able to
>> purchase?

You know what works (i.e. looks pretty good and is comfortable) are some of
the men's leather slippers.  Most of the better Men's shoe companies
produce a leather slipper (usually in brown or black) which looks darn
close to some of the Elizabethan turn shoes - without the decorations of
course.

They are just something I discovered by accident one day.   Brown's or
Dak's (or something) had them on display in the window.  Admittedly, they
are easier to find in the winter.

Good luck,
Danielle

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From owner-h-costume@indra.com  Mon Jul 19 23:02:07 1999
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Date: Mon, 19 Jul 1999 23:12:21 +0100
To: h-costume@indra.com
From: Deb Baddorf <baddorf@inil.com>
Subject: Re: H-COST: stays
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-Poster: Deb Baddorf <baddorf@inil.com>

>-Poster: AlbertCat@aol.com
>
>In a message dated 7/18/99 3:57:09 PM Eastern Daylight Time,
>drewscph@post12.tele.dk writes:
>
><< Do you make your costumes on a dresstand that is fitted to the period?
> A modern dresstand is not good to fit garments on i think, the bust is
> wrong.
> Just curious.
>  >>
>I have a foam dummy that squishes. But this too is not flesh & I have to pad
>the top of the bust because it doesn't get pushed up like flesh but just
>squishes in....like foam. Also a dummy slightly smaller than you need can be
>padded to the correct shape.

I always make my costumes on the real thing -- me.
That's why I've so far refused to make fancy gowns for
anybody else.  They're never around to be fitted.

The only time I wanted a dress stand was when I made
a skirt to go over side-hoops.   I discovered that the
hoops did dreadful things to the hemline,   and I
had to rig up something to hang the hoops & the skirt
on,   so I could pin the flounce in place to cover up
the now uneven hemline.

I suppose a dress stand might have been useful,  but
the real body (corsetted as planned for the actual wearing)
is always the best for making skin-tight
gowns such as the 18th century wants.   IMHO.

At the very least -- it is quite possible to
do without any dressform.

deb

Deb Baddorf    http://www.inil.com/users/baddorf


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From owner-h-costume@indra.com  Tue Jul 20 07:44:59 1999
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Subject: Re: H-COST: Norwegian jewelry question
Date: Wed, 21 Jul 99 01:05:49 GMT
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-Poster: trekona@erols.com



> -Poster: Cynthia Virtue <cvirtue@thibault.org>
> 
> Judy wrote:
> > Husfliden regulates the entire costume sale and construction (you have to 
> take
> > their classes and be approved before you are allowed to make one of the
> > traditional costumes, and there shall be no mixing and matching of different
> > regional bits!).
> 
> Are you saying that you can't make your own without the class, or only
> that you can't be certified to sell your own product to others without
> the class?

    yup, that's what I'm saying- both. As I understand, you can't buy the goods 
without taking the courses and being certified (this from a Norwegian friend 
who did). The Costume Board is very concerned about the purity and quality of 
their traditional costumes (Bunads). And only handsewing, and only on the 
proper fabrics. I've been told that they probably aren't as strict regarding 
'daily' clothes as they are with the festive Bunads. Husfliden is the *only* 
outlet that carries the fabric and goods for those who make their own or 
arrange for premade outfits. Many times people buy them in pieces: the apron at 
one time, maybe the blouse and skirt another time, because the stuff is so 
expensive and it takes a long time to hand sew everything (and Norwegian Bunads 
have a *lot* of beautiful embroidery on it).
    I think Vesterheim might actually offer classes in this country, and carry 
the stuff from Husfliden. But again, you'd have to go to Deocrah IO for them 
(well, it's closer than Norway). No kits.
    Sweden is much looser. Although all the patterns and supplies are available 
through the Hemslojden outlets, anyone can buy things and make them or have 
them shipped over here.
    To my knowledge, Denmark doesn't even have a chain of stores that carry 
patterns or supplies. I'd love to find out details if they do (Bjarne?)!!

    -Judy Mitchell

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Date: Tue, 20 Jul 1999 09:57:40 EDT
Subject: Re: H-COST: stays
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-Poster: AlbertCat@aol.com

In a message dated 7/20/99 12:15:21 AM Eastern Daylight Time, 
baddorf@inil.com writes:

<< At the very least -- it is quite possible to
 do without any dressform. >>

How DO you fit yourself????? Someone else must get the hem as, if you bend to 
pin it, the position of the skirt changes. How do you fit the back "on 
yourself?" Another person must do the fitting [per your directions] don't 
they? Then you're sorta back to "They're never around." Besides....I look 
stupid in a dress! I'm a man.

You are correct tho' that doing on a real body is best. It's just so much 
easier when it's someone else's. And a dummy can be used to work out 
everything but minor adjustments.
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From owner-h-costume@indra.com  Tue Jul 20 08:52:24 1999
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Date: Tue, 20 Jul 1999 10:03:06 EDT
Subject: Re: H-COST: Norwegian jewelry question
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-Poster: SNSpies@aol.com

Hello to the list.

<< I think Vesterheim might actually offer classes in this country, and carry 
 the stuff from Husfliden. But again, you'd have to go to Deocrah IO for them 
 (well, it's closer than Norway).  >>

Vesterheim Norwegian-American Museum does have videos on making bunads.  
There is one that shows how the wool for the Setesdal bunad is prepared -- a 
truly amazing process!  There is another video that shows the traditional 
cutting and sewing techniques.  Really really interesting stuff.  You can 
rent the videos.

Nancy
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From owner-h-costume@indra.com  Tue Jul 20 09:23:44 1999
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Date: Tue, 20 Jul 1999 10:34:57 -0400
From: Cynthia Virtue <cvirtue@thibault.org>
Organization: Virtue Ventures http://www.virtue.to
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Subject: Re: H-COST: Norwegian jewelry question
References: <37933151.C992BA0E@thibault.org> <M.072099.063519.51@erols.com>
	 <3793AD89.C1094DB4@thibault.org> <M.072099.210549.15@erols.com>
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-Poster: Cynthia Virtue <cvirtue@thibault.org>

Judy wrote:

> The Costume Board is very concerned about the purity and quality of
> their traditional costumes (Bunads). And only handsewing, and only on the
> proper fabrics.

So if you make your own (approximating fabrics and so forth) and wear it
without the certification, do they fine you?

This is really interesting, because if so, it's basically a sumptuary
law, which most of us think of as a thing from the past.

>     I think Vesterheim might actually offer classes in this country, and carry
> the stuff from Husfliden. But again, you'd have to go to Deocrah IO for them
> (well, it's closer than Norway). No kits.

Ready-made and really nice pictures can be found at 
http://www.kalama.com/~heatscan/bunad/welcome.html 

The site implies that you can get kits from Husflid, but it's not very
explicitly spelled out.

Finished, the cost for one women's outfit looks like it's in the $3,000+
range, and a kit which has all the pieces with the embroidery already
done is less.

Oy!
--
Cynthia du Pre Argent
"The more you can increase fear of drugs & crime, welfare mothers,
immigrants & aliens, the more you control all the people."  -- Noam Chomsky
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From owner-h-costume@indra.com  Tue Jul 20 13:15:35 1999
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From: Margo Anderson <margo@directcon.net>
Subject: Re: H-COST:dressforms, was stays
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-Poster: Margo Anderson <margo@directcon.net>

A
>><< Do you make your costumes on a dresstand that is fitted to the period?
>> A modern dresstand is not good to fit garments on i think, the bust is
>> wrong.
>> Just curious.
>>  >>
>>I have a foam dummy that squishes. But this too is not flesh & I have to pad
>>the top of the bust because it doesn't get pushed up like flesh but just
>>squishes in....like foam. Also a dummy slightly smaller than you need can be
>>padded to the correct shape.

I'm in the early busines planning stages for a historical pattern business,
and trying to figure out what kind of dress form would be best to use.  My
own body is not a desirable base for a graded pattern.  

Would it be better to buy a somewhat smaller rigid form and pad it up, or
should I get one of the foam ones?  Can anyone recommend brands?

Margo

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From owner-h-costume@indra.com  Tue Jul 20 18:00:08 1999
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From: "Tara German" <twink88@hotmail.com>
To: h-costume@indra.com, sca-garb@list.umv.edu, h-needlework@ansteorra.org
Subject: H-COST: mail order supplier feedback
Date: Tue, 20 Jul 1999 23:03:19 GMT
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-Poster: "Tara German" <twink88@hotmail.com>

Greetings, fellow needleworkers,

It looks like many of us are dependent on mail order for our books and 
supplies.  I save the information that you've all shared about which mail 
order suppliers and businesses are trustworthy and give good service.  I 
imagine that others are interested in the same type of information.  I 
finally decided to create a website where people can review and leave 
feedback (both positive and negative) about their mail order and online 
shopping experiences.

The main page is at 
http://www.geocities.com/RodeoDrive/Plaza/4884/contents.html .  There are 
links to what will be different categories of merchants and a link to an 
online form you can fill out and submit.  Since I have to wait for some 
feedback aside from my own :-), there are no reviews there yet.  Rest 
assured that I will _NOT_ include anything that I've saved from previous 
list postings, nor will I post anything that is shared on this list in the 
future unless I'm specifically told to do so.

Apologies for the duplicate posts if you are on more than one of these 
lists.  This may be forwarded to other lists you're a member of, provided 
they have to do with sewing, costuming, or needlework.

Tara


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From owner-h-costume@indra.com  Tue Jul 20 18:38:39 1999
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Date: Tue, 20 Jul 1999 19:47:47 -0400 (EDT)
From: Carol Mitchell <carolineri@yahoo.com>
Subject: Re: H-COST: mail order supplier feedback
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-Poster: Carol Mitchell <carolineri@yahoo.com>


Hi
If this page is supposed to be accessible, there's a problem. Geocities
says it doesn't exist.
===
Carol Mitchell President Chicagoland Costumer's Guild
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From owner-h-costume@indra.com  Tue Jul 20 18:56:59 1999
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To: h-costume@indra.com
Subject: H-COST: Pinning hems on yourself
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References: <ef4f87fc.24c5da54@aol.com>
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-Poster: "Kathryn L. Herb" <kayherb@juno.com>



I inherited my mom's Dritz hem marker.  Dunno the age of it -- it's been
around as long as I can remember.  Basically it's a slim metal stand with
a vertical measuring stick.  Attached to it is a squeeze ball and air
line set up so that, when you squeeze, it blows a small line of loose
chalk onto the fabric.  You set the correct height of the bottom of the
hem and stand next to the marker, squeezing the ball and turning yourself
around to mark the hem.  I believe the lowest hem mark is about 6" off
the ground, but you can stand on a book or something else to raise
yourself up if you need less than that clearance.  Odd little
contraption, but it works!


I'm certain that I saw them on the market about three years ago, but I
haven't had a reason to notice them since then.  It wouldn't be difficult
to make one up yourself.


Kay Herb

kayherb@juno.com

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From owner-h-costume@indra.com  Tue Jul 20 19:16:25 1999
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To: h-costume@indra.com
Subject: H-COST: Source for printed voile, lawn or organdy?
References: <2.2.32.19990614055726.0082e380@mail.widomaker.com>
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-Poster: Jennie Chancey <jchancey@rica.net>

I am having the hardest time finding white on white voile (or other
sheer materials).  I used to be able to get the striped and floral voile
at JoAnne Fabrics, but they don't cary it anymore.  I have been looking
all over the web, but I have had no luck.  Does anyone have a source (US
or foreign) for white on white voile, lawn or organdy?

Thanks in advance,
Jennie
--
Sense and Sensibility
http://www.sensibility.com
winsome clothing with an old-fashioned appeal


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From owner-h-costume@indra.com  Tue Jul 20 19:54:04 1999
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From: "Tara German" <twink88@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: mail order supplier feedback
Date: Wed, 21 Jul 1999 01:03:25 GMT
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-Poster: "Tara German" <twink88@hotmail.com>

>Hi
>If this page is supposed to be accessible, there's a problem. Geocities
>says it doesn't exist.

Could someone else please try this out?  It comes up fine for me.  Could it 
only be accessible to me because I'm the one who created it?
http://www.geocities.com/RodeoDrive/Plaza/4884/contents.html

Thanks,
Tara


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From owner-h-costume@indra.com  Tue Jul 20 19:54:18 1999
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From: "Tara German" <twink88@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: mail order supplier feedback
Date: Wed, 21 Jul 1999 01:02:31 GMT
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-Poster: "Tara German" <twink88@hotmail.com>

>Hi
>If this page is supposed to be accessible, there's a problem. Geocities
>says it doesn't exist.

Could someone else please try this out?  It comes up fine for me.  Could it 
only be accessible to me because I'm the one who created it?
http://www.geocities.com/RodeoDrive/Plaza/4884/contents.html

Thanks,
Tara


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From owner-h-costume@indra.com  Tue Jul 20 19:58:00 1999
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Date: Tue, 20 Jul 1999 21:07:47 -0400
To: h-costume@indra.com
From: Donna Kenton <kenton@neaccess.net>
Subject: Re: H-COST: mail order supplier feedback
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-Poster: Donna Kenton <kenton@neaccess.net>

Fine for me.

Donna

At 01:02 AM 7/21/99 GMT, you wrote:
>
>-Poster: "Tara German" <twink88@hotmail.com>
>
>>Hi
>>If this page is supposed to be accessible, there's a problem. Geocities
>>says it doesn't exist.
>
>Could someone else please try this out?  It comes up fine for me.  Could it 
>only be accessible to me because I'm the one who created it?
>http://www.geocities.com/RodeoDrive/Plaza/4884/contents.html
>
>Thanks,
>Tara
>
>
>_______________________________________________________________
>Get Free Email and Do More On The Web. Visit http://www.msn.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 Jul 20 20:05:10 1999
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From: "Tara German" <twink88@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: mail order supplier feedback
Date: Wed, 21 Jul 1999 01:15:29 GMT
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-Poster: "Tara German" <twink88@hotmail.com>

Hi everyone,

I received a message via private e-mail suggesting that if you have negative 
comments about a vendor, there should be some details and an explanation of 
the situation that led you to feel that way.  I agree.  If you had an 
unsatisfactory experience with a vendor please do explain why rather than 
simply saying they were
awful.  For that matter, it would also be nice to hear details on why a 
particular merchant is good.

Tara

http://www.geocities.com/RodeoDrive/Plaza/4884/contents.html


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From owner-h-costume@indra.com  Tue Jul 20 20:07:29 1999
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Date: Tue, 20 Jul 1999 21:21:07 -0400
To: h-costume@indra.com
From: Sue Shatto <Sue@VictorianMillinery.com>
Subject: Re: H-COST: mail order supplier feedback
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-Poster: Sue Shatto <Sue@VictorianMillinery.com>

tara,
	It worked fine for me.



At 01:02 AM 7/21/99 GMT, you wrote:
>
>-Poster: "Tara German" <twink88@hotmail.com>
>
>>Hi
>>If this page is supposed to be accessible, there's a problem. Geocities
>>says it doesn't exist.
>
>Could someone else please try this out?  It comes up fine for me.  Could it 
>only be accessible to me because I'm the one who created it?
>http://www.geocities.com/RodeoDrive/Plaza/4884/contents.html
>
>Thanks,
>Tara
>
>
>_______________________________________________________________
>Get Free Email and Do More On The Web. Visit http://www.msn.com
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME
>
>

Cordially,

Sue Shatto

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

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From owner-h-costume@indra.com  Tue Jul 20 20:44:51 1999
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Date: Tue, 20 Jul 1999 18:55:29 -0700
To: h-costume@indra.com
From: "Carol J. Bell Cannon" <cjcannon@greymists.com>
Subject: Re: H-COST: mail order supplier feedback
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

Tara
http://www.geocities.com/RodeoDrive/Plaza/4884/contents.html   worked just
fine for me. -- Carol

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From owner-h-costume@indra.com  Tue Jul 20 21:33:47 1999
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From: "christianna del Oro" <chritikat@hotmail.com>
To: h-costume@indra.com
Subject: H-COST: Re: mail order supplier feedback
Date: Tue, 20 Jul 1999 19:42:17 PDT
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-Poster: "christianna del Oro" <chritikat@hotmail.com>




>
>
>>Hi
>>If this page is supposed to be accessible, there's a problem. Geocities
>>says it doesn't exist.
>
>Could someone else please try this out?  It comes up fine for me.  Could it
>only be accessible to me because I'm the one who created it?
>http://www.geocities.com/RodeoDrive/Plaza/4884/contents.html
>
>Thanks,
>Tara
>
                    I GOT TO IT   IT LOOKS LIKE IT WILL BE A  GOOD
   SOURCE

                           THANKS


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From owner-h-costume@indra.com  Tue Jul 20 21:39:34 1999
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Date: Tue, 20 Jul 1999 22:48:07 EDT
Subject: Re: H-COST: Re: mail order supplier feedback
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-Poster: KMash15642@aol.com

It works fine for me    (kim) new
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From owner-h-costume@indra.com  Tue Jul 20 22:01:53 1999
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Date: Tue, 20 Jul 1999 23:11:37 EDT
Subject: Re: H-COST: Source for printed voile, lawn or organdy?
To: h-costume@indra.com
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-Poster: AliaClaire@aol.com

In a message dated 7/20/99 7:28:50 PM EST, jchancey@rica.net writes:

<< Does anyone have a source (US
 or foreign) for white on white voile, lawn or organdy? >>

The fabric from Victoria Louise is expensive, but it is lovely quality. They 
have many types of sheer and light fabrics- I don't own any yet, but I've 
drooled over a few dresses made of their voiles.

 <A HREF="http://www.fred.net/stull/victoria.html">Victoria Louise, Mercers
</A> 
http://www.fred.net/stull/victoria.html

-Alison Stacy
AliaClaire@aol.com
Canton, Ohio
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From owner-h-costume@indra.com  Tue Jul 20 22:08:47 1999
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Date: Tue, 20 Jul 1999 23:18:56 EDT
Subject: Re: H-COST:dressforms, was stays
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-Poster: DzMzLzy@aol.com

Margo -  Your post caught my eye, since I am also in this process.  The 
professional grade of dressmaker dummies are firm, but you can pad them out 
to get larger sizes and softer bodies.  

Question for you: how do you plan to determine sizes and grading?

Liz Gerds


> 
>  I'm in the early business planning stages for a historical pattern 
business,
>  and trying to figure out what kind of dress form would be best to use.  My
>  own body is not a desirable base for a graded pattern.  
>  
>  Would it be better to buy a somewhat smaller rigid form and pad it up, or
>  should I get one of the foam ones?  Can anyone recommend brands?
>  
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From owner-h-costume@indra.com  Wed Jul 21 00:41:38 1999
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Date: Wed, 21 Jul 1999 01:53:26 -0400 (EDT)
From: "Kristen M. Sieber" <lady_gawain@yahoo.com>
Subject: Re: H-COST: mail order supplier feedback
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-Poster: "Kristen M. Sieber" <lady_gawain@yahoo.com>



--- Tara German <twink88@hotmail.com> wrote:
I imagine that others are interested in the same type
> of information.  I 
> finally decided to create a website where people can
> review and leave 
> feedback (both positive and negative) about their
> mail order and online 
> shopping experiences.
> 
>
This is a good idea.  Is it possible to convince the
people to leave e-mail addresses and/or phone numbers
of the merchants?

Kristen Morgaine Sieber
_________________________________________________________
Do You Yahoo!?
Get your free @yahoo.com address at http://mail.yahoo.com

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-Poster: griffinhold@usa.net


>four months in the same area of the world; touring to Berlin, Dresden,
>Prague, Vienna, Budapest, Cracow, and Warsaw

I don't know Berlin, Dresden or Warsaw, but I've been to the other cities. 
I'll have to check notes for Prague.  Cracow is a lovely city which I enjoyed
very much.  Special things there are a gothic church completely painted inside
in Art Nouveau.  You need to go to the medieval marketplace in the center of
town.  Also, I found glass Xmas ornaments there for a fraction of the price in
the US.  Budapest you need to see the National Museum.  Lovely stuff - an opus
anglicanum cope and a 15th century gown (tho I'm still not sure if they have
the correct underdress with it).  Try the wine tasting shop near the
cathedral.  Vienna - the mian attraction for me was the Schatzkammer with the
vestments of the Holy Roman Empire and the Order of the Golden Fleece.  Also
the Kunsthistorique.  Try the MAK, I enjoyed that.  If you want more specific
recommendations, let me know and I'll get references.  I'm doing this from
memory.

Now for my question.  I'm going to be taking a class near Oxnard.  I remember
going to the fabric district in LA several years ago when I had a chance to go
to Costume College.  However, I don't remember anything about how to get there
or hours that they're open.  Could someone please send directions?  Also, can
anyone recommend good shops?  I'm primarily interested in the standards -
silk, wool and linen (though linen is one of the few affordable fabrics in
Italy).  I'll be happy to receive answers off the list rather than waste
bandwidth.

Thanks a lot!
Lyn Gillespie

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From owner-h-costume@indra.com  Wed Jul 21 03:00:57 1999
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From: "Tara German" <twink88@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: mail order supplier feedback
Date: Wed, 21 Jul 1999 08:07:10 GMT
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-Poster: "Tara German" <twink88@hotmail.com>

>This is a good idea.  Is it possible to convince the
>people to leave e-mail addresses and/or phone numbers
>of the merchants?

I'll put a suggestion on the form and people can provide it if they want.  
The intent of this page is not to be a supplier list, as many good ones 
already exist.  (E.g. Drea Leed's website at 
http://www.dnaco.net/~aleed/corsets/ and The Costume Page at 
http://members.aol.com/nebula5/costume.html

Tara


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From owner-h-costume@indra.com  Wed Jul 21 04:14:21 1999
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Date: Wed, 21 Jul 1999 11:18:48 +0200
From: "Holliday, Rachel {DISC~Welwyn}" <RACHEL.HOLLIDAY@roche.com>
Subject: RE: H-COST: mail order supplier feedback
To: "'h-costume@indra.com'" <h-costume@indra.com>, h-needlework@ansteorra.org
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-Poster: "Holliday, Rachel {DISC~Welwyn}" <RACHEL.HOLLIDAY@roche.com>

Tara
I have started putting up this kind of information on my web site as well.
Mine, however is for UK suppliers and as yet isn't really very full.  Anyone
who wants to add something please email me.  The address is:
http://www.homeusers.prestel.co.uk/witchwood/embroi/index.html
It's the resources section.  It's going to be redone soon so bookmark the
index page and then you shouldn't get a dead link.
Rachel
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From owner-h-costume@indra.com  Wed Jul 21 07:19:07 1999
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Subject: H-COST: Burnout
Date: Wed, 21 Jul 1999 08:22:31 -0400
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From: Irene leNoir <irene@ici.net>
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-Poster: Irene leNoir <irene@ici.net>

Hello Everyone,

I have a question about burnout (eg. devore velvet and such).

My understanding was that the way that it works is to apply some sort of 
caustic chemical to a fabric of mixed fiber content.  The chemical eats 
away one of the fibers but leaves the other intact.  So devore velvets 
can be created from velvets with a base of one fiber and a pile of 
another.  Also, I have a lovely scrolly design burnout that was done on a 
poly/cotton evenweave.  As near as I can tell, the threads were cotton 
wrapped with a polyester core.  The areas on the fabric that have been 
burned out have a thinner thread, where the cotton wrapping appears to 
have been removed.

Anyway, my local fabric store has a burnout satin for sale that they 
claim is 100% silk.  My question is, how can you do a burnout on a single 
fiber content?  Does anyone know?

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 Jul 21 08:26:20 1999
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From: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>
To: <h-costume@indra.com>
References: <199907211221.IAA25580@bajor.ici.net>
Subject: Re: H-COST: Burnout
Date: Wed, 21 Jul 1999 14:32:34 +0100
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-Poster: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>


 From: Irene leNoir <irene@ici.net>
 Anyway, my local fabric store has a burnout satin for sale that they
claim is 100% silk.  My question is, how can you do a burnout on a single
fiber content?  Does anyone know?

 Is this the one that you can paint or print a design on using a "resist"
sometimes wax, sometimes a special paint;
I have seen something on Tv where whole lengths of material were screen
printed and then put in an acid (?) bath; the effects were amazing.
I think it only works on organic fibres. I  made a mental note but never
followed up any of the ideas i had from seeing it.
I have also seen some wallhangings on an exhibition that seemed to be done
the same way. They were on a backing material as the dressings were very
very fine..
It seems to be a differnet process from the one that uses a special two
piece material.
Dave

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From owner-h-costume@indra.com  Wed Jul 21 09:49:38 1999
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From: pulliam@acadia.net (Deborah Pulliam)
Subject: H-COST: Norwegian jewelry question
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-Poster: pulliam@acadia.net (Deborah Pulliam)

<<This is really interesting, because if so, it's basically a sumptuary
law, which most of us think of as a thing from the past.>>

This is more than a bit of a stretch, I think.

Sumptuary laws *attempted* to control who could wear what, based
specifically on class and income.

I don't see how controlling how specific items of clothing are made  could
be construed in the same way. Seems like more of a quality control issue.


Deborah


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Subject: Re: H-COST: Norwegian jewelry question
Date: Thu, 22 Jul 99 03:33:51 GMT
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References: <37933151.C992BA0E@thibault.org> <M.072099.063519.51@erols.com>
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-Poster: trekona@erols.com



> -Poster: Cynthia Virtue <cvirtue@thibault.org>
> 
> Judy wrote:
> 
> > The Costume Board is very concerned about the purity and quality of
> > their traditional costumes (Bunads). And only handsewing, and only on the
> > proper fabrics.
> 
> So if you make your own (approximating fabrics and so forth) and wear it
> without the certification, do they fine you?
> 
> This is really interesting, because if so, it's basically a sumptuary
> law, which most of us think of as a thing from the past.

    I don't know what they do- I've often wondered about that. I suspect that 
it just doesn't happen due to a different mindset than the American "I'll do 
what I darn well want anyway!" that has developed our country into the 
innovative thing that it is (it's not necessarily a *bad* attitude, but it is 
rude as seen by others). Since they have this strict policy set by a Norwegian 
Costume Board, it tends to make me wonder about the 'costume police' coming in 
and taking away your stuff if it's not right! ;-)
    But honestly I don't think you can decently approximate the fabrics, they 
are specially made for the bunads. I mean, ok many of them use a lot of black 
wool but the wool is a certain thickness that we don't find; most black wool 
that I see is either very heavy blanket stuff, or suit-weight which doesn't 
feel right either. It's just not going to look right.
    -Judy Mitchell

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From owner-h-costume@indra.com  Wed Jul 21 10:25:28 1999
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Date: Wed, 21 Jul 1999 15:51:40 +0000 (GMT)
From: teddy1 <teddy1@mdx.ac.uk>
Subject: H-COST: Simplicity Italian Ren Pattern - HELP!
In-reply-to: <199907210006.SAA19438@net.indra.com>
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-Poster: teddy1 <teddy1@mdx.ac.uk>


Hello H-costumers,

I'm kind of stuck!  A friend (who had intendedto avoid "Medieval" for 
her wedding as "everyone's" done that recently in our circle) fell in 
love with the Simplicity Italian Ren pattern (the one that looks like it 
was put out to link with the release of "Ever After")  She wants the 
v-neck, just-off-the-shoulder, view A version.

Anyhow, she turned up last night for a 3 day visit so I could start 
her dress and I made up a mock-up of the bodice to fit on her.  It 
fits fine everywhere except the front neckline - which gapes horribly.

I've tried taking the excess out of the centre front and the shoulder 
seams and that doesn't work at all - the rest of it won't sit right then 
- the only place I could get rid of the excess fabric seems to be by 
pinning two big darts, one either side of the bust, tapering off into 
the armhole or just below.

I thought I could cut new front pieces taking this into account but, 
when laid flat, the patern-piece now looks like an *on* the shoulder 
bodice with a distorted V neck and the armhole isn't the same 
shape either.

Has anyone on the list used this pattern yet?  Did you have these 
problems?  Is it something simple that I'm just missing or too brain-
fried to see?

I'm going to experiment some more tonight with various 
calico/muslin mock-ups but it's not the straight forward job we 
envisioned and I don't want the bride-to-be ending up dishartened 
by this and going away worried that her dress won't work (she's 
already had to bring the wedding forward a year due to her father's 
worsening health...)

If anyone had any tips or ideas, I'd be really grateful

Teddy
(juat a seam-width short of panic!)

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Subject: Re: H-COST: Burnout
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-Poster: RobesOf@aol.com


<< Anyway, my local fabric store has a burnout satin for sale that they 
 claim is 100% silk.  My question is, how can you do a burnout on a single 
 fiber content?  Does anyone know?
  >>
 Are you asking how to make burn-out silk?  If so, I have an article I saved 
from a Threads magazine.  It tells how to make your own burn-out design on 
rayon/silk velvets.   Anyone interested in the article may email me 
privately.  I will scan the article and attach it as a JPEG for you to read.  
Hope this helps.

Erica
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Date: Wed, 21 Jul 1999 08:46:16 -0700
Subject: H-COST: Modern Sumptuary laws
From: "R.L. Shep" <rlshep@jps.net>
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-Poster: "R.L. Shep" <rlshep@jps.net>

Interesting train of thought.
It could be said that they have sumptuary laws in Bhutan where they make
people wear a certain type national dress - I say a certain type because it
never was the national dress of ALL the people in Bhutan... the Layla - I
think the spellng is right - had a different type dress. I don't know what
they do about the Nepalese who live in the lowlands except discriminate
against them.
It used to be that people had to wear national dress when going in the dzong
and doing official business.
Now according to what I hear, everyone has to wear it all the time.
AND  - of course - the restricitons on dress in many of the Arab and other
Muslim countries could be said to come under this catagory.
~!~ R.L.Shep
http://www.mcn.org/e/fsbks

----------
>From: trekona@erols.com
>To: h-costume@indra.com
>Subject: Re: H-COST: Norwegian jewelry question
>Date: Wed, Jul 21, 1999, 8:33 PM
>

>
>-Poster: trekona@erols.com
>
>
>
>> -Poster: Cynthia Virtue <cvirtue@thibault.org>
>> 
>> Judy wrote:
>> 
>> > The Costume Board is very concerned about the purity and quality of
>> > their traditional costumes (Bunads). And only handsewing, and only on
the
>> > proper fabrics.
>> 
>> So if you make your own (approximating fabrics and so forth) and wear it
>> without the certification, do they fine you?
>> 
>> This is really interesting, because if so, it's basically a sumptuary
>> law, which most of us think of as a thing from the past.
>
>    I don't know what they do- I've often wondered about that. I suspect
that 
>it just doesn't happen due to a different mindset than the American "I'll
do 
>what I darn well want anyway!" that has developed our country into the 
>innovative thing that it is (it's not necessarily a *bad* attitude, but it
is 
>rude as seen by others). Since they have this strict policy set by a
Norwegian 
>Costume Board, it tends to make me wonder about the 'costume police' coming
in 
>and taking away your stuff if it's not right! ;-)
>    But honestly I don't think you can decently approximate the fabrics,
they 
>are specially made for the bunads. I mean, ok many of them use a lot of
black 
>wool but the wool is a certain thickness that we don't find; most black
wool 
>that I see is either very heavy blanket stuff, or suit-weight which doesn't

>feel right either. It's just not going to look right.
>    -Judy Mitchell
>
> _________________________________________________________________
> 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 Jul 21 12:49:51 1999
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-Poster: kat@grendal.rain.com

 
> <<This is really interesting, because if so, it's basically a sumptuary
><< law, which most of us think of as a thing from the past
> This is more than a bit of a stretch, I think.
> Sumptuary laws *attempted* to control who could wear what, based
> specifically on class and income.
> 
> I don't see how controlling how specific items of clothing are made  could
> be construed in the same way. Seems like more of a quality control issue.

Many of the sumptuary laws were issues of quality control, such as 
the restrictions against using Logwood dyed fabrics in Elizabethan 
England. 

The "class and income" laws were very much like the bunad laws: they 
were there to maintain "purity" (which in the middle ages meant 
maintaining class distinctions.) They came at a time when the 
nobility was looking very much askance at the up and coming middle 
class who were "aping" them.

Others were to stimulate the economy, like the ones about woad in the 
middle ages and the ones regarding the wearing of felted knitted caps 
in Elizabethan England.

Some were combinations of "quality" and a way of getting income for 
the government (much like the enforcement of speeding laws now) such 
as some of the fabric and color restrictions in 15th Century Italy.

How successful the sumptuary laws were is something we can hotly 
debate but can't really know. It has parallels to things like the 
contemporary French laws regarding what you are and aren't allowed to 
name your children.

Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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From owner-h-costume@indra.com  Wed Jul 21 13:41:58 1999
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Date: Wed, 21 Jul 1999 11:42:07 -0700
From: Scott Hulett <mhull@earthlink.net>
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Subject: Re: H-COST: Simplicity Italian Ren Pattern - HELP!
References: <937C8F945D2@mdx-ref1.nw.mdx.ac.uk>
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-Poster: Scott Hulett <mhull@earthlink.net>

Teddy,
    I'm raking through my memory for a conversation I had with a Caiden
Laurel about just this cutting problem. Does the pattern ask you to cut with
the neck hole on the straight or the bias? Dredge, dig, shuffle. It seems to
me she said to cut the v-portion of the neck on the bias. My 18th c cote
pattern says the same. Maybe a mock up made on the bias would help? Cheers,
jd

teddy1 wrote:

> -Poster: teddy1 <teddy1@mdx.ac.uk>
>
> Hello H-costumers,
>
> I'm kind of stuck!  A friend (who had intendedto avoid "Medieval" for
> her wedding as "everyone's" done that recently in our circle) fell in
> love with the Simplicity Italian Ren pattern (the one that looks like it
> was put out to link with the release of "Ever After")  She wants the
> v-neck, just-off-the-shoulder, view A version.
>
> Anyhow, she turned up last night for a 3 day visit so I could start
> her dress and I made up a mock-up of the bodice to fit on her.  It
> fits fine everywhere except the front neckline - which gapes horribly.
>
> I've tried taking the excess out of the centre front and the shoulder
> seams and that doesn't work at all - the rest of it won't sit right then
> - the only place I could get rid of the excess fabric seems to be by
> pinning two big darts, one either side of the bust, tapering off into
> the armhole or just below.
>
> I thought I could cut new front pieces taking this into account but,
> when laid flat, the patern-piece now looks like an *on* the shoulder
> bodice with a distorted V neck and the armhole isn't the same
> shape either.
>
> Has anyone on the list used this pattern yet?  Did you have these
> problems?  Is it something simple that I'm just missing or too brain-
> fried to see?
>
> I'm going to experiment some more tonight with various
> calico/muslin mock-ups but it's not the straight forward job we
> envisioned and I don't want the bride-to-be ending up dishartened
> by this and going away worried that her dress won't work (she's
> already had to bring the wedding forward a year due to her father's
> worsening health...)
>
> If anyone had any tips or ideas, I'd be really grateful
>
> Teddy
> (juat a seam-width short of panic!)
>
>  _________________________________________________________________
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>  with the message UNSUBSCRIBE H-COSTUME

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From owner-h-costume@indra.com  Wed Jul 21 14:29:10 1999
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Date: Wed, 21 Jul 1999 15:34:18 EDT
Subject: H-COST: Civil War Simplicity Patterns
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-Poster: Ltondreau@aol.com

I would like to construct a Civil War military outfit..perhaps a general's 
garment.

How authentic are these patterns produced by Simplicity?  What reference 
books are suggested to view the designs of these garments? Where can I 
purchase truly authentic patterns of military attire?  And what about the 
actual fabric, buttons, braiding, etc. used during this period?  Where are 
the sources for these items? 

 Simplicity says:  suggested fabrics:  broadcloth and poplin.  Are these 
fabrics of a certain weight? Is this what was used during the Civil War?

I would like to create this outfit to represent  the most accurately 
correctdesign possible...........Much thanks to this matter!

Luecella M. Tondreau
Designer, Patternmaker, Seamstress
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Subject: H-COST: Fwd: Nineteenth c. bridal colors vs white?
Date: Wed, 21 Jul 99 16:59:49 -0000
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From: margo king <mkings@earthlink.net>
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-Poster: margo king <mkings@earthlink.net>

Subject:     Nineteenth c. bridal colors vs white?
Sent:        7/16/19 3:43 AM
Received:    7/21/99 4:53 PM
From:        Jadene Felina Stevens, saltwnd@banet.net


Hope someone of these list can help Jadene. If so reply to her at her 
above address. Thanks, Margo King

Hello,

I've been "listening in" for awhile and now have a query which I'm
hoping you might be able to help me with...

What colors were thought fashionable in America circa 1830-1890?
When did white come to be thought of as the "bridal color"?

If anyone can provide suggestions as to where I might be able to search
for such information, I'd be be most interested.

I have been reading about the great chore that most ladies encountered
on washday in regard to their personal wardrobes, and to the various
methods that had to be carefully adhered to in regard to the dyes.  If
one was not too careful the dyes would fade and/or run.  The garments
had to be laid out flat in the shade to dry, since to fold them or leave
them crumbled for any length of time tended to make the dyes run into
uneven patches...

Hence, one possible reason that Emily Dickinson adopted white in later
years.  It would certainly have simplified her life, freeing more time
which she could then devote to her writing.

The comments on the dyes, and ED's possible choice of white were offered
by author Kathryn Whitford in an essay called, "Why Emily Dickinson Wore
White."  She did not go into any detail in regard to the questions that
I pose...at least, not in the excerpted article that I came across.
(I'm trying to locate a copy of the essay in full.)

Thanks,


Jadene

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From owner-h-costume@indra.com  Wed Jul 21 16:22:15 1999
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Date: Wed, 21 Jul 1999 14:28:41 -0700
From: Merouda the True of Bornover <keltia@serv.net>
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-Poster: Merouda the True of Bornover <keltia@serv.net>

> How authentic are these patterns produced by Simplicity?

While I don't do Civil War, I can tell you that any of the Simplicity costume
patterns (and the others, Butterick, McCalls, etc..) are not authentic.  They
might have the look or the silhouette but not authentic.  Some are even pretty
darn good patterns if you just want a quick pattern.  But that's about it.

>  Simplicity says:  suggested fabrics:  broadcloth and poplin.  Are these
> fabrics of a certain weight? Is this what was used during the Civil War?

I can tell you right now and feel *very* comfortable with this, that Civil War
uniforms were most likely always wool.  Wool of different weights depending on
north or south, hot or cold, but wool.  I can't imagine broadcloth or poplin.

Now I have definitely been known to be incorrect, I'm not perfect, and in the
instance, *NOT* an expert.  So definitely get another opinion.

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  Wed Jul 21 17:36:29 1999
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From: "Jessica Wilbur" <jessica@pop.net>
To: h-costume@indra.com
Date: Wed, 21 Jul 1999 18:34:41 -0400
Subject: H-COST: Mystery Flemish Book of Hours?
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-Poster: "Jessica Wilbur" <jessica@pop.net>

Hello everyone, 

I ran across some note cards that someone gave me a few years ago. They are really cool, 
but the blurb on the back only says "Book of Hours, Flemish, c. 1500." They are from the 
Fitzwilliam Museum Cambridge. The cards have "daily life" scenes: minstrels, a boating 
party, people gathering grapes, people making wine from said grapes, two guys working in 
a field of grain, and a man and a woman dining before a fire. There is a lot of gold highlighting 
the clothing in the illumination. 

The three minstrels are wearing French bonnets and gowns, two of which have long 
hanging sleeves with slits at the elbow for the arm to come out the front of the sleeve. They 
are all wearing shirts with gathered necklines underneath. They are wearing hose with 
square-toed shoes. 

In the boating party, the men are wearing overgowns with wide lapels (for lack of a better 
word), more elaborate hats and have their hair dressed in ringlets. There are two women 
who are pictured fully (a third is cut off). One is facing forward and the other is facing away 
(a back view, yay!) The forward facing one is wearing a square-necked gown with a black 
kirtle underneath, and a transitional-type hood. It is not a gable headdress or a French 
hood. The woman with her back to us is wearing a blue gown with has a v-neckline in 
back, with a thin belt. You can see the back of her cap with two lappets hanging down. 

In the scene of people stomping grapes, there is a woman wearing a short-sleeved red 
gown, with a green skirt underneath (I assume it's a full kirtle). The white sleeves of her 
smock are the only thing on her arms. She is wearing a linen type cap. The guy in the vat 
is wearing a blue gown over a white shirt, wearing a black cap that looks like a bowl on his 
head. The gown is open in the front, held shut with a band (belt?) around the middle, like a 
bathrobe. 

In the gathering grapes scene, the man is wearing what looks kind of like a houpelande or 
short tunic, slight v in the back neckline, with a slit up the side in the hem. He has a black 
hat on but I can't tell any details. The woman is wearing a blue gown with no sleeves and 
the white smock sleeves are showing. She is also wearing a linen cap, and a black shoe 
peeks out from under her hem.

In the picture of field workers, you can't really see much of their clothing, because they are 
up to their chests in rows of wheat! But one man is wearing a flat-crowned straw hat, a 
blue tunic with no sleeves, and a white shirt. The other is wearing another black hat whose 
details I can't see, and a red tunic.

The last picture is a dining scene. The woman is wearing a red gown with a black kirtle, 
and you can see a small strip of something white at the neck under the kirtle, probably her 
smock. She is wearing a beguine headdress. The man is wearing a long blue gown, with 
gold at the neck, hem and cuffs. He is wearing a black French bonnet type hat and black 
shoes. There is a man crouched down by the fireplace, wearing a blue/green gown which 
looks like a houpelande and a cap of some sort.

Does any of this sound familiar to anyone? (Drea?) I would really like to find out which manuscript 
this is, and whether there are more pictures of it somewhere. I checked the Fitzwilliam Museum 
website, no luck. I sent an email query to them, but no response yet. 

Thanks for any help!

--Jessica

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From owner-h-costume@indra.com  Wed Jul 21 17:38:37 1999
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From: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>
To: <later-medieval-britain@iList.net>, <h-costume@indra.com>,
        <atuk-l@onelist.com>, <historic-costuming@onelist.com>
Subject: H-COST: Tewkesbury Re-enactment again?
Date: Wed, 21 Jul 1999 23:42:31 +0100
Organization: Heritage Matters at Words to the Wise
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-Poster: "dave;editors(Heritage Matters)" <dave@wysewords.softnet.co.uk>

I have, at last finished uploading the photographs on
http://www.soft.net.uk/wysewords/tewkesbu.htm
Galleries One thru Eight;
 In response to various requests I have included pics that show armour and
clothing (incl female) details.
please feel free to contact me for further details etc

Dave
LD MUNDY
Editor Heritage Matters


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From owner-h-costume@indra.com  Wed Jul 21 17:52:36 1999
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Date: Wed, 21 Jul 1999 18:54:03 EDT
Subject: Re: H-COST: Civil War Simplicity Patterns
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-Poster: BarbMVD@aol.com

I<<  How authentic are these patterns produced by Simplicity? >>

There is no accuracy in these modern, commercial patterns - at the time of 
our Bicentennial in 1976 they were the only source for many reenactors and 
celebrants.  The seams are all in the wrong places, there are darts where 
none should ever exist, even the silhouettes were off.  They still haunt us - 
- I titled a slide program on clothing for rev war reenactors "Is There Life 
After Simplicity?"

Barbara Delorey
List Manager:	`18cWoman@onelist.com
DAR/Reenactors:	http://hometown.aol.com/barbmvd/page/dar.htm
Battle Road Clothing:	http://www.ziplink.net/~mrkmcc/delory.htm
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From owner-h-costume@indra.com  Wed Jul 21 19:13:51 1999
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Date: Wed, 21 Jul 1999 20:10:37 -0400
From: Margaret Bolger <Margaret_Bolger@compuserve.com>
Subject: H-COST: Summer Sale Begins!
To: all <vintage@indra.com>
Cc: all <h-costume@indra.com>, all <h-needlework@Ansteorra.org>,
        all <Victoriana@onelist.com>
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-Poster: Margaret Bolger <Margaret_Bolger@compuserve.com>


Just to let you know that I have just up-dated my web site with a few new
items, mostly 1960s vintage clothing and a gorgeous Edwardian blouse! 

But more importantly with MANY price reductions across the whole site,  in
my Summer Sale!  The Sale ends 31st August.

If any of you are coming to my Antique Costume & Textiles Fair at Sandown
Park on Sunday 25th July be sure to stop and say hello!

Margaret
antique costume & textiles
http://www.artizania.co.uk

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From owner-h-costume@indra.com  Wed Jul 21 19:35:08 1999
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Date: Wed, 21 Jul 1999 20:35:50 -0400 (EDT)
From: Robin Netherton <robin@dgsys.com>
To: h-costume@indra.com
Subject: Re: H-COST: Mystery Flemish Book of Hours?
In-Reply-To: <QQgywo13285.199907212235@smtp1-alterdial.uu.net>
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-Poster: Robin Netherton <robin@dgsys.com>


On Wed, 21 Jul 1999, Jessica Wilbur wrote:

> I ran across some note cards that someone gave me a few years ago. They
> are really cool, but the blurb on the back only says "Book of Hours,
> Flemish, c. 1500." They are from the Fitzwilliam Museum Cambridge.
...
> The last picture is a dining scene. The woman is wearing a red gown with
> a black kirtle, and you can see a small strip of something white at the
> neck under the kirtle, probably her smock. She is wearing a beguine
> headdress. The man is wearing a long blue gown, with gold at the neck,
> hem and cuffs. He is wearing a black French bonnet type hat and black
> shoes. There is a man crouched down by the fireplace, wearing a
> blue/green gown which looks like a houpelande and a cap of some sort.

I have a card with the last image, sent to me a few years ago from a
friend in Cambridge. In addition to the written description you cite, it's
labeled MS 1058-1975. But it sounds like your image is cut off -- on mine,
off to the left, is a servant bringing a pie to the table, and he's in a
knee-length grey gown such as you described for the minstrels, with slit
sleeves, a shirt with a gathered square neckline, red hose, black
square-toed shoes, and a pale green undergown visible at the sleeves.

I wish I had the other scenes you describe, too! I would guess there are
many more in the book.

--Robin

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From owner-h-costume@indra.com  Wed Jul 21 19:40:21 1999
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From: "Hope H. Dunlap" <hhdunlap@msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Civil War Simplicity Patterns
Date: Wed, 21 Jul 1999 19:18:50 -0400
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-Poster: "Hope H. Dunlap" <hhdunlap@msn.com>

A Civil War General's garments would have been of the very
finest tailoring, requiring skills and techniques well
outside the capabilities of the home sewer.  I suspect
that's why Simplicity recommends "poplin and broadcloth,"
because these are fabrics which the home sewer can handle.
And the pattern has been drafted for poplin and broadcloth
too, which would not be the same garment at all.  If you are
serious about recreating the General's costume
authentically, I believe this book by a list member is just
what you need:

CIVIL WAR GENTLEMEN: 1860's Apparel Arts & Uniform
by R.L. Shep, 1994

Broad coverage in this volume includes military and civilian
dress, men's and boys' coats, vests, pants, shirts and
important accessories, and features a complete period
tailoring system in "Salisbury's System of Actual
Measurement and Drafting" (1865). Also, photos of soldiers,
additional illustrations of clothing, excerpts from the Army
uniform regulations for 1861 and a section on the 7th
Regiments New York National Guard. Agnes Gawne, reviewer for
Somewhere In Time newsletter says: "....wonderful resource
for Civil War reenactors, fashion designers, historians and
theatrical costumers." 288 pp, 8 1/2 X 11, quality
paperbound. $24.95

It's available from
http://www.mcn.org/e/fsbks/HTML/booklist.htm.  There are
some additional resources for men's and women garments of
this and other periods on this page, showing you how to use
actual pattern drafting systems of the day so you can take
the pattern directly from the body.  I personally haven't
used any of these sytems yet, but several list members
reported wonderful and lightening-fast results using the
Edwardian pattern drafting system for women in one of Fran
Grimble's books. If the Salisbury Drafting System in Shep's
book is anything like the drafting system in Fran Grimble's
book (which I do own and love), the book will contain the
special measuring devices to cut out or trace, as well as
the directions for drafting each costume to fit the wearer.
I haven't seen Shep's book, but am familiar enough with the
literature to think this is as close as it gets to
authenticity.  I would welcome comments from others who know
this era / Salisbury Drafting System well.

Hope H. Dunlap




> -----Original Message-----
> From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
> Behalf Of Ltondreau@aol.com
> Sent: Wednesday, July 21, 1999 3:34 PM
> To: h-costume@indra.com
> Cc: Ltondreau@aol.com
> Subject: H-COST: Civil War Simplicity Patterns
>
>
>
> -Poster: Ltondreau@aol.com
>
> I would like to construct a Civil War military
> outfit..perhaps a general's
> garment.
>
> How authentic are these patterns produced by Simplicity?
> What reference
> books are suggested to view the designs of these garments?
> Where can I
> purchase truly authentic patterns of military attire?  And
> what about the
> actual fabric, buttons, braiding, etc. used during this
> period?  Where are
> the sources for these items?
>
>  Simplicity says:  suggested fabrics:  broadcloth and
poplin.
>  Are these
> fabrics of a certain weight? Is this what was used during
the
> Civil War?
>
> I would like to create this outfit to represent  the most
accurately
> correctdesign possible...........Much thanks to this
matter!
>
> Luecella M. Tondreau
> Designer, Patternmaker, Seamstress
>
____________________________________________________________
_____
>  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 Jul 21 19:40:58 1999
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Subject: H-COST: Re: Source for printed voile, lawn or organdy?
Message-Id: <932604142.29363.66@excite.com>
Date: Wed, 21 Jul 1999 17:42:22 PDT
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-Poster: tylerweiss@excite.com

Jenie, I too would like to suggest you check the Victoria Louise web site.
They have a lare sellection of sheer cottons many with white on white and
woven in colors
My friend tells me they stock much more than what is shown on the site
so it is best to call.  While their prices are not the same as Joannes,
neither is their quality.
 I always try to remember the old adage "You get what you pay for".  One
suggestion
try to avoid the cheaper sari cottons.  While they are sheer 
and light they don't hold up.  I ordered some once from a different vendor
at a very
reasonable or so I thought price and it raveled and shifted horribly.
This is one time I wish I had paid more.

She who dies with the most patterns wins
Tyler Weiss







-Poster: Jennie Chancey <jchancey@rica.net>

I am having the hardest time finding white on white voile (or other
sheer materials).  I used to be able to get the striped and floral voile
at JoAnne Fabrics, but they don't cary it anymore.  I have been looking
all over the web, but I have had no luck.  Does anyone have a source (US
or foreign) for white on white voile, lawn or organdy?

Thanks in advance,
Jennie




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From owner-h-costume@indra.com  Wed Jul 21 19:42:53 1999
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From: "Hope H. Dunlap" <hhdunlap@msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Simplicity Italian Ren Pattern - HELP!
Date: Wed, 21 Jul 1999 20:50:55 -0400
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-Poster: "Hope H. Dunlap" <hhdunlap@msn.com>

Is this the dress on the left?
http://www.simplicity.com/854/8735.htm Very pretty!  It
appears to have a strip of fabric tied cross-her-heart
fashion, which undoubtedly covers a multitude of sins and
helps hold it up.  I would either cut the straight edges of
the V-neckline on the straight of the goods (putting the
center front on the bias), or stay the neckline with a
bandof thin (silk or silk like ) selvedge material.  Line it
and bone it even better!  I like to cut linings an facings
at 45 degrees from the straight of the goods on the fashion
fabric--the two layers stabilize each other completely.
Regarding the fit, you might put in those neckline darts to
fit her, and then experiment with laying the resulting
fabric down as flat as you can on another piece of fabric
and cutting.  The result might be almost what you need.

Rotating the darts to the side seam or armhole seam is an
option--when the fabric is flat, slash where you want the
new dart.  Then close up the dart at the neckline and watch
the slash spread.  Where the slash spread becomes the new
dart, and you can safely abandon the old ones at the
neckline.  I don't think Italian Ren dresses had darts, but
this may result in a look that is to her taste.

This shows a period closure method, see the back of the
little girls' dress in the front of the painting.
http://ps.theatre.tulane.edu/Period.Styles/Costumes/images/E
lizabethan.Women/CM29.jpg Fitting one of these from scratch
is pretty trivial, really.  The bodice front and back are
all one piece, no kidding.  Cut a hole in the middle of a
rectangle of fabric for the head, letting some fabric hang
down the breast, some down the back.  Center front and
center back will be on the straight of the goods.  Flatten
the rear piece across the small of her back and pin or tape
smooth.  Wrap the sides of the fabric hanging down her chest
towards the back, over the back piece.  Smooth it all over
her figure and pin or tape in place.  Please, no darts!
Mark or snip your desired neckline and armscythes. Then
starting from a point about 1/2 way down the rear
armscythes, use a ruler to draw two diagonal lines from the
armscythes to her waist, to points *about* 6-8" apart on
the center back waist.  If you plan the angles right, the
edge of the front will be cut along the straight of the
goods, while the edge of the back will be cut on the bias,
or at least off grain. (It doesn't have to be exact.) Cut
through *both* layers of fabric along those two diagonal
lines. Throw away the scraps, an observe that one piece of
fabric still forms the bodice.  Stay the edges, and cut
another identical piece, but this time at 45 degrees out of
lining. (You should add a third sturdy (or strong silk)
layer of fabric on top of these two (not between), either in
the whole bodice to smooth and support the bust, or at least
about 2" wide along the four diagonal edges at the back to
reinforce the future lacing holes. With right sides
together, sew it all together with 1/4 seam around the edges
leaving either the front waist  or the back waist seam
unsewn.  Grade seams, clip off curners, turn inside out,
poke out corners and press.  Voila, a lined bodice.  Put
eyelets or sew tiny rings down each  of the diagonal edges
at the back and lace.  Guaranteed to fit every time.

You can do this in paper or muslin first too and use that as
your pattern or lining.  If you do this, you can always add
a smidgen all around to make the seam allowances the more
standard 1/2 or 5/8 inch if you want.  Try it on a doll
first to learn, if that helps you.  The off the shoulder
look may require you to put your fashion fabric on the bias,
which will leave the finish side of the straps on the
straight of the goods and eliminate any chance of pucker.
But if it's well lined, it may not matter.

Many evening gowns have a string between the gown and its
lining right along the whole neckline edge.  It is left
sticking out somewhere, perhaps a loop inside center front
so that the wearer can snug the gown down to her bosom and
back for a precise fit.  Done correctly, the fabric is only
eased, with no visible wrinkles, but you can take out a few
inches of gape this way, and it saves a lot of fitting
headeaches.  I don't quite know how this string stays in
place precisely at the edge, but perhaps someone out there
can help.

Good luck!
Hope H. Dunlap


> -----Original Message-----
> From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
> Behalf Of Scott Hulett
> Sent: Wednesday, July 21, 1999 2:42 PM
> To: h-costume@indra.com
> Subject: Re: H-COST: Simplicity Italian Ren Pattern -
HELP!
>
>
>
> -Poster: Scott Hulett <mhull@earthlink.net>
>
> Teddy,
>     I'm raking through my memory for a conversation I had
> with a Caiden
> Laurel about just this cutting problem. Does the pattern
ask
> you to cut with
> the neck hole on the straight or the bias? Dredge, dig,
> shuffle. It seems to
> me she said to cut the v-portion of the neck on the bias.
My
> 18th c cote
> pattern says the same. Maybe a mock up made on the bias
would
> help? Cheers,
> jd
>
> teddy1 wrote:
>
> > -Poster: teddy1 <teddy1@mdx.ac.uk>
> >
> > Hello H-costumers,
> >
> > I'm kind of stuck!  A friend (who had intendedto avoid
> "Medieval" for
> > her wedding as "everyone's" done that recently in our
> circle) fell in
> > love with the Simplicity Italian Ren pattern (the one
that
> looks like it
> > was put out to link with the release of "Ever After")
She wants the
> > v-neck, just-off-the-shoulder, view A version.
> >
> > Anyhow, she turned up last night for a 3 day visit so I
could start
> > her dress and I made up a mock-up of the bodice to fit
on her.  It
> > fits fine everywhere except the front neckline - which
> gapes horribly.
> >
> > I've tried taking the excess out of the centre front and
> the shoulder
> > seams and that doesn't work at all - the rest of it
won't
> sit right then
> > - the only place I could get rid of the excess fabric
seems to be by
> > pinning two big darts, one either side of the bust,
> tapering off into
> > the armhole or just below.
> >
> > I thought I could cut new front pieces taking this into
account but,
> > when laid flat, the patern-piece now looks like an *on*
the shoulder
> > bodice with a distorted V neck and the armhole isn't the
same
> > shape either.
> >
> > Has anyone on the list used this pattern yet?  Did you
have these
> > problems?  Is it something simple that I'm just missing
or
> too brain-
> > fried to see?
> >
> > I'm going to experiment some more tonight with various
> > calico/muslin mock-ups but it's not the straight forward
job we
> > envisioned and I don't want the bride-to-be ending up
dishartened
> > by this and going away worried that her dress won't work
(she's
> > already had to bring the wedding forward a year due to
her father's
> > worsening health...)
> >
> > If anyone had any tips or ideas, I'd be really grateful
> >
> > Teddy
> > (juat a seam-width short of panic!)
> >
> >
____________________________________________________________
_____
> >  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  Wed Jul 21 21:49:26 1999
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Date: Wed, 21 Jul 1999 20:19:51 -0400
From: Jennie Chancey <jchancey@rica.net>
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To: h-costume@indra.com
Subject: H-COST: Someone selling "Titanic" boarding suit
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-Poster: Jennie Chancey <jchancey@rica.net>

A friend of mine is moving and will be selling a custom-made "Titanic"
boarding suit (done by the seamstress in Germany with "That Sinking
Feeling").  I told her I'd pass the word along, in case anyone knows of
a gal who wants the boarding suit and is around a size 12.  There are
photos of the suit on my site at
http://www.sensibility.com/titanic/showandtell.

Interested people can reach Errin at efrancis@wsu.edu.

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




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From owner-h-costume@indra.com  Wed Jul 21 22:13:48 1999
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Date: Wed, 21 Jul 1999 23:01:07 -0400
To: h-costume@indra.com
From: Danielle Nunn <dnunn@interlog.com>
Subject: Sumptuary laws (was Re: H-COST: Norwegian jewelry question)
In-Reply-To: <199907211753.KAA15390@eclipse.pacifier.com>
References: <v01520d05b3bad7585b4d@[205.217.210.46]>
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-Poster: Danielle Nunn <dnunn@interlog.com>

Greetings,

Kat wrote:

>Many of the sumptuary laws were issues of quality control, such as 
>the restrictions against using Logwood dyed fabrics in Elizabethan 
>England. 

O.k. I'm curious, where did you find information on that?!  I don't
remember running across that one before.  Please share!

Cheers,
Danielle

 

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From: Deb Baddorf <baddorf@inil.com>
Subject: Re: H-COST: stays
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-Poster: Deb Baddorf <baddorf@inil.com>

>-Poster: AlbertCat@aol.com
>
>In a message dated 7/20/99 12:15:21 AM Eastern Daylight Time,
>baddorf@inil.com writes:
>
><< At the very least -- it is quite possible to
> do without any dressform. >>
>
>How DO you fit yourself????? Someone else must get the hem as, if you bend to
>pin it, the position of the skirt changes. How do you fit the back "on
>yourself?" Another person must do the fitting [per your directions] don't
>they? Then you're sorta back to "They're never around."

No, I've never had anybody around  (I'm single)  so I just
do 3-4 test fittings in muslin.   That pretty well covers
the back of the bodice.   The skirt -- I either eyeball the
amount needed to turn up,   or hold a yardstick and look
in the mirror and say "ok -- 5" hem in the front,   1" at
the sides cause these stupid panniers make it go up so far.

Then I pin that amount of hem in  (about 8-12 pins per skirt;
not a very complete pinning, by any means).   And try it
on again.    That's always been enough to suffice.
Even for modern length skirts.

Then again -- I never analyze my hemlines after I've
sewn them.    But nobody else has ever noticed them,
or complained to me.    I dunno -- it just works for me!


>Besides....I look
>stupid in a dress! I'm a man.

Well, ok!   But if you are sewing dresses,  then you don't go
by my "I only sew for myself rule".    Else you'd only be
sewing trousers & jackets!  ;-)     Or cotehardies.

Deb

Deb Baddorf    http://www.inil.com/users/baddorf


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From owner-h-costume@indra.com  Thu Jul 22 00:25:09 1999
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Subject: Re: H-COST: stays
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-Poster: AlbertCat@aol.com

In a message dated 7/22/99 12:57:33 AM Eastern Daylight Time, 
baddorf@inil.com writes:

<< I dunno -- it just works for me! >>
Cool. I'm impressed.
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Date: Thu, 22 Jul 1999 09:29:47 +0100
From: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>
To: <h-costume@indra.com>
Subject: H-COST: Broadcloth, was Civil War Simplicity patterns
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-Poster: "KATE M BUNTING" <K.M.Bunting@derby.ac.uk>

I'm curious as to why broadcloth was referred to as an inauthentic fabric for American Civil War uniforms. I've seen the term used to describe men's coats of the 17th - 19th centuries and understood it to be a quality woollen cloth. Does the word have a different meaning in the States?

Kate Bunting,
Library, University of Derby (UK)

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Date: Thu, 22 Jul 1999 10:53:18 +0000 (GMT)
From: teddy1 <teddy1@mdx.ac.uk>
Subject: H-COST: Simplicity Renaissance Pattern -  Panic over!
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-Poster: teddy1 <teddy1@mdx.ac.uk>

Many, many thanks to those of you who responded!  I really *was* 
brain fried and worrying over very little!
 
I ended up, putting the darts into the mock-up, using that as a 
pattern to cut a new bodice front (which looked *horribly distorted in 
the neckline and armhole shapes) and making it up to try on the 
bride.

It fitted perfectly and looked absolutely fine once she was wearing 
it, and needed no further alteration.

I have the gown cut out in gold brocade, and I have the dark green 
slik for the underskirt and neck-infill with me today so I can cut out 
those pieces in my lunch break.  By bedtime, we should have the 
dress mostly together and can start the hand finishing and 
decoration (we have to cover a "Juliet" cap with the gold brocade 
too so another friend can bead it - not period we know, but for the 
wedding it's the perfect look).

> Is this the dress on the left?
> http://www.simplicity.com/854/8735.htm Very pretty!  It
> appears to have a strip of fabric tied cross-her-heart
> fashion, which undoubtedly covers a multitude of sins and
> helps hold it up. 

It is that dress, and the bodice front is cut as one piece the "fabric-
strip" is the neck edge trim, following the V, and the "waist" trim, 
following the inverted v at the centre front.

We're using strips of the gold brocade (turned wrong-sideout for 
contrast) as the wider trim around the neck and a gold metalic 
braid as the narrower trim (expensive, but the bride's parents seem 
to think it's not nearly as much as they were expecting to pay for a 
wedding dress)  We may not use it around the "waist" seam 
anyway, as neither of us are sure that works, for us, but we'll 
certainly be using it on either side of the overskirt opening.  

Next I have to work on what the groom will wear.  His hyper-
conservative parents are the thorn in the foot of this project and he 
really does want to come out of this with them still talking to him - 
the wedding's going to be enough of a shock to them as it is.  His 
parents don't know *any* of his friends and certainly won't approve 
of him hanging around with weirdos like me....<g>

Since they're going to hate me anyway, I wonder if I can convince 
him to wear a doublet or jerkin in matching brocade - and blame 
me as "Wedding Consultant"....  It's no skin off my nose and it 
may get him off the hook.

Thanks again for the responses.  They were *much* appreciated!

Teddy
(feeling much better about the whole thing now it's back on track)

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From owner-h-costume@indra.com  Thu Jul 22 07:33:40 1999
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Date: Thu, 22 Jul 1999 08:45:17 -0400
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: Peninsular war book on eBay
To: LIST historic costume <h-costume-digest@indra.com>
Message-ID: <199907220845_MC2-7DEE-4949@compuserve.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

Military Dress of the Peninsular War by Martin Windrow

With 100 colour paintings ever type of uniform, including irregulars  &
female auxiliaries
are shown in great detail in the period 1808-1814 British, Spanish and
allied soldiers are all here as living portrayals rather that static
costume manakins. The chronological text offers concise details of the
progress of the War. Major battles are here in detail with maps, over 80
photos and contemporary engravings. Giving much information of life in the
Napoleonic period. HB VG/VG

     http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=135335222

Mel
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To: h-costume@indra.com
Subject: RE: H-COST: Civil War Simplicity Patterns
Date: Fri, 23 Jul 99 01:21:15 GMT
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-Poster: trekona@erols.com



> -Poster: "Hope H. Dunlap" <hhdunlap@msn.com>
> 
> A Civil War General's garments would have been of the very
> finest tailoring, requiring skills and techniques well
> outside the capabilities of the home sewer.  I suspect
> that's why Simplicity recommends "poplin and broadcloth,"
> because these are fabrics which the home sewer can handle.
> And the pattern has been drafted for poplin and broadcloth

    Not only that, but the pattern also calls for elastic in the top of the 
pants! I laughed myself silly on that one, and it's not even my period.
    -Judy Mitchell

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From owner-h-costume@indra.com  Thu Jul 22 08:04:12 1999
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-Poster: cemsophie@planet-interkom.de


Dear members,
For an upcoming event (it's in Fulda, Germany) I've made a 1740's 
sack dress- I would like to wear it 'english-styled' That means with an 
apron, neckerchief and a little cap, maybe even a bergere.
How do you fix the apron though? do you tie it in the back which 
wouldn't look very good, would it, because one would tie down the 
pleats in the back then. Or does one make a small one and just bind 
under the sack so that it is covering the petticoat only?
If you know any pictures where this can be seen or have solved that 
problem yourself please let me know.
sophie 
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From owner-h-costume@indra.com  Thu Jul 22 08:48:14 1999
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From: pulliam@acadia.net (Deborah Pulliam)
Subject: H-COST: white wedding gowns
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-Poster: pulliam@acadia.net (Deborah Pulliam)

<<What colors were thought fashionable in America circa 1830-1890?
When did white come to be thought of as the "bridal color"?>>

White became a fashionable color (for any gown) in the 1840s, which is
probably why Queen Victoria chose it for her wedding gown (she was very
intersted in fashion, and very careful about what she wore). That in turn
spawn a trend in white wedding dresses.

It didn't become *the* wedding gown color until about the turn of the
century, or even a little later, though, because it wasn't until then that
most women could afford a wedding gown that would not be worn again and
again.


Deborah


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-Poster: Paula Hanna <phanna@tpcgi.com>

I would love to see a picture of this dress when you are done with it.

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From owner-h-costume@indra.com  Thu Jul 22 10:04:21 1999
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-Poster: kat@grendal.rain.com


> >Many of the sumptuary laws were issues of quality control, such as 
> >the restrictions against using Logwood dyed fabrics in Elizabethan 
> >England. 
> O.k. I'm curious, where did you find information on that?!  I don't
> remember running across that one before.  Please share!

There is a mention of it in Linthicum's book but I've seen quotes 
from the statutes in other places as well (I just can't remember 
exactly where, but probably in books on guilds, dyeing, legal 
matters, etc. I've got quite an eclectic collection.)

It came about because the English were trying to do logwood dyeing 
the way they would other types of dyeing (and at the moment I can't 
remember whether they were doing it like a reduction dye or as a pot 
dye with mordant.) It was a fugitive dye done that way, as well as 
rotting the fabrics. On the continent they had figured out safe ways 
that would give a colorfast dye in glorious blacks and blues. The 
English didn't think it was possible so they "outlawed" it.

Kat 

Kat(June Russell)
kat@grendal.rain.com
Heu! Tintinnuntius meus Sonat!
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Date: Thu, 22 Jul 1999 11:18:49 EDT
Subject: Re: H-COST: 18th c. apron
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-Poster: BarbMVD@aol.com

 cemsophie@planet-interkom.de writes: << I've made a 1740's 
 sack dress- I would like to wear it 'english-styled' That means with an 
 apron, neckerchief and a little cap, maybe even a bergere.
 How do you fix the apron though? do you tie it in the back  . . .>>

Put on your petticoat, then your apron, then your sacque-back gown over it.  
Or if you want an outer spread of apron, you put the apron on last, then put 
your apron strings through the pocket slits and tie in back or if your 
strings are long enough, cross them in back (under your gown and bring them 
around and tie in front.  I prefer the first method.

Barbara Delorey
List Manager:	`18cWoman@onelist.com
DAR/Reenactors:	http://hometown.aol.com/barbmvd/page/dar.htm
Battle Road Clothing:	http://www.ziplink.net/~mrkmcc/delory.htm

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From owner-h-costume@indra.com  Thu Jul 22 10:09:58 1999
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Date: Thu, 22 Jul 1999 11:21:48 EDT
Subject: Re: H-COST: Broadcloth, was Civil War Simplicity patterns
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-Poster: AlbertCat@aol.com

In a message dated 7/22/99 4:40:52 AM Eastern Daylight Time, 
K.M.Bunting@derby.ac.uk writes:

<< Does the word have a different meaning in the States? >>

Generally in the States it refers to a medium to medium heavy weight plain 
cotton....kinda like poplin actually. If the pattern had suggested "wool 
broadcloth".......

Actually I always thought broadcloth was call that because it was "broad" 
[duh!], or wider than usual...like wools are. Why we link it with 45" wide 
cotton I'll never know.
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Subject: Re: H-COST: 18th c. apron
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-Poster: AlbertCat@aol.com

In a message dated 7/22/99 9:18:25 AM Eastern Daylight Time, 
cemsophie@planet-interkom.de writes:

<< r does one make a small one and just bind 
 under the sack so that it is covering the petticoat only?
 If you know any pictures where this can be seen or have solved that 
 problem yourself please let me know. >>

There's a picture in "Revolution in Fashion" of a very elegant pannier gown 
with a lacy fine apron spread out over it. I don't have it in front of me but 
I think it passes under the CF point and is spread over the expanse of the 
front skirt. In Gainsboro's portrait of Mary Countess Howe, her diaphanous 
apron passes under the point and hangs over petticoat and gown. I think these 
decorative aprons had no strings but were pinned or basted in place.
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Subject: Re: H-COST: white wedding gowns
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-Poster: seamstrix@juno.com

This is pure speculation on my part, but could some of the impetus for
white wedding gowns have been that young women of society frequently
married after their first season 'out' and since many of the gowns worn
for their 'coming out' (boy, have the connotations of *that* phrase
changed!) were white and were their finest dresses and as such would very
likely be the one chosen to wear for the wedding, it became expected that
wedding dresses would be white? 

Karen
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Date: Thu, 22 Jul 1999 09:04:01 -0700
From: Merouda the True of Bornover <keltia@serv.net>
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-Poster: Merouda the True of Bornover <keltia@serv.net>

> I'm curious as to why broadcloth was referred to as an inauthentic fabric for American Civil War uniforms. I've seen the term used to describe men's coats of the 17th - 19th centuries and understood it to be a quality woollen cloth. Does the word have a different meaning in the States?

Good point.  Yes, here in the States, when the term broadcloth is used it typically refers to a stiff (IMHO) cotton and/or cotton/poly blend.  Very *not* appropriate for these uniforms.

My Webster's Dictionary says:

Broadcloth   1. a densely textured woolen cloth with a lustrous finish and a plain or twill weave.  2. a closely woven cotton, silk, or synthetic fabric with a narrow crosswise rib.

At least in the fabric stores here in my neck of the woods (Seattle, WA), broad cloth is the definition #2 and always cotton or cotton/poly.  You can get wool broadcloth but it will be called *wool* broadcloth.  Not simply broadcloth.

Cynthia

--
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: Thu, 22 Jul 1999 14:58:57 -0400
Subject: Re: H-COST: Mystery Flemish Book of Hours?
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-Poster: "Jessica Wilbur" <jessica@pop.net>


> 
> -Poster: Robin Netherton <robin@dgsys.com>
> 
> 
> On Wed, 21 Jul 1999, Jessica Wilbur wrote:
> 
> > I ran across some note cards that someone gave me a few years ago. They
> > are really cool, but the blurb on the back only says "Book of Hours,
> > Flemish, c. 1500." They are from the Fitzwilliam Museum Cambridge.
> ...
> > The last picture is a dining scene. The woman is wearing a red gown with
> > a black kirtle, and you can see a small strip of something white at the
> > neck under the kirtle, probably her smock. She is wearing a beguine
> > headdress. The man is wearing a long blue gown, with gold at the neck,
> > hem and cuffs. He is wearing a black French bonnet type hat and black
> > shoes. There is a man crouched down by the fireplace, wearing a
> > blue/green gown which looks like a houpelande and a cap of some sort.
> 
> I have a card with the last image, sent to me a few years ago from a
> friend in Cambridge. In addition to the written description you cite, it's
> labeled MS 1058-1975.

Ah! That is definitely not on the cards I have. That may be very helpful. Thank you!

> But it sounds like your image is cut off -- on mine,
> off to the left, is a servant bringing a pie to the table, and he's in a
> knee-length grey gown such as you described for the minstrels, with slit
> sleeves, a shirt with a gathered square neckline, red hose, black
> square-toed shoes, and a pale green undergown visible at the sleeves.

Nope, he's not in the picture I have. This just makes me want to find a book on this ms. all 
the more! (What else am I missing?)

> 
> I wish I had the other scenes you describe, too! I would guess there are
> many more in the book.
> 
> --Robin

If I can find a book on it, I'll share with the list whatever info it has. Hopefully sometime 
soon my housemate will hook up his scanner and I'll be able to scan in the other cards so 
everyone can see them.

Thanks for your help! Even just having the ms. number will help.

--Jessica
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From: Robin Netherton <robin@dgsys.com>
To: Historic Costume List <h-costume@indra.com>
Subject: H-COST: Use of linen in Italy and elsewhere 
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-Poster: Robin Netherton <robin@dgsys.com>



I tried posting this late Sunday night, but it hasn't come through --
probably too long. I'm trying again. I apologize if two copies end up on
the list.

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

On Sun, 18 Jul 1999 Nancygwyn@aol.com wrote:

> In Henk's posting of July 17th he included from someone named Robin the 
> following quote
> 
> > I've found some indications that linen was worn routinely for summer
> > garments in sunny Italy, 
> 
> Robin (or Henk), I'd be very interested in hearing more about your research, 
> sources, etc.  Please elaborate more on this comment, either to the list or 
> privately.

Yes, that deserves followup, and I'll follow up Henk's post as well.
Please bear with me as I provide a little context for my remarks.

We know that linen and wool were the most common fibers used for European
medieval clothing -- I think that's a given. Silk was used, but not as
widely, and cotton probably even less so (on cotton, see some postings on
this a couple of months ago, I think).

It's also commonly said -- in books, by people on this list, etc. -- that
wool gowns were worn in winter (and probably in spring and fall) while
linen gowns were worn in summer. By "gowns," I mean the primary body
garment(s) worn over the shift/smock/shirt/chemise. (I think we can assume
the default fabric for the shift/smock/shirt/chemise was linen, with
occasional use of silk in certain times and places. Underwear is not the
matter of discussion here.)

About a year ago I started wondering, in a desultory fashion, about this
"linen for summer gowns" truism. I've seen plenty of references over the
years to wool and linen preparation, trade, etc., but that doesn't tell us
what it was used for. There's plenty of written material that shows linen
was used for tablecloths, bedsheets, towels, veils, sacking, wrapping, and
similar items. I also think we're safe in assuming linen was used for
linings/interlinings as well as for underwear -- I know that was the case
by the 16th century, and I have the vague sense I've seen evidence for it
earlier (say, archaeological finds in which wool is preserved and
stitching indicates that there was a lining, but the lining fabric has
disintegrated -- meaning it was probably linen). But on recollection,
while I can remember plenty of mentions of wool for gowns, I can't
remember even one reference to linen as the basic, main fabric for a gown
-- meaning the visible, colored fabric. 

Henk did a good job of outlining the primary reasons we might assume linen
was used:
   -- it's cooler, so more suitable for summer
   -- it was widely available and inexpensive

On the other hand, there are enough reasons for me also to want to
question the assumption, or at least seek more information. 

First, although linen is cooler, that may not be enough to justify its use
for gowns to be worn in summers where very hot days are fairly rare, as in
the northern half of Europe. Most people had a very small number of gowns,
many just one or two. If I had only two gowns, I'd want them both to be
wearable year-round, even if it means I would be hot for a few weeks out
of the year. As for the people who could afford to spend money on a summer
gown, they may also have had silk as an option throughout much of this
period.

Second, I'm not sure just how much cooler linen is compared to the *right*
kind of wool. Last summer I found myself going to a three-day outdoor
re-enactment in Kansas in July (my first such event in what, 14 years?).
Since I had to make camp-suitable clothing for myself, I decided to use
the event as an excuse for an experiment. I made three identical dresses: 
one in linen, one in silk, one in wool. I used a lower-class Italian 16th
century design (a sleeveless dress with a square neck, commonly seen worn
by kitchen workers in genre paintings) because it was the coolest thing I
could find where I wouldn't have to make any concessions in authenticity. 
I wore the dresses over a long-sleeved linen shift. Temperatures averaged
in the 90s and humid, which is not typical of Europe, and could probably
not be comfortable in any kind of clothing, medieval or modern. But at any
rate, I found that the wool dress -- made of a very fine weave -- was at
least as comfortable as the linen dress, and both were more comfortable
than the cotton dress. As for laundering, creasing, etc., the cotton held
up worst; the wool the best.  This was not a scientific experiment by any
means, but it did give me a basis of comparison.

Third, there's the color question. Linen does not hold dye as well as wool
does. We know from paintings as well as written references that strong
colors were favored in northern/western Europe, and linen would not be as
good as wool at producing those colors. Linen does bleach wonderfully, and
for most of its uses -- bed linens, table linens, underclothes, veiling --
it was certainly bleached. For sacking, it was probably used undyed and
unbleached. So, was it dyed at all, and if so, under what circumstances? I
haven't gone to the point yet of looking through sources on period dyeing
(guild records, household manuals, import/export records, linen
preparation regulations, etc.), but that would be a good place to find out
how common dyed linen was. If there's no indication that linen was
routinely dyed, that would be another hint that maybe it wasn't used for
gowns. If anyone here has more familiarity with sources on dyeing, I'd
live to know if you have any information on this. 

The realization that linen does typically dye or fade to pastels made me
wonder about Italian painting. The overall palette of the Italian
renaissance is paler than that of Northern Europe.  Henk noted the
important point that frescoes are paler by nature, but I discounted
frescoes when I considered this; even in panel paintings, illuminations,
and other art, there's a much greater representation of pale pinks, pale
blues, pale yellows and oranges, etc. in people's clothing. There's no
shortage of brighter colors elsewhere in the paintings. The paler colors
also appear in art from the rest of Europe, but not so much in clothing,
except maybe in angels' draperies. Again, this just an impression, and I
could well find that my impression is wrong. Before I could take a solid
stand on this, I would have to do a more formal analysis, comparing the
color use in a few hundred paintings from various countries and centuries. 
And even if the impression holds up, that doesn't mean we're looking at a
difference between linens and wools (or silks) -- it could be a difference
in painting materials, taste, whatever. So, I won't call that evidence --
but it does occur to me that if linen were commonly used for gowns
anywhere, it would be in Italy, where summers are hotter and longer. 

Which brings me to the only bit of evidence I *have* found for linen being
used for clothing, at least since I started watching for these references.
This is the Italian reference I mentioned earlier, but it might not
technically be Italian at all.  It's from the Tacuinum Sanitatus,
sometimes called the Medieval Health Handbook (and published in a nice art
book by that name, also in another art book called The Four Seasons of the
House of Cerruti). This manual lists maybe a hundred different influences
-- foods, weather conditions, emotions, etc. -- and describes their health
effects. The manuscripts are in Latin and the existing manuscripts are
from Italy, but the original text was apparently Arabic, and it may have
its origin or connections in Southern Spain. 

There's an entry for wool clothing (vestis lanea), one for silk clothing
(vestis de sete), and one for linen clothing (vestis linea). Not all
extant manuscripts have all the same combinations of entries. The
translations I have differ slightly from one of my sources to the other,
which may reflect a different source manuscript that translated the Arabic
into Latin differently, or it may be just a different English translation
of the same source manuscript. 

Here are the translations I have. Version (1) is from "The Medieval Health
Handbook," by Luisa Cogliati Arano; version (2) is from "The Four Seasons
of the House of Cerruti," trans. by Judith Spencer.

	(1) Wool clothing. Nature: Warm and dry. Optimum: The thin kind
from Flanders. Usefulness: It protects the body from cold and holds
warmth. Dangers: It causes skin irritation.  Neutralization of the
Dangers: With thin linen clothing. 
	(2) Woolen clothes. Clothes are suited to _praeparatio aeri_, or
the adaptation of the climate to life, which is one of the seven things
essential to good health. Clothes made of wool, whose nature is warm and
dry, are beneficial in the winter to old people, life in Northern regions,
cold constitutions, all things that, of the four elements, correspond to
water. These clothes, especially those in fine Flemish wool which are to
be preferred, draw the inner heat from the body and keep it warm. The
advantage of wool can also be a disadvantage: as too much warmth is
harmful, wear a thin linen garment under the wool.

	(2) Silk clothes. Silk clothing is very luxurious and grand. It is
highly valued and equally highly priced and for this reason it cannot be
worn by peasants, but only by noble men and women and esteemed and
prominent citizens. _In medicina_, according to medical science,
everything that was said about woolen clothes applies equally to silk
ones, for the nature of silk, like that of wool, is hot and dry. Wool,
however, is said to be better than silk for covering the head at night.

	(1) Linen clothing. Nature: Cold and dry in the second degree. 
Optimum: The light, splendid, beautiful kind. Usefulness: It moderates the
heat of the body. Dangers: It presses down on the skin and blocks
transpiration. Neutralization of the Dangers: By mixing it with silk.
Effects: It dries up ulcerations. It is primarily good for hot
temperaments, for the young, in Summer, and in the Southern regions.
	(2) Linen clothes. Linen clothes are very suitable for the summer: 
they are light, splendid, and attactive. The women will see to the making
of them, working rapidly and wisely with scissors and needle. Linen
clothes are useful in keeping the body at a moderate temperature and they
help to dry out ulcers, but they press on the skin and prevent the
exhalation of vapors. For this reason it is wiser to make clothes from
cloth that has a mixture of linen and silk, which also looks dazzlingly
elegant.

So, that last bit might serve as some supporting evidence that linen was
used for gowns, not just underwear, in Southern European summers. But it's
not definitive. 

Interestingly, the illumination in the edition I have here, which was
taken from a Northern Italian manuscript of the Tacuinum, shows
seamstresses at work cutting plain white linen from a bolt, and sewing
plain white linen. The shapes of the pieces are not recognizable as any
particular kind of clothing, just yardage. By contrast, the page on wool
in one manuscript shows a male tailor fitting a man's red gown, and his
assistant is working on a greyish-blue gown, while a green gown lies on a
table. In the wool illustration in another Tacuinum manuscript from the
same region, the scene is much the same, but shows bolts as well as
finished garments, of red and blue, again being sewn and fitted by men to
men.

So there's always the chance that while the Arabic text referred to use of
linen gowns, the Northern Italian illuminator may have known linen only in
its bleached form, which may have been sewn (by women) into underwear
rather than tailored (by men) into gowns.  It's impossible to tell for
sure, from this little sliver of information, but there's also not enough
here to definitively support the idea of dyed linen for gowns.

The silk workshop scene is similar to the wool ones, with a male tailor
and assistant and a row of hanging garments, but their colors are red,
blue, pink, and white with a pattern (quilted? hard to tell), and the
customer is female, wearing pink. So, some of those pinks in paintings may
represent silks. 

(Some of these pictures have shown up over the years in the Medieval Woman
series of calendars and daybooks.)

Some other notes. Henk quotes me as saying:

> > -- we know it was used for undergarments (chemises) and linings of body
> > garments, but I haven't found as much evidence for it being used as the
> > main fabric, despite common assumptions to the contrary.  So I'm on the
> > prowl. 
> > 
> You say: as much. Does that mean you have found some?

No primary evidence at all for anything north of Italy, though I haven't
been looking in all the right places to find such references. I do see
this idea repeated in secondary sources, which is evidence of a sort, if
we can hope that this common belief is grounded in fact, somewhere back
along the line. But not enough for me to be comfortable relying on it.

A lot of my work is based on questioning assumptions. Often, if I look, I
find that there is indeed good reason for an assumption. But sometimes, I
find that there's no solid evidence at all. I don't have my mind made up
on the linen question, but there's enough to make me wonder -- so now
I'm keeping my eyes open for references.

If I were addressing this head-on, there are places I would look -- guild
records, trade records, household manuals, wills, inventories, letters,
etc. But this isn't a primary research topic for me right now, so I'm not
taking the time to address it directly. Maybe someday I will (or maybe
someone else will). In the meantime, though, it's another topic I'm
collecting information on. 

I do want to stress that I don't have my mind made up on this, and I DON'T
want to find myself asked to defend the statement that "linen wasn't used
for gowns." I can't make that statement now, and it would take years of
work before I could feel sure either way. But I'd be greatly appreciative
if people would send me any primary references they might come across that
do support the use of linen as the primary fabric in body garments in any
particular time/place in medieval Europe. 

--Robin







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From owner-h-costume@indra.com  Thu Jul 22 14:27:06 1999
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Subject: H-COST: Dress Forms
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-Poster: Leslie Helms <larisa.ivanova@canfield.com>


Margo, normally I would recommend the Wolf form hands down.  Unless you
find some alternative that will work better for the historic patterns, I
think you are best off with the Wolf because of its outstanding durability
and stability.  Don't try to use a fabric-store type form.  You need one
that is an industry-standard size.  There is one other brand that is nearly
as good; perhaps someone else can remember the name.

My suggestion, based partly on the discussions we've seen in this list, is
that you'd do well to get a size no larger than 12 to use as your standard
base.  The forms and standard measurements for the larger sizes are
generally less realistic.  I think you can do better than that.  Get some
larger-sized women to let you do some measuring and draping on them, and
look for the commonalities.  

Maybe you'll be the first company to do body-proportioned sizes... like a
size 16 "apple" and a size 22 "pear"!  

Dreaming of the day when everyone can afford the laser-fit technique, and
we can move on to funner stuff,
Leslie


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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>

Wow, thanks!  Great job of research.  One clarification....

> I made three identical dresses:
> one in linen, one in silk, one in wool. [SNIP]

> I found that the wool dress -- made of a very fine weave -- was at
> least as comfortable as the linen dress, and both were more comfortable
> than the cotton dress. As for laundering, creasing, etc., the cotton held
> up worst; the wool the best.

So was the third dress silk or cotton?  I got confused here.

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


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From: Scott Hulett <mhull@earthlink.net>
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-Poster: Scott Hulett <mhull@earthlink.net>


Robin,
    Once again, invaluable! A few questions, but first the set up. I
costume for a Renaissance Dance group recreating Northern Italian
Dance from 1580-1600. The group is located and performs in Southern
California. Based on your writing, for summer gowns silk is the most
appropriate as we are all well to do. The summers here are very hot
and dry and even practicing in costume is dangerous unless precautions
are taken. I'm interested in Janet Arnold's listing of one 'white
cotton calico' gown, quite late, 1590 or so. She states cotton was
quite dear, coming as it does from India, hence the name. Is it out of
the question to make cotton gowns? My feeling is not really, I'm just
trying to get an idea/reaction from researchers/costumers so I have
something to say to support my use of more comfortable fabrics. Part
of our performance is to have one woman and one man put on their
clothes in front of the audience to give a better idea of what makes
the outline and restriction to dancing. I want to come to this with
some good background to answer the inevitable question of 'is it
period?' I am using a range of fabric content, silk, linen and such so
I'm not locked in. I'm also adding some early posts about cotton trade
in Northern Italy to my research goals to have some idea how
useful/used it was. You have addressed some of this, and I do like
your ad hock wool/linen/cotton experiment. Thanks for any reply,
cheers, joan

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From owner-h-costume@indra.com  Thu Jul 22 17:15:36 1999
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From: "Penny Ladnier" <penny.creative.outlets@erols.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: white wedding gowns
Date: Thu, 22 Jul 1999 18:25:20 -0400
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-Poster: "Penny Ladnier" <penny.creative.outlets@erols.com>

White was pretty much an established color for wedding gowns by 1894.  Check
out this article in the Ladies Home Journal
http://www.costumegallery.com/LHJ/March_1894/Bride/p17Intro.htm

While doing my internship Valentine Museum's costume collection, I worked a
great deal of the time in the bridal section.  They house the largest
collection of bridal gowns in the U.S.  I recall the earliest white bridal
gown was 1800-1810ish.  Jennie Chancey on this list took a picture of the
gown when it was on exhibit.  Maybe she can post the picture on the web.
Prior to the 19th century I do not recall any white wedding dresses in the
collection.  Once you get to the 1840s gowns you see many white dresses and
do not see many wedding dress of color until the 1940s (WW2).  So we
basically went 100 years in white wedding dresses.  In the 1940s, colored
gowns was a short lived trend.  After the 1940s you mainly see
white/candlelight gowns.  Once in awhile you will see a dress in color, but
it is rare.  Candlelight colored gowns float back and forth throughout the
200 year span.  What is really interesting is to see the design trends in
these fashion periods.

We did a small exhibit of some of the wedding gowns from 1860-1912.   You
can see them at the bottom of this webpage,
http://www.costumegallery.com/dresser.htm

Later...Penny
The Costume Gallery
Visit our new 19th Century Bookstore at:
http://www.costumegallery.com/Book/1800.htm

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From owner-h-costume@indra.com  Thu Jul 22 17:26:50 1999
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-Poster: Margo Anderson <margo@directcon.net>

At 06:25 PM 7/22/99 -0400, you wrote:
>
>-Poster: "Penny Ladnier" <penny.creative.outlets@erols.com>
>
>White was pretty much an established color for wedding gowns by 1894.  Check
>out this article in the Ladies Home Journal
 After the 1940s you mainly see
>white/candlelight gowns.  Once in awhile you will see a dress in color, but
>it is rare. 

Actually, during the 1980's there was a huge fad for pink wedding gowns,
usually glitzy ones covered with ruffles.  At the store I worked with, we
called those dresses "circus poodles".  

Margo

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From owner-h-costume@indra.com  Thu Jul 22 17:38:03 1999
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From: "Jessica Wilbur" <jessica@pop.net>
To: h-costume@indra.com
Date: Thu, 22 Jul 1999 18:45:57 -0400
Subject: H-COST: 15th century ponderings
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-Poster: "Jessica Wilbur" <jessica@pop.net>

Hello everyone,

It's me again with more weird questions. I was perusing an online index of period art, and 
came across a couple of unusual things.

First:
http://ps.theatre.tulane.edu/Period.Styles/Costumes/images/Late.Gothic/CH14.JPG

Is it just me, or does it look like the woman in the middle has only one underdress sleeve? 
It looks like the sleeve on her right arm (partially obscured by the other woman's hand and 
cloth) is blue and relatively tight. It looks like just the smock/shift/chemise sleeve is 
showing on her left arm. Am I just wacky, or does it look that way to anyone else? Can 
someone explain what the deal is?

Second:
http://ps.theatre.tulane.edu/Period.Styles/Costumes/images/Late.Gothic/CH17.JPG

In this one, the woman on the right is wearing a diagonally striped gown. Is this another 
case of artist's imagination, or is this a plausible outfit? Would the stripes have been woven 
in vertically and the gown cut on the bias? 
(On an unrelated note, I really like the mantle that the woman on the left is wearing. Great 
hat, too.)

I have no specific reason for asking; I'm just curious. =)

Thanks!
--Jessica
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From owner-h-costume@indra.com  Thu Jul 22 18:04:37 1999
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From: "Hope H. Dunlap" <hhdunlap@msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: 15th century ponderings
Date: Thu, 22 Jul 1999 19:24:23 -0400
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-Poster: "Hope H. Dunlap" <hhdunlap@msn.com>

It was very common for sleeves to be attached with ribbons
to the armscythe of the main body garment, here under the
cap sleeve.  This detail allows decorative sleeves to be
changed to suit the mood of the wearer, the dressiness of
the event, etc.  While it took a tailor to make a good
dress, sleeves scould be embroidered and made up separately
by the ladies of the house as a form of self-expression.
When I was a child I always puzzled over the image of a
medieval lady giving her pearl-studded sleeve as a sign of
favor to a knight to wear at the peak of his helmet in a
tournament.  Tearing off part of her dress in public seemed
most unladylike, and ruined a good dress as well!  Now I
understand that the sleeve was easily detached, or she might
just have brought an extra sleeve with her from home!
Separable oversleeves have been used right up through the
twentieth century to wear over regular dress sleeves for
protection from dirt and wear for farm work, kitchen wook,
tradeshop work, too, pinned or buttoned on.  I can't comment
on the diagonal stripes on the other painting, and would
love to hear someone else's take on it too.
Hope H. Dunlap



> -----Original Message-----
> From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
> Behalf Of Jessica Wilbur
> Sent: Thursday, July 22, 1999 6:46 PM
> To: h-costume@indra.com
> Subject: H-COST: 15th century ponderings
>
>
>
> -Poster: "Jessica Wilbur" <jessica@pop.net>
>
> Hello everyone,
>
> It's me again with more weird questions. I was perusing an
> online index of period art, and
> came across a couple of unusual things.
>
> First:
>
http://ps.theatre.tulane.edu/Period.Styles/Costumes/images/L
at
> e.Gothic/CH14.JPG
>
> Is it just me, or does it look like the woman in the
middle
> has only one underdress sleeve?
> It looks like the sleeve on her right arm (partially
obscured
> by the other woman's hand and
> cloth) is blue and relatively tight. It looks like just
the
> smock/shift/chemise sleeve is
> showing on her left arm. Am I just wacky, or does it look
> that way to anyone else? Can
> someone explain what the deal is?
>
> Second:
>
http://ps.theatre.tulane.edu/Period.Styles/Costumes/images/L
at
e.Gothic/CH17.JPG

In this one, the woman on the right is wearing a diagonally
striped gown. Is this another
case of artist's imagination, or is this a plausible outfit?
Would the stripes have been woven
in vertically and the gown cut on the bias?
(On an unrelated note, I really like the mantle that the
woman on the left is wearing. Great
hat, too.)

I have no specific reason for asking; I'm just curious. =)

Thanks!
--Jessica

____________________________________________________________
_____
 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: 15th century ponderings
Date: Thu, 22 Jul 1999 19:16:43 -0400
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From: Irene leNoir <irene@ici.net>
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-Poster: Irene leNoir <irene@ici.net>

Jessica Wilbur wrote:

>Is it just me, or does it look like the woman in the middle
>has only one underdress sleeve?  It looks like the sleeve
>on her right arm (partially obscured by the other woman's
>hand and cloth) is blue and relatively tight. It looks like
>just the smock/shift/chemise sleeve is showing on her left
>arm. Am I just wacky, or does it look that way to anyone
>else?

The blue sleeve is a pinned-on oversleeve.  If you look carefully, you 
can see a slight peak to the top edge of the blue where it is pinned.  
You can also see the same pulling effect on the lady on the right, who 
wears green oversleeves pinned to a pink gown.  The lady in the center is 
only wearing one of her oversleeves because she has removed the other so 
that she doesn't get it wet while she tests the water.

(While you can't see the pins in this painting, I have seen others where 
the pin is very clear.)

>the woman on the right is wearing a diagonally striped gown. 
>Is this another case of artist's imagination, or is this a
>plausible outfit? Would the stripes have been woven in
>vertically and the gown cut on the bias?

While I suppose it is possible that such an outfit might actually have 
been worn, I highly doubt it.  I think it is more likely that the gown is 
a fantastical or allegorical creation.  Do you know the title of the 
artwork or what scene it is supposed to represent?  That might give a 
clue.

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 Jul 22 18:15:01 1999
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Date: Thu, 22 Jul 1999 15:51:52 +0000
From: Dietmar <dietmar@pacbell.net>
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Subject: Re: H-COST: Broadcloth, was Civil War Simplicity patterns
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-Poster: Dietmar <dietmar@pacbell.net>

Greetings all,

Kate asked:

>> Does the word have a different meaning in the States?

Albert replied:

> Generally in the States it refers to a medium to medium heavy
> weight plain cotton...kinda like poplin actually. If the pattern
> had suggested "wool broadcloth"...

Well, the dictionary says that broadcloth is:  1) a twill napped woolen or
worsted fabric with smooth lustrous face and dense texture  2) a fabric
usually of cotton, silk, or rayon made in plain and rib weaves with soft
semigloss finish.

So, the uniform fabric ought to be def. 1) Unfortunately, most stores in the
states only carry def. 2), and it is becoming ever more difficult to find
'broadcloth' that is even 50% cotton.  Most of the stuff is cheap flimsy 50/50
or 60/40 (or worse) poly-cotton. Being allergic to synthetics, I don't even
bother looking at the stuff anymore.

Poplin is "a strong fabric in plain weave with crosswise ribs", so there is a
difference in the type of weave. (Plain woven vs. twill woven.)

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 Jul 22 18:39:58 1999
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Subject: H-COST: Samples and Sources
Date: Thu, 22 Jul 1999 19:52:05 -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>

Hello Everyone,

Over the past month or so, I've been gathering samples for a class I'm 
going to be teaching at Pennsic - "Understanding Fabric"

I've actually managed to surprise myself with the ridiculous variety of 
samples that I've managed to collect.  However, there are still some 
samples that I would like to have that I haven't yet been able to 
find/acquire.  Some are obscure textiles that I can't find in my local 
stores, some are expensive items that I can't justify buying just so that 
I have a sample, and some are items that I just don't know where to buy.

So, the thought occurred to me to ask you folks for help.  Following is a 
list of the samples that I still need.  (If you don't know what something 
is, please ask.)  If you have any scraps/leftovers or sources for of any 
of them that you'd be willing to part with/share, please email me 
privately.  (I am aware that you probably won't be able to get anything 
to me in time for Pennsic.  Still, I don't plan for that to be the only 
time I teach the class.  Anything that you are able to share with me 
would help me to increase my collection for future classes.)

Any and all help is greatly appreciated.

Raw Materials:
   alpaca/llama shearing
   angora rabbit shearing/plucked fibers
   angora goat shearing
   wool shearing
   cotton boll
   hemp stem
   flax stem
   ramie plant/stem
   silkworm cocoon
Fibers:
   combed/carded alpaca/llama
   combed/carded angora rabbit
   combed/carded angora goat
   combed/carded wool
   combed/carded cotton
   unspun hemp
   unspun linen
   unspun ramie
   unspun silk
   acetate fiber
   acrylic fiber
   lyocell fiber
   nylon fiber
   olefin fiber
   polyester fiber
   rayon fiber
   spandex fiber (or whatever it is in its raw state)

Fabrics - I would need a square approximately 12"x12"
   diamond twill
   wool satin
   sateen
   leno weave
   double weave
   wool felt
   sprang
   macrame
   crocheted lace
   knit lace
   tatted lace
   barkcloth
   complex or multi-colored batik
   silk flannel
   any sandwashed fabric
   any stonewashed fabric
   devore velvet
   beaded or sequined fabric (sewn or glued)
   flocked velvet on fabric base
   flocked velvet on plastic base
   chenille (old meaning) or tufted fabric
   any fabric made from/with alpaca/llama
   any fabric made from/with angora rabbit
   any fabric made from/with angora goat
   any fabric made from/with hemp
   any fabric made from/with lyocell
   any fabric made from/with olefin
   any fabric made from/with ramie
   birds eye check
   boucle
   cashmere
   chamois 
   crinoline
   crushed velvet
   dobby
   dupioni
   madras
   matelasse
   oilcloth
   organdy
   panne velour
   pima cotton
   polished cotton
   pongee
   rajah
   raw silk (real raw silk - not silk noil)
   serge
   sharkskin
   tussah
   tweed
   ultrasuede

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 Jul 22 20:35:17 1999
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From: "Megan McHugh" <mchug@mindspring.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Samples and Sources
Date: Thu, 22 Jul 1999 21:45:34 -0400
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-Poster: "Megan McHugh" <mchug@mindspring.com>

I can't really help you, but boy would I like to take this class.  When are
you teaching it at Pennsic?
-----Original Message-----
From: Irene leNoir <irene@ici.net>
To: H-Costume <h-costume@indra.com>
Date: Thursday, July 22, 1999 7:53 PM
Subject: H-COST: Samples and Sources


>
>-Poster: Irene leNoir <irene@ici.net>
>
>Hello Everyone,
>
>Over the past month or so, I've been gathering samples for a class I'm
>going to be teaching at Pennsic - "Understanding Fabric"
>
>I've actually managed to surprise myself with the ridiculous variety of
>samples that I've managed to collect.  However, there are still some
>samples that I would like to have that I haven't yet been able to
>find/acquire.  Some are obscure textiles that I can't find in my local
>stores, some are expensive items that I can't justify buying just so that
>I have a sample, and some are items that I just don't know where to buy.
>
>So, the thought occurred to me to ask you folks for help.  Following is a
>list of the samples that I still need.  (If you don't know what something
>is, please ask.)  If you have any scraps/leftovers or sources for of any
>of them that you'd be willing to part with/share, please email me
>privately.  (I am aware that you probably won't be able to get anything
>to me in time for Pennsic.  Still, I don't plan for that to be the only
>time I teach the class.  Anything that you are able to share with me
>would help me to increase my collection for future classes.)
>
>Any and all help is greatly appreciated.
>
>Raw Materials:
>   alpaca/llama shearing
>   angora rabbit shearing/plucked fibers
>   angora goat shearing
>   wool shearing
>   cotton boll
>   hemp stem
>   flax stem
>   ramie plant/stem
>   silkworm cocoon
>Fibers:
>   combed/carded alpaca/llama
>   combed/carded angora rabbit
>   combed/carded angora goat
>   combed/carded wool
>   combed/carded cotton
>   unspun hemp
>   unspun linen
>   unspun ramie
>   unspun silk
>   acetate fiber
>   acrylic fiber
>   lyocell fiber
>   nylon fiber
>   olefin fiber
>   polyester fiber
>   rayon fiber
>   spandex fiber (or whatever it is in its raw state)
>
>Fabrics - I would need a square approximately 12"x12"
>   diamond twill
>   wool satin
>   sateen
>   leno weave
>   double weave
>   wool felt
>   sprang
>   macrame
>   crocheted lace
>   knit lace
>   tatted lace
>   barkcloth
>   complex or multi-colored batik
>   silk flannel
>   any sandwashed fabric
>   any stonewashed fabric
>   devore velvet
>   beaded or sequined fabric (sewn or glued)
>   flocked velvet on fabric base
>   flocked velvet on plastic base
>   chenille (old meaning) or tufted fabric
>   any fabric made from/with alpaca/llama
>   any fabric made from/with angora rabbit
>   any fabric made from/with angora goat
>   any fabric made from/with hemp
>   any fabric made from/with lyocell
>   any fabric made from/with olefin
>   any fabric made from/with ramie
>   birds eye check
>   boucle
>   cashmere
>   chamois
>   crinoline
>   crushed velvet
>   dobby
>   dupioni
>   madras
>   matelasse
>   oilcloth
>   organdy
>   panne velour
>   pima cotton
>   polished cotton
>   pongee
>   rajah
>   raw silk (real raw silk - not silk noil)
>   serge
>   sharkskin
>   tussah
>   tweed
>   ultrasuede
>
>Jessica Clark
>SCA: Irène leNoir
>irene@ici.net
>http://home.ici.net/~beowulf/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  Thu Jul 22 20:42:55 1999
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Date: Thu, 22 Jul 1999 21:55:17 -0400 (EDT)
From: Robin Netherton <robin@dgsys.com>
To: h-costume@indra.com
Subject: Re: H-COST: Use of linen in Italy and elsewhere
In-Reply-To: <379782B1.43E25C2E@serv.net>
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-Poster: Robin Netherton <robin@dgsys.com>


On Thu, 22 Jul 1999, Merouda the True of Bornover wrote:

> > I made three identical dresses:
> > one in linen, one in silk, one in wool. [SNIP]
> 
> > I found that the wool dress -- made of a very fine weave -- was at
> > least as comfortable as the linen dress, and both were more comfortable
> > than the cotton dress. As for laundering, creasing, etc., the cotton held
> > up worst; the wool the best.
> 
> So was the third dress silk or cotton?  I got confused here.

Ouch. Sorry -- that must have been a Freudian slip. I had originally
intended to make a silk one, but ran out of time. The dresses were linen,
cotton, and wool. I had made the cotton dress first to test my
construction method for the style, because cotton was the cheapest fabric
I had handy and I had loads of it, so could afford to make mistakes. Then
I started in on the other fabrics, but only managed to finish the linen
and wool versions. I only had three days for my testing anyway, so I wore
the cotton dress one day. (And at least that proved to me why cotton is
really NOT the most desirable fabric, either in comfort or care.) 

I still hope to make up that silk someday and try it all again, but I
don't often have the excuse to spend three days in costume in the sun.

--Robin


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From owner-h-costume@indra.com  Fri Jul 23 03:18:56 1999
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Date: Fri, 23 Jul 1999 00:37:45 EDT
Subject: H-COST: Burnout velvet
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-Poster: RobesOf@aol.com

Would the lady interested in receiving the burn-out velvet article, please 
email me again?  I accidentally deleted your message and need your email 
address.  I believe the I am looking for someone by the name of Rachel.  
Sorry about that.

Erica
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Date: Fri, 23 Jul 1999 00:07:19 EDT
Subject: Re: H-COST: Dress Forms
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-Poster: RobesOf@aol.com


<< Maybe you'll be the first company to do body-proportioned sizes... like a
 size 16 "apple" and a size 22 "pear"!   >>

Actually, Vogue has a similar idea in their pattern catalog.  At the bottom 
of each pattern page there are 4 different symbols used to describe some body 
shapes:
triangle (larger hips than shoulder width), inverted triangle (larger 
shoulder width than hips), hourglass (even top and bottom, trim waist) and 
rectangle (even top and bottom, boxy).   I have a good eye when it comes to 
determining which shapes do well with certain styles.  But I am horrible at 
choosing styles for myself (I am a rectangle).  To this day, I still have my 
mother do my clothes shopping.  But these symbols help me choose patterns for 
myself when she is not around.

I think it would be great if all clothing tags, patterns, etc. had these 
symbols.  Obviously there are a few more body shapes to be added, but on 
average, it could help a lot of people choose more flattering styles.

Check it out the next time you're at the fabric store.

Erica
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From owner-h-costume@indra.com  Fri Jul 23 03:24:49 1999
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Subject: Re: H-COST: Pinning hems on yourself
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-Poster: Tigershado@aol.com

Nancy's Notions sells these, among other interesting gizmos. According to the 
description it'll mark hems 3"-27" from the floor.

Barbara

In a message dated 7/20/99 7:14:01 PM Central Daylight Time, kayherb@juno.com 
writes:

> I'm certain that I saw them on the market about three years ago, but I
>  haven't had a reason to notice them since then. 
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From owner-h-costume@indra.com  Fri Jul 23 03:26:29 1999
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From: "Glenda Robinson" <glendar@aus.compassnet.com.au>
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Subject: Re: H-COST: Use of linen in Italy and elsewhere 
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-Poster: "Glenda Robinson" <glendar@aus.compassnet.com.au>

Thanks Robin for sharing your experiment results.

I'd just like to add my own experimentation.

My 17th century outfit consists of:
a fustian shift (linen/cotton);             two cotton petticotes and a med.
weight wool petticote
a pair of bodies (2 layers of linen, 2.5mm square cane, bunched for
'boning')
a sleeveless bodice (light wool, linen lined);        a pair of linen hose
a sleeved bodice (med. weight wool, linen lined, cotton canvas interlined on
trunk)

I've worn all these on a hottish summer day without major problems (the
audience were wearing standard summer clothing). Had to take the sleeved
bodice off to dance, though.

Wore the same stuff on our winter campaign, where, for the the entire long
weekend the wind was practically gale-forced, and the temperature near or
below zero celcius, then it rained heavily, sleeted and snowed for the last
day. All I needed to add was pair of thick wool hose and a thick wool cape,
(which is lined with cotton).

My husband's theory is if you're wearing THAT many layers, you've actually
created your very own microclimate.

Glenda.




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From owner-h-costume@indra.com  Fri Jul 23 03:28:11 1999
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Subject: Re: H-COST: Samples and Sources
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-Poster: DzMzLzy@aol.com

Boy, if that is your "still to get" list you must have quite a collection 
already!  

Want to trade notes?  I've taught a class on basic textiles as Costume 
College for the last few years and I just finished revising my notes for the 
class I'm teaching this weekend: 1890's textiles.

Liz Gerds
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From: Liz /cozit <cozit@home.com>
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-Poster: Liz /cozit <cozit@home.com>


As others have mentioned, Broadcloth in the US generally means the 45"
cotton/poly (if you're lucky just cotton) cloth that resembles
heavy(ish) calico w/no pattern.  Someone mentioned that there was "wool"
broadcloth available in the Northwest....probably true, but also
probably *not* what the Civil War (and Revolutionary and before)
broadcloth would have been.  I know someone at the Smithsonian's Museum
of American History who joined in the search for "real" woolen
broadcloth to make a reproduction uniform for display...a fair number of
years ago.  She mentioned this fact to us in docent training about 6
years ago, along with the fact that not only had they searched *very*
long and hard for the stuff, but that that single factory no longer
turned it out (don't remember if she said it had been closed down or
just stopped making it).

This doesn't mean that you can't buy something fairly similar for
re-enactors, just that it's not quite the same (not as
thoroughly/thickly fulled, I believe).


Just thought I'd mention it.  Oh, and if anyone *does* know of a place
that still turns the "real" stuff out, please let me know.  I'd be happy
to pass the info on (though I don't know that they'll need it again real
soon...never hurts to know, though).

-Elisabeth
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Date: Fri, 23 Jul 1999 10:02:51 +0000 (GMT)
From: teddy1 <Teddy@mdx.ac.uk>
Subject: Re:H-COST: Simplicity Renaissance - Panic over!
To: h-costume-digest@indra.com
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-Poster: teddy1 <Teddy@mdx.ac.uk>

> - -Poster: Paula Hanna <phanna@tpcgi.com>
> 
> I would love to see a picture of this dress when you are done with
> it.

It may have to wait until afdter the first weekend in October (the 
wedding) but I'll certainly do my best to get some good pictures and 
*see* if I can scan them.

The bodice is now made up in the gold brocade, trimmed with an inch 
and a half wide band of the same brocade "wrong-side-out" around the 
neck.  The gold organza sleeves are cut and ready to sew and the deep 
bluish-green silk underskirt and bodice infill are ready to go.  Now 
it all goes on hold until after *another* friend's wedding dress is 
finished (sort of amber coloured damask cotehardie, heavy gold 
brocade sideless surcote trimmed with honey-coloured - or possibly 
whilte - fur). Not to mention the groom's blue and gold brocade 
houpellande with deep-red velvet under layers..... and then I need my 
own outfit finished for that wedding (8th August).  Since it's being 
televised, we have to have it better than right!

*Then* I can get back to the Renaissance one....<g>

Teddy
(Too many weddings, too many events and not enough time!!)
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Date: Fri, 23 Jul 1999 07:51:43 -0400
From: Melanie Wilson <MelanieWilson@compuserve.com>
Subject: H-COST: White wedding dresses
To: "INTERNET:h-costume-digest@indra.com" <h-costume-digest@indra.com>
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-Poster: Melanie Wilson <MelanieWilson@compuserve.com>

>White was pretty much an established color for wedding gowns by 1894. 
Check
>out this article in the Ladies Home Journal
 After the 1940s you mainly see
>white/candlelight gowns.  Once in awhile you will see a dress in color,
but
>it is rare. 

my grandma got married in blue in the 1930s England it wasn't that unusual
!

Mel
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From: pulliam@acadia.net (Deborah Pulliam)
Subject: H-COST: sources
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-Poster: pulliam@acadia.net (Deborah Pulliam)

<<>Raw Materials:>>

Many of the raw materials and fibers you list (the natural ones, at least)
are available from spinning supply shops. Many do mail order, like Earth
Guildin Asheville NC, Halcyon Yarn in Bath ME, Straw into Gold in CA, etc.

Keep in mind that angora goats produce mohair (and are now generally known
as mohair goats.)

On a slightly different topic, when you reply to messages, *please* check
what you are sending before you send it. Edit the essential point you are
replying to. We're getting some of the same (long) messages over and over
again, and sometimes complete digests.



Deborah


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Date: Fri, 23 Jul 1999 09:18:17 EDT
Subject: H-COST: what's def?
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-Poster: Gaelscot@aol.com



Okay, I'll bite -- what's def?

I can't imagine a Civil War uniform made of what's commonly called broadcloth 
in the US. Even good broadcloth. I can imagine one made of DENIM, for 
goodness sake, more than broadcloth! Broadcloth is flimsy. We are in the SCA, 
and about the only think I'd think of using it for is banners and (in a 
pinch) linings. But a UNIFORM? It would look like pajamas!

Gail Finke

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From owner-h-costume@indra.com  Fri Jul 23 08:15:14 1999
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Date: Fri, 23 Jul 1999 09:26:22 EDT
Subject: H-COST: decorative sleeves
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-Poster: Gaelscot@aol.com



Hope, I am wondering about your reply to the 15th-century sleeve question. I 
have heard this many times but I haven't ever read it. Considering how little 
time I've had for research in the last five years, that wouldn't be a 
surprise. Exactly how common was it to embroider or otherwise decorate 
detachable sleeves? What years? What countries? And how many of these sleeves 
would a woman have -- one extra pair for dressing up? As many as she could 
afford?

Gail Finke

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From owner-h-costume@indra.com  Fri Jul 23 08:17:31 1999
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Date: Fri, 23 Jul 1999 09:29:36 -0400 (EDT)
From: Kevin & Mara Riley <lindo@Radix.Net>
To: h-costume@indra.com
Subject: H-COST: Irish Brigade - 1745
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-Poster: Kevin & Mara Riley <lindo@Radix.Net>

I'm looking for information on what the Irish Brigade (of the French army)
would have worn circa 1745.  Can anyone point me toward some resources?

Thanks,
Mara

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From owner-h-costume@indra.com  Fri Jul 23 08:32:43 1999
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Date: Fri, 23 Jul 1999 09:48:37 -0400
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From: Chantal Pecourt <chanty@idsi.net>
Subject: H-COST: Wearing Stays
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-Poster: Chantal Pecourt <chanty@idsi.net>

Hello all
	I am about ready to make my first purchass of 18th century stays. I am
looking at the back lacing with the shoulder strap version. I was
wondering, has anyone worn this type or another type of stay? How
comfortable or uncomfortable are they? Is Lightly boned better than
half-boned? Should they be the appropriate back lacing or should they be
front and back lacing?

Thanks

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From owner-h-costume@indra.com  Fri Jul 23 08:58:02 1999
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Date: Fri, 23 Jul 1999 10:13:28 -0400
To: h-costume@indra.com
From: "Marsha J. Hamilton" <mhamilto@pop.service.ohio-state.edu>
Subject: Re: H-COST: Naming
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-Poster: "Marsha J. Hamilton" <mhamilto@pop.service.ohio-state.edu>

>How successful the sumptuary laws were is something we can hotly 
>debate but can't really know. It has parallels to things like the 
>contemporary French laws regarding what you are and aren't allowed to 
>name your children.
>
>Kat 
---------------------
Kat,

Since it's off topic, can you contact me directly about the restrictions on 
naming children you refer to in your message above?  Thanks.

hamilton.8@osu.edu

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From owner-h-costume@indra.com  Fri Jul 23 09:21:17 1999
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-Poster: Paula Hanna <phanna@tpcgi.com>

Oh, I can wait. The colors sound absolutely glorious. I hope it all goes well.

Paula

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From owner-h-costume@indra.com  Fri Jul 23 09:23:51 1999
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Date: Fri, 23 Jul 1999 10:39:46 -0400
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From: Chantal Pecourt <chanty@idsi.net>
Subject: Re: H-COST: Naming
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 u>
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-Poster: Chantal Pecourt <chanty@idsi.net>

At 10:13 AM 7/23/99 -0400, you wrote:
>
>-Poster: "Marsha J. Hamilton" <mhamilto@pop.service.ohio-state.edu>
>
>>How successful the sumptuary laws were is something we can hotly 
>>debate but can't really know. It has parallels to things like the 
>>contemporary French laws regarding what you are and aren't allowed to 
>>name your children.
>>
>>Kat 

Until recently, one could only name their child a name that was on a list
compiled by the French government. Mostly they were saint names. My parents
had to consult this list in naming my sister and myself. I have been told
that this law is not as striclty enforced now as it was when I was born

Chantal



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From owner-h-costume@indra.com  Fri Jul 23 09:46:21 1999
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From: "Linda Yordy" <abuyordy@cobfac.BoiseState.edu>
Organization: College of Business & Economics
To: h-costume@indra.com
Date: Fri, 23 Jul 1999 08:53:07 -0700
Subject: Re: H-COST: decorative sleeves
Priority: normal
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-Poster: "Linda Yordy" <abuyordy@cobfac.BoiseState.edu>

<color><param>7F00,0000,0000</param>> Hope, I am wondering about your reply to the 15th-century sleeve question. 

</color>>. . . Exactly how common was it to embroider or otherwise 
decorate 

<color><param>7F00,0000,0000</param>> detachable sleeves? What years? What countries? And how many of these sleeves 

> would a woman have -- . . .


</color>I just did some research on Italian Ren for a dress I made a couple 
of months ago with an embroidered the left sleeve. I embroidered a 
floral pattern and added fresh water pearls in white and brown.


Accoring to Jacqueline Herald's book on Italian Ren, gown sleeves 
were sometimes ornamented with a design on one sleeve only — 
usually the left sleeve (Herald, p. 185). These designs were either 
heraldic in nature or of a fanciful theme. 


<color><param>0100,0100,0100</param>Herald </color>quotes a description of a sleeve from a wardrobe account of 
1468 for Bona of Savor. This account lists a mongino sleeve under 
the heading of “jewelry” worth 18,000 ducats. The sleeve is 
embroidered with a phoenix in balases, diamonds, and pearls 
(Herald, p. 185). A similar sleeve with the phoenix motif is found in 
a polytych (detail of Mary Magdalen) by Carlo Crivelli (Herald, pp. 
176-177).<color><param>0100,0100,0100</param> She also shows a portrait painted by Alessio Baldovinetti 
titled "Portrait of a Lady in Yellow" (National Gallery, London) which 
is probably from the 1470s. </color>The gown which the lady is wearing is 
rather simple, but displays a large floral design on her left sleeve. 
Herald states that the design on this lady’s sleeve is heraldic, but 
unidentified.


You can see a picture of the Baldovinetti portrait on the Web 
Gallery of Art search at 


http://www.kfki.hu/~arthp/search.cgi?author=BALDOVINETTI%2C+
Alessio&time=any&school=any&form=any&type=any&title=&comm
ent=


I sometimes have trouble getting to the portraits from these long 
URLS, so if the above address doesn't work, go to


http://www.kfki.hu/~arthp/search.html


Scroll down to the artists listing, select Baldovinetti and hit 
"search."


<color><param>0100,0100,0100</param>The book:

Herald, Jacqueline. Renaissance Dress in Italy 1400-1500. New 
Jersey: Humanities Press, 1981.


Didn't find any mention as to how many sleeves a lady might own, 
but thought it was interesting that they catalogued them under 
"jewelry" rather than clothing.



<nofill>
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: "Karie Mitchell" <allessandre@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: Use of linen in Italy and elsewhere
Date: Fri, 23 Jul 1999 08:40:10 PDT
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-Poster: "Karie Mitchell" <allessandre@hotmail.com>

>-Poster: "Glenda Robinson" <glendar@aus.compassnet.com.au>
<snip about a very warm sounding costume>
>I've worn all these on a hottish summer day without major problems
>(the audience were wearing standard summer clothing).

Glenda,

What's a "hottish" summer day?  80? 90? It all depends on where you live.  
Those temps for me (living in Texas) are a balmy spring day.  Temps here 
range somewhat higher for us in the South.  I find few ladies in full 
Elizabethan during our fierce summer events.  Certain styles just don't work 
in certain climes, unless completely indoors.

We have a custom here in Texas of being Greek and Roman during the hottest 
of our summer months and reverting back to our "usual" styles during the 
rest of the year.  It saves on medical bills and trauma.

What I'm trying to say is that I would prefer more accurate measurements of 
time and temperature.  I would hate for anyone (including myself) to make an 
outfit expecting to withstand a "hottish" summer day and wind up in the 
infirmary due to heat exhaustion.

Sincerely,

Karie Mitchell         (Allessandre Desiderio)
Arlington, Texas       (Elfsea, Ansteorra)


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Date: Fri, 23 Jul 1999 12:14:01 -0400
To: h-costume@indra.com
From: "Marsha J. Hamilton" <mhamilto@pop.service.ohio-state.edu>
Subject: Re: H-COST: Hot re-enactors
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-Poster: "Marsha J. Hamilton" <mhamilto@pop.service.ohio-state.edu>

>What's a "hottish" summer day?  80? 90? It all depends on where you live. 
- - - - - - - - 
I just attended the small, but very fun, muster at Salem Village 1630,
in Salem Massachusetts.  It ranged from 87-93 degrees F and about 60%
humidity.  
Admittedly, in 1630 Salem was a cooler place than it is now.

I was not comfortable wearing a shift, corset, linen skirt, apron, and coif.  
I never did put on my bodice which is wool. It looked inaccurate but dropping 
dead seemed a little too authentic.

I was surprised that some of the others less sensitive to heat were in
full woolen garb doing heavy work. Admittedly, they were drenched, looked
sick 
every once in a while and complained but they were functioning in multiple
heavy wool layers.  

We assume some pilgrims froze to death in the winter.  Just as they
died being weakened from illness, cold, improper diet, etc. I wonder if any
of them 
dropped from the heat as well?
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From owner-h-costume@indra.com  Fri Jul 23 11:10:43 1999
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Date: Fri, 23 Jul 1999 11:02:39 -0500
Subject: Re: H-COST: Wearing Stays
Message-ID: <19990723.111644.-286635.0.seamstrix@juno.com>
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-Poster: seamstrix@juno.com

I've found that one of the crucial aspects of wearing 16th century stays
(not too different from 18th century stays) is the length around the
back. I find that if the stays are cut even 1/2 an inch too long, you
start to get what we call 'corset bite' which is a painful
rubbing/irritation of the skin under the edge of the stays. Especially if
you are buying yours ready-made, be sure that you are totally comfortable
with their back-length, even a slight twinge when you first try them on
can become agony a few hours later and the damage can take weeks to fully
heal. 

Another aspect of wearing stays is that your breathing will probably need
to be modified. I'm not saying that you won't be able to breathe, I do
very nicely, but it will need to be from your upper chest rather than
your diaphragm as the stays will restrict how much movement your stomach
will have. Once you get used to the different style of breathing you
should not find that you are restricted in your activities. Just watch
out for sneezing. People generally don't warn one about it, but sneezing
in stays can be really painful as the force of the sneeze in your abdomen
gets trapped and bounced back into your body by the stays. It can feel a
bit like being punched in the stomach, ouch!

Karen
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Date: Fri, 23 Jul 1999 11:43:21 -0500
Subject: Re: H-COST: Hot re-enactors
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-Poster: seamstrix@juno.com

Well since we seem to be having a bit of a pissing contest, I'll throw in
my two pence. I do an Elizabethan Ren-Faire on the Illinois/Wisconsin
border all summer long. We are currently about halfway thru the run. I
play a member of Queen Elizabeth's Court and I am typically found wearing
more velvet, brocade, and padding than the average couch. We regularly
have temps in the 90's with humidity about the same, one Sunday we found
after we closed that the heat index had been 123! I have never gone down
from the heat. Am I comfortable? Heck NO!!! I am usually sweating like a
pig, at the end of the day we like to compare how many layers of our
clothing we have sweated thru or how far down from the waistband of our
skirts is soaked with sweat. You make your fun where you can. Fans are
not a fashion accessory, they are a survival tool. And I am not a fan of
hot weather, I like it cool, I'm usually the one in shorts when its 60
and I don't get out my winter coat until it hits freezing. But if you
just accept the fact that you are going to be less than ideally
comfortable and take some reaasonable precausions (unlike Court who
routinely break almost all the recommendations for hot weather survival)
it's not that bad. Just drink lots and lots of water!

Karen
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From owner-h-costume@indra.com  Fri Jul 23 12:04:02 1999
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From: aleed <aleed@dnaco.net>
To: h-costume@indra.com
Subject: Re: H-COST: Hot re-enactors
In-Reply-To: <3.0.3.32.19990723121401.006b71f4@pop.service.ohio-state.edu>
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-Poster: aleed <aleed@dnaco.net>


When I was doing an internship thing at Plimoth Plantation (set in
the 1620s),the re-enactors there said it was not unknown for women to strip down to
their petticoat, corset & shift while doing hot work.  I never pursued
the documentation of that fact, but I consider Plimoth  a reliable source.

Drea

 On Fri, 23 Jul 1999, Marsha
J. Hamilton wrote:

> 
> -Poster: "Marsha J. Hamilton" <mhamilto@pop.service.ohio-state.edu>
> 
> >What's a "hottish" summer day?  80? 90? It all depends on where you live. 
> - - - - - - - - 
> I just attended the small, but very fun, muster at Salem Village 1630,
> in Salem Massachusetts.  It ranged from 87-93 degrees F and about 60%
> humidity.  
> Admittedly, in 1630 Salem was a cooler place than it is now.
> 
> I was not comfortable wearing a shift, corset, linen skirt, apron, and coif.  
> I never did put on my bodice which is wool. It looked inaccurate but dropping 
> dead seemed a little too authentic.
> 
> I was surprised that some of the others less sensitive to heat were in
> full woolen garb doing heavy work. Admittedly, they were drenched, looked
> sick 
> every once in a while and complained but they were functioning in multiple
> heavy wool layers.  
> 
> We assume some pilgrims froze to death in the winter.  Just as they
> died being weakened from illness, cold, improper diet, etc. I wonder if any
> of them 
> dropped from the heat as well?
>  _________________________________________________________________
>  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 Jul 23 12:41:27 1999
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From: "Hope H. Dunlap" <hhdunlap@msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: decorative sleeves
Date: Fri, 23 Jul 1999 13:54:31 -0400
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-Poster: "Hope H. Dunlap" <hhdunlap@msn.com>

Detachable sleeves are well-documented for British Isles,
Low Countries, and Italy to my knowledge, and I suspect
others could document them throughout the rest of Europe.

Discussion of detachable sleeves in the Fifteenth Century
and how they are embroidered by noble ladies as a form of
self expression can be found in:

Herald, Jacqueline.  *Renaissance Dress In Italy 1400-1500*,
from the History of Dress Series, edited by Dr. Aileen
Ribeiro.  New Jersey: Humanities Press Inc., Atlantic
Highlands, NJ 07716, and London: Bell and Hyman, 1981 ISBN 0
391 02362 4 in USA 0 7135 1294 6 in UK, LC 82-5170. By ILL
from Allegheny College, The Pelletier Library 393.00945
h412r.

Out of print and hard to get even by inter-library loan, but
well worth the trouble and the wait.

Paintings by the Breugels and other Low Countries artists
frequently show the detachable sleeves, held on by ribbons
called "points."  Paintings available on-line using search
engines.

I believe the Mayflower American colonists, male and female,
had separate sleeves which were attached under the wings of
their jackets (wrong word, I know), and that this was a very
long lived and practical form of dress.  I believe this is
covered in Janet Arnold's *Pattern of Fashions 3* which
covers the 15th(?), 16th, and early 17th centuries.

Detachable sleeves in other time periods are discussed in
Janet Arnold's *Patterns of Fashion 1*, p. 48 showing a
1798-1805 gown in the Salisbury Museum and on page 67, shown
with two gowns of 1852 to 1860 vintage.

I've seen photographs of embroidered sleeves from many
centuries ago in historic embroidery books, too. No ready
references, but try Digby's book on Elizabethan embroidery
and also there may have been a pair in Beck, Thomasina. The
Embroiderer's Story, Needlework from the Renaissance to the
Present Day, 1995 Devon: UK: David & Charles, Brunel House,
Newton Abbott, Devon, ISBN 0 7153 0238 8.  Hope I'm not
sending you on a wild goose chase with these two books, as
I'm working strictly from memory on these--you won't regret
having opened them, even if I am mistaken with regard to
their containing sleeves.

Hope H. Dunlap


> -----Original Message-----
> From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
> Behalf Of Gaelscot@aol.com
> Sent: Friday, July 23, 1999 9:26 AM
> To: h-costume-digest@indra.com
> Subject: H-COST: decorative sleeves
>
>
>
> -Poster: Gaelscot@aol.com
>
>
>
> Hope, I am wondering about your reply to the 15th-century
> sleeve question. I
> have heard this many times but I haven't ever read it.
> Considering how little
> time I've had for research in the last five years, that
wouldn't be a
> surprise. Exactly how common was it to embroider or
otherwise
> decorate
> detachable sleeves? What years? What countries? And how
many
> of these sleeves
> would a woman have -- one extra pair for dressing up? As
many
> as she could
> afford?
>
> Gail Finke
>
>
____________________________________________________________
_____
>  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 Jul 23 12:43:48 1999
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-Poster: Margo Anderson <margo@directcon.net>

I'm working on my Gold Rush Costume website, and I have a question I think
someone on the list might be able to answer.  If I use an image, such as a
painting or a photograph that was originally made in the 1850's and has
since been republished in a book or displayed on a museum website,  am I in
violation?

Are such images protected by copyright if they have been republished?  If
so, who owns the copyright, the physical owner of the image, such as the
museum or lender, or the author of the book?  

Help!

Margo Anderson

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From owner-h-costume@indra.com  Fri Jul 23 12:45:28 1999
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From: "M. Gregory" <brand@sun-spot.com>
To: <h-costume@indra.com>
Subject: H-COST: Late 12th c clothing
Date: Fri, 23 Jul 1999 13:58:51 -0400
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-Poster: "M. Gregory" <brand@sun-spot.com>

Greetings all,

Does anyone know of a good (preferably online) source for basic men's
clothing of the 12th century?  I'm looking at the Richard I years, and need
as much detail as possible,

Thank you,

M. Gregory
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
"We've heard that a million monkeys at a million keyboards could
 produce the Complete Works of Shakespeare.  Now, thanks to the
 Internet, we know this is not true."
                                   -Robert Wilensky, University of
California
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=

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From: "Karie Mitchell" <allessandre@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: Hot re-enactors
Date: Fri, 23 Jul 1999 11:31:51 PDT
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-Poster: "Karie Mitchell" <allessandre@hotmail.com>

Dear Karen (and members of this list),

You mentioned:

>Well since we seem to be having a bit of a pissing contest, I'll >throw in 
>my two pence.

I did not mean to get into a "p---"contest.  I was just concerned about 
terminology.  Yes I'll admit it is picky, but I find it necessary since we 
are talking through a world wide list!!


>I do an Elizabethan Ren-Faire on the Illinois/Wisconsin
>border all summer long. We are currently about halfway thru the run. >I 
>play a member of Queen Elizabeth's Court and I am typically found >wearing 
>more velvet, brocade, and padding than the average couch.

My goodness!  But your costume sounds beautiful!

>We regularly have temps in the 90's with humidity about the same, >one 
>Sunday we found after we closed that the heat index had been >123! I have 
>never gone down from the heat.

You are very lucky!  Unfortunately we seem to have people who do not know 
how to take care of themselves in this weather.  I am usually careful but I 
have had a near miss myself.

>Am I comfortable? Heck NO!!! I am usually sweating like a
>pig, at the end of the day we like to compare how many layers of our
>clothing we have sweated thru or how far down from the waistband of >our 
>skirts is soaked with sweat. You make your fun where you can.

Fun?  (Feeling a little squeamish here)  But I guess you're right.  You have 
to laugh or else you'd cry and somethings aren't worth crying over (lose 
salt).  I guess I've never encountered people like that here.

>Fans are not a fashion accessory, they are a survival tool.

You don't have to tell me twice!

>And I am not a fan of hot weather, I like it cool, I'm usually the >one in 
>shorts when its 60 and I don't get out my winter coat until >it hits 
>freezing.

Ditto (more or less), sigh... sometimes I miss snow.

>But if you just accept the fact that you are going to be less than >ideally 
>comfortable and take some reaasonable precausions (unlike >Court who 
>routinely break almost all the recommendations for hot >weather survival) 
>it's not that bad. Just drink lots and lots of >water!

Yes!  Water is very important down here.  Thanks for your input and again I 
apologize for making my opinion seem more "pointed" than intended.

>Karen

Sincerely yours,
Karie (SCA - Allessandre)


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From owner-h-costume@indra.com  Fri Jul 23 13:21:50 1999
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From: "Hope H. Dunlap" <hhdunlap@msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: pattern out of print
Date: Fri, 23 Jul 1999 14:12:20 -0400
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-Poster: "Hope H. Dunlap" <hhdunlap@msn.com>

Amazon Drygoods of Davenport Iowa has the Escape the
Revolution dress pictured in their current catalogue, maybe
still available at

info@amazondrygoods.com
1-319-322-4138 Questions
1-319-322-6800 Business
1-800-798-7979 Orders
1-319-322-4003 Fax

They keep things available until their inventory runs out.

Hope H. Dunlap




-----Original Message-----
From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On Behalf Of Michelle
Sent: Monday, July 19, 1999 5:16 PM
To: costume list
Subject: H-COST: pattern out of print


In the catalog I meantioned earlier, there was a pattern I
wanted a copy of.  It was put together by a museum out of
London (unfortunately, I don't know which one).  The
pattern, which is actually supposed to be a lot of
information, along with a scale model of the dress, is no
longer in print.  They  were calling it the "Escape the
Revolution" dress.  Circa the French Revolution.  A picture
of the back side of it is in the catalog.
     Does anyone have this pattern?  I am dying to see what
the front looks like and would like to purchase a copy.

   Michelle


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From owner-h-costume@indra.com  Fri Jul 23 13:35:01 1999
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From: "Hope H. Dunlap" <hhdunlap@msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Late 12th c clothing
Date: Fri, 23 Jul 1999 14:49:27 -0400
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-Poster: "Hope H. Dunlap" <hhdunlap@msn.com>

Richard Wydmarc or Wymarc has a site devoted to 12th century
costume and medieval embroidery which may help, at least
with links.  Julie Zetterberg has a colossal library of
links on her costume website which will also be helpful in
getting you started.  I. Marc Carlson's "textiles and
clothing" and "shoes" websites are extraordinary for this
historical period too.  Try searching
http://www.metacrawler.com with their names or "12th Century
Costume," "medieval costume," etc.



> -----Original Message-----
> From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
> Behalf Of M. Gregory
> Sent: Friday, July 23, 1999 1:59 PM
> To: h-costume@indra.com
> Subject: H-COST: Late 12th c clothing
>
>
>
> -Poster: "M. Gregory" <brand@sun-spot.com>
>
> Greetings all,
>
> Does anyone know of a good (preferably online) source for
basic men's
> clothing of the 12th century?  I'm looking at the Richard
I
> years, and need
> as much detail as possible,
>
> Thank you,
>
> M. Gregory
>
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
=-
> =-=-=-=-=
> "We've heard that a million monkeys at a million keyboards
could
>  produce the Complete Works of Shakespeare.  Now, thanks
to the
>  Internet, we know this is not true."
>                                    -Robert Wilensky,
University of
> California
>
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
=-
> =-=-=-=-=
>
>
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From owner-h-costume@indra.com  Fri Jul 23 13:42:22 1999
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From: "Penny Ladnier" <penny.creative.outlets@erols.com>
To: "h-costume" <h-costume@indra.com>
Subject: Re: H-COST: Copyright question
Date: Fri, 23 Jul 1999 14:52:01 -0400
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-Poster: "Penny Ladnier" <penny.creative.outlets@erols.com>

Thanks Margo for asking prior to using. This shows that you are a very
responsible individual.

If a museum is the owner of an original piece of work, such as a painting,
than they are the copyright holder.  Where manuscripts are concerned, if you
own an original copy or have permission to use from an original owner than
you may use it, as long as it's copyright has expired and has not been
renewed.

One of the things people need to remember is that museum and library
collections own the rights of originals.  One of the money making venues for
museums is in their granting publishing rights.  An example, most museums
charge for photographs of their collections.  IF you want to publish the
picture, you will have to pay a surcharge for using the image in that
manner.  This is one way that American museums are staying in business,
since the cut in funding of the arts.

What I am doing with my Vintage Publications site is that a private
collector is loaning me the manuscripts (magazines) that are out of
copyright.  Some museums have offered to loan me some of their manuscript
collections.  Some images have not be seen by the general public but the
museums want to help educate the general public.

I plan one day to place on the net, the entire Bayeux Tapestry with the
costumes of each character named.  BUT I will have to obtain permission from
the museum that houses the tapestry to do so.  If I just placed it out on
the web without permission and did not ask, I would be in violation and
could be sued by the museum.  Being a business, I would be more likely to be
sued than a private individual.   So there is a protocol that needs to be
followed.  I can not simply go to one of the books on the tapestry, scan the
images, and publish them on the net.  I will have to obtain images and
publishing rights from the museum .  My other option is to set up a photo
shoot with the museum, which is not likely to happen.

One of the museums that I am working with wants me to enbed codes in all
their images that I use.  They do not want anyone to take the images without
permission. This was a major concern for the musem.  I will have to pay for
the software to embed the codes and track on the web if someone is using
their images without permission.  But this was part of the agreement we
made.

I would suggest that if you have found a picture of a painting in a book,
look and see if the museum or private collector is mentioned.  Then contact
them.  If the owner is not mentioned, contact the publisher of the book.
Please remember though, many private collectors do not wish to be known.
This maybe why they are not mentioned in the publication.  But it does not
mean that they don't care if you use.

A good rule to follow is that if you do not own the image out right, ask for
permission.  But make sure that you are asking the right person.

I'll jump up on my box now...
I am very passionate about copyright issues and the web.  Many people think
they can just place anything out on the web and never ask for permission of
use from the original owners. Some people try to stand on that educational
use clause in U.S. copyrights.  But that educational use clause is very
vague and is hard to stand up in court. Museums in America stay in business
due in large part to their publishing rights.  Many museums are having a
very hard time since the budget cut in the funding of the arts.  If we take
from the museums, they will eventually go under.  Then our country will
loose a major part of our history.  Many museums have cut their staffs
drastically since the federal budget cuts.  Another way museums make money
is from publishing their exhibition catalogs.  I have seen so many people
placing museum catalog images online without permission.   Please ask the
museums if you want to borrow an image.

Off the box and back to work... Penny
The Costume Gallery
Visit our new 19th Century Fashion Bookstore at:
http://www.costumegallery.com/Book/1800.htm





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From owner-h-costume@indra.com  Fri Jul 23 13:42:30 1999
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From: "Hope H. Dunlap" <hhdunlap@msn.com>
To: <h-costume@indra.com>
Subject: H-COST: Gown Colors 1860-1865
Date: Fri, 23 Jul 1999 14:53:10 -0400
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-Poster: "Hope H. Dunlap" <hhdunlap@msn.com>


I haven't seen an answer to this old query.  The answer
depends on the age of the woman, the time of day, the season
of the year, her economic condition, and more, as
illuminated in the excerpt from a Georgia girl's diary of
the 1864-65 period:



        "Aug. 25, Friday. - The Ficklens sent us some books
of fashion brought by Mr. Boyce from New York. The styles
are very pretty, but too expensive for us broken-down
Southerners. I intend always to dress as well as my means
will allow, but shall attempt nothing in the way of finery
so long as I have to sweep floors and make up beds. It is
more graceful and more sensible to accept poverty as it
comes than to try to hide it under a flimsy covering of
false appearances. Nothing is more contemptible than
broken-down gentility trying to ape rich vulgarity - not
even rich vulgarity trying to ape its betters. For my part,
I am prouder of my poverty than I ever was of my former
prosperity, when I remember in what a noble cause all was
lost. We Southerners are the Faubourg St. Germain of
American society, and I feel, with perfect sincerity, that
my faded calico dress has a right to look with scorn at the
rich toilettes of our plunderers. Notwithstanding all our
trouble and wretchedness, I thank Heaven that I was born a
Southerner, - that I belong to the noblest race on earth -
for this is a heritage that nothing can ever take from me. "


The entire book is available with period photographs of
people showing their clothes at
http://metalab.unc.edu/docsouth/andrews/andrews.html#andr134
, Eliza Frances Andrews, The Wartime Journal of a Georgia
Girl, 1864-65, written when she was 24-25 years of age.

Fashionable wear, including minute descriptions and hand
colored illustrations of the costumes of the day are in
Godey's Ladies Book magazines, Leslie's Magazine, and
Peterson's Ladies Magazine, a broad sampling of color
illustrations from the 1850-1870 time period available on
the web at
http://www.costumes.org/pages/timelinepages/1850to70a.htm.

Well-to-do and middle class women beyond the age of forty
tended to wear black silk.  Analine dyes made from coat tar
derivatives were introduced in about 1860, creating some
gastly bright colors such as magenta, turquoise, and orange
in color combinations for ball gowns which appear completely
tasteless to modern eye.  But a wide variety of very
tasteful colors were also fashionable too.

*Patterns of Fashion 2* by Janet Arnold shows two English
gowns from this period on pages 20-23 in great detail,
including color, fabric, trim, linings, patterns, and
construction methods.  Peterson's Ladies Magazine --some
patterns and color illustrations for January - December 1859
are on-line at
http://home.earthlink.net/~chazengan/vintage/petersons.html.



Hope H. Dunlap



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Subject: Re: H-COST: Copyright question
From: "R.L. Shep" <rlshep@jps.net>
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-Poster: "R.L. Shep" <rlshep@jps.net>

My *understanding* is that if you get your image from the original - you are
OK.  If you get it from the place it was republished you are not.   
This is because an 1850 image is out of copyright, but the reprint is not
really.
~!~ R.L.Shep
http://www.mcn.org/e/fsbks

----------
>From: Margo Anderson <margo@directcon.net>
>To: h-costume@indra.com
>Subject: H-COST: Copyright question
>Date: Fri, Jul 23, 1999, 10:45 AM
>

>
>-Poster: Margo Anderson <margo@directcon.net>
>
>I'm working on my Gold Rush Costume website, and I have a question I think
>someone on the list might be able to answer.  If I use an image, such as a
>painting or a photograph that was originally made in the 1850's and has
>since been republished in a book or displayed on a museum website,  am I in
>violation?
>
>Are such images protected by copyright if they have been republished?  If
>so, who owns the copyright, the physical owner of the image, such as the
>museum or lender, or the author of the book?  
>
>Help!
>
>Margo Anderson
>
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME
>


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From owner-h-costume@indra.com  Fri Jul 23 14:09:33 1999
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From: "dave editors (Heritage Matters)" <dave@wysewords.softnet.co.uk>
To: <h-costume@indra.com>
References: <199907231745.KAA27311@zeus.directcon.net>
Subject: Re: H-COST: Copyright question
Date: Fri, 23 Jul 1999 19:56:45 +0100
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-Poster: "dave editors (Heritage Matters)" <dave@wysewords.softnet.co.uk>

Margo ,
You should look through your original source and see if they have claimed
any copyrights; If they havent you can use anything until they tell you
otherwise as you can say that it was public domain; This is especially true
if it is an old photograph, which they may have taken from another site
anyway.
There is no real way of finding out who owns a copyright until somebodys
says "hey its mine"
If your original source is a book and you are scanning it in :. Then you are
on slightly more dodgy ground than downloading from a website. The original
copyright on the photograph may have timed out but the book will still be in
copyright.
That means ok you can use the image if you take it from the original
photograph but you have to find it and get your hands on it.
I can only be vague if you want me to be more accurate then I will need more
details;
Dave
>
> -Poster: Margo Anderson <margo@directcon.net>
>
> I'm working on my Gold Rush Costume website, and I have a question I think
> someone on the list might be able to answer.  If I use an image, such as a
> painting or a photograph that was originally made in the 1850's and has
> since been republished in a book or displayed on a museum website,  am I
in
> violation?
>
> Are such images protected by copyright if they have been republished?  If
> so, who owns the copyright, the physical owner of the image, such as the
> museum or lender, or the author of the book?
>
> Help!
>
> Margo Anderson
>
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
>

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From owner-h-costume@indra.com  Fri Jul 23 14:10:43 1999
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Date: Fri, 23 Jul 1999 12:08:23 -0700
To: h-costume-digest@indra.com
From: Lynn Meyer <lmeyer@netbox.com>
Subject: Re: H-COST: Copyright question
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-Poster: Lynn Meyer <lmeyer@netbox.com>

>From: "Penny Ladnier" <penny.creative.outlets@erols.com>
>
>Thanks Margo for asking prior to using. This shows that you are a very
>responsible individual.
>
>One of the things people need to remember is that museum and library
>collections own the rights of originals.  One of the money making venues for
>museums is in their granting publishing rights.  An example, most museums
>charge for photographs of their collections.  IF you want to publish the
>picture, you will have to pay a surcharge for using the image in that
>manner.  This is one way that American museums are staying in business,
>since the cut in funding of the arts.

Since I too try to be responsible, I'm asking for a clarification here.
If a museum owns something (e.g. medieval Italian textile), and I
myself took a photo of it with my own camera (which the V & A allows
without requiring any special permission), I was under the impression
that I could in fact put that photo on a website without infringing
any copyrights.  (Haven't done so yet, just hoping to find time for it,
so far...)  Is that correct, or incorrect?

Thanks!
Lynn
----
Lynn Meyer, Mountain View, San Francisco Bay Area, CA
(Halima de la Lucha, Crosston, Mists, West)
LMeyer@netbox.com
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From owner-h-costume@indra.com  Fri Jul 23 14:37:30 1999
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Date: Fri, 23 Jul 1999 21:12:20 +0200
From: leif drews <drewscph@post12.tele.dk>
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-Poster: leif drews <drewscph@post12.tele.dk>

Dear Chantal Pecourt.
About your questions on wearing stays.
I have made some 18th.century stays wich are laced in the back. I have
made half boned and fully boned ones. Actually i have tryed one also
eaven that i am a man, because i just had to feel how it was like.
Actually it is very comfortable i think, it is if your body is being
carried by an invisible force.
All the bones helps you to get a ridgid upright position and i can
imagine that thease stays was a great help for those ladies who
participated in court ceremonies and had to stand up for hours.
Stays in the 18th. century was made both half boned and fully boned and
with lacing in the back and lacing in the front. Some had lacing both in
the front and back and some were made with a seperate stomacher to lace
over.
The ladies i have made stays for have been quite comfortable with them,
except some times they have complainted that it is soar under the arms,
because the bones is forced up here. This can be avoided by reducing the
length of the bones here.
Half boned stays is just as good as fullyboned ones, and easyer to make,
as the sewing of all the pockets for the bones takes a while to sew. The
correct shape is obtained and that is the most important matter.
18th. century stays is not laced as tight as the 19th.century corsets,
where the waist was laced to scary inch numbers with damaging of the
inner body parts, that is one of the better things to say of it.
It is your own desition to make either half boned or fully boned, i have
enjoyed to make fully boned stays also, because i think they are very
elegant.
At my homepage under underpinnings you can se some stays i have made,
the one you se there has fully boned front and half boned sides.
Happy staysmaking
Use the first homepage adress below.
My number 1000 visitor came today.
Bjarne.

--


Leif Drews
Åboulevard 5, 3 th
1635  København V

Bjarne Drews
Åboulevard 5,3.th
1635 København V

tlf. 35 37 13 70

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

Homepage: http://members.tripod.com/~DeeDee_Revia/1index.html


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From: "dave editors (Heritage Matters)" <dave@wysewords.softnet.co.uk>
To: <h-costume@indra.com>
References: <3.0.5.32.19990723120823.0097b850@ca11>
Subject: Re: H-COST: Copyright question
Date: Fri, 23 Jul 1999 20:48:45 +0100
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-Poster: "dave editors (Heritage Matters)" <dave@wysewords.softnet.co.uk>


----- Original Message -----
From: Lynn Meyer <lmeyer@netbox.com>

> Since I too try to be responsible, I'm asking for a clarification here.
> If a museum owns something (e.g. medieval Italian textile), and I
> myself took a photo of it with my own camera (which the V & A allows
> without requiring any special permission), I was under the impression
> that I could in fact put that photo on a website without infringing
> any copyrights.  (Haven't done so yet, just hoping to find time for it,
> so far...)  Is that correct, or incorrect?
>
> Thanks!
> Lynn
> ----
 Lynn.
 Its a very grey area. The V and A let you take photos for your own use.
This permission does not necessarily imply permission for commercial use. I
think that if your site is non commercial you will be OK;
I haven't taken any pics at the VnA for a score years or so , so it might be
different for now; but for journalistic photography they used to make
special arrangements access time etc  ( and on one occasion I was also
treated to a meal by two of the staff who had worked overtime on my behalf;
this turned into a trail of discovery around various West End drinking
establishments,  but that is another story)
There was no charge but as I was selling the pics I had to get the
equivalent of a model release form from them before editors would look at
them or at the article for which they were illustrations. I was then good
manners for me to send a thank you note to the relevant staff, enclosing
copies of both the photographs and the articles concerned. I off course
retained the copyright of the photographs throughout; but etiquette would
not have allowed me to say anything if they should have used  my photographs
in any later publications  although I would expect to be mentioned. A bottle
of scotch at Christmas would have been going a little too far, unless they
were really good photos that got into a major brochure.
Anyway there is always some small print somewhere; Many people confuse
Commercial photography with Journalistic photography any way ( like our
English Heritage) and most photographers like to keep the question a bit on
the murky side.
I think that you should be ok using the pics you took, but dont forget to
copright them and also to say where they were taken , perhaps also a small
thank you to the VnA and maybe include a link to them . I think you will be
on safe enough ground.

Hope this helps;
Dave

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From owner-h-costume@indra.com  Fri Jul 23 14:39:07 1999
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From: pulliam@acadia.net (Deborah Pulliam)
Subject: H-COST: copyright issues
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-Poster: pulliam@acadia.net (Deborah Pulliam)

<<Are such images protected by copyright if they have been republished?  If
so, who owns the copyright, the physical owner of the image, such as the
museum or lender, or the author of the book?  >>

Copyright of the images, *in general* (there are exceptions) are held by
the owner of the original. In many cases, that's the museum or collection
that owns the photo/painting/print. The author of the book where you saw it
asked and was granted permission to publish the image.

You need to contact the owner of the image -- check the acknowledgements in
the book, it should be listed.

<<has since been republished in a book or displayed on a museum website,
am I in
violation?>>

Yes, most likely you are. Posting something on a website is considered
publication, and therefore goes beyond the concept of fair use (that says
you can copy something for your own personal use.)

Deborah


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From owner-h-costume@indra.com  Fri Jul 23 14:39:14 1999
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Subject: H-COST: heat 
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-Poster: pulliam@acadia.net (Deborah Pulliam)

<< I wonder if any of them dropped from the heat as well?>>

Oddly enough, the first fatality on the 1607 voyage to Jamestown was a man
who died on Nevis (one of the islands in the Caribbean, before they got to
VA). The contemporary account says he "boiled in his fat", which has been
taken to mean he died of heat prostration or dehydration.

Deborah


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



Margo Anderson wrote:

> -Poster: Margo Anderson <margo@directcon.net>
>
> I'm working on my Gold Rush Costume website, and I have a question I think
> someone on the list might be able to answer.  If I use an image, such as a
> painting or a photograph that was originally made in the 1850's and has
> since been republished in a book or displayed on a museum website,  am I in
> violation?

Yes, you may be.  The copyright protection for the original image may have
expired (for an 1850s photo it certainly has). However, if you are taking an
image from a web site or modern book, you are not dealing with the original,
but a modern reproduction (photo and/or scan) of it, which is protected by
modern copyright laws.

If you own the original 1850s daguerrotype, then you can reproduce it without
violating copyright.

Some museums tightly control the creation and distribution of images of  items
in their collections.  If there is revenue to be had from such images, they
want it (and may need it financially).  For that matter, it is not legal to
borrow copyright-expired magazines from a friend and publish them on your web
site, without the friend's permission.  You might be able to buy your own
copies of the exact same issues somewhere, and it would be perfectly legal for
you to publish those.  But _these_ copies belong to your friend, not you, and
they have the right to control how their own property is used.

The control of the use of property in this way is really a separate issue from
copyright.


>
>
> Are such images protected by copyright if they have been republished?

> If

> so, who owns the copyright, the physical owner of the image, such as the
> museum or lender, or the author of the book?

Publishing an image does not remove its copyright protection.  If it is a
modern copyright, _someone_ owns it. Copyrights can be transferred in various
ways, and publication often involves such transfers.  The owner could be the
photographer, the museum or lender, the author of the book, or someone else
entirely.  It all depends on the contractual arrangements they worked out.

The usual first step is to contact one likely person/business and ask if he/she
is the copyright owner, and if not who to contact for permission.  The book
publisher or the museum is probably easier to find than an individual author or
photographer, but it all depends.

Hope this helps,

Fran


---------------------------------------------
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-Poster: RobesOf@aol.com


<< My *understanding* is that if you get your image from the original - you 
are
 OK.  If you get it from the place it was republished you are not.   
 This is because an 1850 image is out of copyright, but the reprint is not
 really. >>

This is my understanding as well.  I have a book (can't remember the name) 
and, if my memory serves me right, it says copyrights last for 50 years after 
the artist/author is dead.  As mentioned by another list member, if its the 
original you are working with you should be under the public domain laws.  
I'd have to read that book again to be positive.  Why don't you ask a lawyer 
who specializes in copyright law?  They should be able to tell you.

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



Lynn Meyer wrote:

> -Poster: Lynn Meyer <lmeyer@netbox.com>
>
> >From: "Penny Ladnier" <penny.creative.outlets@erols.com>
> >
> >Thanks Margo for asking prior to using. This shows that you are a very
> >responsible individual.
> >
> >One of the things people need to remember is that museum and library
> >collections own the rights of originals.  One of the money making venues for
> >museums is in their granting publishing rights.  An example, most museums
> >charge for photographs of their collections.  IF you want to publish the
> >picture, you will have to pay a surcharge for using the image in that
> >manner.  This is one way that American museums are staying in business,
> >since the cut in funding of the arts.
>
> Since I too try to be responsible, I'm asking for a clarification here.
> If a museum owns something (e.g. medieval Italian textile), and I
> myself took a photo of it with my own camera (which the V & A allows
> without requiring any special permission), I was under the impression
> that I could in fact put that photo on a website without infringing
> any copyrights.  (Haven't done so yet, just hoping to find time for it,
> so far...)  Is that correct, or incorrect?
>

As I mentioned, the control of property is a separate issue from copyright.You do
own the copyright to your own photo, and no one else could publish it without
your permission.  But if it depicts the property of the V & A, whether you can
publish it on your web site or elsewhere depends on the policies of the V & A.
For all I know their official policy is that people can take photos for personal
study but not publish them without further permission; I think they can stipulate
something like that if they want to. Or they could stipulate you have to give
them a specific credit line, or something like that.  I don't know what the
policies of this museum may be; the best thing would be to just ask them.

Fran


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


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

>
>
> If a museum is the owner of an original piece of work, such as a painting,
> than they are the copyright holder.  Where manuscripts are concerned, if you
> own an original copy or have permission to use from an original owner than
> you may use it, as long as it's copyright has expired and has not been
> renewed.
>
> One of the things people need to remember is that museum and library
> collections own the rights of originals.  One of the money making venues for
> museums is in their granting publishing rights.  An example, most museums
> charge for photographs of their collections.  IF you want to publish the
> picture, you will have to pay a surcharge for using the image in that
> manner.  This is one way that American museums are staying in business,
> since the cut in funding of the arts.
>
>
>
> One of the museums that I am working with wants me to enbed codes in all
> their images that I use.  They do not want anyone to take the images without
> permission. This was a major concern for the musem.  I will have to pay for
> the software to embed the codes and track on the web if someone is using
> their images without permission.  But this was part of the agreement we
> made.

Is this for the Milanese Tailor's Handbook?

Fran


>
>
> I would suggest that if you have found a picture of a painting in a book,
> look and see if the museum or private collector is mentioned.  Then contact
> them.  If the owner is not mentioned, contact the publisher of the book.
> Please remember though, many private collectors do not wish to be known.
> This maybe why they are not mentioned in the publication.  But it does not
> mean that they don't care if you use.
>
> A good rule to follow is that if you do not own the image out right, ask for
> permission.  But make sure that you are asking the right person.
>
> I'll jump up on my box now...
> I am very passionate about copyright issues and the web.  Many people think
> they can just place anything out on the web and never ask for permission of
> use from the original owners. Some people try to stand on that educational
> use clause in U.S. copyrights.  But that educational use clause is very
> vague and is hard to stand up in court. Museums in America stay in business
> due in large part to their publishing rights.  Many museums are having a
> very hard time since the budget cut in the funding of the arts.  If we take
> from the museums, they will eventually go under.  Then our country will
> loose a major part of our history.  Many museums have cut their staffs
> drastically since the federal budget cuts.  Another way museums make money
> is from publishing their exhibition catalogs.  I have seen so many people
> placing museum catalog images online without permission.   Please ask the
> museums if you want to borrow an image.

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Subject: Re: H-COST: heat 
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-Poster: SNSpies@aol.com

<< Oddly enough, the first fatality on the 1607 voyage to Jamestown was a man
 who died on Nevis (one of the islands in the Caribbean, before they got to
 VA). The contemporary account says he "boiled in his fat", which has been
 taken to mean he died of heat prostration or dehydration. >>

Deb, you constantly amaze me with the breadth of your information!  
Nancy
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From owner-h-costume@indra.com  Fri Jul 23 15:27:44 1999
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-Poster: VICKI@lib.uttyl.edu

I would assume that the need to get permission also extends to images used in
a slide-show presentation at a conference, correct?  That's on my "to do" list
for a Civil War (ACW) conference next summer, anyway.

Vicki Betts
vbetts@gower.net
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From owner-h-costume@indra.com  Fri Jul 23 15:33:28 1999
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-Poster: ches <ches@io.com>

What is this software? As far as I know there is no way to protect the
images once you post them on the internet. I have activly searched high
and low for a process and have found hoaxes and wanna be's but in the end
print screen will catch whatever your cache will not.

The only thing that comes close to protection is called Weft, but it is
for fonts only, not images. I am in the process of creating images as
font extensions and seeing if it will work. Taking a bit of time but I
should have some results soon.

Please share the name of your program! :)

Sincerely,
F. Havas
ches@io.com


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From: "Jessica Wilbur" <jessica@pop.net>
To: h-costume@indra.com
Date: Fri, 23 Jul 1999 16:46:57 -0400
Subject: Re: H-COST: 15th century ponderings
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-Poster: "Jessica Wilbur" <jessica@pop.net>



> 
> -Poster: Irene leNoir <irene@ici.net>
> 
> Jessica Wilbur wrote:
> 
> >Is it just me, or does it look like the woman in the middle
> >has only one underdress sleeve?  
> 
> The blue sleeve is a pinned-on oversleeve.  If you look carefully, you 
> can see a slight peak to the top edge of the blue where it is pinned.  
> You can also see the same pulling effect on the lady on the right, who 
> wears green oversleeves pinned to a pink gown.  The lady in the center is 
> only wearing one of her oversleeves because she has removed the other so 
> that she doesn't get it wet while she tests the water.
> 
Of course! I should have figured that out... Thank you for pointing it out to me. It makes 
perfect sense.

> (While you can't see the pins in this painting, I have seen others where 
> the pin is very clear.)
> 
I think I have too, but now I can't remember where.

> >the woman on the right is wearing a diagonally striped gown. 
> >Is this another case of artist's imagination, or is this a
> >plausible outfit? Would the stripes have been woven in
> >vertically and the gown cut on the bias?
> 
> While I suppose it is possible that such an outfit might actually have 
> been worn, I highly doubt it.  I think it is more likely that the gown is 
> a fantastical or allegorical creation.  Do you know the title of the 
> artwork or what scene it is supposed to represent?  That might give a 
> clue.

Unfortunately, no. There's no title given on that particular web site. I would be willing to 
guess that at least one or two of the figures is a saint, but I couldn't tell you which ones. I'll 
see if I can find any more info on it.

Thanks!
--Jessica
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To: h-costume-digest@indra.com
From: pulliam@acadia.net (Deborah Pulliam)
Subject: H-COST: copyright issues
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-Poster: pulliam@acadia.net (Deborah Pulliam)

<< I was under the impression that I could in fact put that photo on a
website without infringing any copyrights.  (Haven't done so yet, just
hoping to find time for it,
so far...)  Is that correct, or incorrect?>>

Incorrect. The V&A allows you to take photographs of their artifacts only
for your own personal use. Posting on a website legally is a form of
publication, and therefore you must have permission to post your photos
(and I can guarantee you won't get it from the V&A but other museums do
allow it.)

<< I think that if your site is non commercial you will be OK;>>

This is not correct. Publication is publication, commercial or otherwise.

<<That means ok you can use the image if you take it from the original
photograph but you have to find it and get your hands on it.>>

This is *not* okay, unless you own the original photograph yourself.

The Mona Lisa may not be copyrighted, but the Louvre owns the painting and
the rights to reproduce it. The same is true of old photographs and other
images.

Deborah




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From: "Linda Yordy" <abuyordy@cobfac.BoiseState.edu>
Organization: College of Business & Economics
To: h-costume@indra.com
Date: Fri, 23 Jul 1999 15:25:11 -0700
Subject: Re: H-COST: 15th century ponderings
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-Poster: "Linda Yordy" <abuyordy@cobfac.BoiseState.edu>

> > Do you know the title of the 
> > artwork or what scene it is supposed to represent?  That might give a 
> > clue.
> 
> Unfortunately, no. There's no title given on that particular web site. 


When this .jpg was first posted, I backtracked the address to the 
main page. If you go through the front door at

http://ps.theatre.tulane.edu/Period.Styles/Costumes/text/Cost.Per_
Styles.html

you'll get titles and text. The painting is entitled:
Unknown German Master
Detail, BIRTH OF THE VIRGIN,
c. 1460
Alte Pinakothek, Munich

The caption below:
All are wearing the COTE-HARDIE with sleeves detached.

This is a great site!


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: "dave editors (Heritage Matters)" <dave@wysewords.softnet.co.uk>
To: <h-costume@indra.com>
References: <v01520d08b3be9793d95c@[205.217.210.117]>
Subject: Re: H-COST: copyright issues on this planet
Date: Fri, 23 Jul 1999 22:44:54 +0100
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-Poster: "dave editors (Heritage Matters)" <dave@wysewords.softnet.co.uk>

Snipped
----- Original Message -----
From: Deborah Pulliam <pulliam@acadia.net>
 >
> << I think that if your site is non commercial you will be OK;>>
>
> This is not correct. Publication is publication, commercial or otherwise.
I am afraid that the taking of my comments out of context may allow you to
say this. In context however it  is a different matter.>
> <<That means ok you can use the image if you take it from the original
> photograph but you have to find it and get your hands on it.>>
>
> This is *not* okay, unless you own the original photograph yourself.
>
I am sorry again  "get your hands on it " implies , in my language ,
ownership of some sort.be it transitory or permanent , rented hired or
bought.>
 It seems that I should point out that I was responding from the point of
view of the real world, ie what actually happens or is likely to happen;
rather than some very tight analysis of what any law or regulations may say.
Like many other such areas that of copyright legislation is a working  thing
, a pliant entity. Yes it can be manipulated  and dissected to mean one
thing or the opposite , if we really want to waste time.
As an example ; In UK  law putting something on an internet site only
becomes publishing , if  a) it was put there with the intention of being
looked at in its own right by another party and b) another party has
actually looked at it.  Ludicrous possibly but I did warn about being
pernickety rather than living in the real world.
Furthermore there are ways of taking any image and changing it so that much
that it is no longer the original; but a work of art (or whatever) in its
own right. A chap named Warhol proved this along time ago. The degree of
change is not as great as many might expect.; Personally I am thankful for
this, otherwise my living and that of a number of colleagues would rapidly
dry up.  Then we would find the real world a very cold and hungry place
Dave

This mail is copyright 1999 to
LD.Mundy Editor Heritage Matters Magazine
>  _________________________________________________________________
>  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 Jul 23 16:43:07 1999
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From: "Jessica Wilbur" <jessica@pop.net>
To: h-costume@indra.com
Date: Fri, 23 Jul 1999 17:53:52 -0400
Subject: Re: H-COST: 15th century ponderings
Priority: normal
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-Poster: "Jessica Wilbur" <jessica@pop.net>

Ah, thank you! I will check out the other one as well.

--Jessica

> 
> -Poster: "Linda Yordy" <abuyordy@cobfac.BoiseState.edu>
> 
> > > Do you know the title of the 
> > > artwork or what scene it is supposed to represent?  That might give a 
> > > clue.
> > 
> > Unfortunately, no. There's no title given on that particular web site. 
> 
> 
> When this .jpg was first posted, I backtracked the address to the 
> main page. If you go through the front door at
> 
> http://ps.theatre.tulane.edu/Period.Styles/Costumes/text/Cost.Per_
> Styles.html
> 
> you'll get titles and text. The painting is entitled:
> Unknown German Master
> Detail, BIRTH OF THE VIRGIN,
> c. 1460
> Alte Pinakothek, Munich
> 
> The caption below:
> All are wearing the COTE-HARDIE with sleeves detached.
> 
> This is a great site!
> 
> 
> Linda Yordy
> Phone: 208/426-4034
> Boise State University
> Center for Management Development
> 1910 University Drive
> Boise, ID  83725-1660
> ********************************************************
> Yordy's Law #3: When wearing white, apply your lunch 
> directly to your shirt -- it will end up there anyway.
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
> 


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Date: Fri, 23 Jul 1999 18:24:17 -0400
From: Cynthia Virtue <cvirtue@thibault.org>
Organization: Virtue Ventures http://www.virtue.to
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-Poster: Cynthia Virtue <cvirtue@thibault.org>

This discussion is useful - thanks to all of you.

I am confused:

> > If a museum is the owner of an original piece of work, such as a painting,
> > than they are the copyright holder.

How can a museum hold copyright on a 15th century painting, since they
likely did not acquire the item from the artist, and thus could not have
had copyright assigned to the museum by the copyright-holder?  

Moreover, the artist is dead, and the 70 years (or whatever) have
expired, so the item should have no copyright on it at all, I thought,
no matter who has posession.

cv
--
At the receptions or dinners given to the bride after the wedding she
wears her wedding dress, that is, to all those given within three months
after her marriage. --The Ladies' Home Journal,  March 1894
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From owner-h-costume@indra.com  Fri Jul 23 17:13:42 1999
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From: "Jessica Wilbur" <jessica@pop.net>
To: h-costume@indra.com
Date: Fri, 23 Jul 1999 18:20:24 -0400
Subject: Re: H-COST: 15th century ponderings
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-Poster: "Jessica Wilbur" <jessica@pop.net>


> While I suppose it is possible that such an outfit might actually have 
> been worn, I highly doubt it.  I think it is more likely that the gown is 
> a fantastical or allegorical creation.  Do you know the title of the 
> artwork or what scene it is supposed to represent?  That might give a 
> clue.

I found the citation for the second picture. It is:

Jean Fouquet
Frontispiece, THE DEBATE OF VIRTUE AND FORTUNE, c. 1460
Public Library, Leningrad

And beneath that:

"A diagonally striped (rayed) gown. There is a sense of gold threads woven through all the 
fabrics. "

So yes, the gown does look allegorical/fantastic. I would guess that the woman in the 
striped dress is Fortune, since there is a wheel behind her. I wonder if the stripes have any 
significance...

Thanks!
--Jessica

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



Cynthia Virtue wrote:

> -Poster: Cynthia Virtue <cvirtue@thibault.org>
>
> This discussion is useful - thanks to all of you.
>
> I am confused:
>
> > > If a museum is the owner of an original piece of work, such as a painting,
> > > than they are the copyright holder.
>
> How can a museum hold copyright on a 15th century painting, since they
> likely did not acquire the item from the artist, and thus could not have
> had copyright assigned to the museum by the copyright-holder?
>
> Moreover, the artist is dead, and the 70 years (or whatever) have
> expired, so the item should have no copyright on it at all, I thought,
> no matter who has posession.
>
>

As I mentioned, the owner of an item has a right to control its use, which is a
separate issue from copyright.  Leonardo da Vinci may be long dead--but his
surviving works have owners, who can legally control the creation and use of
images of those works.

Re Dave's message--it is both more ethical and legally safer to ask permission to
use images, than wait to see if "in the real world" the owner sues you.  People do
sue over these issues, and just going to court costs a lot of money and time, even
if you win the suit. Is it really worth risking this to use a few images in your
web site or other publication?  When you can just contact the publisher or museum
and ask permission?

Fran





>
> --
> At the receptions or dinners given to the bride after the wedding she
> wears her wedding dress, that is, to all those given within three months
> after her marriage. --The Ladies' Home Journal,  March 1894
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME

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


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From: "Penny Ladnier" <penny.creative.outlets@erols.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Copyright question
Date: Fri, 23 Jul 1999 19:59:41 -0400
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-Poster: "Penny Ladnier" <penny.creative.outlets@erols.com>

I have archived the name of the software on my old computer.  I will ask DC
Webwomen on Monday for the name of the program again. They are a quiet email
list on the weekends.  What the software does in the programming of the
image file it embeds a series of binary codes in the images.  The webwomen
gave the program high praise.

I'll get back to you,
Penny

>What is this software? As far as I know there is no way to protect the
>images once you post them on the internet. I have activly searched high
>and low for a process and have found hoaxes and wanna be's but in the end
>print screen will catch whatever your cache will not.
>
>The only thing that comes close to protection is called Weft, but it is
>for fonts only, not images. I am in the process of creating images as
>font extensions and seeing if it will work. Taking a bit of time but I
>should have some results soon.
>
>Please share the name of your program! :)
>
>Sincerely,
>F. Havas
>ches@io.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 Jul 23 19:11:39 1999
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Date: Fri, 23 Jul 1999 20:15:16 EDT
Subject: H-COST: Re: h-costume-digest V4 #453
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-Poster: Morghana@aol.com

In a message dated 7/23/99 7:05:47 PM Eastern Daylight Time, 
owner-h-costume-digest@indra.com writes:

<< From: ches <ches@io.com>
 Date: Fri, 23 Jul 1999 15:43:32 -0500 (CDT)
 Subject: Re: H-COST: Copyright question
 
 - -Poster: ches <ches@io.com>
 
 What is this software? As far as I know there is no way to protect the
 images once you post them on the internet. I have activly searched high
 and low for a process and have found hoaxes and wanna be's but in the end
 print screen will catch whatever your cache will not.
 
 The only thing that comes close to protection is called Weft, but it is
 for fonts only, not images. I am in the process of creating images as
 font extensions and seeing if it will work. Taking a bit of time but I
 should have some results soon.
 
 Please share the name of your program! :)
 
 Sincerely,
 F. Havas
 ches@io.com >>


What I use is DigiMarc.  I have an ID, and use PhotoShop to embed it in all 
my images.  For more information (including free use of the software and the 
various services they offer), check out the following website:    
http://www.digimarc.com/

~Morghana
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From owner-h-costume@indra.com  Fri Jul 23 20:11:07 1999
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From: Karalee Larsen Pugmire <Francesca.da.Bari@usa.net>
Subject: H-COST: Mongol, Russian, and other northern medieval clothing
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-Poster: Karalee Larsen Pugmire <Francesca.da.Bari@usa.net>


I've said yes to something I shouldn't have. I don't know anything about
Mongol, Russian or anyother clothing. Some one asked me to do a little
research for them. I've bounced around the web a bit looking. Found some
great sites for Viking/Norse attire but I can't seem to find anything on
Mongol and _medieval_ Russian clothing. I just may not know enough about
the cultures to know when I've found a good site. I also need off web stuff.

Help please.

Francesca da Bari
Cote du Ciel (Logan, Utah)
Francesca.da.Bari




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From owner-h-costume@indra.com  Fri Jul 23 20:40:49 1999
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Subject: Re:H-COST: Simplicity Renaissance - Panic over!
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-Poster: Joan M Jurancich <joanj@quiknet.com>

At 10:02 AM 7/23/99 +0000, teddy1 wrote:
>
>Teddy
>(Too many weddings, too many events and not enough time!!)

Ah, the price one pays for talent! <VBG>

Joan

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From owner-h-costume@indra.com  Fri Jul 23 20:40:54 1999
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Date: Fri, 23 Jul 1999 19:52:22 -0600 (MDT)
From: Elizabeth Lear <eliz@indra.com>
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To: h-costume@net.indra.com
Subject: H-COST: Mongol, Russian, and other northern medieval clothing
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-Poster: Elizabeth Lear <eliz>


<I've said yes to something I shouldn't have. I don't know anything about
<Mongol, Russian or anyother clothing. 

A resource you may not be aware of:
http://www.uwplatt.edu/~goldschp/slavic.html

This is the SCA's Slavic Interest Group's homepage with newsletters,
an annotated bibliography, lots of other good stuff and links to
various "Knowledge Pages" on various Slavic cultures.

In addition, I've posted my bibliography list on my web site.  It
lists all the books in my library and what they cover, so you can
search for "garb" there.  I'm afraid it's just a large flat file, but
the info on the books is there.

	http://www.indra.com/~eliz/sca.html


Here's a list of URLs I've found useful:

The Middle East: From the Roman Empire to the Mongol Invasions
     http://hs1.hst.msu.edu/~fisher/hst372/HST372.html
Empires Beyond the Great Wall: The Heritage of Genghis Khan
     http://www.nationalgeographic.com/features/97/genghis/
Mitch's Mongolia Pages
     http://www.bloomington.in.us/~mitch/mong.html
Mongolia World
     http://www1.nisiq.net/~michie/mongolia.html
Mongolian Exhibition, Home
     http://sfasian.apple.com/Mongolia/Home.htm
Outside magazine, April 1996: Feature: A Good Hair Week in Mongolia
     http://outside.starwave.com/magazine/0496/9604fmon.html
SCA Eastern Persona Webring
     http://www.nexusprime.org/clients/mongol/eastern.html
The Great Dark Horde
     http://www.greatdarkhorde.org/
The Mongolia Society, Inc.
     http://www.bluemarble.net/~mitch/monsoc.html
Welcome to Mongolia
     http://www.access.digex.net/~corun/mongpage.html
Mongolian Exhibition, Home
     http://sfasian.apple.com/Mongolia/home.htm
Ancient Slavic Gods
     http://vladivostok.com/rus_mag/eng/N_4/SLAVEN.HTM
Excite Travel: Russia
     http://www.city.net/countries/russia/
Face of Russia
     http://www.pbs.org/weta/faceofrussia/
Index of /heritage/mscripts/img
     http://www.novgorod.ru/heritage/mscripts/img/
Middle Eastern and Russian Media
     http://uscj.org/metny/middletown/mideast.htm
Novgorod On-Line
     http://www.novgorod.ru/indexeng.htm
Rusallias - Women's Trance Ritual
     http://www.geocities.com/Athens/Agora/8933/rusallias.html
Russian Fairy Tales
     http://www.erols.com/ajstone/tales.htm
SLAVIC INTEREST GROUP
     http://vms.www.uwplatt.edu/~goldschp/slavic.html
SovInformBureau
     http://www.siber.com/sib/
The WWW Virtual Library: Russian and East European Studies
     http://www.pitt.edu/~cjp/rees.html
Artiom Kochukov's Home Page
     http://home1.gte.net/artiom/index.htm
Chronology/Timeline of Russian History
     http://ourworld.compuserve.com/homepages/DouglasHartman/chronology.htm
Russian Cooking--Medieval and Otherwise
     http://www.geocities.com/Athens/Oracle/6376/cook.html
NVG Miklagard Homepage
     http://www.physics.mq.edu.au/~gnott/Miklagard/
The State Hermitage Museum
     http://www.hermitage.ru/indexeng.htm
The State Russian Museum - St.Petersburg
     http://www.rusmuseum.ru/
The State Historical-cultural Museum-preserve "Moscow Kremlin"
     http://www.kremlin.museum.ru/mus_mk.htm
A La Vieille Russie - Main Page
     http://www.alvr.com/
Russian Orthodox Church 
     http://www.russian-orthodox-church.org.ru/en.htm
Contents
    http://www.neva.ru/EXPO96/book/book-cont.html
Folklore and Mythology Electronic Texts, page 1
     http://www.pitt.edu/~dash/folktexts.html
Polonia on-line
     http://www.polonia.com/
Medieval Russia -- SLAVIANSKOE ZNAN'STVO
     http://www.sit.wisc.edu/~jdmiller2/knowledge/main.html


Best of luck,
					..eliz
					(SCA; Yelizaveta Medvedeva)
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From owner-h-costume@indra.com  Fri Jul 23 20:44:37 1999
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Subject: Re: H-COST: what's def?
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-Poster: Joan M Jurancich <joanj@quiknet.com>

At 09:18 AM 7/23/99 EDT, Gaelscot@aol.com wrote:
>
>Okay, I'll bite -- what's def?
>
[snip]
>Gail Finke

<wicked grin> It's short for "defined [as]" or "definition" <ducking and
running>
Joan Jurancich
Sacramento, CA
joanj@quiknet.com

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From owner-h-costume@indra.com  Fri Jul 23 20:45:32 1999
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-Poster: Joan M Jurancich <joanj@quiknet.com>

At 09:18 AM 7/23/99 EDT, Gaelscot@aol.com wrote:
>
>Okay, I'll bite -- what's def?
>
[snip]
>Gail Finke

<wicked grin> It's short for "defined [as]" or "definition" <ducking and
running>
Joan Jurancich
Sacramento, CA
joanj@quiknet.com

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From: Joan M Jurancich <joanj@quiknet.com>
Subject: Re: H-COST: Wearing Stays
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-Poster: Joan M Jurancich <joanj@quiknet.com>

At 09:48 AM 7/23/99 -0400, Chantal Pecourt wrote:
>
>-Poster: Chantal Pecourt <chanty@idsi.net>
>
>Hello all
>	I am about ready to make my first purchass of 18th century stays. I am
>looking at the back lacing with the shoulder strap version. I was
>wondering, has anyone worn this type or another type of stay? How
>comfortable or uncomfortable are they? Is Lightly boned better than
>half-boned? Should they be the appropriate back lacing or should they be
>front and back lacing?
>
>Thanks

Be certain you have enough boning in the *backs* to keep the corset from
wrinkling when you wear it. Such wrinkles are a *major* source of pain and
possible welts.

Joan Jurancich
Sacramento, CA
joanj@quiknet.com

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From owner-h-costume@indra.com  Fri Jul 23 20:48:06 1999
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-Poster: Joan M Jurancich <joanj@quiknet.com>

At 07:51 AM 7/23/99 -0400, Melanie Wilson wrote:
>
>-Poster: Melanie Wilson <MelanieWilson@compuserve.com>
>
>>White was pretty much an established color for wedding gowns by 1894. 
>>Checkout this article in the Ladies Home Journal
>>After the 1940s you mainly see white/candlelight gowns.  Once in awhile
you >>will see a dress in color, but it is rare. 
>
>my grandma got married in blue in the 1930s England it wasn't that unusual
>!
>
>Mel

And my mother was married in a lime green suit in 1948 in Oakland, California.

Joan

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From owner-h-costume@indra.com  Fri Jul 23 22:09:55 1999
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From: KATHARINE WHISLER <KWHISLER@kentlaw.edu>
To: h-costume@indra.com
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Subject: RE: H-COST: Copyright question
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-Poster: KATHARINE WHISLER <KWHISLER@kentlaw.edu>

Cynthia Virtue writes:

>I am confused:

> > > If a museum is the owner of an original piece of work, such as a
> > > painting, than they are the copyright holder.

>How can a museum hold copyright on a 15th century painting, since they
>likely did not acquire the item from the artist, and thus could not have
>had copyright assigned to the museum by the copyright-holder?

>Moreover, the artist is dead, and the 70 years (or whatever) have
>expired, so the item should have no copyright on it at all, I thought,
>no matter who has posession.

Maybe I can explain this more clearly, since the person you were quoting 
was a little inexact.  Let's go back to a hypothetical someone mentioned 
earlier where you borrow a public domain magazine from your friend who 
does not want you to copy it.

You are completely correct that if the hypothetical magazine is out of 
copyright, it is out of copyright-- copying it cannot be a copyright 
violation.  And even if it were still protected by copyright, the 
hypothetical friend would still own only that *copy* not the *copyright*.

What is confusing here is that even if the magazine is out of copyright, 
the person who owns the physical copy of the magazine has the right to 
control it, and if he or she lends it to you, you may only do with it what 
he or she intends for you to do with it.  If your friend makes money by 
selling copies of the magazine, and lends with the understanding that you 
will not also make copies and sell them, then you have breached your 
contract with your friend who lent you the magazine-- an entirely 
different cause of action from copyright infringement.  (Note, by the way, 
that the copies your hypothetical friend is making and selling are 
arguably themselves new works which may not be recopied without violating 
the friend's copyright in those *new* copies.)  I am speaking of United 
States law only here.

An even clearer example: if you "borrowed" your friend's public domain 
magazine without his or her permission and made copies, you still wouldn't 
be violating the *copyright* law.  But, you could still find yourself in 
trouble with the police!  (And with your friend, for trespass to chattel 
or whatever they call it in your state.)

The situation with the museums is similar to the hypothetical.  They are 
allowing you to take a picture (the copyright of which you will own) of 
their property (call this agreement a license, which is a kind of 
contract), but only so long as you use the picture only in the ways that 
they permit.  If you use it in some other way, you will have breached your 
contract with them.  The key in this situation is the "deal" between you 
and the museum.  If they say "take all the pictures & do whatever you want 
with them" then you can go publish all over the place.  Evidently, this is 
not the policy of the V&A.  (Their "deal" seems to include "and we get a 
non-exclusive license to use your photograph" for one.)

This distinction between copyright infringement and breach of contract may 
seem a minor one, but it really is not.  The level of blame required for 
copyright violation is extremely low-- it is called "strict liability" 
because excuses like "I did through an innocent mistake" will not work.  
If you did it, you are guilty, game over. Breach of contract is a much 
more complex situation.  It is, however, not a situation you want to get 
into.

The bottom line is, to avoid trouble you should ask permission before you 
use the picture.

I hope this is helpful!

Katharine Whisler (taking a study break from studying for the Bar exam)

P.S. This is not legal advice.


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From owner-h-costume@indra.com  Sat Jul 24 01:51:00 1999
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From: "Christopher Ballis" <stilskin@netspace.net.au>
To: <h-costume@indra.com>
Subject: H-COST: Copyright in Australia
Date: Sat, 24 Jul 1999 16:51:30 +1000
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-Poster: "Christopher Ballis" <stilskin@netspace.net.au>

The following is a side bar to the copyright stuff discussed recently but
may be of use to list members. I am not a lawyer but I have had some
contact with copyright issues through work...

In Australia, copyright is automatically assigned to the creator of the
item in question. That creator has the right to sell or otherwise dispose
of the work as they see fit.

It is not required to place any copyright notice on the work or register it
although it is advisable to do so to save confusion. There have also been
cases of overseas users taking the work to thier country and assigning
thier own copyright to it which is recognmised internationally, effectively
stealing the work from the true owner.

The lesson: Always identify your ownership to be on the safe side.

You should also consult with a lawyer or similar type if you feel issues
may arise.

-C.
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From owner-h-costume@indra.com  Sat Jul 24 02:52:50 1999
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From: "Glenda Robinson" <glendar@aus.compassnet.com.au>
To: <h-costume@indra.com>
Subject: Re: H-COST: Hot reenactors
Date: Sat, 24 Jul 1999 18:02:22 +1000
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-Poster: "Glenda Robinson" <glendar@aus.compassnet.com.au>

Karie wrote:>
>Glenda,
>
>What's a "hottish" summer day?  80? 90? It all depends on where you live.
>Those temps for me (living in Texas) are a balmy spring day.  Temps here
>range somewhat higher for us in the South

I can't remember, but I think it was about 80-85ish. We're in Sydney,
Australia.  Different temperatures affect people differently, though. In
England (so I've heard on the tele) it's thought to be a heatwave at 25
celcius max., but here, that's just a hot winter's day, or an average
Spring/Summer day. The same happens, of course, in reverse. I don't think I
could cope with maximums of below zero celcius for days on end.

>We have a custom here in Texas of being Greek and Roman during the hottest
>of our summer months and reverting back to our "usual" styles during the
>rest of the year.  It saves on medical bills and trauma.

We do this too, but I belong to a few different groups, two of which are
ancient. Our ancient season goes from late October to Easter, and mostly the
later period ones go from early March through to the end of November.

If it's REALLY hot (over 100), I find that Roman/Greek women's clothing is
only OK if it's pure linen or cotton, otherwise I just find it unbearable.
The men are really lucky.

>
>What I'm trying to say is that I would prefer more accurate measurements of
>time and temperature.  I would hate for anyone (including myself) to make
an
>outfit expecting to withstand a "hottish" summer day and wind up in the
>infirmary due to heat exhaustion.
>
Definitely! Though I found that the layers actually insulated me against the
heat if I was resting. Dancing was another matter.

Glenda



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From owner-h-costume@indra.com  Sat Jul 24 06:48:05 1999
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Subject: H-COST: Question about Tartans
Date: Sat, 24 Jul 1999 07:52:18 -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>

Hello Everyone,

In my research, I've run across three possible definitions of a tartan, 
and I was hoping people could tell me which one they think is the correct 
one.

1) A plaid twill.

2) A plaid twill that represents a Scottish Clan.

3) Any plaid that represents a Scottish Clan.

Jessica Clark
SCA: Irène leNoir
irene@ici.net
http://home.ici.net/~beowulf/jessica

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From owner-h-costume@indra.com  Sat Jul 24 08:16:45 1999
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Date: Sat, 24 Jul 1999 09:26:59 EDT
Subject: Re: H-COST: Question about Tartans
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-Poster: BarbMVD@aol.com

 irene@ici.net writes: << which one they think is the correct one. 1) A plaid 
twill.
  2) A plaid twill that represents a Scottish Clan.  3) Any plaid that 
represents a Scottish Clan. >>

Irene - the answer is none of the above: Tartan in the old sense (since this 
is historic costume) referred to a kind of cloth, a thin hard material made 
from wool spun very fine and woven at as many as seventy threads to the inch; 
its texture was more like linen.  This old hard tartan was extremely durable 
and weatherproof.

It is important to remember that prior to the nineteenth century uniform clan 
tartans did not exist. Going back to the writings of Martin in 1703
 "Every Isle differs from each other in their Fancy of making Plades, as to 
the Stripes in Breadth and Colours.  This Humour is as different through the 
main Land of the Highlands, in so far that they who have seen those places, 
are able at the first View of a Man's Plad, to guess the Place of his 
Residence . . ."

Barbara Delorey
List Manager:	18cWoman@onelist.com
DAR/Reenactors:	http://hometown.aol.com/barbmvd/page/dar.htm
Battle Road Clothing:	http://www.ziplink.net/~mrkmcc/delory.htm
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From owner-h-costume@indra.com  Sat Jul 24 08:39:02 1999
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-Poster: costume@gmx.net

> ><< Do you make your costumes on a dresstand that is fitted to the period?
> > A modern dresstand is not good to fit garments on i think, the bust is
> > wrong.

> I always make my costumes on the real thing -- me.
> That's why I've so far refused to make fancy gowns for
> anybody else.  They're never around to be fitted.

i must say, even when the bust is wrong, a dress stand is a very helpful
thing to have. i have difficulties fitting e.g. the back on myself... 

i have a 1950s dress stand made of wire. you can put it on like a jacket
and mould it to your shape... and of course, you can mould it to a
period shape as well. i've seen that there are similar devices out that
work with electricity: they get soft if plugged in, you put it on and
shape it, plug it out, and when it's cooled, it's stiff again. sounds
like a good thing to have... if only they weren't so awfully expensive!


salut,
pompadour


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-Poster: costume@gmx.net

> too!) I doubt that I'll have much say in where the tour guide takes us,
> but what should I be on the lookout for, museums in my spare time, etc?

there's a list (incomplete, but i hope you'll have something to add to
it once you come back) of costume museums in europe:
www.marquise.de/misc/museums.html

salut,
pompadour


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From owner-h-costume@indra.com  Sat Jul 24 09:59:59 1999
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From: "dave editors (Heritage Matters)" <dave@wysewords.softnet.co.uk>
To: <h-costume@indra.com>
References: <Pine.LNX.4.04.9907231540560.9008-100000@eris.io.com>
Subject: Re: H-COST: Copyright question -electronic fingerprints.
Date: Sat, 24 Jul 1999 14:46:55 +0100
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-Poster: "dave editors (Heritage Matters)" <dave@wysewords.softnet.co.uk>

Just a few tips based on experience that might help
 The only way you can stop others from taking your images from the web is by
not putting them there.
Sorry to be so blunt but that is the main fact that one must accept.
Electronic fingerprinting and watermarking doesnt really stop people anyone
doing it; Its just a way of proving they have after the fact., and if all
else fails you can take a pretty decent photo of something on the screen
anyway.  For years the high fashion business had people who would go to
shows and then were able to make a drawing of everything they had seen, so
that the imitators could get into production very quickly.
The other important thing to remember is resolution factor. Dont put very
high resolution pics on the web, either photos or graphics. then they cant
be downloaded and used in printed material; ( some of our clients still will
insist on negatives rather than digital downloads)
We sell photos via our cooperative site; only our clients  know where to
look for the images  and each have a  entry code or password; we can tell
who has seen which pics;
Pics we post for public viewing , ie our Tewkesbury pics, are not the best
shots, any sales having already been made before they were posted anyway.
Any one that might  wants to buy has already seen at least a sample image
days before anyone can download them and try to sell;
Adobe Photoshop has the facility to add a whole host of caption and details
in text form, most picture editors will require these and this format ( you
cant scribble notes on the back of a digital image)
Cost effectiveness; if the amount of time and trouble as well as actual cost
begins to add up rapidly, then balance this against the financial losses
involved in others using your images; This is usually impossible to quantify
anyway.
One must have something that is very hot , and undeniable needs to put it on
the web, before iy becomes worthwhile trying to protect it.
+++
 On the other hand if you really really need an illustration  for your
website, rather than pure decorative whim, and dont want to hazard the
copyright maze, why not investigate other accepted and acceptable methods of
circumnavigation; freehand drawings or recreation.
I know it might be impossible to recreate a whole costume but for small
details (if you have  the skill) a small recreation can be made and then
photographed from all angles in good lighting, and may be much better than
the first image.
Then there is just the worry of someone lifting your copyrighted recreation.


Dave

 > -Poster: ches <ches@io.com>
>
> What is this software? As far as I know there is no way to protect the
> images once you post them on the internet. I have activly searched high
> and low for a process and have found hoaxes and wanna be's but in the end
> print screen will catch whatever your cache will not.
>
> The only thing that comes close to protection is called Weft, but it is
> for fonts only, not images. I am in the process of creating images as
> font extensions and seeing if it will work. Taking a bit of time but I
> should have some results soon.
>
> Please share the name of your program! :)
>
> Sincerely,
> F. Havas
> ches@io.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  Sat Jul 24 11:01:43 1999
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-Poster: Margo Anderson <margo@directcon.net>

Thanks, everyone, for copyright advice.  I've consulted the only lawyer I
can afford, my Mom, and she says she's not knowledgable enough in the field
to advise me.  (she also says I should have gone to law school, but that's
an old story).

Not wanting to spend hundreds in legal fees to produce a not for profit
page, I've removed most of the images.  It's not so pretty but I'm not
breaking the law, either. 

 It should be up in a few days.

Margo

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From owner-h-costume@indra.com  Sat Jul 24 11:25:36 1999
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From: "Steve & Michelle Plumb" <splumb@ic.net>
To: "historic costume group" <h-costume@indra.com>
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-Poster: "Steve & Michelle Plumb" <splumb@ic.net>

Hello all.

I also have a query about Tartans.

I was watching the opening ceremonies to the
Pan American Games last night, when a troupe
of bagpipers marched onto the field.

Some of them were wearing a tartan that just
made me drool, and I was wondering about
its name.  It looked to be a maroon and grey
pattern.  Does anyone have any idea what
its name is?  I would LOVE to use that fabric!

I have sources to buy tartan, but the search
utility goes by name, not color.  It would take
a month of Sundays to find it by that method.

Any ideas?

TIA,
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  Sat Jul 24 12:20:11 1999
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-Poster: Deb Baddorf <baddorf@inil.com>

I've come up with a new idea that might keep me cool.
It's not period,  but if it works,  I'll continue it!

I have a Revolutionary War encampment next weekend
(7/31,  8/1)   (Wheaton, Illinois,  for anybody near here)
and our temperatures this current week are about
96 degrees real temp  -- and 105 "heat index"  (which
is when they take the high humidity into account too,
and tell you how hot it *feels*  like it is.)

Anyway -- after hiding a kitchen knife down the front
of my corset one time -- where a busk might go --
and realizing how much space is available there --
I'm going to try a busk made out of ICE.
After pondering how to make such a thing,  I've
settled on the "snack size"  ziplock baggies.
5 or 6" wide  (like a regular sandwich bag)
but only 3" deep.  They're made for kids' snacks.

Partially filled with water,   zipped closed so as
to exclude air pockets,   and frozen solid -- I'm
hoping I can stick one down my corset front and
cool myself off!!    I'll bring a lot of them,
in my ice chest,  since they'll melt and lose their
usefullness.

I'm already in the habit of dropping an ice cube
down my front occasionally.  Heck,  my corset is
already wet and sweaty -- a little good clean
ice water won't hurt it.    With this new concept,
the water ought to stay in the bag.   I hope.

After 8/1    I'll know if they did any good!
I wonder if I can patent this .....    ;-)

Deb

Deb Baddorf    http://www.inil.com/users/baddorf


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From owner-h-costume@indra.com  Sat Jul 24 13:19:12 1999
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From: "Andrea navin" <medea6186@hotmail.com>
To: h-costume@indra.com
Subject: Re: H-COST: Question about Tartans
Date: Sat, 24 Jul 1999 11:30:46 PDT
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-Poster: "Andrea navin" <medea6186@hotmail.com>



I believe that would be the Royal Canadian Air Force Regimental Tartan  but 
I could be wrong. From far the blue could look grey and it has maroon it it.
Here is a link to two variations of it.
http://www.tartans.scotland.net/Pages/..\tartans\ts1343r.gif
http://www.tartans.scotland.net/Pages/..\tartans\ts1342r.gif

Back to lurking,
Andrea



>Hello all.
>
>I also have a query about Tartans.
>
>I was watching the opening ceremonies to the
>Pan American Games last night, when a troupe
>of bagpipers marched onto the field.
>
>Some of them were wearing a tartan that just
>made me drool, and I was wondering about
>its name.  It looked to be a maroon and grey
>pattern.  Does anyone have any idea what
>its name is?  I would LOVE to use that fabric!


>


______________________________________________________
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-Poster: "Steve & Michelle Plumb" <splumb@ic.net>

Hello again.

I'm still looking for the name of the
tartan I mentioned earlier, and thought
I had better provide more info.

It was spotted on the Pan American Games
opening ceremonies last night.  A marching
bagpipe band came onto the field, and some
of them were wearing a tartan (they were all
wearing different ones, probably their clans)
that I went crazy over. 

It is predominantly two shades of maroon (?),
with what looks to be a light grey secondary
color.  It was suggested that the television could
have made a light blue appear grey, and that
is certainly true.  As a matter of fact, my husband
thought that the maroon could have been purple.

Any info would be appreciated.

Thanks,
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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-Poster: Gwnvr@aol.com

In a message dated 7/23/99 3:51:26 PM Eastern Daylight Time, 
pulliam@acadia.net writes:

<< Oddly enough, the first fatality on the 1607 voyage to Jamestown was a man
 who died on Nevis (one of the islands in the Caribbean, before they got to
 VA). The contemporary account says he "boiled in his fat",  >>

   I've been doing quite a bit of research on early Jamestown recently but 
had missed this little factoid.  I had been wondering if the high mortality 
rate of the early years might have been as much from the extreme heat as from 
the cold in winter.  It would be quite a shock coming from London to 
Virginia.  (I know, I moved from San Francisco to Virginia in August 
once...;-p )

                                                         Jen
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From owner-h-costume@indra.com  Sat Jul 24 22:18:12 1999
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From: "Cathy Harding" <charding@nwlink.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: More info on Tartan query
Date: Sat, 24 Jul 1999 20:34:48 -0700
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-Poster: "Cathy Harding" <charding@nwlink.com>

I think that Lindsay and McPherson have a lot of purple in them....

Maeve

> -----Original Message-----
> From: owner-h-costume@indra.com [mailto:owner-h-costume@indra.com]On
> Behalf Of Steve & Michelle Plumb
> Sent: Saturday, July 24, 1999 12:02 PM
> To: historic costume group
> Subject: H-COST: More info on Tartan query
> 
> 
> 
> -Poster: "Steve & Michelle Plumb" <splumb@ic.net>
> 
> Hello again.
> 
> I'm still looking for the name of the
> tartan I mentioned earlier, and thought
> I had better provide more info.
> 
> It was spotted on the Pan American Games
> opening ceremonies last night.  A marching
> bagpipe band came onto the field, and some
> of them were wearing a tartan (they were all
> wearing different ones, probably their clans)
> that I went crazy over. 
> 
> It is predominantly two shades of maroon (?),
> with what looks to be a light grey secondary
> color.  It was suggested that the television could
> have made a light blue appear grey, and that
> is certainly true.  As a matter of fact, my husband
> thought that the maroon could have been purple.
> 
> Any info would be appreciated.
> 
> Thanks,
> 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"
> ===========================================================
> 
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
> 
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From owner-h-costume@indra.com  Sun Jul 25 01:29:23 1999
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Date: Sun, 25 Jul 1999 02:23:31 -0400 (EDT)
From: Carol Mitchell <carolineri@yahoo.com>
Subject: Re: H-COST: Hot reenactors
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-Poster: Carol Mitchell <carolineri@yahoo.com>



--- Deb Baddorf <baddorf@inil.com> wrote:
> 
> -Poster: Deb Baddorf <baddorf@inil.com>
Your idea sounds great. We were at the RennFaire all day today-wish we'd had something like it.
Where in Wheaton is this event-is it Cantigny again?
Thanks
Carol Mitchell _________________________________________________________________
<BR>Carol Mitchell President Chicagoland Costumer's Guild<hr size=1><b>Do You Yahoo!?</b><br>Get your free @yahoo.com address at <a href="http://mail.yahoo.com/">Yahoo! Mail</a>.<br>

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From owner-h-costume@indra.com  Sun Jul 25 06:59:39 1999
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From: "Christopher Ballis" <stilskin@netspace.net.au>
To: <h-costume@indra.com>
Subject: H-COST: Costume-Con 20 ideas
Date: Sun, 25 Jul 1999 22:06:37 +1000
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-Poster: "Christopher Ballis" <stilskin@netspace.net.au>

Dear all,

A month or so back, on behalf of Costume-Con 20, I posted a request for
what people would like to see at a really good costumers' convention.

Thank you to all who submitted thier thoughts, many of which will be acted
upon.

We are always receptive to ideas and requests, fell free to, as Dino said,
keep those cards and letters coming!

For more information about the Australian Costumers' Guild or Costume-Con
20, feel free to E-mail or hit the web site at the bottom of this message.


-C.



Costume-Con 20,
Melbourne Convention and Exhibition Centre,
Melbourne, Australia
Friday 16-Monday 18 February, 2002


Christopher Ballis,
Evil overlo-err-chairman,
Costume-Con 20,
C/- Australian Costumers' Guild,
PO Box 322,
Bentleigh, 3204

stilskin@netspace.net.au
www.vicnet.net.au/~costume/
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From owner-h-costume@indra.com  Sun Jul 25 08:50:46 1999
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Date: Sun, 25 Jul 1999 10:00:28 EDT
Subject: H-COST: Storage and preservation
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-Poster: Frntirfshn@aol.com

Please direct to help on 2 ways to preserve these pieces of extant clothing.
I would like to know a practical way of:

1.	Displaying these pieces in a private home (full size dia-rama is out, 
my husband said so...)
I do have LOTS of wall space and could actually have room on the walls to put 
up a full display if you could help me know the particulars for it.

2.	storage

the pieces are:
1.	A man's linen shirt from the 1820's  
2.	Ladies chemises from late 1890's- early 1900's.
		one has crocheted yoke.
3.	A full military outfit from W.W.II
4.	A full length fur coat and midnight blue bias-cut velvet after-five 
long gown from 			the same era.  
I Have the picture of #3, 4 on their owners to go with the clothing.

Thanks in advance,
Eileen Watson
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From owner-h-costume@indra.com  Sun Jul 25 09:33:19 1999
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From: "Megan McHugh" <mchug@mindspring.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: White wedding dresses
Date: Sun, 25 Jul 1999 10:29:24 -0400
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-Poster: "Megan McHugh" <mchug@mindspring.com>


>>my grandma got married in blue in the 1930s England it wasn't that unusual
>>!
>>
>>Mel
>
>And my mother was married in a lime green suit in 1948 in Oakland,
California.
>
>Joan
>


And mine was married in a blue suit in 1959.  But she was pregnant.  Her
twin sister was married in the full white gown.

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From owner-h-costume@indra.com  Sun Jul 25 09:35:23 1999
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From: "Megan McHugh" <mchug@mindspring.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: stays
Date: Sun, 25 Jul 1999 10:33:47 -0400
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-Poster: "Megan McHugh" <mchug@mindspring.com>

I would love to have one of these easy to mold wire dress stands.  The ones
they sell don't work well as I am short waisted and of variable weight.
ANybody know if anyone still sells them?  (I've done the duct tape one, but
need to redo it as I've lost weight)
-----Original Message-----
From: costume@gmx.net <costume@gmx.net>
To: h-costume@indra.com <h-costume@indra.com>
Date: Saturday, July 24, 1999 9:51 AM
Subject: Re: H-COST: stays


>
>-Poster: costume@gmx.net
>
>> ><< Do you make your costumes on a dresstand that is fitted to the
period?
>> > A modern dresstand is not good to fit garments on i think, the bust is
>> > wrong.
>
>> I always make my costumes on the real thing -- me.
>> That's why I've so far refused to make fancy gowns for
>> anybody else.  They're never around to be fitted.
>
>i must say, even when the bust is wrong, a dress stand is a very helpful
>thing to have. i have difficulties fitting e.g. the back on myself...
>
>i have a 1950s dress stand made of wire. you can put it on like a jacket
>and mould it to your shape... and of course, you can mould it to a
>period shape as well. i've seen that there are similar devices out that
>work with electricity: they get soft if plugged in, you put it on and
>shape it, plug it out, and when it's cooled, it's stiff again. sounds
>like a good thing to have... if only they weren't so awfully expensive!
>
>
>salut,
>pompadour
>
>
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME

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From: "Megan McHugh" <mchug@mindspring.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Hot reenactors
Date: Sun, 25 Jul 1999 10:36:14 -0400
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-Poster: "Megan McHugh" <mchug@mindspring.com>

Sounds like a great idea!!! Let us know how it works for you.
-----Original Message-----
From: Deb Baddorf <baddorf@inil.com>
To: h-costume@indra.com <h-costume@indra.com>
Date: Saturday, July 24, 1999 1:32 PM
Subject: Re: H-COST: Hot reenactors


>
>-Poster: Deb Baddorf <baddorf@inil.com>
>
>I've come up with a new idea that might keep me cool.
>It's not period,  but if it works,  I'll continue it!
>
>I have a Revolutionary War encampment next weekend
>(7/31,  8/1)   (Wheaton, Illinois,  for anybody near here)
>and our temperatures this current week are about
>96 degrees real temp  -- and 105 "heat index"  (which
>is when they take the high humidity into account too,
>and tell you how hot it *feels*  like it is.)
>
>Anyway -- after hiding a kitchen knife down the front
>of my corset one time -- where a busk might go --
>and realizing how much space is available there --
>I'm going to try a busk made out of ICE.
>After pondering how to make such a thing,  I've
>settled on the "snack size"  ziplock baggies.
>5 or 6" wide  (like a regular sandwich bag)
>but only 3" deep.  They're made for kids' snacks.
>
>Partially filled with water,   zipped closed so as
>to exclude air pockets,   and frozen solid -- I'm
>hoping I can stick one down my corset front and
>cool myself off!!    I'll bring a lot of them,
>in my ice chest,  since they'll melt and lose their
>usefullness.
>
>I'm already in the habit of dropping an ice cube
>down my front occasionally.  Heck,  my corset is
>already wet and sweaty -- a little good clean
>ice water won't hurt it.    With this new concept,
>the water ought to stay in the bag.   I hope.
>
>After 8/1    I'll know if they did any good!
>I wonder if I can patent this .....    ;-)
>
>Deb
>
>Deb Baddorf    http://www.inil.com/users/baddorf
>
>
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME

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From: Kat & Kent <kdyer@home.com>
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-Poster: Kat & Kent <kdyer@home.com>

Whilst mothering...uh, I mean, helping out the performers at the TN Ren
Faire I kept two tubs of cold water with a few drops of peppermint oil
added to it within which I put white cloths (scraps from every white
garment I'd made the previous year that look period in weave).  These
could be carried, just used 'backstage' or stuffed under a hat or into a
bodice.  I also had two spray bottles of peppermint water to spray down
the performers.  A friend of mine who is a reenactor used lavender
instead.  Some have refused to use them because of fear that their very
expensive costumes might be damaged but I've never seen any evidence of
such on my own (of course, as a costumer I only repeated myself once
during the 9 days and that was a fluke <grin>).  I shall have to
remember the snack bag & ice trick...it sounds like a good one!

Kat
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From owner-h-costume@indra.com  Sun Jul 25 09:59:20 1999
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Date: Sun, 25 Jul 1999 11:05:22 EDT
Subject: H-COST: Men's Elizabethan doublet pattern?
To: h-costume@indra.com
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-Poster: KKlocko@aol.com

Could anyone recommend a men's Elizabethan doublet pattern?  I've seen a lot 
in various catalogs, but after a horrible experience with a Period patterns 
pattern, I'd rather get what other people think before randomly buying one!  
Thanks!
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From owner-h-costume@indra.com  Sun Jul 25 10:53:27 1999
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From: "Dan Fenwick" <daniel@fenwick.sparks.nv.us>
To: <h-costume@indra.com>
References: <ca94e1e2.24cc81b2@aol.com>
Subject: Re: H-COST: Men's Elizabethan doublet pattern?
Date: Sun, 25 Jul 1999 09:05:35 -0700
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-Poster: "Dan Fenwick" <daniel@fenwick.sparks.nv.us>

> Could anyone recommend a men's Elizabethan doublet pattern?  I've seen a
lot
> in various catalogs, but after a horrible experience with a Period
patterns
> pattern, I'd rather get what other people think before randomly buying
one!
> Thanks!

I'd suggest getting "Doublet and Trunkhose" by Trump.  I know Green Duck
used to carry it.  Follow the directions and draft a pattern for the
specific person.  My only suggestions doing this is to NOT calcualte any of
the measurements, rather, actually measure the person for all of them.
Worked really well for me.  You can modify the design if you want a
different style doublet, it's relatively easy to do once you get the idea of
what is going on.

Dan

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Date: Sun, 25 Jul 1999 15:43:52 EDT
Subject: Re:  H-COST: Fwd: More on V. of Willendorf (fwd)
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-Poster: Gerekr@aol.com

On 7/7/99 6:53 PM h-costume@indra.com wrote:

>>From another list, I found it to be a very interesting article.
>
>> >
>> >STONE AGE FIGURINES DRESSED TO TELL

Fascinating article (yes, I'm trying to catch up/clean up my mail) ... 
the connection that popped into my fevered brain was... "traveling 
fashion dollies" -- maybe the emphasis on the alleged textile details was 
at least in part a method of transmitting information about advances in 
fibre technology from one area to another??  If it IS possible to see 
knots and spinning directions...

Patsy/Chimene
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From: "Arianne de Dragonnid  mka Grace Payne" <arianne@blackroot.org>
To: "h-costume@indra.com" <h-costume@indra.com>
Date: Sun, 25 Jul 99 16:46:01 
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-Poster: "Arianne de Dragonnid  mka Grace Payne" <arianne@blackroot.org>

On Sun, 25 Jul 1999 Eileen wrote:

>Please direct to help on 2 ways to preserve these pieces of extant clothing.
>I would like to know a practical way of:
>
>1.	Displaying these pieces in a private home (full size dia-rama is out, 
>my husband said so...)
>I do have LOTS of wall space and could actually have room on the walls to put 
>up a full display if you could help me know the particulars for it.
>
>2.	storage
>
>the pieces are:
>1.	A man's linen shirt from the 1820's  
>2.	Ladies chemises from late 1890's- early 1900's.
>		one has crocheted yoke.
>3.	A full military outfit from W.W.II
>4.	A full length fur coat and midnight blue bias-cut velvet after-five 
>long gown from 			the same era.  
>I Have the picture of #3, 4 on their owners to go with the clothing.
``````````````````````
Eileen,

If you can't get your husband to accede to displaying at least some of these on mannequins, it's a pity.  Some 
of them, like the linen shirt, sound like they could be nicely displayed in the sort of shadowbox-type frames 
used for illuminated pages.  The others, if they cannot be displayed, should probably be dry-cleaned and 
packed in one of those acid-free (and I believe vacuum-sealed) boxes they use to preserve wedding gowns.  
Any reputable seller of wedding gowns should be able to point you in the right direction.  I have no idea how 
much that would cost, since the only time I've had anything like that done was when I had my wedding gown 
preserved, using a coupon from the lady who sold me the gown.  The box is about the size and shape of a 
large suitcase, and one of the large sides lifts up to show a display window.  Very nice.


Yours,
	Arianne

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From owner-h-costume@indra.com  Sun Jul 25 15:46:07 1999
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-Poster: Kwhykelly@aol.com

I have natural silk/hemp fabric if you are interested.

Kristi Kelly
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Subject: Re: H-COST: Storage and preservation
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-Poster: RobesOf@aol.com


<< Some 
 of them, like the linen shirt, sound like they could be nicely displayed in 
the sort of shadowbox-type frames 
 used for illuminated pages.  >>

If you frame these items in shadowboxes, be sure the mats lining the inside 
are acid free cotton rag (not paper).  The glass should be "museum glass" 
used to preserve museum quality items from sun and artificial light.  You 
could also use conservation glass, a less expensive and more easily obtained 
alternative.  The former is obviously the type glass you will find in a 
museum.  The latter is similar but only has 98% UV protection.  Regular glass 
and matte glass will not protect against light at all.  Displaying these 
items properly in a shadowbox frame will cost $200-500 at minimum for a shirt 
size.  My husband was the head of a frame shop chain for years.  If you have 
more questions regarding framing for preservation and display, feel free to 
contact me.

Erica
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From: Deb Baddorf <baddorf@inil.com>
Subject: Re: H-COST: Hot reenactors
Cc: Carol Mitchell <carolineri@yahoo.com>
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-Poster: Deb Baddorf <baddorf@inil.com>

[ "busk" made of ice ]
Your idea sounds great. We were at the RennFaire all day today-wish we'd
had something like it. Where in Wheaton is this event-is it Cantigny again?
Thanks Carol Mitchell

Yup -- Cantigny.   Corner of 38 and Winfield, Wheaton,
Illinois.   Sat, Sun  ~  10:00 - 5:00.   Or maybe it's
9:30 to 5:00.

Deb

Deb Baddorf    http://www.inil.com/users/baddorf


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-Poster: Deb Baddorf <baddorf@inil.com>

>-Poster: "Megan McHugh" <mchug@mindspring.com>
>
>Sounds like a great idea!!! Let us know how it works for you.

>-----Original Message-----
>From: Deb Baddorf <baddorf@inil.com>
>>
>>I've come up with a new idea that might keep me cool.

>>I'm going to try a busk made out of ICE.
>>.....the "snack size"  ziplock baggies.
>>5 or 6" wide  (like a regular sandwich bag)
>>but only 3" deep.  They're made for kids' snacks.
>>
>>Partially filled with water,   zipped closed so as
>>to exclude air pockets,   and frozen solid
>>I wonder if I can patent this .....    ;-)

Well, for starters -- a number of the baggies
burst their seams while freezing.  Just a little, but
that means I'm going to get wet as they melt
down my front.   SO -- add to the "plan":
I'll take a box of larger ziplocs  to stick the
ice busks  INTO,   before each use.

And some muslin handkerchiefs (or scraps)
to wrap the ice in,  in case a chunk of ice
right next to my heart proves to be a bad idea!

Deb

Deb Baddorf    http://www.inil.com/users/baddorf


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From: "Michelle" <mandrake@mypad.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Hot reenactors
Date: Sun, 25 Jul 1999 22:30:02 -0700
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-Poster: "Michelle" <mandrake@mypad.com>


-----Original Message-----
From: Deb Baddorf <baddorf@inil.com>
To: h-costume@indra.com <h-costume@indra.com>
Date: Saturday, July 24, 1999 10:24 AM
Subject: Re: H-COST: Hot reenactors


>
>-Poster: Deb Baddorf <baddorf@inil.com>
>
>I've come up with a new idea that might keep me cool.
>It's not period,  but if it works,  I'll continue it!
>
>
>
>I'm already in the habit of dropping an ice cube
>down my front occasionally.  Heck,  my corset is
>already wet and sweaty -- a little good clean
>ice water won't hurt it.    With this new concept,
>the water ought to stay in the bag.   I hope.
>
>After 8/1    I'll know if they did any good!
>I wonder if I can patent this .....    ;-)
>
>Deb
>
>Deb Baddorf    http://www.inil.com/users/baddorf
>
My husband has an idea.
        How about hollow aluminium with coolant in it? He works with metal
for a living.  I will have to 'hint' that I need one made and see if he can
come up with one.  Deb and I can be the testers!
    Michelle
>
> _________________________________________________________________
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> with the message UNSUBSCRIBE H-COSTUME
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From: "Michelle" <mandrake@mypad.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: Men's Elizabethan doublet pattern?
Date: Sun, 25 Jul 1999 22:36:47 -0700
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-Poster: "Michelle" <mandrake@mypad.com>


-----Original Message-----
From: KKlocko@aol.com <KKlocko@aol.com>
To: h-costume@indra.com <h-costume@indra.com>
Date: Sunday, July 25, 1999 8:02 AM
Subject: H-COST: Men's Elizabethan doublet pattern?


>
>-Poster: KKlocko@aol.com
>
>Could anyone recommend a men's Elizabethan doublet pattern?  I've seen a
lot
>in various catalogs, but after a horrible experience with a Period patterns
>pattern, I'd rather get what other people think before randomly buying one!
>Thanks!
>

     I am sorry if you have already shared this horrifying experience but,
could you tell me about what happened with the pattern?
  My husband wants a jacket/dublet to use with his kilt and I want to not
make the same mistakes.  (We do Ren fairs. Tudor)

   Michelle

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From owner-h-costume@indra.com  Mon Jul 26 00:46:48 1999
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Date: Sun, 25 Jul 1999 22:37:17 -0700
From: Russell Hedges <russellh@home.com>
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-Poster: Russell Hedges <russellh@home.com>



A trick used in film processing, is to make ice that won't dilute your
chemicals when it melts. 35mm film cans (plasitcs?), the little plastic
cans the film comes in.  Fill them two thirds full of water, snap the
caps on and put them in the freezer.  You can get them free from most
photo labs, they get so many and just throw them away.

You can use them anywhere you would use ice.  And re-use thme over and
over.  

Russell
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From: "Carol J. Bell Cannon" <cjcannon@greymists.com>
Subject: Re: H-COST: Hot reenactors
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-Poster: "Carol J. Bell Cannon" <cjcannon@greymists.com>

At 10:37 PM 7/25/99 -0700, you wrote: -Poster: Russell Hedges
<russellh@home.com>
... <snip> ... 35mm film cans (plasitcs?), the little plastic
>cans the film comes in. --Russell
          Thank you for the tip, Russell.  To think, I've used them to hold
quarters in... Carol
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Date: Mon, 26 Jul 1999 14:11:56 +0200
To: h-costume-digest@indra.com
From: Barbara Maren Winkler <barbara@math.tu-berlin.de>
Subject: Re: H-COST: 15th century ponderings
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-Poster: Barbara Maren Winkler <barbara@math.tu-berlin.de>


>- -Poster: "Jessica Wilbur" <jessica@pop.net>
>
>I found the citation for the second picture. It is:

... at
http://ps.theatre.tulane.edu/Period.Styles/Costumes/text/Late.Gothic/CH17.html

>Jean Fouquet
>Frontispiece, THE DEBATE OF VIRTUE AND FORTUNE, c. 1460
>Public Library, Leningrad
>
>And beneath that:
>
>"A diagonally striped (rayed) gown. There is a sense of gold threads woven
through all the 
>fabrics. "
>
>So yes, the gown does look allegorical/fantastic. I would guess that the
woman in the 
>striped dress is Fortune, since there is a wheel behind her. I wonder if
the stripes have any 
>significance...

To me, the image looks strongly allegorical and not in favor of Fortune.
Fortune stands on bare rock, Virtue on green grass. Behind Fortune, there
are the ruins of a city; in the background of Virtue, there are strong
white towers and a lake. On Virtue's side, there is a green tree, on
Fortune's side, the tree is withered. And, the judge between both of them
leans towards Virtue.

So, I'd say the image is a moral allegory, and Fortune's dress is striped
in many colors (diagonally: at a (downward) angle) to symbolize her
changing nature which in the end leads to decay. Virtue's gown is blue with
gold... the color of the sky, and Virgin Mary.

Neither dress color needs to have anything to do with actual colors worn at
the time.


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

  
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Subject: Re: H-COST: Hot reenactors
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-Poster: Marionetta@aol.com


I used to go up to Ashland, Oregon once a year to see plays at the 
Shakespeare festival there.  There were always several plays running outdoors 
in the heat of summer.  I remember hearing on the backstage tour that some of 
the rather hot costumes (like the heavily padded Falstaff) had pockets sewn 
into them for blue ice packs to be put into to keep the actors from getting 
too hot...so there's actually precedent within the theatrical costuming 
circles.

Cheers,

Loren Dearborn
marionetta@aol.com
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Date: Mon, 26 Jul 1999 09:50:56 -0600
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-Poster: Barbara Wolff <bjwolff@facstaff.wisc.edu>

Pls excuse what is probably an ihnorant question, but what is 
candelight? Thanks in advance -- Barbara in Madison
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-Poster: "Penny Ladnier" <penny.creative.outlets@erols.com>

>Pls excuse what is probably an ihnorant question, but what is
>candelight? Thanks in advance -- Barbara in Madison


Candlelight is the name of a color, off-whitish with a hint of yellow.  It
really looks antique.  My wedding gown was this color.

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


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From owner-h-costume@indra.com  Mon Jul 26 10:55:13 1999
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Date: Mon, 26 Jul 1999 11:13:04 -0600
To: h-costume@indra.com
From: Barbara Wolff <bjwolff@facstaff.wisc.edu>
Subject: Re: H-COST: White wedding dresses
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-Poster: Barbara Wolff <bjwolff@facstaff.wisc.edu>

Sounds absolutely lovely, Penny -- is the naterial translucent, or a 
color? Thanks, Barbara in Madison
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From owner-h-costume@indra.com  Mon Jul 26 11:35:27 1999
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Date: Mon, 26 Jul 1999 12:49:32 -0400
To: h-costume@indra.com
From: Sue Shatto <Sue@VictorianMillinery.com>
Subject: H-COST: Mc Cardell gloves
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-Poster: Sue Shatto <Sue@VictorianMillinery.com>

Dear List,

	I can get Claire Mc Cardell gloves.  They are never-worn in the bag that
has the name and logo.  There is red and white large checked gingham and
black and white smaller checked gingham.  The gingham is on the outside
and white on the palm side.They are all the same size, which is 6 1/2.If
I have enough orders I can get them for $18 each.  Let me know if
interested and how many pairs you would like.  I will wait until
Wednesday evening to see if <italic>I have enough orders to make it
worthwhile.

</italic>



Cordially,


Sue Shatto


Sue@VictorianMillinery.com

http://www.VictorianMillinery.com


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From owner-h-costume@indra.com  Mon Jul 26 12:54:09 1999
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Date: Mon, 26 Jul 1999 13:03:08 -0500 (CDT)
From: ches <ches@io.com>
To: h-costume@indra.com
Subject: Re: H-COST: Mc Cardell gloves
In-Reply-To: <3.0.3.32.19990726124932.008234b0@intrepid.net>
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-Poster: ches <ches@io.com>

can you tell us more about who mccardell is and why the gloves are
special? :)

Sincerely,
F. Havas
ches@io.com

On Mon, 26 Jul 1999, Sue Shatto wrote:

> Date: Mon, 26 Jul 1999 12:49:32 -0400
> From: Sue Shatto <Sue@VictorianMillinery.com>
> Reply-To: h-costume@indra.com
> To: h-costume@indra.com
> Subject: H-COST: Mc Cardell gloves
> 
> 
> -Poster: Sue Shatto <Sue@VictorianMillinery.com>
> 
> Dear List,
> 
> 	I can get Claire Mc Cardell gloves.  They are never-worn in the bag that
> has the name and logo.  There is red and white large checked gingham and
> black and white smaller checked gingham.  The gingham is on the outside
> and white on the palm side.They are all the same size, which is 6 1/2.If
> I have enough orders I can get them for $18 each.  Let me know if
> interested and how many pairs you would like.  I will wait until
> Wednesday evening to see if <italic>I have enough orders to make it
> worthwhile.
> 
> </italic>
> 
> 
> 
> Cordially,
> 
> 
> Sue Shatto
> 
> 
> Sue@VictorianMillinery.com
> 
> http://www.VictorianMillinery.com
> 
> 
>  _________________________________________________________________
>  To leave this mailing list, send mail to majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
> 

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From owner-h-costume@indra.com  Mon Jul 26 13:01:22 1999
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Date: Mon, 26 Jul 1999 13:13:59 -0500 (CDT)
From: "Sara J. Davitt" <ophelia@dias.net>
To: h-costume@indra.com
Subject: Re: H-COST: Hot reenactors
In-Reply-To: <379BF40D.2BD2C9A4@home.com>
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-Poster: "Sara J. Davitt" <ophelia@dias.net>


Hi.
this is a little trick that me and little sister used to play by the
pool... 

take a whome bunch of Mr., Freezies icicle pops, and eat them.   then.
 take some mud (dispensed in a a contraption much like a cake decorator)
and put them into the clean empty Mr. Freezie tubes.  tie off with string,
or rubber bands.

then Re- Freeze. and drop down the shirt of your local little sister.

the mud keeps the ice frozen longer, for those hardcore chases across the
yard.

I do suspect that these could be tied into a farthengale or bodice
(boning?) or something... 


Also... I saw Kama sutra last night, and at one point she lifts her skirt
and stands over an incense pot to 'freshen herself'... Maybe someone could
get some dry ice, and if not moving around too much, stand over a pot
of dry ice, for relief.  


keepin' cool,
Sarahj

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

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

Where oh where is the web page that has information on subscribing to this list?

Margo

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From owner-h-costume@indra.com  Mon Jul 26 13:47:38 1999
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Date: Mon, 26 Jul 1999 14:46:52 -0500
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-Poster: Paula Hanna <phanna@tpcgi.com>

It's this list here, Margo.

http://lists.ansteorra.org/lists.html

---

Paula

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Date: Mon, 26 Jul 1999 15:19:02 -0400
To: h-costume@indra.com
From: Terry Theisen <ttheisen@ezwv.com>
Subject: Re: H-COST: Hot reenactors
In-Reply-To: <Pine.BSF.3.96.990726130802.9032A-100000@dias.net>
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-Poster: Terry Theisen <ttheisen@ezwv.com>

>Also... I saw Kama sutra last night, and at one point she lifts her skirt
>and stands over an incense pot to 'freshen herself'... Maybe someone could
>get some dry ice, and if not moving around too much, stand over a pot
>of dry ice, for relief.  
>
Thank you. I now have a vision of a woman in full elizabethan, standing
next to the Sausage-on-a-Stick stand with wisps of smoke creeping from
beneath her skirt. Well, it would increase air circulation by keeping
people as far from her as possible.

Gen

 
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Date: Mon, 26 Jul 1999 14:33:31 -0500 (CDT)
From: ches <ches@io.com>
To: h-costume@indra.com
Subject: STOP! Re: H-COST: Hot reenactors
In-Reply-To: <3.0.5.32.19990726151902.008fe960@mail.ezwv.com>
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-Poster: ches <ches@io.com>

Ok folks this has gotten into that realm of TOO MUCH INFORMATION! Take
there rest of this part of the thread to private mail. Leave the rest of
it here under a new heading! :)

Sincerely,
F. Havas
ches@io.com

On Mon, 26 Jul 1999, Terry Theisen wrote:

> Date: Mon, 26 Jul 1999 15:19:02 -0400
> From: Terry Theisen <ttheisen@ezwv.com>
> Reply-To: h-costume@indra.com
> To: h-costume@indra.com
> Subject: Re: H-COST: Hot reenactors
> 
> 
> -Poster: Terry Theisen <ttheisen@ezwv.com>
> 
> >Also... I saw Kama sutra last night, and at one point she lifts her skirt
> >and stands over an incense pot to 'freshen herself'... Maybe someone could
> >get some dry ice, and if not moving around too much, stand over a pot
> >of dry ice, for relief.  
> >
> Thank you. I now have a vision of a woman in full elizabethan, standing
> next to the Sausage-on-a-Stick stand with wisps of smoke creeping from
> beneath her skirt. Well, it would increase air circulation by keeping
> people as far from her as possible.
> 
> Gen
> 
>  
>  _________________________________________________________________
>  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 Jul 26 14:43:28 1999
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Message-ID: <001601bed7a0$1f159580$663daccf@costume>
From: "Penny Ladnier" <penny.creative.outlets@erols.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: White wedding dresses
Date: Mon, 26 Jul 1999 15:50:28 -0400
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-Poster: "Penny Ladnier" <penny.creative.outlets@erols.com>

Candlelight is a beautiful color, especially for those of use who do not
like to wear stark white.  If you look at the wedding gowns on this page,
http://www.costumegallery.com/dresser.htm the first row second gown is a
candlelight color.  Then look at the second row second gown, it too, is a
candlelight color.  The dress on the second row fabric is similar to the
fabric on my gown.  Although the fabric on the second gown feels a whole lot
better than my 1970s version, it is Chinese translucent silk from 1902.
This fabric is the softest thing you could ever feel.   All of us who
displayed this gown could not keep our hands off the fabric.  Whoever
previously owned it, really preserved this gown well.  It is in perfect
condition.

My gown was a silk translucent chiffon overlay with a satin undershirt and
bodice.

Working on these wedding dresses was my favorite part of my internship.
Second best was the photo shoot with the bustle dresses.   I think I must be
obsessed with gown trains.

Later... Penny

>Sounds absolutely lovely, Penny -- is the naterial translucent, or a
>color? Thanks, Barbara in Madison
> _________________________________________________________________
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> with the message UNSUBSCRIBE H-COSTUME
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From owner-h-costume@indra.com  Mon Jul 26 15:46:04 1999
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Date: Mon, 26 Jul 1999 15:56:19 -0600
To: h-costume@indra.com
From: Barbara Wolff <bjwolff@facstaff.wisc.edu>
Subject: Re: H-COST: White wedding dresses
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-Poster: Barbara Wolff <bjwolff@facstaff.wisc.edu>

>Hi Penny --


>The dress on the second row fabric is similar to the
>fabric on my gown.  Although the fabric on the second gown feels a whole lot
>better than my 1970s version, it is Chinese translucent silk from 1902.


Exquisite! I can just imagine how the fabric must be to the touch, 
and how wonderful your own dress must be! (Whoever said A pix is 
worth 1,000 words surely was on to something, no?) Thanks for the 
insight -- Barbara in Madison

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From: "Michelle" <mandrake@mypad.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: pattern out of print
Date: Mon, 26 Jul 1999 14:09:44 -0700
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-Poster: "Michelle" <mandrake@mypad.com>


-----Original Message-----
From: Hope H. Dunlap <hhdunlap@msn.com>
To: h-costume@indra.com <h-costume@indra.com>
Date: Friday, July 23, 1999 11:29 AM
Subject: RE: H-COST: pattern out of print


Hope,
>Thank you for your help in locating this pattern for me.
      I called Amazon.  The also said that it was no longer in print.  They
are out of stock too. Are there any other catalogs out there that may still
have one?
    The people at Amazon were much nicer about it than Alter Years, as they
provided me with an address to write the museum. (Alter Years said they
didn't know what it was when I asked them for the address.)

Michelle
>-Poster: "Hope H. Dunlap" <hhdunlap@msn.com>
>
>Amazon Drygoods of Davenport Iowa has the Escape the
>Revolution dress pictured in their current catalogue, maybe
>still available at
>
>info@amazondrygoods.com
>1-319-322-4138 Questions
>1-319-322-6800 Business
>1-800-798-7979 Orders
>1-319-322-4003 Fax
>
>They keep things available until their inventory runs out.
>
>Hope H. Dunlap
>
>
>
>
>-----Original Message-----
>From: owner-h-costume@indra.com
>[mailto:owner-h-costume@indra.com]On Behalf Of Michelle
>Sent: Monday, July 19, 1999 5:16 PM
>To: costume list
>Subject: H-COST: pattern out of print
>
>
>In the catalog I meantioned earlier, there was a pattern I
>wanted a copy of.  It was put together by a museum out of
>London (unfortunately, I don't know which one).  The
>pattern, which is actually supposed to be a lot of
>information, along with a scale model of the dress, is no
>longer in print.  They  were calling it the "Escape the
>Revolution" dress.  Circa the French Revolution.  A picture
>of the back side of it is in the catalog.
>     Does anyone have this pattern?  I am dying to see what
>the front looks like and would like to purchase a copy.
>
>   Michelle
>
>
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME

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-Poster: seamstrix@juno.com



On Sun, 25 Jul 1999 02:23:31 -0400 (EDT) Carol Mitchell 
>Your idea sounds great. We were at the RennFaire all day today-wish 
>we'd had something like it.

Well Carol, and everyone, at Bristol Faire this weekend, the court
actually did have frozen Freezer Pops (the long, thin, kind in the
plastic) in our clothing at various points. The only problem being that
we were so hot that we'd melt them in a matter of minutes. If you took
them out at just the right point tho, they were melted but still cool and
you could drink them for extra liquid before going and getting another
one. Both the ladies and the gentlemen were using them in this manner. 

Karen
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-Poster: RobesOf@aol.com

<< The also said that it was no longer in print.  They
 are out of stock too. Are there any other catalogs out there that may still
 have one? >>

What pattern are you referring to?  Maybe I can help.

Erica
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From owner-h-costume@indra.com  Mon Jul 26 17:51:21 1999
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Date: Mon, 26 Jul 1999 19:03:34 -0400
To: h-costume@indra.com
From: Sue Shatto <Sue@VictorianMillinery.com>
Subject: Re: H-COST: Mc Cardell gloves
In-Reply-To: <Pine.LNX.4.04.9907261302450.25145-100000@eris.io.com>
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-Poster: Sue Shatto <Sue@VictorianMillinery.com>

Ches,
	Someone may be more able to speak of Claire Mc Cardell than me. (I have no
training in the fashion industry)  But here goes my meeger attempt. (Also,
I am on the Board of Directors for our Historical Society and claire grew
up and went to college in Frederick.)  The Maryland Historical Society has
or had? a terrific show on her this year.  Also I attended the special Mc
Cardell introspective at the FIT in NY. a few years ago.
She was (and is) considered the first designer that took comfort and
function into account in her designs for women. Lots of playsuits, bathing
suits, sarong treatments, circular skirts,atheletic wear (such as ski
clothing). Also sunglasses, shoes, purses, an apron w/ detachable oven
mitts, etc.
	There is really nice book that just came out this year.  You can find it
in your library.  She died in the 50's of cancer.  She was very prolific
for such a short life.
	I hope someone will help me out here... I don't know too much more to tell
you.




At 01:03 PM 7/26/99 -0500, you wrote:
>
>-Poster: ches <ches@io.com>
>
>can you tell us more about who mccardell is and why the gloves are
>special? :)
>
>Sincerely,
>F. Havas
>ches@io.com
>
>On Mon, 26 Jul 1999, Sue Shatto wrote:
>
>> Date: Mon, 26 Jul 1999 12:49:32 -0400
>> From: Sue Shatto <Sue@VictorianMillinery.com>
>> Reply-To: h-costume@indra.com
>> To: h-costume@indra.com
>> Subject: H-COST: Mc Cardell gloves
>> 
>> 
>> -Poster: Sue Shatto <Sue@VictorianMillinery.com>
>> 
>> Dear List,
>> 
>> 	I can get Claire Mc Cardell gloves.  They are never-worn in the bag that
>> has the name and logo.  There is red and white large checked gingham and
>> black and white smaller checked gingham.  The gingham is on the outside
>> and white on the palm side.They are all the same size, which is 6 1/2.If
>> I have enough orders I can get them for $18 each.  Let me know if
>> interested and how many pairs you would like.  I will wait until
>> Wednesday evening to see if <italic>I have enough orders to make it
>> worthwhile.
>> 
>> </italic>
>> 
>> 
>> 
>> Cordially,
>> 
>> 
>> Sue Shatto
>> 
>> 
>> Sue@VictorianMillinery.com
>> 
>> http://www.VictorianMillinery.com
>> 
>> 
>>  _________________________________________________________________
>>  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
>
>

Cordially,

Sue Shatto

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

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To: h-costume-digest@indra.com
Subject: H-COST: loking for pattern help
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Date: Mon, 26 Jul 1999 16:14:53 PDT
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-Poster: tylerweiss@excite.com

> 
>    Michelle
> 
> You can use them anywhere you would use ice.  And re-use thme over and
> over.  
> 
I'm looking for a pattern for a ladies 1890's Norfolk shooting jacet.  Can
any onegive me any advic where to find one.  Thanks oodles

Tyler




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From: Carol Mitchell <carolineri@yahoo.com>
Subject: Re: H-COST:Where is the list?
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-Poster: Carol Mitchell <carolineri@yahoo.com>



--- Margo Anderson <margo@directcon.net> wrote:
> 
> -Poster: Margo Anderson <margo@directcon.net>
> 
> Where oh where is the web page that has information
> on subscribing to this list?
> 
> Margo
> 
> Use the same address as for unsubscribing, which is sent with each message.
Carol Mitchell
> _________________________________________________________________
>  To leave this mailing list, send mail to
> majordomo@indra.com
>  with the message UNSUBSCRIBE H-COSTUME
> 
<BR>Carol Mitchell President Chicagoland Costumer's Guild<hr size=1><b>Do You Yahoo!?</b><br>Get your free @yahoo.com address at <a href="http://mail.yahoo.com/">Yahoo! Mail</a>.<br>

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From: Carol Mitchell <carolineri@yahoo.com>
Subject: Re: H-COST: Mc Cardell gloves
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-Poster: Carol Mitchell <carolineri@yahoo.com>


What years were those gloves popular?
Carol Mitchell
-
===
Carol Mitchell President Chicagoland Costumer's Guild
_________________________________________________________
Do You Yahoo!?
Get your free @yahoo.com address at http://mail.yahoo.com

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From owner-h-costume@indra.com  Mon Jul 26 22:10:04 1999
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Date: Mon, 26 Jul 1999 23:20:45 -0400
To: h-costume@indra.com
From: Sue Shatto <Sue@VictorianMillinery.com>
Subject: Re: H-COST: Mc Cardell gloves
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-Poster: Sue Shatto <Sue@VictorianMillinery.com>

I imagine they were late 40's, possibly early 50's.

At 08:25 PM 7/26/99 -0400, you wrote:
>
>-Poster: Carol Mitchell <carolineri@yahoo.com>
>
>
>What years were those gloves popular?
>Carol Mitchell
>-
>===
>Carol Mitchell President Chicagoland Costumer's Guild
>_________________________________________________________
>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
>
>

Cordially,

Sue Shatto

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

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From owner-h-costume@indra.com  Mon Jul 26 22:21:12 1999
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-Poster: Margo Anderson <margo@directcon.net>


>> 
>> Use the same address as for unsubscribing, which is sent with each message.
>Carol Mitchell
>
Right, I know that will work.  I should have been more clear:  I was looking
for a Web page to which I could link that would have the various commands
such as subscribe, subscribe digest, unsubscribe, etc, along with a
description of the list and its mission, guidleines, charter, or what have
you.  Is this anywhere on the Web?

Margo

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From owner-h-costume@indra.com  Tue Jul 27 00:18:38 1999
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	 Mon, 26 Jul 1999 22:25:08 -0700
From: "Hope H. Dunlap" <hhdunlap@msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: pattern out of print
Date: Tue, 27 Jul 1999 01:30:56 -0400
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-Poster: "Hope H. Dunlap" <hhdunlap@msn.com>

If someone is selling an old copy of it on the Web, then
doing a search on www.metacrawler.com might turn it up.  Use
the actual name on the pattern package.  Other than that , I
really dont know.  The front was extremely plain,
disapointing as I remember.  You might be able to recreate
it--the back wasn't that hard--using similar dress in a book
like Arnold's patterns of fashion or somesuch. Good luck.
(I liked it too, but never bought it.)
Hope H. Dunlap



> -----Original Message-----
> From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
> Behalf Of Michelle
> Sent: Monday, July 26, 1999 5:10 PM
> To: h-costume@indra.com
> Subject: Re: H-COST: pattern out of print
>
>
>
> -Poster: "Michelle" <mandrake@mypad.com>
>
>
> -----Original Message-----
> From: Hope H. Dunlap <hhdunlap@msn.com>
> To: h-costume@indra.com <h-costume@indra.com>
> Date: Friday, July 23, 1999 11:29 AM
> Subject: RE: H-COST: pattern out of print
>
>
> Hope,
> >Thank you for your help in locating this pattern for me.
>       I called Amazon.  The also said that it was no
longer
> in print.  They
> are out of stock too. Are there any other catalogs out
there
> that may still
> have one?
>     The people at Amazon were much nicer about it than
Alter
> Years, as they
> provided me with an address to write the museum. (Alter
Years
> said they
> didn't know what it was when I asked them for the
address.)
>
> Michelle
> >-Poster: "Hope H. Dunlap" <hhdunlap@msn.com>
> >
> >Amazon Drygoods of Davenport Iowa has the Escape the
> >Revolution dress pictured in their current catalogue,
maybe
> >still available at
> >
> >info@amazondrygoods.com
> >1-319-322-4138 Questions
> >1-319-322-6800 Business
> >1-800-798-7979 Orders
> >1-319-322-4003 Fax
> >
> >They keep things available until their inventory runs
out.
> >
> >Hope H. Dunlap
> >
> >
> >
> >
> >-----Original Message-----
> >From: owner-h-costume@indra.com
> >[mailto:owner-h-costume@indra.com]On Behalf Of Michelle
> >Sent: Monday, July 19, 1999 5:16 PM
> >To: costume list
> >Subject: H-COST: pattern out of print
> >
> >
> >In the catalog I meantioned earlier, there was a pattern
I
> >wanted a copy of.  It was put together by a museum out of
> >London (unfortunately, I don't know which one).  The
> >pattern, which is actually supposed to be a lot of
> >information, along with a scale model of the dress, is no
> >longer in print.  They  were calling it the "Escape the
> >Revolution" dress.  Circa the French Revolution.  A
picture
> >of the back side of it is in the catalog.
> >     Does anyone have this pattern?  I am dying to see
what
> >the front looks like and would like to purchase a copy.
> >
> >   Michelle
> >
> >
> >
____________________________________________________________
_____
> > 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  Tue Jul 27 01:05:23 1999
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Date: Mon, 26 Jul 1999 14:21:18 +0000
From: Dietmar <dietmar@pacbell.net>
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-Poster: Dietmar <dietmar@pacbell.net>

Greetings,

Sarahj wrote:

> Maybe someone could get some dry ice, and if not moving around
> too much, stand over a pot of dry ice, for relief.

Heat rises and cold sinks, so this wouldn't be too effective. However, you
could make a 'cold shower' (<tm> and patent pending ;-) by putting the tub of
ice on an overhead stand and making a round shower curtain arrangement to keep
the cool in. Simply step in and let the cool shower down on you.

Just a thought,

Dietmar


"Victory or Defeat rests in God's hands;
 over Honor, we ourselves are Lord and Master."

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From: "Michelle" <mandrake@mypad.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: pattern out of print
Date: Mon, 26 Jul 1999 23:21:09 -0700
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-Poster: "Michelle" <mandrake@mypad.com>


-----Original Message-----
From: RobesOf@aol.com <RobesOf@aol.com>
To: h-costume@indra.com <h-costume@indra.com>
Date: Monday, July 26, 1999 3:03 PM
Subject: Re: H-COST: pattern out of print


>


Erica,

  Oops,  I thought it was in the message already from the previous posts.
Sorry.
    I am looking for a pattern, actually a packet of info with a pattern for
blowing up, not a full size.   It was put out by a museum in Europe.  They
are calling it the 'Escape the Revolution' dress.  It went out of print a
few years ago, so I have been told.  Wish I had known that then!

  I will try the link for a used copy as Hope suggested.  I didn't even know
that existed.  I am new to this web thing.

   Thank you all for your help and ideas.
          Michelle

>-Poster: RobesOf@aol.com
>
><< The also said that it was no longer in print.  They
> are out of stock too. Are there any other catalogs out there that may
still
> have one? >>
>
>What pattern are you referring to?  Maybe I can help.
>
>Erica
> _________________________________________________________________
> To leave this mailing list, send mail to majordomo@indra.com
> with the message UNSUBSCRIBE H-COSTUME

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Subject: H-COST: 15thC diagonal stripes (WAS: 15thC ponderings)
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-Poster: teddy1 <teddy1@mdx.ac.uk>


> > Frontispiece, THE DEBATE OF VIRTUE AND FORTUNE, c. 1460
> > Public Library, Leningrad
> >
> > And beneath that:
> >
> > "A diagonally striped (rayed) gown. There is a sense of gold threads
> > woven through all the fabrics. "
> >
> > So yes, the gown does look allegorical/fantastic. I would guess
> > that the woman in the striped dress is Fortune, since there is a
> > wheel behind her. I wonder if the stripes have any significance... 
>
> So, I'd say the image is a moral allegory, and Fortune's dress is striped
> in many colors (diagonally: at a (downward) angle) to symbolize her
> changing nature which in the end leads to decay. Virtue's gown is blue
> with gold... the color of the sky, and Virgin Mary.
> 
> Neither dress color needs to have anything to do with actual colors worn
> at the time.

I think somebody was asking about the diagonal stripes (in an 
earlier post that I didn't get around to replying to) being a period 
(15thC) thing and if they were woven diagonally or if the gown would 
be bias cut....?

I don't know about plain stripes, but there's a chasuble in the 
Victoria and Albert Museum (14th or early 15th century I think - I'm 
working from memory of seeing it once, several years ago) that is 
in a brocade with a very elaborate pattern of birds and flowers 
woven into it in diagonal stripes, the stripes angle down from left to 
right.  Light blue background, main pattern woven in the same 
colour (outline of birds and flowers) with the flowers themselves in 
several different colours.

So, diagonal stripes of sorts *were* woven and used around that 
period.  Also, I'm fairly certain I have noticed brocades in other 
paintings that are patterned in diagonals.... not that I could tell you 
which ones, offhand.

Hope this helps


Teddy
(Trustworthy Evil-Bunny of Destiny, part-time Knave and Creature of
air and darkness, apparently!)
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From owner-h-costume@indra.com  Tue Jul 27 14:39:29 1999
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-Poster: "R.L. Shep" <rlshep@jps.net>

Fred Struthers has set up a domain name for our website.
it is
www.rlshep.com
~!~ R.L.Shep
http://www.rlshep.com
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From owner-h-costume@indra.com  Tue Jul 27 18:34:38 1999
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Date: Tue, 27 Jul 1999 19:44:55 EDT
Subject: H-COST: electric dress form?
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-Poster: JPMcTeer@aol.com

recently someone mentioned

<<you can mould it to a
period shape as well. i've seen that there are similar devices out that
work with electricity: they get soft if plugged in, you put it on and
shape it, plug it out, and when it's cooled, it's stiff again. sounds
like a good thing to have... if only they weren't so awfully expensive!
salut,
pompadour>>

Does anyone know about these hot and cold dress forms?  I deal with corsets 
of different periods and this might be very useful.
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From owner-h-costume@indra.com  Tue Jul 27 18:36:21 1999
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Date: Tue, 27 Jul 1999 19:45:01 EDT
Subject: H-COST: leftover copyright thread
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-Poster: JPMcTeer@aol.com

In the great copyright debate, someone asked specifically about using slides 
in lecture programs, but I may have missed the answer.  

I also do lecture programs using slides I have taken at museums.  It would 
slow me down unbearably to mention the source of each image in a three-hour 
lecture, although I do have records of the sources the images come from.  I 
only speak at schools and non-profit organizations.  What problems should I 
be aware of?  

I do not make copies of my slides or lend them out to others.  Can I give 
them to a school when I stop giving lectures?

Thanks for any insights,
Joan
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From owner-h-costume@indra.com  Tue Jul 27 20:44:43 1999
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Date: Tue, 27 Jul 1999 18:53:25 -0700
From: Lavolta Press <lavolta@best.com>
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-Poster: Lavolta Press <lavolta@best.com>



JPMcTeer@aol.com wrote:

> -Poster: JPMcTeer@aol.com
>
> In the great copyright debate, someone asked specifically about using slides
> in lecture programs, but I may have missed the answer.
>
> I also do lecture programs using slides I have taken at museums.  It would
> slow me down unbearably to mention the source of each image in a three-hour
> lecture, although I do have records of the sources the images come from.  I
> only speak at schools and non-profit organizations.  What problems should I
> be aware of?
>
> I do not make copies of my slides or lend them out to others.  Can I give
> them to a school when I stop giving lectures?

As far as I know, your use of these slides, and how you should credit the
museums, depends on the policies of the specific museum.  So you need to ask
them.

Fran

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


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From owner-h-costume@indra.com  Tue Jul 27 21:36:28 1999
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-Poster: Natekakar@aol.com

 
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From owner-h-costume@indra.com  Wed Jul 28 03:24:51 1999
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-Poster: Elizabeth Lear <eliz>

<Right, I know that will work.  I should have been more clear:  I was looking
<for a Web page to which I could link that would have the various commands
<such as subscribe, subscribe digest, unsubscribe, etc, along with a
<description of the list and its mission, guidleines, charter, or what have
<you.  Is this anywhere on the Web?
<
<Margo

Here you go:

	http://www.neosoft.com/internet/paml/groups.H/h-costume.html

It's even accurate, if you ignore the one error of listing my old
email address (do NOT ever send anything to me @world.std.com - that
account died 18 months ago)

						...eliz

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From owner-h-costume@indra.com  Wed Jul 28 07:11:40 1999
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From: pulliam@acadia.net (Deborah Pulliam)
Subject: H-COST: book for sale
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-Poster: pulliam@acadia.net (Deborah Pulliam)

 For sale:

 Autobiography and Correspondence of Mrs. Delany, revised from Lady
Llanover's Edition, and edited by Sarah Chauncey Woolsey.
 Two volumes, Boston: Roberts Brothers, 1880. Excellent condition.

 E-mail me *privately*  for more details, including price.

 Deborah

 For those of you not familiar with her, Mrs. Delany was born in 1700 to
the minor aristocracy of England, and lived a very long and active life.
She married several times, was well known at the English court, and was an
intimate of Queen Charlotte (wife of George III). She was also well known
for her handwork, including knotting. She also talks about clothing and
fabrics in many of her letters, and describes what was worn at various
court functions, including coronations.


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From owner-h-costume@indra.com  Wed Jul 28 07:34:08 1999
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From: Sarah Toney <sarah_and_pooh@yahoo.com>
Subject: H-COST: Embroidery
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-Poster: Sarah Toney <sarah_and_pooh@yahoo.com>

I am looking for a good resource book on medieval
embroidery... both patterns and "how-to"... does
anyone have any suggestions on what book I should get?

Thanks!

Sarah


_____________________________________________________________
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From owner-h-costume@indra.com  Wed Jul 28 15:01:09 1999
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Date: Wed, 28 Jul 1999 15:05:19 -0700
From: Meribeth McCombs <meribetha@zebra.net>
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-Poster: Meribeth McCombs <meribetha@zebra.net>

Hello again everyone...

Now that I've mostly recovered from having my baby, I've run into a
small problem.  How does one conceal a diaper bag at a living history
event where everything else is period?  Anyone have ideas for a Civil
war era solution?

MeriBeth
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From owner-h-costume@indra.com  Wed Jul 28 15:19:06 1999
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	 Wed, 28 Jul 1999 13:27:56 -0700
From: "Hope H. Dunlap" <hhdunlap@msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Strange Living History Question
Date: Wed, 28 Jul 1999 16:35:05 -0400
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-Poster: "Hope H. Dunlap" <hhdunlap@msn.com>

The carpet bag would be the period substitute, and they are
still available from some importers of Turkish and
mid-eastern rugs.  They may be a little expensive and heavy
for your purposes.  A small wicker suitcase or soft oval
folded two-handled basket of some kind might be quite
appropriate, too. Even a quarter or eighth bushel
fruit/vegetable basket with a cloth over the contents would
pass muster.  These are readily available from places like
Pier I, but check some period plates and drawings for style
precision.  Immigrants were plentiful at that time, and they
carried satchels and bundles in a variety of styles.

Hope H. Dunlap



> -----Original Message-----
> From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
> Behalf Of Meribeth McCombs
> Sent: Wednesday, July 28, 1999 6:05 PM
> To: h-costume@indra.com
> Subject: H-COST: Strange Living History Question
>
>
>
> -Poster: Meribeth McCombs <meribetha@zebra.net>
>
> Hello again everyone...
>
> Now that I've mostly recovered from having my baby, I've
run into a
> small problem.  How does one conceal a diaper bag at a
living history
> event where everything else is period?  Anyone have ideas
for a Civil
> war era solution?
>
> MeriBeth
>
____________________________________________________________
_____
>  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 Jul 28 15:52:39 1999
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Date: Wed, 28 Jul 1999 16:02:05 -0500
From: Kat & Kent <kdyer@home.com>
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-Poster: Kat & Kent <kdyer@home.com>

When I was hauling babies around the SCA I would put their diapering
needs into a cloth bag with a long enough string I could carry it over
my shoulder...and Elizabeth Lee Designs carries a sling pattern so you
could make a sling using metal or wood circle pieces rather than
plastic.

Kat
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From owner-h-costume@indra.com  Wed Jul 28 15:56:43 1999
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From: "Michelle" <mandrake@mypad.com>
To: <h-costume@indra.com>
Subject: H-COST: Diaper bags
Date: Wed, 28 Jul 1999 14:06:57 -0700
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-Poster: "Michelle" <mandrake@mypad.com>

When I had my first child and wanted to take her with me to a Ren I ran into
this problem too.  Having a child makes you go accustom to carrying a lot of
stuff.
    I have a homemade bag.  It has a large flap to cover the opening and has
no real closure.  It's straps are extra long so that you put it over your
head as well as a shoulder, this keeps it from falling down while wrestling
with the kids.  I hope my description is clear enough for you to visualize.
     A version of this type of bag is pictured on a pattern from Period
Patterns.  As long as it is from an earlier, not later, time period it is
usable, right?
     I like the carpet bag idea that Hope mentioned but, knowing Pier 1 and
those types of places, it sounds very costly.  A homemade version may not
set you back as far.  Those dresses are enough to make you take out loans!
       Michelle
-----Original Message-----
From: Meribeth McCombs <meribetha@zebra.net>
To: h-costume@indra.com <h-costume@indra.com>
Date: Wednesday, July 28, 1999 1:04 PM
Subject: H-COST: Strange Living History Question


>
>-Poster: Meribeth McCombs <meribetha@zebra.net>
>
>Hello again everyone...
>
>Now that I've mostly recovered from having my baby, I've run into a
>small problem.  How does one conceal a diaper bag at a living history
>event where everything else is period?  Anyone have ideas for a Civil
>war era solution?
>
>MeriBeth
> _________________________________________________________________
> 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 Jul 28 17:02:59 1999
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From: "Hope H. Dunlap" <hhdunlap@msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Diaper bags
Date: Wed, 28 Jul 1999 18:18:33 -0400
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-Poster: "Hope H. Dunlap" <hhdunlap@msn.com>

As with any garment, there is a right look for one's
economic station.  A Southern lady would have her maid
trail, carrying the necessities.  A slave would throw the
works, including apparatus, toys, and various siblings into
her cotton picking sack. A farm wife would carry it in a
fruit-picking basket, and a Northern lady would carry it
wrapped in brown paper and tied with string like a daily
purchase from some town shop.  Women who traveled carried a
"necessary" bag  (while and their trunks followed) and that
could be the basis for your carry-all.  An immigrant would
sew a fabric covering around her bundle of possessions, tie
it with rope and hoist it on her back while she carried her
infant.    In Louisa May Alcott's books, didn't Jo carry a
net (string) bag for her purchases?  I would want a wooden
pushcart, dog-cart, or  wicker perambulator to hold both
baby and gear!  Whatever you choose, you will make a
charming picture!

Hope H. Dunlap



> -----Original Message-----
> From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
> Behalf Of Michelle
> Sent: Wednesday, July 28, 1999 5:07 PM
> To: h-costume@indra.com
> Subject: H-COST: Diaper bags
>
>
>
> -Poster: "Michelle" <mandrake@mypad.com>
>
> When I had my first child and wanted to take her with me
to a
> Ren I ran into
> this problem too.  Having a child makes you go accustom to
> carrying a lot of
> stuff.
>     I have a homemade bag.  It has a large flap to cover
the
> opening and has
> no real closure.  It's straps are extra long so that you
put
> it over your
> head as well as a shoulder, this keeps it from falling
down
> while wrestling
> with the kids.  I hope my description is clear enough for
you
> to visualize.
>      A version of this type of bag is pictured on a
pattern
> from Period
> Patterns.  As long as it is from an earlier, not later,
time
> period it is
> usable, right?
>      I like the carpet bag idea that Hope mentioned but,
> knowing Pier 1 and
> those types of places, it sounds very costly.  A homemade
> version may not
> set you back as far.  Those dresses are enough to make you
> take out loans!
>        Michelle
> -----Original Message-----
> From: Meribeth McCombs <meribetha@zebra.net>
> To: h-costume@indra.com <h-costume@indra.com>
> Date: Wednesday, July 28, 1999 1:04 PM
> Subject: H-COST: Strange Living History Question
>
>
> >
> >-Poster: Meribeth McCombs <meribetha@zebra.net>
> >
> >Hello again everyone...
> >
> >Now that I've mostly recovered from having my baby, I've
run into a
> >small problem.  How does one conceal a diaper bag at a
living history
> >event where everything else is period?  Anyone have ideas
for a Civil
> >war era solution?
> >
> >MeriBeth
> >
____________________________________________________________
_____
> > 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  Wed Jul 28 22:03:19 1999
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-Poster: Margo Anderson <margo@directcon.net>

At 03:05 PM 7/28/99 -0700, you wrote:
>
>-Poster: Meribeth McCombs <meribetha@zebra.net>
>
>Hello again everyone...
>
>Now that I've mostly recovered from having my baby, I've run into a
>small problem.  How does one conceal a diaper bag at a living history
>event where everything else is period?  Anyone have ideas for a Civil
>war era solution?

Ditch the diaper bag and get a large basket.  If you're more organized that
I was, you'll make a cloth liner for it with lots of little pockets.

Margo

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From owner-h-costume@indra.com  Wed Jul 28 22:58:42 1999
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Date: Wed, 28 Jul 1999 19:27:25 -0700
From: "David S. Mallinak" <matchlck@erols.com>
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Subject: Re: H-COST: Sailor suit fly
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-Poster: "David S. Mallinak" <matchlck@erols.com>



RobesOf@aol.com wrote:

> Someone has asked me to make a boy's sailor suit in a man's size.  He is
> going for accuracy and I have researched and designed an appropriate suit.
> The problem is he has mentioned several times about the "fly" and I am afraid
> I may not be understanding him.  Here is what he wrote:

> Is this just a regular fly or is it something different?  Does anyone have a
> picture or a different explanation for what this gentleman may be looking
> for?  I am losing my mind with this small detail and want to get it right.
> Please help!

Sound like  a "fall front".  (as oppose to a "french front" or modern front
closure)

Find a copy of "Rural Pennsylvania Clothing" by Ellen J. Gehret, chapter 3.2
Breeches pg.125.  This will provide patterns and the best instruction on its
construction.

David S. Mallinak
matchlck@erols.com


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From owner-h-costume@indra.com  Wed Jul 28 23:01:30 1999
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Subject: Re: H-COST: ACW Diaper Bags
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-Poster: AliaClaire@aol.com

For Civil War times, go with a carpetbag from The Carpetbagger. He's 
expensive, but he's so incredibly researched- and he'll share everything with 
you if you ask. His bags hold up though rain, sleet, snow, and all the other 
insane weather we've gone through (and mine still looks good!). And it's 
authentic as you can get. You can reach him at 

The Carpetbagger
7805 Mainstreet 
Middletown, VA 22645
540-869-7732

And I believe there's a 10% discount if you tell him you're a reenactor.

-Alison Stacy
AliaClaire@aol.com
Medina, Ohio
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From owner-h-costume@indra.com  Thu Jul 29 08:56:25 1999
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Date: Thu, 29 Jul 1999 09:05:30 -0500 (CDT)
To: Multiple recipients of list H-COSTUME <h-costume@indra.com>
cc: SCA-GARB@LIST.UVM.EDU
Subject: H-COST: flaminco dress
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-Poster: ches@io.com

I do not remember who it was but for the person that is looking for
flaminco dress patterns here is a lead.

Vogue has a pattern that may fit the bill. Vogue 7644 it is an old pattern
number so it may no longer be avaliable but here it is on ebay.

http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=135419461

Sincerely,
F. Havas
ches@io.com

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From owner-h-costume@indra.com  Thu Jul 29 09:31:38 1999
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Date: Thu, 29 Jul 1999 10:40:59 EDT
Subject: H-COST: re: candlelight
To: h-costume-digest@indra.com
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-Poster: Gaelscot@aol.com



For my wedding, I wore my mother-in-law's gown. It was a gorgeous satin gown 
from the 50s, with a vaguely baroque cut. Anyway, it was originally white but 
had changed to ivory over 30 years. The new veil I bought (an exact match) 
was candlelight. It's a very soft ivory color, so light that it looks white 
when it's not next to anything really white. 

Gail Finke

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From owner-h-costume@indra.com  Thu Jul 29 09:59:27 1999
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Date: Thu, 29 Jul 1999 11:08:36 EDT
Subject: H-COST: fabric request
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-Poster: DELTAYLOR@aol.com

I would like to find some gingham with one inch checks, color unimportant, to 
follow the instructions in a new book called "Bodymapping".  I want to make a 
pattern on my body that can then be used to make all kinds of clothing 
including the Italian Ren dress I have been dreaming about.
Dianne in TN
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From owner-h-costume@indra.com  Thu Jul 29 10:12:28 1999
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-Poster: Paula Hanna <phanna@tpcgi.com>

I know that over near the interfacing in most cloth stores they have a peylon product that is
divided into one inch squares. It's dirt cheap, too. I use it all the time to make patterns from.
Maybe this could be of use?

Paula

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From owner-h-costume@indra.com  Thu Jul 29 10:19:35 1999
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From: "John Page" <kdp@tiac.net>
To: <h-costume@indra.com>
Subject: Re: H-COST: Strange Living History Question
Date: Thu, 29 Jul 1999 09:00:23 -0400
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-Poster: "John Page" <kdp@tiac.net>

>  How does one conceal a diaper bag at a living history
> event where everything else is period?  

A large picnic basket works, so does a fabric workbag.  Ditto a carpet bag.

Kristin Page
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From owner-h-costume@indra.com  Thu Jul 29 10:49:08 1999
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Date: Thu, 29 Jul 1999 11:59:18 -0400 (EDT)
From: Parsla Liepa <parsla@engin.umich.edu>
To: h-costume@indra.net
Subject: H-COST: Copyright Myths
Message-ID: <Pine.SOL.4.02.9907291153200.8216-100000@plaid.engin.umich.edu>
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-Poster: Parsla Liepa <parsla@engin.umich.edu>


Since the isue of copyrights seems to rear its head on this list time and
again, I thought I would post this web page that I found.  

10 Big Myths about Copyright Explained
http://www.templetons.com/brad/copymyths.html


    Parsla

	Vita brevis est, saxulum edeste.
*****************************************************************************

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From owner-h-costume@indra.com  Thu Jul 29 11:34:17 1999
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-Poster: Margo Anderson <margo@directcon.net>

At 11:08 AM 7/29/99 EDT, you wrote:
>
>-Poster: DELTAYLOR@aol.com
>
>I would like to find some gingham with one inch checks, color unimportant, to 
>follow the instructions in a new book called "Bodymapping".  I want to make a 
>pattern on my body that can then be used to make all kinds of clothing 
>including the Italian Ren dress I have been dreaming about.
>Dianne in TN

Where have you looked?  Just about any fabric store carries gingham.  It's
often with the kid's decorating fabrics.

If you can't find 1" checks, try 1/4".  It works even better, IMHO, because
you can make more minute markings and adjustments. 


Margo

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From owner-h-costume@indra.com  Thu Jul 29 12:02:28 1999
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From: "Hope H. Dunlap" <hhdunlap@msn.com>
To: <h-costume@indra.com>
Subject: H-COST: RE: E-mail, intage patterns. 
Date: Thu, 29 Jul 1999 13:17:44 -0400
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-Poster: "Hope H. Dunlap" <hhdunlap@msn.com>

Dear Rowena,

You might want to consider signing up for a free e-mail
account at metacrawler, yahoo, or hotmail to name just a
few.  This is the second time in a year that your server has
been kaput for an extended period.

Link below to e-bay vintage patterns--very extensive
site--click on the vintage patterns link (small) near the
top of the page, then bookmark the master site.  It's fun!

Catch ya later!
Love, Hope




> -----Original Message-----
> From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
> Behalf Of ches@io.com
> Sent: Thursday, July 29, 1999 10:06 AM
> To: Multiple recipients of list H-COSTUME
> Cc: SCA-GARB@LIST.UVM.EDU
> Subject: H-COST: flaminco dress
>
>
>
> -Poster: ches@io.com
>
> I do not remember who it was but for the person that is
looking for
> flaminco dress patterns here is a lead.
>
> Vogue has a pattern that may fit the bill. Vogue 7644 it
is
> an old pattern
> number so it may no longer be avaliable but here it is on
ebay.
>
>
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=13541
9461
>
> Sincerely,
> F. Havas
> ches@io.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  Thu Jul 29 12:31:13 1999
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X-Mailer: Microsoft Outlook Express for Macintosh - 4.0c (197) 
Date: Thu, 29 Jul 1999 10:43:11 -0700
Subject: Re: H-COST: Copyright Myths
From: "R.L. Shep" <rlshep@jps.net>
To: h-costume@indra.com
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-Poster: "R.L. Shep" <rlshep@jps.net>

This is a very interesting discussion on the website mentioned.
I urge everyone who has any notion of reproducing something - in terms of
printed material - to read it and learn from it.
~!~ R.L.Shep
http://www.rlshep.com

----------
>From: Parsla Liepa <parsla@engin.umich.edu>
>To: h-costume@indra.net
>Subject: H-COST: Copyright Myths
>Date: Thu, Jul 29, 1999, 8:59 AM
>

>
>-Poster: Parsla Liepa <parsla@engin.umich.edu>
>
>
>Since the isue of copyrights seems to rear its head on this list time and
>again, I thought I would post this web page that I found.  
>
>10 Big Myths about Copyright Explained
>http://www.templetons.com/brad/copymyths.html
>
>
>    Parsla
>
> Vita brevis est, saxulum edeste.
>***************************************************************************
**
>
> _________________________________________________________________
> 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 Jul 29 15:36:55 1999
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From: "Michelle" <mandrake@mypad.com>
To: <h-costume@indra.com>
Subject: Re: H-COST: pattern out of print
Date: Thu, 29 Jul 1999 13:47:32 -0700
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-Poster: "Michelle" <mandrake@mypad.com>

I still haven't managed to track down a copy of the pattern (escape the
revolution).  Alter Years and Amazon no longer have any in stock.
   I tried Hope's idea with the internet search and it didn't come up there
either.

    Would everyone be so kind as to keep their eyes and ears open?  Please
let me know if one surfaces somewhere.

  Thank you all for your help.
      Michelle

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Date: Thu, 29 Jul 1999 22:56:35 +0200
To: h-costume@indra.com
From: Pompadour <marquise_de_pompadour@gmx.net>
Subject: Re: H-COST: Copyright Myths
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-Poster: Pompadour <marquise_de_pompadour@gmx.net>

--=====================_6845373==_.ALT
Content-Type: text/plain; charset="us-ascii"

At 10:43 29.07.99 -0700, you wrote:

>This is a very interesting discussion on the website mentioned.
>I urge everyone who has any notion of reproducing something - in terms of
>printed material - to read it and learn from it.

ye-e-e-s... i couldn't help but think of certain purveyors of historic costume
patterns and costumes whose line drawings of the clothes in question look as
thought they'd been traced off the drawings in the arnold books... and
according to the copyright site, that's obviously a copyright infringement.

salut,
pompadour
--=====================_6845373==_.ALT
Content-Type: text/html; charset="us-ascii"

<html>
<font size=3>At 10:43 29.07.99 -0700, you wrote:<br>
<br>
&gt;This is a very interesting discussion on the website mentioned.<br>
&gt;I urge everyone who has any notion of reproducing something - in
terms of<br>
&gt;printed material - to read it and learn from it.<br>
<br>
ye-e-e-s... i couldn't help but think of certain purveyors of historic
costume patterns and costumes whose line drawings of the clothes in
question look as thought they'd been traced off the drawings in the
arnold books... and according to the copyright site, that's obviously a
copyright infringement.<br>
<br>
salut,<br>
pompadour</font></html>

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From: rio@austin.rr.com (StrangeGirl)
To: h-costume@indra.com
Subject: Re: H-COST: pattern out of print
Date: Thu, 29 Jul 1999 21:08:49 GMT
Organization: The Corner of my Desk
Message-ID: <37aec197.113159731@smtp-server.austin.rr.com>
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-Poster: rio@austin.rr.com (StrangeGirl)

On Thu, 29 Jul 1999 13:47:32 -0700, you wrote:

>
>-Poster: "Michelle" <mandrake@mypad.com>
>
>I still haven't managed to track down a copy of the pattern (escape the
>revolution).  Alter Years and Amazon no longer have any in stock.
>   I tried Hope's idea with the internet search and it didn't come up there
>either.
>
>    Would everyone be so kind as to keep their eyes and ears open?  Please
>let me know if one surfaces somewhere.
>

Try Lacis!

If it's the same pattern, and I'm pretty sure it is, they have it in
their non-illustrated online catalog:
SP509  N. SOCIETY: #02 Drsss of Revolution, 1793  14.00 

Go to http://www.lacis.com/catalog/catalog.htm
click on catalog price list in the upper frame
scroll down to patterns in the side menu frame
click on 'misc patterns'
it's the 4th in the list.

You may want to call and ask if they have it in stock and if this is
indeed the pattern you are looking for.

I have a dim memory of the pattern description from reading the
envelope, and I think it is indeed the pattern, or a similar pattern.

Good luck.

Margery
"Do you have any files?"
"We're the government, of course we have files."
Millenium
{*to reply take spambegone from my reply-to address*}
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Date: Thu, 29 Jul 1999 17:59:14 EDT
Subject: Re: H-COST: Copyright Myths
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-Poster: RobesOf@aol.com


<< ye-e-e-s... i couldn't help but think of certain purveyors of historic 
costume
 patterns and costumes whose line drawings of the clothes in question look as
 thought they'd been traced off the drawings in the arnold books... and
 according to the copyright site, that's obviously a copyright infringement. 
>>

Although, I agree that tracing someone else's art is copyright infringement, 
I wanted to point out that this article is referring to written works, not 
art.  Art copyrights are a little different.  In fact, I will make a trip to 
the library tonight and post some wonderful excerpts from a book on copyright 
laws for artists for all on this list.  I seem to remember something written 
about changing the art at least 10% will make it a new work of art, a 
derivative work (but not the same as mentioned on the website).  Also, 
clothing designs fall into the utilitarian category, in which the designs 
themselves are not able to be copyrighted.  The sketch of the design is 
copyrighted.

Like I said, I will get the specifics for all to see, instead of trying to 
remember. I admit my memory isn't perfect.  Keep an eye out.

Erica
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From owner-h-costume@indra.com  Thu Jul 29 17:44:41 1999
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From: "L.D.Mundy (Editors-Heritage Matters Magazine)" <dave@wysewords.softnet.co.uk>
To: <h-costume@indra.com>
References: <508eba36.24d228b2@aol.com>
Subject: Re: H-COST: Copyright Myths
Date: Thu, 29 Jul 1999 23:48:30 +0100
Organization: Wysewords Cooperative
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-Poster: "L.D.Mundy (Editors-Heritage Matters Magazine)" <dave@wysewords.softnet.co.uk>

As there have been so many recent changes ; I would suggest thta nybody
wanting to find out what the current situation is to get hold of the current
copy of both the Freelance Photographers yearbook and the Writers and
Artists yearbook, both excellent although they occasionally seem to differ
in opinion;
?
With British copyright law anything before 1996 is out of date and 1998 may
be abit questionable.
The section in the latter on the Copyright Licensing Agency will be of
interest to those in the academic world.
Dave
 > -Poster: RobesOf@aol.com
>
>
> << ye-e-e-s... i couldn't help but think of certain purveyors of historic
> costume
>  patterns and costumes whose line drawings of the clothes in question look
as
>  thought they'd been traced off the drawings in the arnold books... and
>  according to the copyright site, that's obviously a copyright
infringement.
> >>
>
> Although, I agree that tracing someone else's art is copyright
infringement,
> I wanted to point out that this article is referring to written works, not
> art.  Art copyrights are a little different.  In fact, I will make a trip
to
> the library tonight and post some wonderful excerpts from a book on
copyright
> laws for artists for all on this list.  I seem to remember something
written
> about changing the art at least 10% will make it a new work of art, a
> derivative work (but not the same as mentioned on the website).  Also,
> clothing designs fall into the utilitarian category, in which the designs
> themselves are not able to be copyrighted.  The sketch of the design is
> copyrighted.
>
> Like I said, I will get the specifics for all to see, instead of trying to
> remember. I admit my memory isn't perfect.  Keep an eye out.
>
> Erica
>  _________________________________________________________________
>  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 Jul 29 22:55:12 1999
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Date: Thu, 29 Jul 1999 23:03:10 -0500
From: Charlene Charette <charlene@flash.net>
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Subject: H-COST: OT:  Do you have "The medieval horse and its equipment"?
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-Poster: Charlene Charette <charlene@flash.net>

This is one of the books in the Medieval finds from excavations in
London series.  I know several people here have the whole series.

Can someone who has this book please check to see if there are any
horseshoe nails in it?  Email me at charlene@flash.net.

Thanks!
--Charlene

--
A conclusion is the place where you got tired of thinking.


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From: "L.D.Mundy (Editors-Heritage Matters Magazine)" <dave@wysewords.softnet.co.uk>
To: <h-costume@indra.com>
References: <37A123FE.5580906D@flash.net>
Subject: Re: H-COST: OT:  Do you have "The medieval horse and its equipment"?
Date: Fri, 30 Jul 1999 11:48:36 +0100
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-Poster: "L.D.Mundy (Editors-Heritage Matters Magazine)" <dave@wysewords.softnet.co.uk>


> -Poster: Charlene Charette <charlene@flash.net>
 > Can someone who has this book please check to see if there are any
> horseshoe nails in it?  Email me at charlene@flash.net.
>
  They are constantly referred to in the shoeing section and illustrated.
there is also a photo of part of a shoe with two nails;Other than in that
context  they  are not greatly covered.
Dave

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From: KATHARINE WHISLER <KWHISLER@kentlaw.edu>
To: h-costume@indra.com
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Subject: H-COST: RE: Storage and preservation (long post)
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-Poster: KATHARINE WHISLER <KWHISLER@kentlaw.edu>

A few days ago Eileen Watson wrote asking how to preserve and display 
some garments from the late 1800's and from WWII.  Someone else suggested 
that the garments be dry cleaned and packaged in a shrink-wrapped wedding 
preservation box.  That poster was correct that dirt on a textile will 
cause deterioration, and that it is important to pack the garments in an 
acid free box.

However, please reconsider carefully whether you have the garments dry 
cleaned!  Dry cleaning is actually quite hard on textiles.  Dry cleaning 
solution is *a lot* heavier than water, and most dry cleaners tumble the 
garment with the solution in the same way a front-loading washing machine 
works.  This can abrade the fabric, and because of the weight of the 
solution, can cause tears just from the tumbling and increased weight of 
the fabric.  Many dry cleaners will also iron the garment with very hot 
irons and steam afterward.  This can also weaken fibers and even shrink 
them.  I would not consider it unless the garment is very strong.  The 
military uniform might make it, but I wouldn't be very sure about any of 
the others.  If you do decide to dry clean, find a dry cleaner who will 
agree to clean the garments by hand, using clean solution.

Depending on how the garments were originally put away by the original 
owners (i.e. did they clean them before sticking them in the back of the 
closet) cleaning may not actually be necessary.  In many cases, simple 
vacuuming is enough!  Get a section of clean fiberglass window screening 
from the hardware store (bind the edges somehow) lay it on your garment, 
and vacuum through it, using an upholstery attachment (not the brush).  
The screen will prevent the garment from being sucked into the vacuum, 
and will protect it from abrasion by the vacuum head.  This will allow 
you to vacuum out the dust that has settled on the garment.  If the 
garments are dirty, I'd consult a qualified textile conservator in your 
area about what to do.  If you are near a large city, ask at the 
historical society or art museum for a recommendation.

Please DO NOT have the garments given the wedding gown "heirlooming" 
treatment.  Even assuming that the garment survives dry cleaning, it will 
not do it any good to be jammed in a box and crunched down.  Please note 
that these boxes aren't holding much of a vacuum to speak of, they are 
simply airtight.  Airtight is bad for textiles.  The boxes have not been 
sealed with any special "clean" air, it is my understanding that it is 
simply the atmospheric air where the box is packed-- humid air summer air 
right now, for example.  This means that you will have a sealed, damp, 
dark environment for mold and other nasties to grow in.  This is really 
not worth the money.  Instead, get yourself some acid free tissue and 
acid free boxes and pack the garments yourself.  You want all folds 
supported by tissue so they don't become creases-- old textiles can crack 
along creases.  Don't seal the box airtight, and don't bother with those 
plastic "textile storage bags" that they sell.  Then, store the box 
somewhere where temperature and humidity are as constant as possible-- 
within your living quarters rather than in the attic or basement.  Under 
the bed is great.  For a very strong garment that doesn't lend itself 
well to boxing (such as the tailored jacket from the uniform), a 
well-padded hanger might also be acceptable storage.

As for shadowboxes for your non-white non-linen garments: It is 
understandable that you would want to display these things in your house, 
but they will last better and longer if you keep them in the dark when 
you are not looking at them.  There is a great little chemical reaction 
you get between moisture in the air and ultraviolet light-- it makes 
hydrogen peroxide.  This is a big part of the reason things fade when 
exposed to sunlight.  (And why the classic linen bleaching techniques 
involved laying the fabric out in the dew to be dried by the sun.)  UV 
opaque shadowbox or no shadowbox, I'd consider either 1) only displaying 
the items some of the time or 2) displaying them in a room that is quite 
dark except when you are actually in it, like a windowless upstairs 
hallway.

The fur coat presents its own special problems.  Fur is subject to attack 
by moths, and can crack if it dries out.  Hot, dry rooms are especially 
bad.  I'd contact a reputable furrier in your area, and if it is already 
dried out and in bad shape, I'd consider letting them clean and glaze 
it.  I don't know the condition, but it is probably better stored on a 
well-padded hanger rather than in a box.

I hope this all helps.  There are a number of useful books on this topic 
that you might consult, including one by Janet Arnold, and one by Jane 
Ashelford.  Much of this depends on how great the garment is (or if it 
belonged to an ancestor) and how much you are willing to spend to preserve 
it.  Please let me know if you have any other questions.

Sincerely,
Katharine Whisler


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From owner-h-costume@indra.com  Fri Jul 30 09:07:24 1999
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	 Fri, 30 Jul 1999 07:17:35 -0700
From: "Hope H. Dunlap" <hhdunlap@msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Embroidery
Date: Fri, 30 Jul 1999 08:39:34 -0400
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-Poster: "Hope H. Dunlap" <hhdunlap@msn.com>

You'll have a tough time finding it, and it probably doesn't
circulate, but this book is fabulous (in two huge volumes):
Shuette or Schutte with an umlaut over the "u." Originallly
in German, translated into English: *The Art of Embroidery,*
co-authored by Sigrid Muller-Christensen, and translated by
Donald King.  I think the
English publication was Thames and Hudson and published
around 1964.

Thomasina Beck's book, which has a similar title, is far
more readily available, covers Renaissance to 1940's.  There
are a number of books available showing Elizabethan and
Renaissance period stiches, reprints of period "Modelbuchs,"
with design charts, but no "how to." If you want medieval,
that's tougher.  There's a little on the web, mostly
tapestries and reliquary bags on Richard Wydmarc's pages,
and I think he's connected to a webring too which should
have more.  Do a  http://www.metacrawler. search for
Wydmarc, medieval embroidery.

Hope H. Dunlap




> -----Original Message-----
> From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
> Behalf Of Sarah Toney
> Sent: Wednesday, July 28, 1999 8:50 AM
> To: h-costume@indra.com
> Subject: H-COST: Embroidery
>
>
>
> -Poster: Sarah Toney <sarah_and_pooh@yahoo.com>
>
> I am looking for a good resource book on medieval
> embroidery... both patterns and "how-to"... does
> anyone have any suggestions on what book I should get?
>
> Thanks!
>
> Sarah
>
>
>
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_
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From owner-h-costume@indra.com  Fri Jul 30 09:24:22 1999
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From: "Hope H. Dunlap" <hhdunlap@msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: pattern out of print
Date: Fri, 30 Jul 1999 10:40:53 -0400
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-Poster: "Hope H. Dunlap" <hhdunlap@msn.com>

My guess is that is is a Caraco jacket over a basic dress.
Or alternatively a caraco over a petticoat.  The pattern was
a charted design, not a real pattern, with instructions,
from the Northern Society of Textiles and Costume in
England, called "A Dress of the Revolution Worn to Escape".

I wonder if any of our Web friends on the list in England
can track down the address and e-mail of the Society?

E-mail link to the Victoria and Albert Museum, including the
shop I think is available throught the V & A website.  If
anyplace still carries it, I would think they might.  The
pattern was taken from a dress in the private collection of
the seymour family, whose ancestor Louise Seymour used it in
1793.

If you are patient, it is possible to reconstruct the
pattern from Janet Arnold's charts in *Patterns of Fashion
1.*   On page 24-7, there are five jackets, which taken
together, contain many of the details you need.  Use the
set-in sleeve from one, the method of draping the back from
another, etc.  On page 30-31, the white quilted silk
traveling costume from Snowshill Manor shows a petticoat
charted in precisely the shape you need.  In addition, the
jacket has many of the design elements you need,
particularly the method of draping the back and skirts. The
polonaises shown on pages 36 to 41 show how the front of the
garment might have been constructed. On page 46-47, the
1795-1810 riding habit is high waisted, not what you want,
but the vestigial skirt on the back of the jacket is very
similar to what you want to achieve.  Utilizing this detail,
you could sew your petticoat to the lining of your gown, and
let this little skirt hang loose over the top. Use the
little bustle pad shown, but set at the waistline, to give
the little vestigial skirts the poof they need.  If you have
the picture of the garment from the Amazon Drygoods catalog
page 23 or another source, these charts can help you get to
where you need to be, but not without trouble.

Also,  search through the links and post requests on the
chat sites at http://www.oldpatterns.com/links.html  .
Also, at http://www.patternsoftime.com/Catalog34.html, the
back of the "middling jacket" and the front of the "caraco"
pattern would sort of get you there too.  Similar jacket
patterns are available at
http://www.longago.com/colonial.html. The little vestigial
skirt on the back of the jacket/bodice is shown on the back
of La Mode Bagatelle jacket at
http://www.longago.com/regency.html.

This type of travelling suit would be the kind of thing that
*might* show up charted in the tailors section of Diderot's
Encyclopaedia, as it was a practical long lived style,
similar in many ways to a riding habit, which was a tailored
garment. If you can get to the volumes in a library it would
be fairly easy to search.  It was published in France many
times starting in 1766.  Parts of it have been reprinted by
Dover.  U of Chicago is slowly putting the whole thing up on
the Web, God bless them, but to date there's only a
tantalizing few of the 26+ volumes up and no index.
Searching is very slow, but often very rewarding.
http://tuna.uchicago.edu/forms_unrest/ENC.query.html  It is
the plates (planches) which will contain the charted
garments.  Not saying its there, or there yet,  for sure,
but Diderot's  does depict a chart of the corset, the
banyan, the sack-back gown, and a number of things like
that.

Best of Luck
Hope H. Dunlap


> -----Original Message-----
> From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
> Behalf Of StrangeGirl
> Sent: Thursday, July 29, 1999 5:09 PM
> To: h-costume@indra.com
> Subject: Re: H-COST: pattern out of print
>
>
>
> -Poster: rio@austin.rr.com (StrangeGirl)
>
> On Thu, 29 Jul 1999 13:47:32 -0700, you wrote:
>
> >
> >-Poster: "Michelle" <mandrake@mypad.com>
> >
> >I still haven't managed to track down a copy of the
pattern
> (escape the
> >revolution).  Alter Years and Amazon no longer have any
in stock.
> >   I tried Hope's idea with the internet search and it
> didn't come up there
> >either.
> >
> >    Would everyone be so kind as to keep their eyes and
ears
> open?  Please
> >let me know if one surfaces somewhere.
> >
>
> Try Lacis!
>
> If it's the same pattern, and I'm pretty sure it is, they
have it in
> their non-illustrated online catalog:
> SP509  N. SOCIETY: #02 Drsss of Revolution, 1793  14.00
>
> Go to http://www.lacis.com/catalog/catalog.htm
> click on catalog price list in the upper frame
> scroll down to patterns in the side menu frame
> click on 'misc patterns'
> it's the 4th in the list.
>
> You may want to call and ask if they have it in stock and
if this is
> indeed the pattern you are looking for.
>
> I have a dim memory of the pattern description from
reading the
> envelope, and I think it is indeed the pattern, or a
similar pattern.
>
> Good luck.
>
> Margery
> "Do you have any files?"
> "We're the government, of course we have files."
> Millenium
> {*to reply take spambegone from my reply-to address*}
>
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From owner-h-costume@indra.com  Fri Jul 30 10:56:51 1999
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From: "Hope H. Dunlap" <hhdunlap@msn.com>
To: <h-costume@indra.com>
Subject: RE: H-COST: Embroidery
Date: Fri, 30 Jul 1999 11:39:38 -0400
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-Poster: "Hope H. Dunlap" <hhdunlap@msn.com>

In German Schutte's book was published in Leipzig 1927-30,
under the title *Gestickte Bildteppishe des Mittelalters.*



> -----Original Message-----
> From: owner-h-costume@indra.com
[mailto:owner-h-costume@indra.com]On
> Behalf Of Hope H. Dunlap
> Sent: Friday, July 30, 1999 8:40 AM
> To: h-costume@indra.com
> Subject: RE: H-COST: Embroidery
>
>
>
> -Poster: "Hope H. Dunlap" <hhdunlap@msn.com>
>
> You'll have a tough time finding it, and it probably
doesn't
> circulate, but this book is fabulous (in two huge
volumes):
> Shuette or Schutte with an umlaut over the "u."
Originallly
> in German, translated into English: *The Art of
Embroidery,*
> co-authored by Sigrid Muller-Christensen, and translated
by
> Donald King.  I think the
> English publication was Thames and Hudson and published
> around 1964.
>
> Thomasina Beck's book, which has a similar title, is far
> more readily available, covers Renaissance to 1940's.
There
> are a number of books available showing Elizabethan and
> Renaissance period stiches, reprints of period
"Modelbuchs,"
> with design charts, but no "how to." If you want medieval,
> that's tougher.  There's a little on the web, mostly
> tapestries and reliquary bags on Richard Wydmarc's pages,
> and I think he's connected to a webring too which should
> have more.  Do a  http://www.metacrawler. search for
> Wydmarc, medieval embroidery.
>
> Hope H. Dunlap
>
>
>
>
> > -----Original Message-----
> > From: owner-h-costume@indra.com
> [mailto:owner-h-costume@indra.com]On
> > Behalf Of Sarah Toney
> > Sent: Wednesday, July 28, 1999 8:50 AM
> > To: h-costume@indra.com
> > Subject: H-COST: Embroidery
> >
> >
> >
> > -Poster: Sarah Toney <sarah_and_pooh@yahoo.com>
> >
> > I am looking for a good resource book on medieval
> > embroidery... both patterns and "how-to"... does
> > anyone have any suggestions on what book I should get?
> >
> > Thanks!
> >
> > Sarah
> >
> >
> >
>
____________________________________________________________
> _
> > Do You Yahoo!?
> > Free instant messaging and more at
> http://messenger.yahoo.com
> >
> >
>
____________________________________________________________
> _____
> >  To leave this mailing list, send mail to
> majordomo@indra.com
> >  with the message UNSUBSCRIBE H-COSTUME
> >
>
>
>
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_____
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From owner-h-costume@indra.com  Fri Jul 30 11:16:31 1999
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Date: Fri, 30 Jul 1999 12:24:31 -0400
From: Hilary Doda <vaqqa@ibm.net>
To: h-costume@indra.com
Subject: H-COST: Musketeers
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-Poster: Hilary Doda <vaqqa@ibm.net>

A few related questions to the list:

Are there patterns available for the musketeer
costumes *as seen in* Man in the Iron Mask?
(thinking specifically of the black w/ red
lining on the Three themselves at the end)

Are the musketeer costumes from Man in the
Iron Mask anywhere near accurate?

Is there information available (webbed or
library-available) on the actual Musketeer
uniforms, re: fabrics, cut, trim, etc.

Thanks in advance!

Hilary Doda.

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

There is a very fine line between "hobby" and "mental illness."
                            - Dave Barry
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