Date: Wed, 23 Apr 1997 20:44:44 -1000
From: Joycelyn Falsken
Subject: Re: CORSETS
I recently started using a back lacing method which is supposed to be able to be done
by oneself. I've never done it on myself because I reenact with my children and husband,
so there's always someone to lend a hand.
(Seven minutes later) I just took out my corset and put it on myself,
presto! It worked fine. It's faster than my husband can do the regular
way. :-) This is the method:
You need to get corset laces or strings that are about 4 - 5 yards long. They are
laced and tied into your corset and never need be removed once they're in right.
Basically, you start at your waist on one side and work your way up crossing the
opening like normal but skip every other grommet, then cross at the top and work your way down
back to your waist across from where you started (you're doing one side at a time).
Then leave a super long loop of string and work your way down and across and back
up (like above except below your waist) to end up on the same side and one grommet below
where you originally started. Tie the two ends together to make another long loop
opposite the first. You want to have LOTS of lacing ease between the two sides and
LOTS!!! of lacing string for the long loops at the waist level. Wriggle it on over your
head, straighten the strings, and pull the loops. You need to adjust the strings
as you tighten to get it tight all the way up just like traditional lacing. To finish,
simply wrap the long (longer now) loops
around your waist and tie.
Simple and quick. But I don't think I could have done it without a
mirror because the strings get awful twisted and mixed up to start with
from putting it over your head.
I was told this method for lacing Victorian corsets, but I use it for my
Renn. corset. It works fine on this last one I made since it has tabs
below my waist. I'm not sure if it would work equally well for a Renn
corset without tabs.
Joycelyn jfalsken@ricochet.net
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Date: Wed, 23 Apr 1997 21:56:21 -1000
From: J & B
Subject: Re: Skirt solution
As a movement and dance historian, I was happy to see the question about climbing
stairs in full skirts. We do need to learn how to move in clothes of other periods!
In general, ladies especially take too big strides in full skirts. The point of crossing
a room, after all, was not to get from point A to point B, but to be seen doing it.
=
For those of you with questions about how to move in 16th farthingales or hoops, I
'd recommend taking a look at "Nobilt=E0 di Dame", a late 16th century dance manual
by Fabritio Caroso. There is an excellent english translation by Julia Sutton, available
in hardcover =
(Oxford) or in paperback (Dover.) =
pp 142-144 NOTE XII - How A Lady should be seated, whether at a Ball or Elsewhere
p144 NOTE XIV - How to sit on a Low Chair without Arms
p141 NOTE XI - How a Lady should walk, and how to wear Chopines properly
(chopines were backless scuffs, of wood or cork, often several inches high,=
that women were expected to walk AND dance in without making noise!
p135 NOTE I - How a Gentleman should wear his Cape and Sword at a Ball, and=
elsewhere than at a Ball
p137 NOTE IV - How a Gentleman should be seated
Bob Skiba
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Date: Thu, 24 Apr 1997 07:55:09 -1000
From: nancy lynch
Subject: 14-15 cen Irish Dress
Tammy D. Thompson wrote:
> (...)
> The second question have is does anyone know of any reference of 14-15
> century women's Irish dress?
> Only source I have for this it _Beyond The Pale_, that I picked up
> several years ago. I was also wondering if the Irish bodice the women
> wore were attached to the skirts or not.
There is evidence and extant examples that the bodice was attached. I know
of no evidence that it was seperate in any period prior to 1600.
>
> Thank you;
>
> Tammy
> also known as Lady Marian O'Neill in the SCA
Dear Tammy, (Lady Marian, a chara!)
You have just touched my favorite subject (well, the one I'm allowed to express myself
in public about..:-), Irish Dress. I have a very short list of books I heartily
recommend for this time period.......
"Dress in Ireland" by Mairead Dunleavy, 1989, Holmes and Meier publication-
no longer in print (last I knew) but can be gleaned through inter-library loan.
There are a couple of excavated gowns pictured and discussed in this
book that are marvelous. One is dated at about 1600 but, the fashion
was practically the same gown described and drawn by artists depicting
Irish ladies gowns from before 1500 on to 1650. The other is a cotehardie
type gown of the mid to late 1400s (I believe...) [strange sleeve and
attachment with the cotehardie] There are also statues and drawings
of noble ladies from your requested time period showing "Irishized" fashions.
"Old Irish and Highland Dress" by H.F. McClintock, Dundalgen 1950
I haven't looked at this one in a while but as I remember, it has some
useful information for this time period.
I have made the Shinrone Gown, late 1500s, and am quite pleased with
the results.It is made with dozens of welted pleats in the skirt and
looks very unique and lovely. I have also made it without the welts
using pleats and that version looks nice too. The bodice is quite long
and looks nice on most any figure (but the fit must be very good!).
My specialty is in Irish garments from the Bronze Age to 1650. Any
questions are welcome as the more questions I am asked, the more "I"
seem to learn. Amazing that!!! :-)
If you recieve any other info on Irish Dress I would appreciate your
sharing that as well.
Sonas ort! (Irish = "Happiness on you!")
Nancy Lynch (SCA persona- THL Lughbec ni Eoin )
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Date: Wed, 24 Apr 1996 20:32:42 -1000
From: Margo Anderson
Subject: Costume contract
(I posted this some months ago, and in my recent post, I mentioned that
people could email me for copies. Since there are over a dozen requests for
it in my mailbox, I'm assuming that it's of general interest.)
Some of you have expressed interest in a costume contract. Here's a copy of
one of mine, with my comments in brackets{}
Dear (Client's name)
Our signatures at the bottom of this letter will signify our acceptance of
the terms described herein regarding the design and construction of an
Elizabethan court costume, to be delivered May 20th, 19__ and described as
follows:
Man's doublet, sleeves, slops, hat, cape and two shirts. Doublet, sleeves,
and slops of dark burgundy leather, pinked and slashed in leaf pattern,
trimmed with antique gold braid, gold buttons, and the slashes and the
underlayer of the slops of black silk satin. Detachable sleeves tied with
twisted cords with gold filligree points. Flat cap of black velvet with
natural ostrich plumes. 3/4 circle cape of black velvet with gold braid,
lined in burgundy. Two shirts of white cotton. 3" neck ruff and matching
wrist ruffs. Add gusset and gold trim to existing leather gloves.
1. Margo Anderson (hereafter referred to as "Designer") hereby provides a
design sketch, fabric swatches, and description. This design and sketch
remain the property of designer. Duplicating or copying in any way is an
infringement of copyright law.
{This would allow you to take a client to court if he used your research
and design to make the costume himself, or have it made by someone else.}
2. (client's name) (hereafter referred to as "Client") will sign and date
the sketch and this agreement. At this time the design is approved and
finalized. If design changes are requested after this approval, additional
charges will be made.
3. Designer will provide swatches and samples of all fabrics and trims
before purchasing.
4. The terms of payment are as follows: $_____, payable as follows: One
half, to be considered a non-refundable deposit, payable on signature of
this letter. One fourth, at first fabric fitting, one fourth upon delivery.
(State sales tax of $____ is not included in this amount, and will be due
upon the final payment)
5. A minimum of three fittings must be made. Additional fittings will
take place as needed.
{Protection from those imbeciles who think that since you took all those
measurements, they don't really have to show up for fittings.)
6. Final payment is due upon delivery. Payment signifies acceptance of
costume as completed.
{Frankly, this is an insurance clause for protection from the truly nasty
client. Many elaborate costumes need small adjustments that just aren't
obvious till the costume has been worn for a few hours, and I'm always happy
to make them.}
Costume is guranteed for normal wear and tear for the period of one year.
Alterations due to weight gain or loss, and repairs neccesary due to
negligence or abuse, will incur additional charges. Under no circumstances
will delivery be made without payment. {See! I said it Three times! No
payment, no costume...and that's why, unlike many costumers I know, I've
never been stiffed)
7. Designer guarantees that costume will be approvable for use at the
Northern Renaissance Pleasure Faire in the year 199_, but can make no
guarantee that it will conform to future guidelines.
{This is where I put any special clauses, such as warning about period fit,
etc. Even more valuable in the past has been the stipulation that a costume
will NOT pass costume approval for Faire!}
Please sign all copies of this letter. Keep one for your files, and return
two to me.
ACEPTED
Margo Anderson______________
(Client's name)_______________
Date__________________
I adapted this contact from one in a library book on free lance writing. I
had My Mother The Attorney look it over, but I can't guarantee its legality
for your area, of course.
Margo Anderson
------------------------------------------------------------------------------
Date: Fri, 26 Apr 1996 04:21:03 -1000
From: Jan Dockery
Subject: Draping... lengthy explanation....
To Bronwen and any others interested in drapping: Draping is Wonderful!
Awesome!!! Paper patterns are flat and one-dimensional. Draping, however,
is SCULPTURE !!!
The art of draping has been around for ages, but is most widely recognized
from the haute couture fashion industry, as in Paris, London & New York,
for the last 100 years. I personally regard of Charles Frederick Worth as
being the 'father' of haute couture. He created the beautiful Worth dresses
and gowns of the late Victorian period from his 'atelier' (workroom) in
Paris in the mid to late 1800s. Each dress was 'draped' as a means of
precisely fitting the client. And keep in mind that all the fashionable and
well-to-do ladies of the day had their wardrobe custom built. Reputable
seamstresses were sought after and managed to create quite a fine career
for themselves! (...sigh....) Their 'shingles' were well marked and widely
recognized along the avenues of the cities. (...sigh, sigh, sigh...) Inside
those dress shops and couture houses, such as Worth's, draping was the main
order of the day, and is still practiced in the haute couture industry for
well-to-do women of the world (ladies of state, movie stars, etc) and is
the primary means of creating the prototype fashion garments which are seen
on fFashion Runway Shows and eventually on the dress racks in today's
retail stores.
Technically & briefly this is how it works: The client comes into her
designer's shop to have a dress custom made. They confer to decide upon the
design elements of the garment--- fabric, color, embellishments, style and
cut. The client's precise measures are taken, and she is presented with a
design sketch of the proposed garment. She leaves. The designer works with
his/her cutter and tailor to create a MUSLIN PROTOTYPE of the garment in
the client's size, according to her measures. Then she is called back in to
try on the muslin and make any necessary size adjustments. Several fittings
may occur during this process. When the muslin is finally perfect, the
seams are removed so it can be taken apart piece by piece. The muslin
pieces are placed flat on a table and used to create a final paper pattern
(which is later archived/stored away as reference material for that
client). The paper pattern is used to cut out the final fashion fabric for
the garment.
Now, let's back-track to that MUSLIN PROTOTYPE (above) which was created
from the client's measures... this is where draping comes into play:
The cutter finds a dressform in the size nearest the clients dress size.
Rectangular pieces of muslin are then pinned (or 'DRAPED') onto the form,
vertically (with the selvage) starting high at the adams apple of the neck,
and ending either at the waist line or the hemline; and horizontally
starting at the center front, then the side pieces, and ending at the
center back.
The KEY to success is to have the muslin lined up on-grain: The vertical
grainlines must go straight down center front and straight down the side.
The horizontal grainlines must be level with the waist line, the shoulder
line and the hip line (bias-cut garments being exceptions to this rule...)
If the garment is to have several pieces (center front, side front, side
back, center back, as in a princess style, or our beloved PERIOD styles), a
separate muslin piece will be pinned onto the dress form for each of those
pattern pieces. (It is only necessary to drape one SIDE of the garment, as
the right front will be a dupe of the left front, and the right back will
be a dupe of the left back.) Starting with the center front piece and
working her way around to the side pieces, and ending with the center back
piece, the cutter draws all the markings onto each muslin piece as she goes
(while it is 'drapped' on the form): seam lines and allowances, darts, bust
apex, natural waistline, location of buttons, buttonholes, etc, all of
which will be transferred to the paper pattern in the next step. Once the
paper pattern is completed and the fashion fabric cut out, the pieces are
handed to the tailor who assembles the final garment.
The importance of 'draping' a muslin prototype onto a dressform is not only
for the sake of arriving at a precise fitting for the client and working
out any mistakes or adjustments before cutting into the final fashion
fabric, but also as a means of allowing the designer to see exactly how the
final garment will DRAPE !! He/she wants to know how the garment will move
and flow when the client is wearing it. The 'movement' of articles of
clothing (esp for women!!) has always been regarded as one of the necessary
elements of 'seductive alure' !!! The cut of the garment must flatter the
curves of her body, while the FLOW of the fabric must make men want to know
what's happening underneath that fabric!!! Remember the movements of
Michelle Pieffer's costumes as she walked away from a smitten Daniel
Day-Lewis in Age of Innocence??? UmHummmm..... Countess Olenska's & Ryder's
costumes were both patterned after Worth's... whose name was even mentioned
in the storyline!
Two good books which are currently available:
THE ART OF FASHION DRAPING by Connie Amaden-Crawford, 1989 Fairchild
Publications
COUTURE SEWING TECHNIQUES by Claire B. Shaeffer, 1994 Taunton Press
If you want to give it a try, a good way to start/practice is by purchasing
a contemporary princess pattern in your size, which you will use as
reference material only! First, drape each muslin piece onto the dress
form: While looking at the shape of the paper pattern piece, duplicate/draw
it on the muslin piece! Try not to become frustrated if you make boo-boos.
Draping is like everything else: You LEARN by your mistakes, and practice
makes perfect!
GO FOR IT and your sewing techniques will never be quite the same!!! I
first learned to drape when working on Last of the Mohicans, and my LIFE
has not been the same since!!!
jan dockery ....still very much a student of the awesome art of
draping....
costumes@dnet.net
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Date: Tue, 29 Apr 1997 18:18:51 -1000
From: Legio Nona Hispana
Subject: 16th C "Irish" dress
Shinrone Gown
A description of the skirt portion:
>From Dress in Ireland:
Wool.
The nap of the felted twill is worn away. (ie: not there)
No hem.
23 gores or triangular pieces of cloth sewn together measuring 22 1/2 feet
at the bottom.
The folds of the gown were formed by vertical welts sewn at intervals on
the inner face, with thick wool thread in a coarse tacking stitch.
The spacing was such that each gore had 4 folds, one concealing the seam
joining the panels.
The effect is of a skirt with 92 folds each about 2 1/2" wide near the hem
and 2" at the top.
-done
What we figured out....
By our calculations and by speaking with a member of our group who has seen
the inside of the dress:
1> not gores, but narrow panels, about 13 inches wide
2> all seams are selvedge to selvedge
3> no buttonholes or eyelets anywhere, but there were a couple of lacing
holes (maybe) from the dress being sewn together in front to close it.
4> The waistline is about 28 inches around, our member wouldv'e loved to
have tried it on, but alas was only allowed to measure.
5> The waistline appeared to be a bit high,not dropped as it appears in
Dress in Ireland, maybe to accomodate a changing figure from pregnancy
?(speculation here, no documentation) This impression was that of a
professional costumer and also was voiced by Mairead Dunlevy as well...
6> The inside of the dress appeared fulled and brushed,the outside didn't
appear to have been brushed at all.
7> The weaving yarn was two ply(sorry no details on s or z twist or plying
direction, but I'm still working on that)
8> The dress not only had darts in front to fit, it had 2 on one side and 3
ont the other. Symmetry is either not a factor,or as can happen, one of
the darts came undone?
9> The welts were stitched at something less than .5 inch wide.
10> Best estimate of the weight of the dress is 4 to 5 pounds.
Hope this helps!{VBG} Please feel free to disseminate widely. The more we
all know the more fun we can have.
Maureen McQuinn
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Date: Thu, 2 May 1996 19:38:35 -1000
From: Margo Anderson
Subject: Re: Elizabethan shifts and partlets
At 11:44 AM 5/1/97 +2, you wrote:
>I am not completely sure about this, so I have to ask. What kind of neck line should
the Elizabethan shift have, if one plans to wear a partlet over it? Would a square,
gathered to band neckline be ok?
>
I've also been wondering about this. My recent research is showing a number
of portraits of ladies who appear to be wearing seperate partlets (i.e.
"dickies" comprising the upper bust, shoulders, and neck area). Some of
them show a border of lace around the neckline of the gown. So, is this
lace sewn to the edge of the partlet, which is pinned to the outside edge of
the gown's neckline, or to the gown itself, or is it sewn to the neckline of
a square-necked shift? Most partlets appear to be tucked into the neck of
the dress, but a few have a definate overlap onto the gown, and at least one
has a seperate band of sheer white material edged with lace, about 4"
wide,sewn to the upper edge of the gown's neckline.
Most of them are gathered into a high, standing collar, worn open, with a
jeweled neclace around the base of the neck holding it closed, and with a
narrow attached ruff which appears to be gathered into the collar band, but
has the characteristic figure eight pleats. How is this achieved?
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Date: Mon, 28 Apr 1997 16:27:01 -1000
From: =?ISO-8859-1?Q?Molly_N=EDD=E1na?=
Subject: Re: SF Bay Area Fabric Stores
> There's a new store in Daly City called Fabrix that's worth checking out.
> So far, I've gotten lightweight 60" linen for $3.69 a yard, heavy
> cotton-linen mix, 60", for 2.19, 60" canvas for $3.69, lace trim and
> elastic for a quarter a yard, and metal buttons $1 for a bag of eight.
>
> buy it when you see it-they get small lots and overruns, samples, etc.
>
> The usual disclaimer....
>
> Margo
>
I haven't been there yet, but here's the basic info -
Fabrix
320 Gellert Blvd /cross street Salamundi Blvd
Daly City, CA
(415) 758-1200
Hours: Sun-Weds 10am-6pm; Thurs-Sat 10am-8pm
Thanks, Margo! I can also recommend:
Stone Mountain and Daughter Discount Quality Fabrics
2516 Shattuck Avenue (at Dwight Way)
Berkeley, CA
(510) 845-6106
Hours: Mon-Fri 9:30am-6:30pm, Sat 10am-6pm, Sun 11am-5:30pm
They always have a large selection of inexpensive cotton prints - and they also buy
small lots and so forth so great finds are frequently a possibility. Their buttons
are also worth a look - I have a blouse with metal planet Saturns on it!
Molly
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Date: Tue, 29 Apr 1997 10:23:35 -1000
From: Nancee Beattie
Subject: Re: Snood search continued
This site has, among other things, a few snood patterns. I cannot vouch for
them, because I haven't tried them yet.
http://sunsite.doc.ic.ac.uk/recreation/crafts/fido-cfdn/cfk-pat/
Nancee
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Date: Sat, 3 May 1997 17:55:33 -1000
From: Danielle Nunn
Subject: Re: Elizabethan shifts and partlets
Margo, here's my 2 cents worth:
Elizabethans wore a number of layers and it's important to remember that
when discussing smocks, shirts, and partlets. For example "Erondell's
French Garden, Rising in the Morning" (a 16th century conversation manual
translated by Furnivall you are walked through the process of a lady getting
dressed in the morning. She talks her way through the layers she's wearing
and there is mention of a separate shift and shirt.
The order the were donned is: shift/smock, pair of "bodyes" (corset),
"vardingale" (Spanish farthingale), bum roll (French farthingale), shirt (if
worn), kirtle (underdress), partlet (either the shirt or partlet is worn),
gown.
There is a seventeenth century shift (probably Italian) in "Cut My Cote" by
Dorthy K. Burnham, Textile Department of the Royal Ontario Museum, Toronto.
The body is made of four panels, one each front and back, and two panel
which are under the arms. There are square gussets under the arm, and full
one piece sleeves. The neckline is gathered into a sqare neckline and the
cuffs are gathered as well. There is no evidence of a drawstring.
Janet Arnold's "Elizabeth' Wardrobe Unlock'd" on page 224 shows a white
linen smock with a square neckline (there is a vent or slit in the centre
back of the neck to allow it to be pulled on over the head. The garment
which is dated 1560 - 1580 is definitly pieced. There is a yoke, a main
centre front panel, two side gores beginning under the arm, with smaller
gores inserted between them and the front panel. The sleves are long and
straight. Both the sleeves and the neckline are embroidered.
In "Waffen und Kostumkunde" 1977, Janet Arnold wrote and article called
"Elizabethan and Jacobean Smocks and Shirts." She details a number of
smocks, shirts and partlets.
There are clearly smocks with lace edging around the neck, which can be seen
peeking out in a number of portraits. Lace edging appears to have been more
commonly employed on ungathered necklines. There is a portrait of Catherine
Vaux which clearly shows the partlet (a "dickie" type garment) being worn
over the undergown. You can also see the square-necked, embroidered and
lace edged smock beneath.
In the article there is a pattern for a lovely square-necked smock with a
stunning needle-lace standing collar. Also, there's a pattern for a for a
shirt with a plain band collar.
If you are interested in neckwear, I recommend "Waffen und Kostumkunde"
1973. Janet Arnold wrote an article entitled "Three examples of late
sixteenth and early seventeenth century neckwear." Although it must sound
like I'm an Arnold groupie at this point, this is the only article I've yet
to come across which makes any sense.
Arnold shows some existing linen ruffs which were cartridge pleated onto a
plain linen band. They were fastened with two buttons and buttonholes. The
ruff would usually have been worn pined to the plain standing collar of the
shirt. If a suportasse (underproper) was worn the ruff would also have been
pined to it. She also talks about different types of "ruffs" and shows an
existing suportasse with the lace collar still attached.
O.K., time to get off my soap box. I hope this helps, please feel free to
e-mail me personally if you have any more questions (don't get me wrong, I
don't know everything...so I'll do my best). If anyone else knows of any
other information on 16th century under-garments and neckwear, please,
please tell me! I'm always looking for more info!
May your threads never tangle,
Danielle (SCA Lady Gwendoline Rosamond) dnunn@interlog.com
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Date: Tue, 6 May 1997 14:00:45 -1000
From: LYN M PARKINSON
Subject: Re: Italian Ren Hairstyles
Birbari, Elizabeth. _Dress in Italian Painting, 1460-1500_. John Murray
Ltd. London, 1975. ISBN 0 7195 2423 7. Photo details of costume in b&w,
commentary, pattern sketches.
Contini, Mila. _Fashion from Ancient Egypt to the Present Day_. Paul
Hamlym, 1965.
Davenport, Milia. _The Book of Costume_. Crown Publishers, NY, 1948,
1976. B&w illus. And commentary. Best for documentation.
Herald, Jacqueline. _Renaissance Dress in Italy 1400-1500_. The History
of Dress Series, gen. Ed. Dr. Aileen Ribeiro, Bell& Hyman, London. 1981.
Humanities Press, NJ. ISBN 0 391 02362 4
These have photographs of paintings and sculpture. Libraries have, in
the non-fiction section, a grouping of art books and a grouping of museum
collections. Your reference librarian will be able to help you find
collections of Renaissance art that will have the things you need. The
costume books have some commentary to go with the pictures.
------------------------------------------------------------------------------
Date: Sat, 10 May 1997 19:15:34 -1000
From: Margaret Rae Carignan
Subject: Re: Sources
Hello Saya!
I agree heartily with the other responses you got on your question on
'good sources', but would like to add a bit.
I read everything that comes my way, eamining it closely for certain
criteria (in randomish order):
- pictures - are the pictures photographs of actual garments? Paintings?
Period engravings? Author's drawings? (assuming there are pictures at all!)
- publication date: much of the info published before 1960 is less accurate to my
mind than the later stuff, although this rule is neither hard, nor fast
- author's name - Janet Arnold is excellent; Natalie Rothstien, Jane Ashelford, (why
do I always do this stuff at 2 am, when my typing is at it's worst?), Linda Baumgarten,
Cora Ginsberg, Norah Waugh, the Cunningtons, et al, are fairly reliable.
- references - if there are no footnotes or bibliography, it's not
documentation, and uncited line drawings make for trash in my opinion.
No one is perfect. Your own personal primary-source research (assuming you
get to do any) can be just as valid as anyone else's, if your foundation
of knowledge is good.
I have found over the years that the costume researcher's best weapon is
rational humility. Phrases like "as far as I know", or "from what I have
learned so far" go a long way in softening peoples criticism of your work,
and make them much more likely to share info than to write you off.
We are all learning all the time if we are reasonably well-adjusted, and must always
be willing to listen to differing opinions. In the end, we have to just go with what
we have, and do the best we are able and willing to do.
If we spend all our time worrying that our work will be denigrated for 'lack of authenticity'
we won't get much done, and won't have much fun doing it.
Each individual must be allowed to decide on their own desired level of
authenticity, and shouldn't feel they have to spend all their energy
defending it.
Learn, create, and learn some more.
Have fun!
Meg/Francesca
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Date: Wed, 16 Apr 1997 18:31:01 -1000
From: Susan Stallman
Subject: Re: easy bodice patterns
Huzzah to Margo for a wonderful summery on the do's and don'ts of good wench
wear. As for the authenticity of such a garment in period, I found a Dutch
drawing dated 1510 titled "The Milkmaid" which shows a working class girl
with a bodice EXACTLY as described. The only difference between it and some
of the bodice's seen at Ren Faires is that it didn't have the "pointed"
Elizabethan styled waist front. Also it was laced from top to bottom, which
was different than some do... Whats more, it also shows the maid wearing
leggings beneath her skirt. After three years of making this particular
style of garb, it was nice to have something to back it up with.
Has anyone else seen this picture??
Bronwen
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Date: Sat, 19 Apr 1997 12:30:20 -1000
From: LYN M PARKINSON
Subject: Re: single lace technique
Double the lace through the two holes at the bottom; this gives it stability and strength.
Then tie a one loop bow. Poke the whole thing inside to hide it.
One of the best books for showing various lacings in detail is Birbari, Elizabeth.
_Dress in Italian Painting, 1460-1500_. John Murray Ltd. London, 1975. ISBN 0
7195 2423 7. Photo details of costume in b&w, commentary, pattern sketches.
Allison
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Date: Fri, 16 May 1997 07:46:27 -1000
From: Joycelyn Falsken
Organization: Joycelyn Designs
Subject: Re: costume magazine?
Margo Anderson wrote:
>
> Some months ago, a poster mentioned the premier issue of Costume &
> Dressmaker: The Magazine for
> Serious Costumers. Has anyone seen this publication, and if so, can you
> provide subscription info, and perhaps a review?
>
> Margo Anderson
I subscribed to this magazine before their first publication. The first issue was
slow arriving and the next I recently received contain both issues #2 and #3. It
looks like it will be a valuable source for us both as a practical reference and
academic studies if they continue to receive good article submissions. (Many on this list could
contribute I suspect.) Scanning this issue, I see... Our own Susan Loberger wrote
the first article in this issue on fitting early 19th c. dresses. (Good job, Susan,
practical and easy to understand/apply.) There is an article on fitting Renn. bodices
for the buxom, and an impressive list of graduate schools for costumers. There is
also an article that looks like a summary from a thesis with supporting references
and data on the topic of yardages used in late 16th c. women's clothing. They've also
included book reviews.
In summary, I give this publication a "thumbs up" and suggest it as a source both
for our articles to be published and a guide on costume techniques.
For subscription: Costume & Dressmaker Press, 4500 19th St. #298,
Boulder, CO 80304-0619. email: mdsdmb@aol.com phone: 303-546-6223
$18/yr. US, $25/yr Canada
--
Joycelyn
jfalsken@ricochet.net
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Date: Sun, 11 May 1997 19:38:08 -1000
From: Frances Grimble
Organization: Lavolta Press
Subject: Re: Academic Journals?
Cynthia Virtue wrote:
> As I've read over some of the recent discussions, it has occured to me to
> wonder if there exists a quality, near-academic level journal that covers
> historic costume.
What you want is the journals of the American and British Costume Societies (as far
as I know you have to be a member to subscribe, but it's worth it) and the _Cutters'
Research Journal_, which you can subscribe to even if you are not a USITT member.
Here's the info:
Pat Poppy
Membership Secretary
The Costume Society
56 Wareham Rd.
Lychett Matravers, POOLE
Dorset BH16 6DS
England
Publishes an annual journal, _Costume_, and some books. Has meetings, trips to exhibits,
etc. in England. Membership is $35/year for US members. Accepts personal checks
in dollars; there is a small conversion fee.
The Costume Society of America
55 Edgewater Dr.
PO Box 73
Earleville, MD 21919
(800) CSA-9447
(410) 275-2329
Publishes an annual journal, _Dress_, a national newsletter, and regional newsletters.
Organizes meetings, talks, and trips to exhibits. There are eight regional chapters.
Individual membership is $55.
Cutter's Research Journal
USITT
6443 Ridings Rd.
Syracuse, NY 13206-1111
A quarterly technical publication on historic and theater costume. Includes full-size
and scale patterns. $15/year for USITT members, $20/year for nonmembers.
Hope this helps.
Fran Grimble
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Date: Mon, 19 May 1997 19:25:35 -1000
From: Joycelyn Falsken
Subject: Re: QE's Wardrobe Unlock'd
Joan M Jurancich wrote:
>
> I just received an order form (requested via email) from W.S. Maney & Sons,
> Ltd., for Queen Elizabeth's Wardrobe Unlock'd. The price is L75 or $148
> American, including postage and packing. How does this price compare to
> recent purchases you may have made, especially through US bookstores?
>
> Joan Jurancich
> aka Lady Dorothy (Hastings) Devereux [RPFN] joanj@quiknet.com
I paid $190. plus tax at Lacis in December '96.
--
Joycelyn
jfalsken@ricochet.net
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Date: Fri, 30 May 1997 04:51:49 -1000
From: Sue Toorans
Subject: nails/ells
I was going through one of my weaving books (_The Key To Weaving_, by Mary E. Black)
when I came across the following table. I thought you would be amused.
Cloth Measure
2.5 inches = 1 nail
4 nails = 1 quarter
3 quarters = 1 Flemish ell
4 quarters = 1 yard
5 quarters = 1 English ell
6 quarters = 1 French ell
37 inches = 1 Scotch ell
------------------------------------------------------------------------------
Date: Fri, 23 May 1997 15:01:02 -1000
From: Joan M Jurancich
Subject: QE's Wardrobe Unlock'd--Order form
Because of the number of responses I received about my earlier post, I'm
posting this to both the h-costume and Guild of St. George lists. W.S.
Maney & Son Ltd is the publishing firm that produces the book. I received
the brochure the day before I posted the original message. Now I get to
look at the budget and try to figure out when I can send my order. :)
ORDER FORM
To W.S. Maney & Son Ltd, Hudson Road, Leeds LS9 7DL, England
Please send me ______copy/copies of _Queen Elizabeth's Wardrobe Unlock'd_ @
L75.00 each including postage and packing (US $148.00).
I enclose a cheque for _________ payable to W.S. Maney & Son Ltd.
NAME____________________________________
ADDRESS_________________________________
Joan Jurancich
Sacramento, California
joanj@quiknet.com
------------------------------------------------------------------------------
From: "Mary-Gayle Jany"
Subject: H-COST: restrictions on prostitutes (colors,etc.)
Date: Wed, 11 Jun 1997 03:57:05 -1000
-Poster: "Mary-Gayle Jany"
Bill asked: Have you got any ref.s for this? I have been trying to track
down this association of yellow headdress and prostitution in the 13th cent
Someone has finally asked a question that I can help answer! The following
references not only have the information about colors, but also explain all
the restrictions prostitutes were governed by. The references are fully
documented from primary sources (laws and ordinances within various
countries and cities).
Bassermann, Lujo. _The Oldest Profession: A History of Prostitution_.
trans. from German by James Cleugh. New York: Dorset Press, 1993. (ISBN:
0-88029-248-2)
Goldberg, P. J. P. _Women, Work, and Life Cycle in a Medieval Economy:
Women in York and Yorkshire c.1300-1520_. Oxford: Clarendon Press, 1992.
Rossiaud, Jacques. _Medieval Prostitution_. trans. by Lydia G. Cochrane.
New York: Basil Blackwell, Inc., 1988. (ISBN: 0-631-15141-9)
Wiesner, Merry E. _Working Women in Renaissance Germany_. New Brunswick,
NJ: Rutgers U. Press, 1986. (ISBN: 0-8135-1138-0)
Hope these help.
Meg
------------------------------------------------------------------------------
Date: Tue, 10 Jun 1997 06:44:07 -1000
From: Kerri Canepa
Cc: H-Costume
Subject: Re: H-COST: 13th(?) C. Headdress Question
On 10 Jun 1997, Amy Wilson wrote:
> Hi everyone --
>
> I'd like some help on constructing a headdress that I've seen in various
> illuminations. I think it dates from the 13th C., but it could be
> earlier/later.
>
> It appears to be a snood constructed of intersecting ribbons, worn with a
> chin band and topped with a "crown" of pleated fabric. Can anyone give
> me information on what this was called, tips on how to construct the
> pieces, along with fabric suggestions, how to assemble and wear it, and what
> type of dress is appropriate for wearing with it?
>
The "crown" was called a tocque and to the best of my knowledge was either made of
stiffened fabric (linen would be my guess) or fabric over a stiffened form. The shape
was similar to a pie plate with the bottom removed although a similar headdress in
England had a vertical band around the head instead of a flaired shape. The "snood" was
actually a fine net, the good ones from silk, and some examples are shown in the
HMSO book on textiles.
Since I've not seen any illustrations of women with that headdress only
partially on, my guess as to how it was arranged would be this: the hair was coiled
up and placed in the net which may have covered the top of the head as well (I've
never seen the top of someone's head so I'm not sure) or it could have been pinned
to the back of the head. The chin band would probably be placed to go on top of the net and
be pinned down to help keep the net from migrating. Then the tocque would go on top
of both and may have been pinned to the chin band; I've worn the tocque pinned and
unpinned. Sometimes it appears that there is a coif worn over the net and under the tocque
instead of a chin band but then, I'm trying to decipher someone's artistic license.
Tocques sometimes had covered tops and occasionally they appeared pleated or with
curled edges. A friend came up with a creative way of pleating a tocque by pleating linen
over a wired buckram form. Except for trying to figure out the amount of fabric to
use, it actually worked rather well.
As to what clothing to wear, I believe that headdress was popular in the late 13th
c and disappeared by 1325 but I'm at work and all my books are at home so I can't
say with any certainty. I believe that headdress was used, in some variation or other,
in England, France, Spain, and Germany. I don't recall seeing examples of it in Italy.
> Many thanks --
> Amy
> (aka Catelin the Patient)
>
Hope this helps,
Kerri
------------------------------------------------------------------------------
Date: Tue, 10 Jun 1997 06:15:47 -1000
From: "Henk 't Jong"
Subject: Re: H-COST: 13th(?) C. Headdress Question
Hi Amy,
It sounds like you describe the fillet-barbette combination, typical for
the more ladylike married types of the 13th century and the first quarter
(and for some oldfashioned ladies up until the 1350's) of the 14th.
What you describe as a snood of intersecting ribbons is probably the
hair-net worn with it, in which the long plaits of these ladies were rolled
up. In miniatures, which are very small, the net was drawn with fewer
crossed lines than there were in reality.
The chin band or 'barbette' (little beard) is a narrow version of the
wimple and was pinned together on top of the head. Over this came the
'fillet' or headband, made out of stiffly starched linen or linen over
parchment rim. The linen could indeed be pleated, or scalloped by the kind
of embroidery (in natural linen threads) that results in the scalloping of
an edge of cloth (I don't remember the tern for this).
This combination was invariably made of fine, bleached linen, with a good
strong texture. Don't ever use see-through stuff and never use coloured
linen. Only the better kind of whores in Germany had yellow headdresses and
some young and daring noble women imitated them just to shock their elders.
You wear this with the loose cottes and surcottes of the period, sometimes
combined with sleeveless surcotte or 'suckenie' as it was called in Germany
and Holland. Use fresh, but not too bright colours and use a different colour for
every gown. If you line things; use a different colour again. This goes together
with the lined semi-circle cloak with strap or lace closure. Remember; you will
look like a rich burgher's wife or minor noble woman, so don't wear a girdle on your surcottes.
And purses are also not worn on the outside, where they can be seen. Low soft leather
shoes go with this ensemble. The only jewellery you'll be able to wear are rings,
a large rond or multi facetted brooch directly below the throat or a small round buckle-fibula
for closing the cotte (which is visible above the surcotte) and jewelled clasps on
the ends of the strap of your cloak.
I can garantee you'll look a treat.
Success,
Henk
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Date: Fri, 13 Jun 1997 01:18:46 -1000
Subject: Re: H-COST: Pronunciations
-Poster: AlbertCat@aol.com
In the south we say "Howp- la-ind"
This is a good question tho' I fear all your pronunciations might be correct
somewhere or another. I tend to go for the lest fussy ones..
"Hoop- lahnd"
"Dagg'd" [tho' Dag-ged has a wonderfully archaic sound]
"Poor-point"
And,
Bliaud is "Blee-oh"
------------------------------------------------------------------------------
Date: Sat, 14 Jun 1997 07:39:08 -1000
From: "Henk 't Jong"
Subject: Re: H-COST: Pronunciations
Dear Shirley,
You wrote:
> I need help pronouncing some words that do not appear in my dictionary.
> I know how to make these things, but never know how I should REALLY say
them!
>
> Houppelande: (hoop land) or (hoop lund) or (hoop uh land) or
> (hoop uh lund) or something else?
>
> Dagged: Does it have one or two syllables? That is,
> does it rhyme with wagged or ragged?
>
> Pourpoint: (poor point) (pore point) (poor pwan)??
>
> Bliaud???
>
Alle except dagged are middle-french words of which we know very little
about pronunciation. In modern french they would be pronounced as:
hoop-uh-land (with a very small 'uh' after land), poor-pwan (with barely
audible 't' at the end), bleeh-ow. During the middle ages these terms had a
wide range and were introduced into other languages; f.i. the french
'gardecorps' became 'waerdecors' in middle-dutch, 'couvre-chef' became
'coeverkief'. So, houppelande became: 'hoplande' en pourpoint became
'porpoent'. I think everybody pronounced, these to them, foreign terms in
their own way, as long as people understood what you meant by the name.
Don't, therefore, worry too much about a correct pronunciation of 'ancient'
words as, firstly, we don't really know how people at the time pronounced
them, and secondly, as long as is clear what is meant by the name, who
cares anyway...
Dag-ged and dagd sound, to me, both fine.
Bye,
Henk
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Date: Sun, 15 Jun 1997 10:43:45 -1000
From: Irene leNoir
To: "H-Costume"
Kimberly,
>Does anyone have any helpful suggestion on gores?
Depending on how formal you wish the garment to be, you could use anywhere from 2
to 6.
>the width of the plastron
At it's most extreme, the plastron of a sideless surcoat could be as narrow as a strip
about 3 inches wide. I find that the cut most flattering to the modern eye follows
a curve that starts at the shoulder, and tapers to just wider that the point of the
bust at bust height, and curves in to about 10-11 inches wide (it's narrowest point)
at about navel height, before curving out again to the sides just below hip height.
>best way to wear it?
I'm not sure what you mean by this.
>Also what is the best type of headdress?
Again, depending on how formal you want to be, this could vary. You could wear anything
from a simple veil and fillet, to an elaborate caul.
>BTW I do have a Kirtle, but how many underskirts should I wear with it?
Your kirtle should suffice for an underdress. historically, they would have worn
another dress under that, but I would not bother. No one will be able to tell, and
it would make the outfit very hot.
Jessica I. Clark SCA: Baroness Ir=E8ne leNoir jessica@ici.net or irene@ici.net
------------------------------------------------------------------------------
Date: Sun, 30 Mar 1997 08:00:49 -1000
From: Sue & Ted
Subject: Re: Intro and Archives question
Are members of this list aware that there are archives
at reference com? http://www.reference.com
Use the advanced search for specific topics.
Sue H
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Date: Sun, 29 Jun 1997 13:35:50 -1000
From: Susan Carroll-Clark
Subject: Re: veils and wimples
Greetings!
>Is there anyone that can help me with the mores of female headdress from
>the middle ages? If so, my questions are...
>When was the wimple and the veil that covered the whole hair the
>standard if it was the standard in the middle ages?
As two separate pieces, the veil and wimple are most often seen in the 12th, 13th
and 14th centuries. Before this, sometimes you see long veils draped around the
neck which frame the face. After this period, veils and wimples are still seen for
older women, and nuns.
>What was the reason for this custom?
What's the reason for any fashion trend? Although there were generally ideas that
married women covered their hair, while unmarried ones did not, there were plenty
of unmarried women who wore veils and wimples. The style almost always co-existed
with other styles (in the later 13th century, they coexisted with the hair net, barbette,
and fillet style; in the 14th, with some of the reticulated styles) and sometimes
would be blended with these styles.
>What were the rules for this custom?
Rules? I don't think there were any.
>When and why did this custom change?
When the veil and wimple went out of style. The style was new in the
12th and early 13th century. By the 14th century, it was a bit old-fashioned--
something the middle class and the "old fogeys" might wear. By the 15th century,
fashionable ladies were wearing all kinds of funky headdresses, although they might
don a headcloth for everyday wear. And by the 16th century, about the only people
wearing veils and wimples are nuns and elderly matrons.
Cheers--
Susan Carroll-Clark sclark@chass.utoronto.ca
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