12/31/96

Date: Sat, 2 Nov 1996 17:21:25 -1000
From: "Penny E. Ladnier"
Subject: Re: Time periods (long)

At 06:52 PM 11/2/96 -0500, you wrote:
>What about the Victorian age? What dates would you give it?
>[email protected]
>
When in London I kept asking this same question. The best answer I got was
from the chair of fashion dept. and the curator of the Bath Museum of
Costume, which was:
1837 (or 38) to 1901. The Victorian Era ran through several costume/fashion
periods, the end of Romantic, Crinoline, Bustle and Fin de Seicle. But...
I was dicussing costume time periods with Dr. Tara Maginnis, head costume
instructor at the University of Alaska, Fairbanks. The following are her
comments regarding costume time periods:

For example "Georgian", like "Victorian", is
purely a distinction of a time period set by monarch's reigns in
England, and is consequently technically irrelevant to all of costume
history which did not occur on that little island. Dates used for
"Rennaisance" are also country-based, and dependent on a distinction
used by art historians. The Renaissance in Italy is over 100 years
before the Northern European Renaissance, which in terms of art history,
slightly predates the "English Renaissance". Then there is the thorny
topic of "The Middle Ages" and "The Dark Ages" two perjorative terms
used by Italian Renaissance folks to essentially write off all the art
made "in the middle" ages between the Classical age and it's "rebirth"
or Renaissance. And of course, this whole discussion is even narrow in
that it only pays attention to what Europe is doing. So the
possibilities for coming up with a subjective grouping of "periods" is
endless. There are some time periods where Western European Rich
people's clothes stay essentially stable for a big stretch of time like
Women's dress in the "Empire" period, or the 1980's, where for over a
decade the rate of major fashion change is extremely slow. There are
others like the 1700-1780's where the changes are so gradual and even
that you can draw them on a chart of "evolution", and fancy you have
discovered a Darwinian theory of fashion. However, there are so many
fun "transition periods" (ie. total chaos)like the French Revolution,
WWI, and the 1970's, plus periods where what is worn in Spain bears as
little relation ship to what is worn in Italy, or England or Poland,
that it amazes me that any intelligent person ever has the temerity to
declare any fixed timeline of even Western costume history.
----------------------------------------------------------------------------
Date: Tue, 5 Nov 1996 13:13:18 -1000
From: Deb
Subject: Re: 1770's bum roll

Quick & Dirty (good to test what size bum roll you want)
Roll up a towel, the long way. Tie it at several
places with shoelaces. Attach to hips (I've not actually
tried one of these ... maybe you need to put a lonnng
shoelace or webbing in the middle of the towel before
you roll it)

Decide what size bum-roll you want (from testing several
sized towels; somebody even used a blanket, I think, and
it looked real good on her). Then, calculate the dimensions,
make a cyllinder of the appropriate size and stuff with
wadding or left over fabric.

(Sorry -- that's not overly helpful so far)

TIPS that I found helpful:
- into both ends of the cyllinder, sew a lace or webbing
to tie it around the hips
- (NO documentation, but it works for me:)
Sew at least 3 ties into the side of the cyllinder.
One at each end, and one or two evenly in the middle.
THEN tie another webbing around your waist.
Tie these extra 3 (or 4) ties to the "waistband"
and tie off so bumroll hangs at the appropriate distance
down from waist.
- Now also tie the laces at the ENDS of the cyllinder, so
that the bumroll is snug around your hips.

Clear as mud?
----------------------------------------------------------------------------
Date: Thu, 31 Oct 1996 04:07:57 -1000
From: Gunnora Hallakarva
Subject: Fiber Arts Mailing Lists

=======================================
From: Ron Parker
Subject: List of Fiber Lists

Here's the latest incarnation of the List of Fiber-related Mailing lists.
Please let me know of any changes, additions, or deletions that should be
made.

FIBER-RELATED LISTS - 10/29/96 version

Ashford-Spinners (mostly Ashford wheels) - e-mail to [email protected]
with anything in Subject: and either 'subscribe ashford-spinners' or
'subscribe ashford-spinners-digest' as the message, or subscribe on line at
www.bolis.com Susan Druding owner, [email protected] or
[email protected]

A Thing for String (fibers, beads) A moderated newsletter from user
submissions, which will include personal ads. e-mail to
[email protected] to be placed on the mailing list. Include the
following in your message.
Your Full name:
Business Name :
E-Mail Address where to send ATFS:
Where did you learn about A THING FOR STRING:
Indicate your choices to be on the list for:
All subjects, Fiber & Yarns, Spinning & Weaving, Supplies: Beads & Jewelry,
Spinning & Weaving, Machine Knitting, Sewing & Serging, OTHER CRAFTS:
(list), YOUR PERSONAL WISH LIST includes: (like a bridal registry list of
gift to you things)

Beads (beading, beadmaking) e-mail to [email protected]
indicating your preference for the Beads-list or Beads digest format.
Wheat Carr owner, [email protected], [email protected] CIS:
71774,3401

Cards-L (tablet weaving list, with an SCA emphasis) - e-mail to
[email protected] with 'SUB CARDS-L YOUR_FIRST_NAME YOUR_LAST_NAME'
as the message or on line at http://www.mtsu.edu/~kgregg/SCA/cards.html
Kendall Gregg owner, AKA Ronane Blackwell, [email protected] or
[email protected]

Crafts-L (general hobby crafts with some fiber stuff) - e-mail to
[email protected] with subscribe Crafts-L as the message. The list
owner is [email protected].

Crochet-L (crochet list) e-mail to [email protected]
with 'subscribe crochet' as the message. Deb Arrowood owner, [email protected]

CrochetPartners-L (crochet list) e-mail to [email protected] with
'subscribe crochetpartners-l Your Real Name and Email Address' or
'subscribe crochetpartners-l-digest Your Real Name and Email Address' as
the message. Rae French owner, [email protected]

Feltmakers (felting list) e-mail to [email protected] with
'subscribe feltmakers' as the message. Patricia Spark owner, [email protected]

FiberNet (fiber arts and crafts in general) e-mail to [email protected]
with 'subscribe fibernet' or 'subscribe fibernet-digest' as the message or
on line at www.bolis.com Ron Parker owner, [email protected] or
[email protected]

Knitting (more off-topic chatty than KnitList) e-mail to
[email protected] with 'subscribe knitting' as the message. Rob
McKenzie owner, [email protected]

Knit (the big knitting list) e-mail to [email protected] with
'subscribe knit' as the message. Amy B. Detjen owner, [email protected] or
[email protected]

KnitDesign (knit sizing and design, fairly technical) Teri Pittman is the
owner. At present, it is an automated list for mailing, but Teri manually
adds and unsubscribes people. Anyone interested in being added to the list
should write to Teri at [email protected]." Important Note: post messages
to [email protected] - the uppercase K and D are needed.

Lace (lacemaking) e-mail to [email protected] with 'subscribe lace Your
Real Name and Email Address' or 'subscribe lace-digest Your Real Name and
Email Address' as the message. [email protected]

Machine-Knit (machine knitting) e-mail to [email protected] or,
for the digest version, [email protected], with the word
'subscribe' as the Subject: Amy Stinson owner, [email protected]

Plastic Canvas (P-C needle arts) e-mail to [email protected] with
subscribe plastic-canvas or subscribe plastic-canvas-digest as the message.
Cheryl Perkins owner, [email protected].

Quiltart (quilting) e-mail to [email protected] with
subscribe quiltart or subscribe quiltart-digest as the message.
Judy Smith owner, [email protected]

Sewing (all sew topics) e-mail to [email protected] with 'subscribe
sewinglist' or 'subscribe sewinglist-digest' as the message. Julie Page
owner, [email protected] or [email protected]

sheep-L (sheep husbandry, health, wool, etc.) e-mail to
[email protected] with 'subscribe sheep-L' as the message. Torbjorn
Wictorin owner, [email protected] or
[email protected]

Tabletweaving (tablet weaving) e-mail to [email protected] with
'subscribe tabletweaving' or 'subscribe tabletweaving-digest' as the
message or on line at www.bolis.com Ron Parker owner - on behalf of TWIST
(Tablet Weavers International Studies and Techniques), formerly called
TWINE. [email protected] or [email protected]

Tapestry (tapestry) e-mail to [email protected] with 'subscribe tapestry'
as the message. Kathe Todd-Hooker owner, [email protected] (for any
list problems) or kathe for other matters.

TechKnit (on-topic knitting and spinning discussion) e-mail to
[email protected] with 'subscribe techknit' or 'subscribe
techknit-digest' as the message. Lois Baker owner, [email protected]

Wearable Art (garments, dyeing, treatments etc.) e-mail to
[email protected] with 'subscribe wearable' or subscribe
'wearable-digest' as the message. Timothy E. Larson owner,
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Weaving (mostly weaving) e-mail to [email protected] with 'subscribe
weaving' or 'subscribe weaving-digest' as the
messsage. Amy Norris manager [email protected]
----------------------------------------------------------------------------
Date: Sat, 9 Nov 1996 08:05:42 -1000
From: Mary Smith
Subject: Italian Ren

The following notes are courtesy of Maestra Francesca di Pavia, from the
Shire of Caer Galen, the Outlands. I will forward any comments to her.

"As near as I can tell, there were two basic styles of overdress commonly
worn in Italy in the second half of the 15th Century. One was called a cioppa
or pellanda (regional variations), and was related to a houppelande. It was
very long and full in the skirt. The bodice could be pleated to the skirt, or
could be all one piece with a complex system of pleats starting above the
breastline (possibly tied in place on the inside). The bodice was usually
round-necked and somewhat high, but could be cut lower. The skirt was open in
the front to reveal the skirt of the dress beneath. (BTW, I can see no
evidence that the basic Italian dress, the gamurra, camora, or cotta - again
mainly regional variations - ever had a split skirt and underskirt, as I so
often see done in the SCA. That's a misinterpretation of a gown and an
overgown, as I see it.) The sleeves were generally hanging sleeves, and were
often ridiculously long and full, and sometimes dagged. The second style of
overgown was the giornea. This was a tabard-like affair, which was left open
on the sides to reveal the gown beneath, and was usually cut in a low V-neck
so the bodice beneath could show. This could be sleeveless or have long,
hanging (sometimes dagged) sleeves. In either case the sleeves of the dress
beneath would be seen (and these were often elaborately beaded and
embroidered). (Incidentally, a woman of status would rarely go out in public
without an overdress, except in the summer, and then her gamurra would be of
silk and as heavily embellished as she could muster. Only a lower-class woman
would go about in aplain wool gamurra without a cioppa or giornea.)

"Judging from the many paintings I've seen, there were wide variations in
these basic styles. This was an age of great display of individualism in
costuming, and as much conspicuous consumption as thewearer could afford -
the penalty for violating sumptuary laws was a fine. The nouveau riche
happily paid the fine in order to look more like the nobility."

Francesca di Pavia/Meg Baron
----------------------------------------------------------------------------
Date: Wed, 20 Nov 1996 20:48:52 -1000
From: Elizabeth Pruyn
Subject: Blackwork resources

Blackwork Embroidery
--------------------
http://www16.crl.com/~kdyer/documents/mag_book_vid.html
Needlework FAQ: Magazines, Books, Videotapes
http://www.ambook.org/bookstore/needlework/
Hard-to-Find Needlework Books
http://www.pacificnet.net/~pmarmor/bwarch.html
Elizabethan Blackwork: The Blackwork Embroidery
Archives [patterns and everything!!! yaay!]
http://www.cis.ohio-state.edu/hypertext.faq/usenet/crafts/textiles/faq/part1
/faq.html
Textiles FAQ from rec.crafts.textiles and alt.sewing
http://www.greenduck.com/newrtpl/charts.htm
Green Duck Designs Charts Category Price List
http://bull.got.kth.se/~annat/
Anna's LARP Crafts Links Page [a lot of this is
in Swedish, but the links are great; there's a whole
section on embroidery, and for the fellas, a bunch
of links on making your own armor, weapons, chainmail, and
even a link called "Much ado about bondage..." I'll
let you go there yourselves... plus, there's quite a
few costuming sites]
http://www.ftech.net/~regia/embroid.htm
Embroidery Techniques
http://www.crl.com/~kdyer/xstitch.html
Counted Cross Stitch, Needlework, and Stitchery
Page
http://www.tiag.com/
Told in a Garden [stitchery resources and designs]
http://www.fml.com/bsd/
Black Swan Designs [counted cross stitch designs]
http://www.scsn.net/users/pegasus/
Pegasus Originals Inc. [more counted cross stitch]

and my personal favorite, the granddaddy of them all
(well, not really, but I'm mighty impressed by the contents
of this page-it's emphasis is on info., not flash):

http://www.staff.uiuc.edu/~jscole/medembro.html
The Medieval/Renaissance Embroidery Home Page

Milieux:The Costume Site
http://ddi.digital.net/~milieux/costume.html
The best costume site I've seen, with links to everything you can imagine.

-----------------------------
NEEDLEWORK:

Medieval/Renaissance Embroidery Homepage
http://www.uiuc.edu/ph/www/jscole/medembro.html

Donna's Needlework Page
http://www.dabbler.com/ndlwrk.html
Valuable not so much for itself as for its many good links.

Counted Cross Stitch, Needlework, and Stitchery Page
http://www.crl.com/~kdyer/xstitch.html

The Lacemaker's Home Page
http://www.arachne.com/

Blackwork Embroidery Archives
http://www.pacificnet.net/~pmarmor/bw_sesns.html
A little disappointing -- only six designs.

The Medieval/Renaissance Embroidery Home Page
http://www.uiuc.edu/ph/www/jscole/medembro.html
----------------------------------------------------------------------------
Date: Sat, 2 Nov 1996 20:25:06 -1000
From: Kirk Albrecht M311
Subject: patterns and clothes

I just found this web site. They have patterns and other things. They also
custom make clothes.
http://rampages.onramp.net/~lawsonda/mall/mmm_intro.html
I have ordered anything from them and have know idea about there service.
Kelly
[email protected]
----------------------------------------------------------------------------
Date: Sat, 23 Nov 1996 07:55:35 -1000
From: aleed
Subject: Re: Burgundy 1450

I've found the best book on burgundian costume to be The History of
Costume: Europe 1400-1500 by Margaret Scott. I've only come across one
copy of it, and haven't been able to find another, but the book is
fantastic--Margaret goes through the century in 5 year increments,
documenting changes in styles and fashions, and supporting everything with
primary evidence--and she includes tons and tons of pictures of period
paintings, etc. If you can find it, It's the best resource you can have.
----------------------------------------------------------------------------
Date: Tue, 26 Nov 1996 05:38:29 -1000
From: Susan Carroll-Clark
Subject: cotehardies

Greetings!

I don't think there was "one true pattern" for the cotehardie/fitted gown/
whatever. Princess seams are in fact quite period, although they tend
to be seen on the slightly later cotehardies in the fifteenth century;
the head of the curved seam should end at the shoulder rather than in
the armscye like most modern Princess seams. (I wish I'd saved the citation
for the specific picture that shows this--it does exist). There are also
two other possible scenarios: First, that the dress was made essentially
similar to earlier dresses, using an essentially straight-cut body
with inserted triangular gores. The shirt in Burnham's _Cut my Cote_
shows this treatment--the gores could be inserted in the sides and at
centre front and back. The body of the dress is then shaped to the wearer
by pulling it as tight as possible, using the bias stretch to achieve
fit. The second documentable style I have seen is the Herjolfness gored
dress--once again, gores are used, but they are inserted at the *side* front
and side back, and they also contain strips of fabric at the top of each
gore which go into the body of the dress. This is indubitably a 14th
century dress--whether it should be rightly called a "cotehardie" is
debatable, but it might give a hint as to construction.

Fourteenth century enthusiasts will likely debate loudly as to which
of these constructions is "correct". I happen to think that all of them
are possible, with the "stretch and gore" style likely to be the
earliest since it is most closely related to the styles worn just before
the "cotehardie".

Finally, I should mention Stella Mary Newton's _Fashion in the Age of the
Black Prince_. If you haven't read it....do so ASAP! There's a lot
of good pictoral evidence in there, and tons of stuff on clothing and
the way it was worn....

Cheers!
Susan Carroll-Clark
[email protected]
----------------------------------------------------------------------------
Date: Wed, 27 Nov 1996 05:35:43 -1000
From: "I. Marc Carlson"
Subject: Re: cotehardies

>
>I don't think there was "one true pattern" for the cotehardie/fitted gown/
>whatever. Princess seams...

I don't know from Princess seams, but I assume that, because of the odd
piecing shape of the side panels of the Herjolfsnes no. 38 (woman's
dress) and no.41 (argueably a man's tunic) that fitted torso gored
"dresses" were, in fact, known in the Medieval Period.

>...The second documentable style I have seen is the Herjolfness gored
>dress--once again, gores are used, but they are inserted at the *side* front
>and side back, and they also contain strips of fabric at the top of each
>gore which go into the body of the dress.

Begging your pardon, ma'am, but *which* Herjolfsnes gored dress? My
assumption is that you are referring to "no.38", which is one of the most
commonly shown in costuming materials. But if so, I am not certain
what you mean by "strips of fabric", unless you are referring to the
tops of the side panels. In both the "Man's" and "Woman's" (gender
based as much on bone size versus clothing size, as anything else
acording to Norlund, 1924) these side panels appear to be a single
piece each. There is another example, the number escapes me,
unforunately, that clearly shows a single side panel from arm pit to
hemline. Curiously this panel is divided down the middle by a false
seam, to give the impression of being multiple pieces (this thing
about false seams doesn't appear to be a strictly limited thing,
either, although I'm not sure what it tells us for the general styles
of Europe.

Based on these, and the few other finds, such as the Bockstenman, I
think that there are number of basic "styles", with each of those
broken down by the individual clothier. So yes, I agree, there is
no "one way".

Marc Carlson
----------------------------------------------------------------------------
Date: Mon, 28 Oct 1996 07:40:25 -1000
From: Gretchen M Beck
Subject: JA Shirts and Smocks Article

Last night, my husband reached behind one of our bookcases and emerged
with the Janet Arnold Shirts and Smocks article that was discussed here,
lo, these many weeks ago.

So, if anyone wants a copy, let me know.

toodles, gretchen
----------------------------------------------------------------------------
Date: Thu, 28 Nov 1996 16:33:56 -1000
From: "=?iso-8859-1?Q?=22Chantal_M._P=E9court=22?="
Subject: Cotehardies

The wearing and proper making of cotehardies is an interesting
topic. I have a book called Daily Life in Chaucer's England that has some
patterns from actual digs from the late 1300's and early 1400's, when
Chaucer lived. According to this reference, what we call the cotehardie was
called a kirtle and was made not using the princess seamed dress, but side
gores and front gores that shaped the back and front pieces into a tight
fitting dress that got tighter as buttons were introduced. This books also
states that the openings were almost always at the front or side and hardly
ever the back. The buttons would be most numerous at points of pull and less
numerous where the dress had to pull less. What was worn under this kirtle
was another kirtle, formed basically the same way.
If we jump ahead a few years, about 100 or so, we can get some
interesting ideas of how the dresses were made as the houppeland area began.
In many art books there are painting os women, mainly the Virgin and Mary
Magdalen wearing dresses very similar to cotehardies but the cut is very
different. You can tell because the seams are actually painted. The exact
title of the books escapes me at the moment but there are four paintings
that come to mind to support this princess seam construction not evidenced
in earlier pieces. One very clearly shows the front seams and another the
back. The third is a picture of Bathsheba exiting her bath, her servantis
wearing a tight fitting dress with the hem tucked up. The underdress is a
long linen shirt like garment that ends just below the knees, a ruffle like
skirt is attached to this so that the underdress reaches to her ankles. It
is theorized that this ruffle was there because hems become so frayed with
wear that rather than replacing the entire under dress they ripped off the
ruffle and added a new one.
If anyone is interested I can get the exact reference.

I am /very/ curious to know 1. Are there archeological finds that can show
us how the clothing progressed from the side gored kirtle to the princess
seamed dress
2. How these dresses were cut out and made, how they were fastened
and how the false sleeves were attached.
----------------------------------------------------------------------------
Date: Thu, 28 Nov 1996 16:41:20 -1000
From: "=?iso-8859-1?Q?=22Chantal_M._P=E9court=22?="
Subject: Re: Cotehardies

>The Herjolfness dress I'm talking about I believe is the one you mention,
>Marc.
>

>        | |

>        | |

>        | |

>        | |

>       /   \

>      /     \

>     /       \

>    /         \

>   /           \

>  /             \

>  ---------------




The gores at the side, according to many texts I have seen on the matter (

not that they are 100% correct either), are shaped a bit differently than

this.



        | |

        | |

        | |

        | |

       /  |

      /   |

     /    |

    /     |

   /      |

  /       |

 ---------------

There are from 4 to 8 on each side, hence the nick name 8 gored dress etc.
They are attached straight edge to not straight edge ( or bias to not bias)
which cause the drape. These gores form the bottom of the arm hole. There is
also one triangular gore in the front and back to add more fullness to the
skirt. The book, Daily Life in Chaucer's England has detailed diagrams as
well as intrcutions on making these dresses. Having constructed these
dresses a few times, I can say that the drape is not very similar to the
princess seamed dresses of the latter part of the 15th century ( 1480 or so).
How and why the cut changed I don't know, but would love to find
out. If you would like some photo copies of the pages, let me know

Chantal
----------------------------------------------------------------------------
Date: Fri, 29 Nov 1996 05:17:30 -1000
From: Susan Carroll-Clark
Subject: More on cotehardies

Greetings!

Thanks for the better picture; I forgot that there's a drawing of that
particular dress in _Daily Life in Chaucer's England_ (I helped write a
very remote ancestor of this book as a preparatory pamphlet for a
Chaucerian event--look for me in the credits at the front!). For those
of you who are interested, the authors are Will McLean and Jeff Singman
and it's put out by Greenwood press. Pricey, but worth it!

Back to the topic at hand. "Kirtle" is probably a better word for at
least the underdress. Definitely have a look at Stella Mary Newton's
_Fashion in the Age of the Black Prince_ for a true definition of
cotehardie (or cote hardi)--the term is period and was used to describe
a particular garment. (I'm a bit out of my league in this field, since
my own area of research is the 13th century, and I'm only interested in
the fourteenth century because it's what's next :-) The best argument
for the more traditionally gored closefitting garment (as opposed to the
10 gore Herjolfness dress) has been presented by Verna Rutz and Robin
Netherton (are you lurking anywhere on this list, ladies?) I have seen
their dresses and they look and fit like those in paintings. As I have
said, these are a logical evolution from the gowns in the period I study,
and may represent an earlier form of the garment.

Another friend of mine (known in the SCA as Sarra Graeme) is not convinced
that the ten-gored dress is what should be called a "cotehardie", although
it's definitely a period dress. Her argument is that the dresses labeled
_cotehardie_ often has a different neckline than the Herjolfness
dress--more straight across than scooped. I think McLean and Singman's
choice of the word "kirtle" for this dress reflects the fact that no
one's really sure if that dress is "really" a true cotehardie. Also
someone else once pointed out to me that the true cotehardie is an
overgown, often with sleeves to the elbows rather than all the way to
the wrists, with the buttoned sleeves of the kirtle showing through
underneath (although I do know of cases where it's definitely all one
sleeve.

One thing this points out to me is that many SCA folk tend to call any
closefitting 14th century dress a "cotehardie". This is probably
incorrect. We shouldn't be surprised, then, that there are different
ways to make a 14th century dresss.

(Incidentally, for my collection, does anyone have any further pictures of
people wearing dresses that seem to resemble and hang like the ten-gore
dress?)

Cheers!
Susan Carroll-Clark
[email protected]
----------------------------------------------------------------------------
Date: Fri, 29 Nov 1996 08:43:12 -1000
From: Heather McGlaughlin
Subject: Re: Cotehardies

At 10:30 AM 11/28/96 -0500, you wrote:
>Greetings!
>
>The Herjolfness dress I'm talking about I believe is the one you mention,
>Marc. I was trying to figure out the way to describe the way the gores
>work--they're not just simple triangular gores that most people might
>have seen, but rather look a bit like this:
>
> | |
> | |
> | |
> | |
> / \
> / \
> / \
> / \
> / \
> / \
> ---------------
>
> There are (I'm working from memory, so excuse the sloppy numbers) I=
believe
> two of these each at side right, side left, back side right and back side
> left. The "strips" at the top fit the the garment through the
> torso, while the triangular gore flares out at the hip. These garments
> have a characteristic drape which resembles a princess cut somewhat and
> is quite distinctive when you look for it. And it is, as I mentioned,
> _definitely_ a period cut.
>
> Hope this helps!
> Susan Carroll-Clark
> [email protected]

I think that Karl Kohler's "History of Costume" has a picture of this
dress, as well as a pattern/cutting diagram. It's available through Dover
books, and you can probably get it at any big bookstore.

Heather

P.S. Try these books. These are entries in a costuming bibliography I'm
currently working on.

Houston, Mary G. Medieval Costume in England and France: The 13th, 14th,
and 15th Centuries. New York, Dover Publications, 1996. First published:
London, A & C Black, 1939. ISBN: 0-486-29060-3. LOCCCN: 95-40171

First Regional Library: (Olive Branch) 391 Hou 1996.

228 pp., illus. Text is chronological: includes chapters on construction,
ecclesiastical costume, armor, and ornamentation. Informative text. Good
pattern diagrams, details of ornamental and fabric designs. Historical
chronologies included- monarchs of Europe. Excellent illustrations taken
mostly from primary sources. Glossary and bibliography included. Another
book everyone should have. =20

K=F6hler, Carl. A History of Costume. New York: Dover Publications, 1963.
ISBN: 486-21030-8. LOCCCN: 63-16328. =20

First Regional Library: (Hernando, MS) 391.094 Koh.

464 pp., illus. Contains examples from antiquity through the nineteenth
century, divided by country. Photos of primary sources: paintings,
statues, bog finds, sketches, and detailed pattern diagrams with
measurements (in cm.) included. Text describes undergarments, materials,
methods, male and female fashions, and accessories. Bibliography and index.
Excellent and inexpensive resource. Everyone should own this one.

Laver, James. Costume and Fashion: A Concise History. New York and
London: Thames and Hudson, 1969, 1982, 1986. ISBN: 0-500-20190-0.=20

First Regional Library: (Batesville) 391.009 Lav 1986.

288 pp., illus. Ten chapters covering antiquity through 1970=92s. Lavishly
illustrated, including color photos and fashion plates. Many primary source
illustrations. Includes index and select bibliography. Detailed sources
in list of illustrations. A wonderful tool because of its primary source
illustrations. Inexpensive, too. =20

Scott, Margaret. A Visual History of Costume: The Fourteenth and Fifteenth
Centuries. London: B.T. Batsford Ltd., 1986. ISBN: 0-7134-4857-1.

University of Mississippi Library: GT575 S26 1986.
=09
143 pp., illus. This book is unique in that the material is drawn entirely
from primary sources. A full list of illustrations is given at the
beginning of the book, with detailed source information.. The introduction
is a quick overview of the period, with notes on the sources. The plates
are taken from effigies, statues, brass rubbings, manuscripts, architecture,
and paintings. Wonderful detail in the photos. Section of full color=
plates.
Select bibliography and excellent glossary/ index. If you can find this
book in the US, GET IT. Excellent series.

Heather McGlaughlin Fiona MacLachlan
Graduate Assistant Chatelaine
Department of Music/ Choral Activities Shire of Hammerhold
University of Mississippi Oxford, MS

----------------------------------------------------------------------------
Date: Fri, 29 Nov 1996 20:08:36 -1000
From: "I. Marc Carlson"
Subject: *CORRECTION* (Was Cotehardies)

<"I. Marc Carlson" >
>...If I may alter your picture slightly (based on Borlund, page 102, fig. 63)
>...

Let's try making that *Norlund* ("Buried Norsemen at Herjolfsnes: an
Archaeological and Historical Study" P. Norlund. In _Meddelelser om
Gronland. Bind LXVII. Kobenhavn: C.A. Reitzel, Boghandel, 1924.)

For what it's worth, what Kohler showes on pgs 158-9 (figs 187-90)
are Herjolfnses nos. 38 and 43 (as well as no.76, the hood). The dotted
line shown between the two rear side gores is a false seam.

The fact that paintings exist that show seams is interesting to me,
since both of these details suggest that it was somehow stylish to use
smaller bits of fabric, and to show that you did so.

Marc Carlson
----------------------------------------------------------------------------
Date: Tue, 3 Dec 1996 09:37:07 -1000
From: Valerie Winkler
Subject: Cotehardies (long)

Greetings to the learned denizens of h-costume. As the 14th Century is the
period I'm working in, I timidly offer my 2 cents' contribution:

To Carol Newby and Erica Stevens, who asked (in essence) how to get
started: If you can't find a commercial pattern that looks right to you, try
Period Patterns #21, but be aware that unless they've changed it in the last
2 years, the sleeves are inaccurate (the seam should be at the back of the
arm, and they give no indication how to make the opening for working buttons
on the forearm), and the curves in the front and back seams near the neckline
are 'way too pronounced. Even for full figured women, I have had to reduce
them. In my experience, cotehardies for either sex always require individual
fitting.
A nifty modification to P.P.21 is to add gores in the front and back as
well as at the sides, to add width and weight to the skirt.
I have also modified McCall's 6052 (more later), but I had to make the
bodice 2 sizes too small to get a close enough fit, and of course moved the
sleeve seam. I think McCall's 7300 would work too, but haven't tried it yet.
I would suggest you use wool (if you can wear it), velveteen, or a heavy
silk for court garb. If cost is a problem, the velveteen may be your best
choice. It drapes well, and the weight of opinion I've heard in the SCA (I'm
sure the list will correct me if this is inaccurate) says cotton velveteen
actually *looks* more "period" than nylon or rayon velvets. It is certainly
easier to work with. I line my velveteen cotehardies with muslin so an
underdress isn't needed in warm weather (it's not correct, but I can't take
the heat). I am making underdresses ("kirtles"?) of china silk and of cotton
damask for winter.
The underdress is made on the same pattern as the overdress, but the
overdress may have elbow-length sleeves with tippets in the early- or
mid-14th c. The neckline seems to get wider the later in the century you go.
To be completely correct, I think you should have a shift under the
underdress. The Museum of London book on Dress Accessories shows a
sleeveless one which looks like it would go under a dress with a fairly wide
neckline. Cunnington's underwear book unfortunately isn't much help in this
century.
Regarding sources, I also suggest Newton (hard to find, and much more
useful for materials used and period nomenclature than construction),
Kohler, and the Museum of London books. I like Mary G. Houston, _Medieval
Costume in England and France_, recently reprinted by Dover, ISBN
0486-29060-3. As for the books that seem to get pushed on SCA "newbies", I'd
recommend staying away from Peacock and Braun & Schneider. Herbert Norris is
good for an overall perspective of the times, but don't take his pictures too
seriously.

Regarding the discussion about whether princess-type seams (or the
Herjolfsnes model) or the four-panel (Period Patterns 21) model are actually
more correct: I don't see how this can be resolved in the absence of a
larger number of extant garments. Almost everybody seems to reproduce or
redraw Norlund's pattern diagram. However, period artwork may give a clue
here, if you consider the impracticality of making an heraldic mi-parti
cotehardie from Norlund's pattern!
I would guess that, in whatever period, dressmakers did the same thing we
do - use whatever type of pattern WORKS for what you want to achieve. For
example, I will use P.P.21 for the heraldic I'm making this year, becase it
makes it a lot easier to work in the heraldic decoration. But for dresses of
all one color, where I wanted the extra fitting, fullness of skirt, and
smooth drape the gores allow, I have also made the multi-gored model, for
which I modified McCall's 6052. I found that when you extend the side pieces
to the floor, the bottom is wider than the fabric, which REQUIRES you to cut
the side front and side back in half and make 8 rather than 4 side pieces. I
straightened the princess seam, so that it terminates at the neckline rather
than the armhole. It works, but next time I think I'll move the curve over a
bit and widen the central panel, more like the Norlund drawing, to see how
that works. The shape of the gores turned out more like Chantal's drawing
than either Susan's or Marc's.

Hope this helps.
Val Winkler (Kate Oakley)
----------------------------------------------------------------------------
Date: Tue, 17 Dec 1996 05:44:12 -1000
From: Gia Gavino-Gattshall
Subject: Re: Costume Software

Hi Jessica (and Sharon, too!),

I have an issue of "Threads" magazine that did an article on
computer software for fitting and pattern making. September 1995,
issue number 60. Page 40, "Can a Computer Solve Your Fitting
Problems?" It reviews pattern making programs and does include
computer and other hardware requirements, prices and ordering information.
It reviews:
"Dress Shop 2.0" , "Personal Patterns", and "Fittingly Sew".
Fittingly Sew is available for the Mac and Dress Shop was working on a Mac
version when this article went to press.

I hope this helps in your search; the companies may be able to help
you locate other programs for the computer that I don't know about
and would also be interested.

Gia Gavino-Gattshall
[email protected]
----------------------------------------------------------------------------
Date: Sat, 21 Dec 1996 11:03:29 -1000
From: Kathleen Songal
Subject: Archives

Many of the new subscribers to h-costume may not be aware that there is a site:

http://reality.sgi.com/pdc/h-costume/index.html

This site contains the archives of the h-costume list up to the date March
1996. I have found this very valuable. All one need do is type in a few
key words on the topic of their interest and it is available in this
archive. Many of the questions that newbies might pose have already been
answered.

What I have been trying to find out for the past few days, though, is: where
are the archives from March 1996 stored? If anyone knows, please post.

Kathy Songal
[email protected]

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