Date: Fri, 23 Jan 1998 05:18:29 -1000
From: Mike Newell <[email protected]>
Subject: H-COST: French hoods
Wifes Hoods' in the C15th (but I keen to be told of any).>
Well, this is from the first quarter of the 16th century-- just FYI for you
and/or the List. A friend of mine ferreted out this info (time to go
re-read my copy of the Lisle letters):
" I found the quote about French hoods that I mentioned to you. It
is in "The Lisle Letters: An Abridgement", p. 209.
Lady Lisle is the wife of the Governor of Calais. She has just
managed to get Anne Basset, a daughter of her first marriage, an
appointment as maid of honor to Jane Seymour. John Husee is the
Lisle's secretary, who acts as their agent in England.
#180
17 September 1537
John Husee to Lady Lisle
"...the Queen's pleasure [is] that Mrs. Anne shall wear out her French
apparel, so that your ladyship shall thereby be no loser. Howbeit,
she must needs have a bonnet of velvet and a frontlet of the same. I
saw her yesterday in her velvet bonnet that my Lady Sussex had 'tired
her in, and methought it became her nothing so well as the French
hood; but the Queen's pleasure must needs be fulfilled."
--Kathryn
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Date: Thu, 22 Jan 1998 14:48:01 -1000
From: Mike Newell <[email protected]>
Subject: HNW - Sock calculator
I am forwarding an interesting message (below) from a friend in the Living
History Forum. She has been playing with knitting stockings from the Folk
Socks books, and foudn a site where you tell them your measurement and they
calculate a basic knitting pattern for stockings/stocks. Thought the
knitters would find it informative.
--Kathryn
hand before going there!
http://www.panix.com/~ilaine/socks.html
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Date: Fri, 23 Jan 1998 05:19:18 -1000
From: "Yeldham, Caroline S"
Subject: H-COST: French Hoods
Jean talked about a 1515 reference to a sister of Henry VIII wearing a
French Hood - but this was to the sister (Mary?) who married a French king -
its a Louis but I get confused with the numbers!
Wasn't it her sister Margaret who married one of the James of Scotland?
Both the French hood and the English Gable, strange as it may seem, relate to the
quite soft (usually black) hood worn n England and Flanders around 1500 (lots of
examples, especially in tapestries). The English version comes a little further
forward to completely cover the hair, then the front stiffens in a triangle over the head (Elizabeth
of York) and by the 1530s is very stiff with the veil at the back being often folded
up around the head and pinned. The French version moves back on the head and stays soft longer, then stiffens with a biliment around the head, the veil tends to stay
down (unless you get involved in the bongrace of later years).
In answer to Teddy's query, yes, the woman's gown I've made is set in the
pleats (from the original pictures some are, some aren't but are held in
pleats by the belts). I am pleased with the organ pipe effect I've got by
lining just behind the pleats (about 2" deep) with fur (with the fur side
towards the fabric) and the pleats sewn to the tape at 1" or so gaps. The
fur expands behind the fabric and holds the pleat out gently. I did this
just above where the belt goes, so the belt doesn't flatten the pipe effect.
I made this in 4 parts and I put the grain line running down from the front
of the shoulder to the hem and expanded at both the front and the side seam,
but more at the front seam. The pleats do tend to form naturally but I
liked the symetry I got when the pleats were sewn evenly. As I'm short
(5'2") I got this out of 5 yards of 60" wide wool, but only just. My
husband (5'10") needed more like 6.5 yards.
BTW - looking at the picture which originated this question - aren't the
split sleeves unusual? I agree with Dave, there is lots of evidence of
pinned sleeves - usually the sleeve of the garment goes just below the
armpit and the pinned sleeve reaches just to that level. Hunnisett in her
book on Medieval clothes shows a raglan sleeve technique for the Arnolfini
gown but I'm not convinced its common. I agree its difficult to see seam
lines in most reproductions, but she gets a very distinct division between the flat
raglan sleeve 'yoke' area and the pleated fabric of the start of
the rest of the gown - the pictures look softer in this area than that, as
tho the pleats naturally emerge and I did get that effect in the gown I
mention above. Open to persuasion here!
Caroline
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Date: Sat, 24 Jan 1998 19:46:17 -1000
From: Dick Eney
Subject: HNW - Milton Grass's 1955 article
Hi, Nancy (Ingvild). Thanks for the copy of the article. It's a good
overview, as well as an example of the need to check dates when comparing
information.
Milton N. Grass, "The Origins of the Art of Knitting", _Archaeology_, Vol.
8, no. 3, Sept. 1955, pp. 184-190. Excerpted from his (then forthcoming)
book, _From Fig-Leaves to Nylons, A History of Hosiery_ (1955) (Fairchild
Publications, Inc).
He shows a good photo of one of the pieces from Dura Europos that were
originally published as knitting (later re-evaluated and now thought to be
Egyptian nalbinding, because of a few weirdnesses that are possible in
knitting but much easier to do in nalbinding). He makes the important
point that Dura Europos was a major trading city, in existence for over
500 years, and had visitors from East, West, and everywhere; fragments
found there were not necessarily local products.
He shows several different Coptic socks, and one little doll's hat that
I'd never heard of before. (I wish they'd also shown the doll.) Also
shown are some of the later Egyptian and Syrian(?) socks that are
definitely knitted in crossed Eastern stitch.
It's a good basic article, but about half of it has been overridden by
time and further finds.
Some time after 1955, the archaeologists decided that the mysterious
absence of knitting needles from graves that had all other expected
grave-goods might hint that, instead of being knitted, these socks might
have been made with the eyed needles commonly found in the graves - by nalbinding.
Close examination of every stitch soon showed certain kinds
of mistakes that could only be done in nalbinding. When edges survived,
they could also be used as evidence for one or the other technique. It
became clear that every fragment had to be separately evaluated in detail.
Turnau specified that, although the Coptic socks in the Hermitage in
Moscow were knotless netting (nalbinding), the striped Coptic linen socks
with wool tops from the 6th-11th centuries that are in Prague (in the
Umelecko-Prumyslove Museum) were definitely knitted. (What a pity that
the Prague socks couldn't have been dated more precisely.)
During the re-evaluations, the Dura-Europos fragments were also
re-evaluated. Although the original description by the archaeologists who
found them (D.L.Bellinger?) included instructions for knitting them with
all the odd stitchery achieved by knitting, Rutt's opinion is (if I recall
correctly) that the peculiarities of structure are 'natural and easy'
with nalbinding and very complex in knitting.
My personal opinion on this is 'not proven either way' - to me, the
single most fascinating part of the Dura Europos fragments (256 AD) is
that they use knit-purl patterning. There are two pieces of ribbing, and
at least one (or perhaps two) large pieces of patterned work that would
not look out of place on a guernsey-style fisherman's knit sweater.
Turnau and others have, since 1955, mentioned more recent finds:
The tiny fragments of knitted fabric found in Roman Esch (Holland) dated
to the 2nd century AD (J.P.Wild) are disputed by Rutt, who says that they
could have been made by some other technique - but they are undisputably
knitted in that they are not in crossed Eastern stitch but in uncrossed
Western stitch. (*sigh* if I recall correctly)
According to Turnau, a pair of ivory needles each about 28 cm long found
in a grave near Nimes, France are also dated to the 2nd century AD; it is
thought that they may have been used to knit silk.
W. Endrei considers as knitted items some fragments of garments found by
the Hungarian expedition in Nubia originating from the 6th and 7th
centuries AD. [Nubie Abdallah-Nirgi, private collection of Dr. Walter
Endrei in Budapest]
=Tamar
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Date: Fri, 30 Jan 1998 04:09:36 -1000
From: Melanie Wilson
Subject: H-COST: Why we chose fashions
Someone was asking about books relevent to this here are a few I found:
The Agony of fashion- E C Cremers-van der Does
The sex life of the foot & Shoe- W A Rossi
Freaks of Fashion- William Berry (1868 on the controversy of corsets &
crinolines)
Why Women wear clothes- C Willet Cunnington
On human Finery- Quentin Bell
Mel
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Date: Sun, 25 Jan 1998 06:45:22 -1000
From: glhill
Subject: H-COST: Leathercrafter's Corner...re-sent, I hope!
Pray accept my apologies for not getting the attachment done
properly the first time.
http://www.tiac.net/users/hollyoak/lthcraft.htm
In case the link doesn't work properly this time either,
here is the URL:
http://www.tiac.net/users/hollyoak/lthcraft.htm
Eleanor
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Date: Wed, 11 Feb 1998 06:54:34 -1000
From: Lavolta Press
Subject: Re: H-COST: visiting California
There is also Satin Moon Fabrics on 32 Clement Street. They have unusual brocades,
some polyester but they look good. Also a fair amount
of unused vintage cotton lace from the mid 20th century.
In the East Bay, there is Poppy Fabric, a large store specializing in
natural-fiber fabrics, particularly cottons and linens. These include
Liberty cottons and allover embroidereed linens. They also have a good
selection of brocades, of drapery fabrics with 18th-century-style
prints, and a smaller but nice selection of Thai silks including allover embroidered.
Their address is 5151 Broadway in Oakland.
Stone Mountain and Daughter is a discount fabric store at 2516 Shattuck Avenue in
Berkeley. They have a large selection of pure cottons. Most
of the prints are tasteless, but you can get plain cotton in almost any
color or weight at a super price. I get all my underlinings there, plus
plain fabrics for Edwardian suits and things like that.
Fran Grimble
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From: Tim Allison
Subject: H-COST: Seams like Old Times
A closer look indicates that Puffs and Slashes is actually a collection of
book reviews from Seams Like Old Times.I purchased it from Folump Press but
it can also be obtained from the authors, Adress is c/o Linda Reames 900 E Miller
Dr Bloomington Indiana. If anyone has an email address for this
lady, aka Mistress Andelindis de Rheims, or Joyce Cotrell, aka Mistress
Caterina de Monticello, I would be very pleased to have it Carol Mitchell
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Subject: Re: H-COST: Italian Ren Gown: Combined Answers (long)
From: [email protected]
I am amalgamating answers to various questions on the topic. Note in advance: Please
don't think that I believe my answers are necessarily the "one true
way" of recreating these styles. I am always interested in hearing other
people's opinions.
1) Chemise: Meg Carignan refers to Cut My Cote which is the chemise pattern
that I have recently started using instead of the raglan style that I had used
for years. I recommend playing around with the underarm gusset - both the
size and the placement of it in order to get a fit that's comfortable for you. Also,
I, too, have moved away from the drawstring neckline (I can's document
it for this period). I usually gather the neckline and then sew ribbon of
some kind on top. Even though this "fixes" the neckline, I have found that I am still
able to use the chemise for a fairly wide range of necklines.
2) Overdress: In another post Meg referred to a painting of a bride and
groom meeting on a dock. I believe that she is referring to Carpaccio's
painting of Meeting of the Betrothed Couple and the Departure of the Pilgrims
(1495).This painting was the last in a series of nine showing the life of St.
Ursula that were painted in Venice from 1490 -1495) (Carpaccio, Francesco
Valconover. Scala/Riverside, 1989).
My interpretation of this painting is somewhat different. Instead of the inverted
triangle being a plastron, I think you're seeing an underdress. From
my research I have not found examples of a plastron either in the dresses
leading into or out of this period while overdresses are almost mandatory for
high-society ladies in the periods preceding the 1490's (another topic!).
Also, the styles elsewhere in Italy (Ghirlandaio in Florence) show an open
overdress (giornea) as I described with the front of the giornea forming the
sides of the triangle. I would be interested in hearing Meg's reasons for her interpretation.
3) Regional, Temporal, and Character Differences: As noted above, I believe
the style Meg described was Venetian from the mid 1490's. The style I
described to Saya is Florentine from the early 1490's. One thing I've come to appreciate
the more I've studied Italian Renaissance dress is the range of
dress worn during the period. I've slowly been learning the differences (this
discussion has helped tremendously as I've had to verify the loose thoughts in my
head!). Another factor to keep in mind when looking at a painting is who
the artist is depicting. Is this a real person, a saint, a saint who is
wearing clothing contemporary to the time of the painting? All of these
factors impact how the clothing should be interpreted. After years of buying art
books I'm finally reading the print for more information instead of just
looking at the pretty pictures!
So, for those of you interested in creating an Italian Renaissance dress, here
are my recommendations...
Chemise: see #1.
Underdress: The fashion or outer fabric of the dress can be in a variety of
weights. The weight of the fabric will impact the choices you make as far as
construction goes. Although I have gone for years with putting some boning in
the bodice, I am now moving towards using an interlining reinforced by
stitching instead of bones for my earlier period Italians (perhaps pre-1525 or
so). Underneath my chemise I'm wearing a corselette (no bones, just cloth) to
provide support and control (I'm amply endowed). This dress is laced up the front
(showing the chemise underneath) but I think the closure used for
getting into and out of the dress would be the laces on the side. This dress
is sleeveless wirh the sleeves tied into the underdress. The skirt is pleated
onto the bodice with various styles of pleating used).
Sleeves: The sleeves may be shaped (it will look odd!) to allow the chemise
to show or in various pieces that tie together with ribbons ending in points
(recommend velvet ribbon as it doesn't come untied as much!).
Overdress: I happen to prefer the more tabard-like giornea worn in Florence
which gives nice long (slenderizing) lines. Note that this is fuller than
the pattern in Medieval Miscellanea ( I don't know if this is now sold under
another name).It can either be open in the front or have a center front seam.
It is difficult to say exactly what happens in the back. If anyone knows of a
painting where this is shown, please let me know. Mine has a V in the back but not
to the depth of the front. Part of this is stylistic and part control. The way
I have made the overdress it is not sewn at the sides.
Since this dress falls open at the sides (and front), mine is lined in a
contrasting color for added interest. This dress is (relatively)
unconstructed (no interlining or boning).
Nancy (Gwyneth Greenecliff)
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From: "Gia Gavino-Gattshall"
Date: Fri, 13 Feb 1998 18:00:33 -1000
Sumptuaries I have found (and I hope they help!):
"Costume and Conduct in the Laws of Basel, Bern and Zurich 1370-1800"
by John Martin Vincent
Professor Emeritus of History
The John Hopkins University
The John Hopkins Press, 1935
Forgive me that I'm not sure where these cities are situated in Europe.
John Hopkins University Studies in Historical and Political Science:
"Sumptuary Legislation and Personal Regulation in England" by Frances
Elizabeth Baldwin, Ph.D.
Professor of History, Hood College
The Johns Hopkins Press, 1926
I know that this one is for England, but it's worth a try...
Gia/Giacinta
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Date: Fri, 13 Feb 1998 08:52:49 -1000
From: Melanie Wilson
Subject: H-COST: .sumptuary law
Sounds wonderful, if you can get hold of it all you'll every need to know on the subject
ISBN: 0333633326 m
ISBN: 031212922x v U.S.
Author: Hunt Alan
Title: Governance of the consuming passions a history of sumptuary law
Alan Hunt
Publisher: Basingstoke Macmillan 1996
Mel
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Date: Fri, 13 Feb 1998 08:54:04 -1000
From: Lavolta Press
Subject: H-COST: New Book on Turn-of-the-Century Fashions
_The Voice of Fashion: 79 Turn-of-the-Century Patterns with Instructions and Fashion
Plates_, edited by Frances Grimble. _The Voice of Fashion_ is a
self-contained resource for theatrical and reenactment costumers who
reproduce period garments.
_The Voice of Fashion_ contains a careful, comprehensive selection of women's styles
from 14 magazines published from 1900 through 1906. The 79 patterns include afternoon,
evening, ball, and wedding gowns; home and maternity wear; day suits and blouses;
lingerie; coats; and sports outfits. Each pattern has a fashion plate, plus instructions
for drafting and assembly. Additional fashion columns and plates supplement the
information on fabrics, trims, and construction. Clear, step-by-step instructions
are given for enlarging the patterns by drafting and by projection, and for period sewing
techniques. This book is as authentic as the rare original sources and as easy to
use as modern reproduction patterns, while costing much less than either.
companion volume to my book _The Edwardian Modiste_, which contains patterns from
1905 through 1909. It continues my work of making early pattern-drafting systems
widely available for modern use. The system used for _The Voice of Fashion_ requires
special rulers, whose units are not inches. We reconstructed them from period information
and provided them with the book. They work quite well.
_The Voice of Fashion_ can be purchased for $42 in bookstores or ordered
from Lavolta Press at 20 Meadowbrook Drive, San Francisco, CA 94132.
8 1/2" x 11" quality paperback 463 pages
79 patterns, 86 fashion plates, 8 drafting illustrations
Drafting rulers, metric conversion table, glossary, bibliography, index
Publication date: February 1998; available now
ISBN: 0-9636517-2-2 LCCN: 97-72141
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Date: Wed, 4 Feb 1998 11:13:41 -1000
From: glhill
Subject: H-COST: SUPPLIERS OF SILK AND LINEN THREAD!(LONG)
However, a LOT of folks here, have asked me to share this compilation. In hopes that
some of this will benefit some of you, I'm sharing. Here are 25 sources which I
received. I have attempted to include as much information as I was given, except
for all of the commentary, and many of these were highly complementary! I haven't had time
to check on them all, but this is certainly something that I intend to keep on file!!
Many, many thanks to all of you who contributed to the list. I hope it is helpful
to you in some way. Here they are, in no particular order:
1] EARTH GUILD
Asheville, NC
800-327-8448
2] BURNLEY & TROWBRIDGE
E-Mail: [email protected]
Linen thread in different weights, white and natural
3] WOODED HAMLET DESIGNS
E-mail: [email protected]
Silk thread in 23 colors and two weights, sewing thread and buttonhole twist,
real silk ribbons from 4mm to 32mm in width. Sample cards available.
4] STRAW-INTO-GOLD
Berkeley, Ca
Weaving supply store
5] FREDERICK FAWCETT
1-800-BUY-YARN
Linen thread
6] SILVER SHUTTLE
398 N. Willet
Memphis, TN 38112
901-274-6302
Linen thread
7] THE THREADED NEEDLE
800-381-0299
Ask for: Alice
Silk embroidery thread
8] THE HANDWEAVERS STUDIO
29 Haroldstone Road
London, E17 7NA
UK
Tel: 0181-521-2281
"Cheeses" of dyed 60/2 silks. Take American or English money. Send sample
of fabric for a matching thread. Said to be, "pretty good"
9] YLI CORPORATION
P.O. Box 109
Provo, UT 84603-0109
801-377-3900
800-854-1932
"Kanagawa" silk embroidery and sewing thread, silk ribbons, silk tussah, and
silk batting
10] QUEEN STITCH
703-771-3381
Owners: Jane and Sharlotte
Linen thread, 50 and 35 weight on a ball, not a spool, for embellishment only,
$1.95 for 40yds. Alyce Schroth silks, hand-dyed with natural colours, and Karen
Collection silks called Watercolours. $2.50 to $4.00/skein.
11] THE LACEMAKER
4602 Mahoning Ave., NW
Suite C
Warren, OH 44483
800-747-2220 (orders)
330-847-6535 (orders)
E-mail: [email protected]
Linen thread
12] ROBIN & RUSS HANDWEAVERS
533 North Adams Street
McMinnville, OR 97128-5513
800-WEAVE-91
E-mail: [email protected]
Linen thread
13] THINGS JAPANESE
9805 NE 116th St.
Suite 7160
Kirkland, WA 98034-2287
206-821-2287
Silk thread
14] LACIS
3163 Adeline Street
Berkeley, CA 94703
510-843-7178
E-mail: [email protected]
http://www.lacis.com/catalog/index.html
Silk thread. Don't take checks!
15] BRITEX
146 Geary (Near Union Square - downtown SF)
San Francisco, CA
415-392-2910
9:30-8:00 Thurs
9:30-6:00 M-W, F, Sat.
Closed Sun.
Heavy weight silk thread, 4 floors, notions, ribbons, threads, patterns, fabric.
Helpful in locatiing anything you want.
16] HEDGEHOG HANDWORKS
P.O. Box 45384
Westchester, CA 90045
888-670-6040 (toll free)
17] AURORA SILK
5806 North Vancouver Ave.
Portland, OR 97217
503-286-4149
18] BEGGAR'S LACE
P.O. Box 481223
Denver, CO 80248
303-722-5557
19] DAISY CHAIN
P.O. Box 1258
Parkersburg, WV 26102
304-428-9500
20] HALCYON YARNS
12 School Street
Bath, ME 04530
800-341-0282
21] NEEDLE ARTS
2211 Monroe
Dearborn, MI 48124
313-278-6266
22] NORDIC NEEDLE
1314 Gateway Drive
Fargo, ND 58103
800-433-4321
23] TEXTILE REPRODUCTIONS
Box 48
West Chersterfield, MA 01084
413-296-4437
24] WEBS
P.O. Box 147
Northhampton, MA 01061
413-584-2225
25] G STREET FABRICS
Rockville, MD
Linen thread.
Thanks again for all of your help, and many good wishes, Eleanor of Leycestershyre
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Date: Wed, 18 Feb 1998 17:48:57 -1000
Subject: Re: H-COST: Resources for Scottish Elizabethan Garb
The best sources for this information are H.F. McClintock's "Old Irish and
Highland Dress" which has been out of print since 1950 (Luckily I managed to find
a copy) and Dunlevy's "Dress in Ireland" (ISBN 0-8419-1269-8) which goes
in and out of print. Yes, I know it's IRISH, but until around 1600, the Irish
and Scots Highlanders wore pretty much the same thing. Lowlanders, of course, wore
the same thing as the English. I don't know of any references about
Lowland women wearing a plaid over their dresses -- that sounds like the
airisaid, which is a somewhat later outer garment. McClintock refers to
primary sources in his descriptions of clothing. Neither book has patterns.
Kathleen
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Date: Wed, 18 Feb 1998 18:42:53 -1000
From: Eric J Abbott
Greetings find below rferences for early period garb or textiles:
Medieval finds from excavations in London:3 by Geoff Egan
ISBN 0 11 290444 0
Medieval Finds from excavations in London:4 by Elizabeth Crowfoot ISBN 0 11 290445
9
Texttiles from Medieval Egypt AD 300-1300 by Thelma Thomas
ISBN 0 911239 20 0
Novgorod the Great: excavations at the medieval city by M.W. Thompson
Library of congress# 67-14709
this book has sketches of many items including scissors, shoes and
jewelry from the 10-15th centuries
Medieval Scotland: an archeaological perspective by Peter Yeoman
ISBN 0 7134 7465 3
This book has PHOTOS of many items including fabric scraps, shoes,
leather, brooch, etc. good info in text as well The Archeology of early medieval ireland
by Nancy Edwards
ISBN 0 8122 3085 x
THIS BOOK HAS LOTS OF INFO!!!!!!!
There are refernces to fabrics remnants found at lagore Ireland. No pix
though of fabric. Does have lots in text and some reference to what was
WORN by the upper class males. with a photo of the sculpture. THIS IS THE
BEST SOURCE I HAVE FOUNF SO FAR ON THIS SUBJECT. If I find a photo of
Lagore fabric I will post.
Salvador
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Date: Sun, 22 Feb 1998 20:19:43 -1000
From: The Purple Elephant
Subject: Re: H-COST: _Tudor Costume and Fashion_
On Fri, 20 Feb 1998, Kimiko Drew wrote:
> There are a couple of drawbacks...
> 1) there are some references to the earlier volumes, that unless you can
> get a copy of, makes the description lacking (I can get copies of this if
> people are interested in the earlier volumes).
> 2) The artwork is mainly done as sketches, including the color plates, but
> considering that I have been able to find many of the actual pieces either
> in another book or online, the sketches will actually help to enhance vague
> details
> 3) There was some editing of the original, so if there was a typo, it may
> still be there (I know, as I found some typos as I was reading the original
> at the time I bought this book).
>
> Hope this helps others entranced by the costumes of this time as I am...
> and please, if you are aware of any problems with this book as a reference
> I am always willing to upgrade my research.
I've been told, and I tend to agree, that Norris is not so good. I've
only read the first two volumes of his book (ie up 1500 ish), and some of it's pretty
dubious. With regard to your second point above, I've also
heard it said that the sources for his drawings are very hard to track down,
but again this may be with respect to his mediaeval volumes. One thing
I have heard about the Tudor volumes is that he leaves out the codpieces.
A lot of other costume books have copied Norris' mistakes, so this may be
why you can find similar things in other places.
Why do Tudor reenactors need books when they have Holbein? *grin* Claire (who wishes
Holbein lived around 1400)
------------------------------------------------------------------------------
Date: Sun, 22 Feb 1998 01:05:38 -1000
Subject: Re: SCA-GARB: Ten-Gore layout
A write up of one way to make the dress is written up in the
Tournaments Illuminated issue 116, fall 1995, pages 5-8.
These dresses can also be studied in the books:
Norland, Ph.D, Poul. Buried Norseman at Herjolfsnes, an Archealogical and Historical
Study. copywrite 1924. Sorry no other information, my copy is at a friends and
I am working off an older copy of the title page. Out of Print.
Hald, Margrethe, Ancient Danish Textiles from Bogs and Burials, A Comparitive Study
of Costume and Iron Age Textiles. Denmark: The National Museum of Denmark, 1980.
ISBN 8748003123. Out of Print.
Crowfoot, Elisabeth, Pritchard, Frances, and Staniland, Kay, Textiles and Clothing
c.1150-c.1450. MEdieval Finds from Excavations in London:4. London:HMSO,1992.
ISBN 0112904459. In and out of print.
And although I don't recommend his book (I do have it, got it before I knew any better).
Kohler, Carl. A History of Costume. New York: Dover Publication, Inc., 1963. ISBN
0486210308.
Melangell
------------------------------------------------------------------------------
Date: Tue, 24 Feb 1998 00:38:13 -1000
From: "bsmart"
Subject: Irish Scot Dress Info
One source for Celtic garb is "Beyond the Pale" A survey of Gaelic Garb 1500 - 1650
compiled by ld. cormac MacCliuin O'Domnaill, a sca related publication.
Published in 1987. The address of publisher (then) was Moongate Designs, 44791 Windmill
Drive, Canton, MI 48187 ph 313-451-6839 The pamplet has
a few pages the Leine and a very good overview of Scot/Irish clothing. Ld.
Cormac also wrote "Authurian Costume: Clothing in Post Roman Britian, AD
400-550 (Atlanta), Arvonia Vir, 1987 so his works must still be published
and available somewhere in the SCA area.
Also Kathryn Goodwyn, wrote "The Well Dressed Celt" at the time she was in
the East Kingdom.
I also found the instructions for Scottish Women's Clothing and a Leine
Pattern, by Sharon L. Krossa at a web site, sort of backdoors through a
"Medieval Scotland" web site. Sharon L. Krossa, [email protected] She
has references in both articles.
Rabiah of the Misty Mountains,
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Date: Sun, 1 Mar 1998 09:38:24 -1000
Subject: H-COST: Recommendation for Pattern Drafting Book
From: Nancygwyn
I decided to check my e-mail and saw Chance's request for a recommendation. I just
happened to have my pattern drafting book in my lap. This book was
recommended to me by a lady who has spent the last ten years working on
various certificates from Parson's and FIT. The following book is the text
most frequently used:
Patternmaking for Fashion Design by Helen J. Armstrong, HarperCollins, 1995.
ISBN 0-673-98026-X.
It's very thorough but it does take practice and patience to learn how to
draft. As I'm drafting out into other areas and sewing for other people, I've
found it to be very useful.
Nancy Stengel
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Date: Tue, 3 Mar 1998 12:52:20 -1000
From: Mike Newell <[email protected]>
Subject: H-COST: drawstring chemise
Dear Kate:
I just checked my copy of Cunnington (1981 edition):
"It was plain except for a frill,sometimes edged with lace,at neck and sleeves.
The neckline was cut low,with a short V-opening in front where it was tied by means
of a threaded drawstring."
They are not exactly specific about which part of the 1626-1710 period they
are speaking.
Years ago I found a sketch of a 17th century chemise in Iris Brooke's "Dress and Undress",
but it seems to show permanent gathering at the neck and wrists.
There is a famous bodice at the V&A from the 1630's which has the ends of
its sleeves gathered on drawstrings. One can at least document the practice, although
whether it was used in chemises seems questionable.
Personally, I am just thrilled if ladies will wear chemises with their garb. I don't
care as much about drawstrings as I am about layers. Just my 2 pence worth .
--Kathryn (who has FINALLY finished moving and is online again.)
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From: Tim Allison
Subject: Buttons
Date: Thu, 5 Mar 1998 20:13:23 -1000
We had a loong discussion on this subject on the h-costume mailing list,
and the general consensus seems to be that they were used for fastenings as
well as decorations almost from the beginning.
Caroline
Carol Mitchell
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From: The Purple Elephant
Subject: Re: Buttons
Date: Thu, 5 Mar 1998 20:20:11 -1000
Well from the thirteenth century, anyway. I'd be a bit hesitant to use them
for anything earlier than that. (In Western Europe)
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From: "Carol Kocian"
Date: Fri, 6 Mar 1998 05:32:51 -1000
Subject: H-COST: Re: Medieval braid casings
> Did they braid them in the two strand braids with a ribbon
> replacing the third strand, in ordinary three strand braids, or
> four strands, or do I need to learn a *new* braid?
>
> Any hints on how to attach them?
I did this many years ago, this beings back the memories! My braid cases reached
my knees. I put lead fishing weights in the bottom to keep them from flying around
too much, though it probably wasn't necessary. My hair was capable of about 6" braids
at the time. The cases were stuffed, probably with polyester fiberfill (hey, I was
young!) and had empty tubes of the fabric for the top 6". I used two tubes per "braid",
with the ribbon wrapped around them in a figure 8 to make one braid.
For each "braid", I made two braids of my own hair. One got stuffed down each
tube. I used hairpins to hold them on. The thin, u-shaped hairpins were thin enough
to go through the fabric and down into the braided hair. Three or four of them per
tube was sufficient, but I have wavy hair that holds onto things. An elastic band around
the hair would probably help, at a level just under the top edge of the tube. (Hmmmn,
what about sewing an elastic band into the top of the tube?)
When wrapping the ribbon around, there will be a difference of the real hair
vs. the stuffed part of the tube. If you don't pull the ribbon too tight, it will
not show.
-Carol Kocian
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From: [email protected]
Subject: Re: Buttons
Date: Fri, 6 Mar 1998 13:38:55 -1000
According to Panati (Charles Panati: Extraordinary Origins of Everyday
Things) buttons originated in the Indus Valley in 2000 BC. They were
used purely for decoration until the 1200's, when the buttonhole was invented. The
original buttons (those of the Indus) were carved shells
with two holes to sew them on. They were followed by the wooden, ivory and bone buttons
used by the Romans and Greeks. Buttonholes originated
in Western Europe to replace pins for fastening a garment. This was to
avoid the loss of pins (pins and lacing, if you don't have them, you
can't get dressed) and to save the better quality fabrics from damage
from the repeated piercings from said pins. All of the above is according to Panati
(an odd little book that my husband keeps around). I
would suggest using this as a starting point for further reasearch.
Lyn Greaves Rosamund d'Alwareton Thorny Rose
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Date: Mon, 16 Feb 1998 12:36:08 -1000
From: [email protected]
Subject: Re: SCA-GARB: Beads
Mariacher, Giovanni, "Glass from Antiquity to Renaissance" 1966, Studio
Vista Ltd. London
Dubin, Lois Sherr, "the History of Beads from 30,000 BC to Present" 1987,
Harry N. Abrams, Inc., NY
Tournaments Illustrated also had an article called An Overview of Glass Beads"
by Mellitus of Rouncivale, but I don't know offhand what issue it's in.
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