Date: Tue, 31 Mar 1998 16:17:37 -1000
From: Susan Fatemi
Subject: H-COST: Re: saris
Go to: www.kerala.com/fashion/hwsari.htm
Look at the pictures. Follow the instructions. There! you're done!
Another interesting site is: www.indiagov.org/culture/dresses/dress.htm
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Date: Fri, 3 Apr 1998 05:12:09 -1000
From: Barbara Maren Winkler
Subject: H-COST: Re: any archives?
> we'd like to try one last time to find out if there are working
> archives of this list anywhere? Official, un-official, whatever? Other
> than for 1996 and earlier?
I have kept private archives of the digest form of this list since August
1996 up to now. I lost the months November and December of 1997. To be
exact, I have contiguously saved all the digests
from
H-costume digest. Volume 4 Number 1 (from Tue, 30 Jul 1996)
through
h-costume-digest V1 #109 (from Mon, 3 Nov 1997)
and from
h-costume-digest V2 #10 (from Mon, 5 Jan 1998)
through the current
h-costume-digest V3 #96 (from Fri, 3 Apr 1998),
within which the above message appeared. I will try to continue archieving
h-costume digests as long as I can. So, you may contact me when you sign on
again. But I cannot guarantee that I will be here, say, after December
1998. These are (so far) unofficial, private archieves.
------------------------------------------------------------------------------
Date: Mon, 6 Apr 1998 12:38:17 -1000
From: mpulver
Subject: Re: H-COST: make your own... shoes!
Hello
I have been reading the thread on making your own shoes and had to get
make a few comments.
Buying supplies: The suppliers for shoe makers are called "Finders" if you are in
a larger city look in the phone book under "Shoe Finders" Every area has two or
three that supply the local shoe repair shops. If you ask the local shoe repairman
he/she can get what you need but they may tack on a charge that you do not want. I noticed
that another poster added the Leather Factory and that is correct. They are newly
come to the Findings business and about 15% of their stores sell the shoe supplies.
The advantage to them will be that they ship directly to your door.
Making shoes can be very enjoyable. But remember that it can also be VERY frustrating.
I have repaired or made shoes for 18 years and working on another persons shoes
is easy compared to making a pair for yourself.
Enjoy yourself and if you need any tips feel free to contact me.
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Date: Wed, 8 Apr 1998 10:27:31 -1000
Subject: sloper page
http://www.panix.com/~aqn/tailoring2/drafting/index.html
------------------------------------------------------------------------------
Date: Thu, 16 Apr 1998 07:38:53 -1000
From: Margo Anderson
Subject: Re: H-COST: Pattern drafting for 16th century
>> Can anyone remind me of the proper way to alter a modern darted bodice
>> sloper to remove the darts for a 16th century sillouhette?
>>
After years of pondering this problem, and after posting the above, I had a
breakthrough! The problem I've alsways had with adjusting for the dartless
corseted form is that, no matter what I did, either the armhole or the
shoulder always distorted. Now, I seem to have found the solution
What I did was to start with a standard sloper with a waistline dart. I
extended the center line of the dart up to the point where I want the bodice's neckline
to be. I found this point by lifting my breast to the height I wanted, then measuring
from the waistline to the top of the nipple. I then slashed the dart up to this
point. Then I drew a line from the center of the shoulder seam to the end of the
previous slash, and slashed along that line. I brought the edges of the dart together,
which opened the other slash, leaving a dart from shoulder seam to point. Then I
cut out the low square neckline just outside the dart. Voila! A dartless pattern, with
a shoulder strap at just the right angle to shape and contain the bust.
I can't offer much advice for the bodice back. Since I only have a 1/2"
back dart, I took it off the side seam.
Margo Anderson
What I did was to start with a standard sloper with a waistline dart. I
extended the center line of the dart up to the point where I want the bodice's neckline
to be. I found this point by lifting my breast to the height I wanted, then measuring
from the waistline to the top of the nipple. I then slashed the dart up to this
point. Then I drew a line from the center of the shoulder seam to the end of the
previous slash, and slashed along that line. I brought the edges of the dart together,
which opened the other slash, leaving a dart from shoulder seam to point. Then I
cut out the low square neckline just outside the dart. Voila! A dartless pattern, with
a shoulder strap at just the right angle to shape and contain the bust.
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Date: Thu, 16 Apr 1998 19:10:41 -1000
From: Katrina Worley
Subject: H-COST: line-en fabrics
It appears that not everyone interested in this topic saw this the first
time around, so I'm re-posting it. I should mention that much of this stuff was culled
from a variety of sources that I used in part for my thesis, in part for a variety
of papers written for different graduate seminars. Most of the references are buried
in a filing cabinet with the rest of my notes and rough drafts. My main area of expertise
is how changing technology affects the production,use and cultural significance of
textiles. One current project is dealing with how the introduction of the sewing
machine affected the cut, manufacture and value of women's clothing in the mid-late
19th century. FWIW- my thesis was on California Indian textiles (other than baskets),
but most of my other research focuses on the mid-19th century, in part because I
work in a mid-19th century historic site and wear full period clothing to work.
I'm responding to a series of recent postings in the digest on two related
issues, "hemp" and "linen"
First off, there are several plants which have long fibers (known as "line" fibers)
in their stems. In order to remove these fibers, the plants must
be broken down, and the extraneous plant matter removed through a series of
separation processes. As a part of this separation, a second class of fibers (called
"tow") are also produced. Thread spun from ANY of the long "line" fibers are properly
called "line-en", or linen. This applies to flax, hemp, ramie, nettle, or any other similar fiber. In the 19th century, there are references to "common" linen, and
to "flax" linen. The common variety was hemp. (see The Workwoman's Guide, page 12
for a reference to Suffolk hemp being considered the best linen). We today see the
word "linen," and think "flax" because that is the most common line fiber in use today.
This is in large part because "linen" of any type is now a luxury fabric, so there
is little market for a "common" variety. This was not always the case. As for the
quality of the fiber, a good quality hemp linen is comparable to a good quality flax linen.
The biggest difference is that flax will bleach pure white, while the hemp will
retain a slight off cast (sometimes creamy, sometimes grey or brown). The use of
snowy white linens became a status marker, something to strive to achieve (that which is hard
to achieve will always be of higher social status, since it shows that the owner
has the resources to be able to get and maintain it). Even a peasant, then, would
want their linen to be as white as possible. There is some evidence that the slight color
of the hemp actually protects the fiber from sun damage, making hemp a better choice
than flax for sails on ships. Since hemp is easier to grow in less than ideal climates, in virtually every time period hemp will be the more commonly used line fiber. It
should be noted that there is no easy way to tell from the finished fabric which
plant (hemp or flax) was used to make it. The cell shape of the flax is a bit more
pointed, and the hemp a bit
more squared, but there is nearly as much variation between two different samples
of the same fiber as there is between a sample each of hemp and flax. Much of the
"linen" found in museums then is likely hemp rather than flax. No line fiber (except
possibly ramie) will readily accept natural dyes, as the cellular structure of the fiber
does not have an abundance of dye receptor sites (unlike wool). Indigo is the one
natural due which can be used on linen easily, since it doesn't bond directly to
the fiber to begin with.
Hope this helps-
Katrina (going back to anthropological lurk mode- just ignore me and go
about your normal business....)
------------------------------------------------------------------------------
From: Albert Cat
Date: Mon, 27 Apr 1998 15:17:46 -1000
Subject: Re: H-COST: Making Bias Tape [SCA]
Mark the bias strips twice the finished width on a piece of fabric like this:
________selvedge________
I \ a \ \ \ \ \ I
I \ \ \ \ \ \ I
I \ \ \ \ \ \ I
I__\___\_a_\___\___\____\I
selvedge
Now with your long bias strip done you're ready to fold the ends in.
To do this ...pull a chair up to the ironing board. Have a seat.
Take the longest quilting pin you can find & pin it into the board cover like
this:
I== ===== ==>
The center section should be the measurement of the finished length. For
instance, if you want 3/4" bias: or 1/2":
<-3/4"--> <-1/2">
I== ====== ==> I=== ===== ===>
Cut one end of the strip so it's square & "start" the fold by turning in the
edges. Slip it under the middle section of the pin. you may have to woogie it
around to get the 2 raw edges to meet in the center. The folds should be where
the pin goes into the board cover. Now just slowly pull it thru & iron it down. You'll
have to do it in sections & you may have to work at keeping the
raw edges in the middle. But with practice this become very easy & nifty.
Don't burn your fingers!
For larger widths, they make a sort of thing that you pull the fabric strip
thru & it curls the edges in....like a shirt tail hem presserfoot...sort of.
You can get them at craft stores.
------------------------------------------------------------------------------
Date: Thu, 30 Apr 1998 10:41:57 -1000
From: Melanie Wilson
Subject: H-COST: Hose Patterns
I've put them all on
http://ourworld.compuserve.com/homepages/MelanieWilson/hose.htm
Mel
------------------------------------------------------------------------------
Subject: Re: H-COST: FW: [TY] Colored Veils
Date: Mon, 27 Apr 1998 12:37:54 -1000
From: Irene leNoir
The only example I have yet found of a colored veil is:
French Painting: From Fouquet to Poussin
by Albert Chatelet & Jaques Thuillier
Publisher: Skira, Geneva, 1963
Page 48 - Les Heures d'Etienne Chevalier: The Visitation (c.1450)
The lady in the center wears a green veil with a white wimple and a rose colored dress.
If anyone knows of any other examples, I would also be interested in them.
BTW: also of note in this illumination is the lady on the right. She has hitched
her long skirt up around her waist, and her underdress has a ruffle around the hem.
You can also see a pouch hanging under the overdress.
------------------------------------------------------------------------------
From: Briana Gfn
Date: Mon, 4 May 1998 10:22:01 -1000
Subject: Fwd: Sources of Patterns and other Necessities
Sources of Patterns & other Necessities:
Harriet's Ect. Tailoring & Costume Sewing
P.O. Box 1363
Winchester, VA 22604
$12.00 for the Ladies, Mens, & children's patterns.
Smoke & Fire Co.
P.O. Box 166
Grand Rapids, OH 43522
1-800-766-5334
Amazon Vinegar & Pickling Works
2218 Ease 11th street
Davenport, IA 25803 1-319-322-6800
They have 3 catalogs. The pattern catalog ($7.00) illustrates over 1,000
patterns for Men, women, children, and dolls. Medieval though 1950. The Shoe
catalog ($5.00) has shoes from all periods. The General catalog ($3.00) has
everything except patterns -- hats & bonnets, readymade clothing, accessories,
toys, books, kitchenware, ect.
Chivalry Sports PO Box 18904
Tucson, AZ 85731-8904
1-602-722-1255
Source of clothing, books, weaponry & some patterns. They publish a
"catalog magizine" ($14.00 for a 1-year subscription).
Hedgehog Handworks
PO Box 45384
Westchester, CA 90045
1-310-670-6040
Or
8406 Flight Ave.
Los Angeles, CA 90045
No readymade clothing but a source of costuming books &other items needed
to make clothes (stitchery supplies, notions, needlework tools, stays, hooks,
clasps, & buttons) except the fabric. They charge $5.00 for their catalog, refundable
with an order of $30.00 or more.
House Morning Star
11246 S. Post Oak Rd. #214
Houston, TX. 77035
1-713-729-7990
Source of patterns, books, and sewing materials, but they will also make costumes
to order. Mostly Tudor stuff: Bodices, skirts, & chemises- as well as
mens garb.
JAS Townsend & Son
P.O. Box 415
Pierceton, IN 46562
1-800-338-1665
Emphasis is on the 18th & 19th centuries.
MacKenzie-Smith
PO Box 3315
Truckee, CA 96160
1-800-829-1974
Source of Medieval items (armor, swords, jewelery, cups) and period
patterns. The items catalog is not free, but you can get a Period Pattern
Flyer for free.
Moresca Clothing & Costume
361 Union Center Rd.
Ulster Jpark, NY 12487
1-914-331-6012
Source of capes, tunics, ect.
Museum Replicas Ltd
2143 Gees Mill Rd.
Box 840
Conyers, GA. 30207
1-800-883-8838
Source of medieval clothing and accessories such as swords, jewelry,
goblets, relics, ect.
Puffs & Slashes
C/O L. R. Fox
P.O. Box 443
Bloomington, IN 47402-0443
An anoted bibiography of pre- 1650 costume sources (including books &
periodicals). $2.50 per copy.
The Queens Thimble
515 S. Evergreen Dr.
Mira Loma, CA 91752-1577
1-909-360-6041
Source of handmade period clothing. No current information available.
Raiments
P.O. Box 93095
Pasadena, CA 91109
1-818-899-7673
Source of medieval and renaissance patterns. The catalog is $5.00 ($7.00
if shipped first class) but is very large. They also sell books and some
accessories.
Renaissance Herald (was Renaissance shopper)
P.O. Box 422 Riverside, CA 92502
1-909-943-7333
Actually a quartly magazine, which contains advertisements for many
companies dealing in period garb, armor, weapons, ect... Lists quite a few
clothing makers, including one who says they in Renssince wedding garb. They
have two subscriptions plans: $7.00, if you get a lifetime subscription, but
it is sent at bulk mail rates. $5.00 annually, you get the magazine at first
class mail rates.
Rose D'Zynes
1196 Sunglow Drive
Oceanside, CA 92056
1-800-899-7673
Source of custom-designed medieval & renaissance wedding attire for rent
or purchase. Call to request a videotape of bridal fashions.
St. Michael's Leather Emporium
156 E. Second Street. Suite 1
New York, NY 100009
1-212-995-8359
Source of custom-designed Leather armor, Jewelry & renaissance-era
clothing. Catalog costs about $3.00.
Sterling Silks/Serling Cloth Company
701 Cleveland Ave Southwest Canton, ohio 44702
1-216-456-0653
Source of silk fabrics, thread, ect.
Whole Costumer's Catalog
P.O. Box 207
Beallsville, PA 15313 1-412-632-3242
Source of cataloge & stores that sell fabric, patterns, accessories, etc.
Costs $17.95 (S&H included)
For medieval weapons, jewlery & other gift items (but very little clothing and
no patterns):
Art & Artifact
2451 E. Enterprise PKWY
Twinsburg, OH 44087
1-800-950-9540
Check out their wedding chalice, a reproduction of an 18th century
English piece.
Atlanta Cutlery
Dept. TFH
2143 Gees Mill Road
Box 839
Conyers, GA 30207
1-800-883-0300
Dancing Dragon
5670 West End Road, # 4 P.O. Box 1106
Arcata, CA 95521
1-800-322-6041
Source of fantasy dragon items.
Distant Caravans
P.O. Box 5254
Reno, NV. 89513
1-702-746-0416
Source of Middle eastern clothing and belly dancing jewlery.
Fellowship Foundry
2550 Ease 12th St.
Oakland, CA 94601
1-510-261-3292
Source of pewter wedding goblets.
Gryphon's Moon
3557 Tanner's Mill Road
Gainsville, GA 30507-8828
1-770-536-2805
Souce of Celtic rings & pendants.
The Noble Collection P.O. Box 831
Merrifield, VA 22116
1-800-866-2538
Source of swords, helmets, suits of armor, axes, and letter openers.
Past Times
280 Summer Street
Boston, MA 02210-1182
1-800-242-1020
Source of gifts & jewelry from Great Britain inspieby "the past" (anglo-
saxon, viking, medieval, tudor, stuart, victorian, ect.).
Earth Care
P.O. Box 7070
Madison, WI 53707
1-800-347-0070
Source of "natural" papers (stationary & wrap) made of flower petals.
Also carry sealing wax & letter seals.
Period Pavilions
Medieval Miscellanea
6530 Spring Valley Drive Alexandria, VA 22312
Source of historical pavilions, tents, yurts, canopies, and bannerpoles
for rental or purchase.
For Early, medieval, Renaissancemusic books, recorded music & Instruments:
Lark in The Morning
P.O. Box 1176
Mendocino, CA 95460
1-707-964-5569
Source of hard-to-find music & musical instruments, i.e. Celtic harps,
recorders, pennywhistles, lutes, lyres, & others.
Time Warner Sound Exchange
45 N. Industry CT.
Deer Park, NY 11729-4614
1-800-521-0042
Small collection of Celtic & new age celtic music.
------------------------------------------------------------------------------
From: Kimiko Drew
Subject: H-COST: Re: Ladies Scottish dress
I didn't see if anyone else responded to you, but as this is my area and period of
study, I hope I can help. (10 years in my renaissance clan)
For the highland lass, a proper outfit (summer or otherwise) would be a
long sleaved leine (LAY-na), of a light material. It is properly made of
linen, but onasburg cotton, or other lightweight cotton would be fine (as I
know 100% linen can be hard to locate.) White or saffron yellow is best,
but I know many who wear it in various colors. To see what this garment looks like,
see
http://www.reconstructinghistory.com/fenians/womensleine.htm
Over the basic leine is the overdress. This can be made of wool, which actually is
cool in the summer, or a medium to heavyweight cotton. The
above site shows various styles of dresses to wear, including the
"shinrone" aka "the bog dress". I have made one of these from wool, and
wear it in 100+ dry heat. There is also the basic "Irish Overdress", quite
common at faires. Alter Years has this as a pattern, and also has the leine as a pattern.
They can be reached at:
http://www.alteryears.com
Without the arasaid (a plaide for the lassies), you would be seen as an
Irish woman (at least by those who know or care). If you don't want the extra weight,
wear a sash of family tartan, if applicable. While not
"period", most people at the games wouldn't know, except for the
re-enactors of the 16th century. However, in garb, you will have many
customers asking you various questions! Oh, I also wear a pair of bloomers
for personal safety (wouldn't do to show meself ;-) )
Add to this a belt, shoes, jewelry and accessories, and have some scottish
fun!
I hope this helps you and I would love to hear how it goes with you at the
games! If you have any detailed questions, I would be happy to reply.
Kimiko
PS
Try my web site. While not as extensive as the above sites (yet, it is new)
it has some costume guidelines that may be helpful to you. If you do go
there, let me know what you think, please.
------------------------------------------------------------------------------
Date: Wed, 29 Apr 1998 08:36:00 -1000
From: Tenebrae
Re: H-COST: Re: pattern site help
On Wed, 29 Apr 1998, Briana Gfn wrote:
> http://www.umich.edu/~cynnabar/citadel/MISC/shops.html
Drat. It didn't work. This, however, did turn up a few useful items:
http://www.umich.edu/~cynnabar/Links/AandS/costuming.html
-Tenebrae.
------------------------------------------------------------------------------
Date: Fri, 15 May 1998 05:47:58 -1000
From: aleed To: [email protected]
Subject: Re: H-COST: Elizabethan caps
> Are "muffin caps" that made by gathering or pleating a circle of fabric
> into a band which fits around the wearer's head documentable? If so, how
> wide are the headbands, and how close-fitting is the "bag" part?
I've seen some period pictures which show caps similar to muffin caps.
The circle of fabric pleated/gathered into the band is relatively small--8
inches in diameter at most--and the band is really far back on the head.
In fact, I have no idea how they kept the things on their heads to begin with.--combs,
pins, strategically placed braids, or what. I've seen one
picture where a woman's braid is wrapped with a strip of fabric and appears to be
wound around the base of the muffin cap pouf (circa 1570).
I have a copy of this picture at
(http://www.dnaco.net/~aleed/corsets/gallery/lowerclass/aertsen3.jpg
and a picture of the muffin cap at
http://www.dnaco.net/~aleed/corsets/gallery/lowerclass/beuckelaer1.jpg
>
> Which styles, if any, other than the coif appear to have been worn? Is
> there any hope for those of us who put on a coif and immediately become
> indistiguishable from Baby Huey?
the wound-braid bit in the picture above would work, if you had long hair.
Upper class women would sometimes wear a small, decorative billiment in
their hair and a gauzy veil, or a hat, without a coif underneath. (I
don't know about middle class women doing this, though; I've only seen it
in fancy portraits. A popular hairstyle was to roll the front hair into
two poufy rolls on either side of a center part, during the later part of Elizabeth's
reign. If you're doing earlier Elizabethan (1560s), you
could get away with a french hood.
The shape of the coif changed greatly during Elizabeth's reign. in the
1570s, de Heere made a sketch of London gentlewomen which showed them
wearing coifs which came to points quite far along the jawline, but which
were cut far back at the crown of the head.
(http://www.dnaco.net/~aleed/corsets/gallery/middle-wmn.html). One of the
coifs in this picture either has a poufy section sewn into the back of it
rather like a muffin cap, or has a poufy cap of some sort worn over it.
By the time the 1600s rolled around, the coif seems to have crept closer towards the
brow, and resembled more the coifs pictured on
http://www.dnaco.net/~aleed/corsets/headwear/coif.html
The front edge of coifs could be wired as well. Try experimenting to find
a shape which flatters your face.
hope this helps,
Drea
------------------------------------------------------------------------------
From: "noelle"
Subject: H-COST: Elizabethan Caps
Date: Fri, 15 May 1998 07:12:52 -1000
I've seen some really great resources on the Web for making coifs,
but I'm curious about other styles of "headlinens", if you will.
First, to the best of my knowledge they are not called "coifs". The term I have always
heard is "biggins" This is a simple cap that looks like a very
basic baby bonnet, usually in white or black with some sort of lace trim
around the face.
Are "muffin caps" that made by gathering or pleating a circle of fabric into a band
which fits around the wearer's head documentable? If so, how
wide are the headbands, and how close-fitting is the "bag" part?
Yes, this is a muffin cap. The band should be about 1.5" to 2" wide.
The cap itself can be as big as you want it. I have seen muffin caps that
hung down below the shoulders. Just make sure it is at least large enough to
contain your hair.
Which styles, if any, other than the coif appear to have been worn? Is
there any hope for those of us who put on a coif and immediately become
indistiguishable from Baby Huey?
Alas, this is the most common hair covering, but if you prefer, a snood
(the little crocheted nets) can be worn as alternative.
I'm specifically interested in appropriate first-layer headwear for women in England
during Elizabeth I's reign. My observations above come from more years at faire
(as a turkey and a performer) than I care to count, but I think most of our fellow
listies
will agree.
Noelle
------------------------------------------------------------------------------
Date: Thu, 2 Apr 1998 17:28:59 -1000
Subject: [Fwd: SCA-Garb: Resources]
If you like getting garb designs from period artworks, here are a couple
of web sites you might want to visit:
Web Gallery of Art
http://sunserv.kfki.hu/~arthp/index.html This collection of "3500 digital reproductions
of European paintings and
sculpture created between the years 1200 and 1700" is a fantastic
resource, listing works by artist, dates, and nationality. It's also
searchable. The image quality is very good--in some cases better than
some of the books I've seen.
Jim's Fine Art Collection http://www2.iinet.com/art
A bit light on the pre-17th century but the quality of images is good.
Carol Gerten's Fine Art site
http://sunsite.unc.edu/cgfa
Actually, this is where many of the images in the other sites came from
originally.
If you have a particular artist in mind, try the Yahoo painters listing
at:
http://www.yahoo.com/Arts/Artists/Masters/Painters
Citta Dell'Arte has images by artist, although the images themselves are
not as large as those at the other sites. Still it's worth a look. A
direct link to the gallery section is:
http://www.artonline.it/museo/galleria.html
or, for more works listed by artist, try the texas.net Museum of Art
Artchive at:
http://lonestar.texas.net/~mharden/ftp_site.htm
------------------------------------------------------------------------------
Date: Sun, 17 May 1998 16:18:06 -1000
From: Kimiko Drew
Subject: Re: H-COST: Re: Ladies Scottish dress
>I had question about the shinrone gown: you described how the skirt was
>gathered and attached to the bodice, but I didn't quite get it. was the
>top of the skirt box-pleated and tacked down at the middle of the pleats
>to a strip of wool? What did you mean by "quills" ? I'd love to try
>makinq a skirt like this. What a great page! I'll be adding a link to it
>from my Elizabethan Costuming page
>(http://www.dnaco.net/~aleed/corsets/genera.html)
>
>Thanks for putting this on the web,
>
>Drea
Hi Drea,
Just to clarify, this is not my site. I wish it was, and I do have most, if
not all the info that is covered, but I have yet to add similar info onto
my own site.
As to the skirt, my info explains how exactly it was attached.
"At the top the skirt is drawn in by a multitude of small gathers, each
held in place by a back-stich on the inside of the garment, and is there
sewn on to a separate bodice."
-pg 66, Old Irish and Highland Dress and That of the Isle of Man
H.F. McClintock, Second edition, 1950
When I constucted my version of this dress, I only had the front picture to
work from. However, I hand gathered the top, sort of in a cartridge pleat of about
3/8" per pleat, but without the line of stitches that usually forms that cartridge
pleat. I did this by quartering the completed skirt to equally marked parts of the
bodice, gradually quartering each section till I had a small enough area to work with in
my pleatings. I then sewed down the pleats with a strong carpet thread. After nearly
three years of wear at fairs, the only place to cause problems, was the small section
of fabric at the hipline, in the centerfront, that ripped when I put the dress on in
a hurry.
As to the quills, I folded each trapazoidal section into 3 equidistant
sections, and then sewing down each fold 1/8" from the edge. I did the same at the
seams, to hide them. From the outside, you cannot see where the
seams are, and I have had many compliments on how "textured" and pretty the
skirt was. It is a great way to add visual interest without any trimming!
Seam _________________Seam
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| | | | |
| | | | |
| | | | |
| | | | |
|______|________|________|______|
Seam Seam
I hope the above comes out ok (it's an ascii style drawing). It is supposed
to represent the placing of the quills on one section of the skirt.
I hope this clarifies the web info. If you want an actual copy of the
description in the above book, let me know.
Kimiko
------------------------------------------------------------------------------
Date: Mon, 18 May 1998 11:57:46 -1000
From: Danielle Nunn
Subject: Re: H-COST: Waistbands; also, Natural Dyes (was Costuming:
Insanity)
>So, since we're talking about excruciating authenticity...When did skirts start having
waistbands? What would have been used before then?
To the best of my ability I can only document waistbands for women in England to around
1615. Before that (from what I can figure) the skirts were usually sewn to the bodices.
In the cases which are not, it appears that the skirts had what seem to be pleats which were just sewn flat to themselves and each other. Through this lacing eyes
were made and the skirt attached by points. Unfortunately, this last is mostly my
own theory using the small amount of existing evidence (like the eyelets at the bottom
of the corset in Arnold) and some extrapolation. If anyone has more information and
would share it, I would be thrilled.
Cheers,
Danielle/Gwendoline
------------------------------------------------------------------------------
From: "Hope H. Dunlap"
Subject: H-COST: Historically Accurate Shoes
Date: Tue, 19 May 1998 04:03:35 -1000
In response to the gentleman's recent request for historical
shoe information on the Web:
http://www.pbm.com/~lindahl/carlson/SHOEHOME.HTM is
outstanding, and
http://www.tiac.net/users/hollyoak/bootshoe/shoes.htm is
also helpful, provides more links.
Both cover a broad range of historical periods and a
bazillion different designs for each period w/ good explanations of who would have
worn what.
------------------------------------------------------------------------------
Date: Thu, 21 May 1998 04:58:11 -1000
From: aleed
Subject: Re: H-COST: *Cool* 15th Century garb?? In-Reply-To:
But consider: what if the "waist" or top of the circle-section is the shoulder
seam? The shoulder would pull that curve up, giving the right folds, which
would point toward the shoulder. You'd have more than enough material at the
belt for lots of pleats, and lots of material at the feet for puddles.
>
The short muslin I did on this theory worked quite well -- four quarter circles.
I think of it as my "full circle houppelande" theory. I'd love to
hear others' reactions to this, on both the practicality and historic/accuracy aspects.
I remember seeing a pattern in a book (I think it was a copy of an alcega layout)
That had a neat way of creating pleats.. The front section was a
flared quarter circle, but the shoulder seam and the side seam were both on one side,
with a scoop for the armscye. The shoulders would be sewn together, and the side
would fall down, creating a wider armscye and making lots of folds that would come
from the shoulder. Of course, this was for a late 15th century doctor's gown rather than
a houppelande, but I plan to try the pattern sometime to see if it produces the right
kind of look.
Here's an ascii drawing of the pattern:
side seam armscye shoulder
----------------------------- --------
| \ / \ neck opening
| -___- -_
| -
\ |
| | c
\ | e
| | n
| | t
\ | e
| | r
\ |
| | f
\ | r
| | o
\ | n
\ | t
\ |
\_ |
\_ |
\__ |
\__ |
\_____ |
\_____________ |
\________|
Enjoy,
Drea di' Pellegrini
------------------------------------------------------------------------------
From: SNSpies
Subject: Re: HNW - Finger-Loop Cord Braiding
<< Any pointers on where I can find instructions for the square braid,
or can you describe the motion sequence involved?
Oh dear, I, too, use Noemi Speiser's book, and generally figure it out after a
couple of inches of rather strange-looking cord! Perhaps there is someone on
the list who can take us through the steps? I do know that following the
directions in the Crowfoot et al. book on the London finds c.1150-c.1450 gives
you a cord that is flat on one side and rounded on the other. Rather nice, and lovely
for sewing down onto an item of garb, but I don't think it's meant
to be like that.
Nancy
------------------------------------------------------------------------------
Date: Fri, 22 May 1998 09:26:52 -1000
From: Danielle Nunn
Subject: Re: H-COST: Smock vs. Shift/Shirt
>-Poster: Asia Poppers
>My questions concern the gathered-style smock.
>
>First, were the sleeve ends gathered/pleated or did they hang open, and if
>they were gathered, was it onto bands or were the gathers just stitched down?
Well, I could answer that as "yes," but I won't be that ambiguous (sp?).
;) What I really need to know is "when" and "where." From what I've seen of the
later stuff, in particular English or later Italian, the sleeves
appeared to have been gathered into/onto a band sometimes leaving a ruffle.
For example look at the cuffs in Tudor portraits or some of the Italian
stuff. On the other had the Spanish from about 1475 until the mid 16th
century (at least) didn't appear to cuff their smocks. If you look at a
lot of early 16th century Spanish pictures the women frequently have their
smock sleeves hanging.
>Second, would the gathered smock ever be worn without the shirt, but >with
a partlet instead? It seems to me that this would explain the >portraits
where the narrow band of a low-necked *something* (chemise?) >shows under
the high-collared partlet where it opens at center front.
Partlets could be worn instead of shirts, I imagine anytime. One of the
main differences is the order in which they were worn. Shirts were worn
under the kirtle whereas partlets appear to be worn between the kirtle and
gown. There is a portrait in Ashelford's _Dress in The Age of Elizabeth_
(which I don't have here) where the lady is wearing a doublet gown open and
it is very clear.
Hope this answers your questions.
Cheers,
Danielle/Gwendoline
------------------------------------------------------------------------------
Date: Fri, 22 May 1998 07:39:33 -1000
From: Danielle Nunn
Subject: Re: H-COST: Smock vs. Shift/Shirt
Greetings, I'm answering this with excerpts from an article I'm publishing.
So I apologise if it's long and somewhat disjointed.
>When discussing the layers of clothing an Elizabethan woman would wear,
>both a smock (first layer next to the skin) and a shift/shirt/(chemise?)
>were mentioned, as either the next layer out from the smock or the layer
>worn directly over the pair of bodies (corset).
The order things were worn is:
smock
pair of bodies
farthingale
shirt
The smock and shirt are definitely separate layers.
>I'm not sure I understand the difference in cut between the smock and >the
shirt.
The smock, which is also called the "shift," is usually made of linen. It
is square necked and can be of two styles, fitted or gathered. The fitted
resembles a fitted "t-tunic" with set in sleeves. While the gathered is a
voluminous garment with the neckline gathered onto applied ribbon or trim.
There is no evidence for drawstrings used either at the neck or wrist in
period smocks.
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. The side panel is slit to allow the insertion of
a square gusset under each arm. The sleeves are one piece, very full and
sewn into set gathers at wrist and neck. The neckline is gathered into a
square neckline and sewn in place.
Janet Arnold's "Queen Elizabeth's 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 definitely 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 sleeves are
long and straight. Both the sleeves and the neckline are embroidered.
Shirts appear to be almost identical for men or women, approximately knee length.
In many cases the gender intended for the shirt is not evident.
They were frequently made of linen, although they were sometimes silk or
cotton. The shirts were usually embroidered, and trimmed in lace,
especially around the neck and other visible areas. The shirt usually had
a standing collar to which a "band" or ruff is attached. The neck and
cuffs were fastened with hooks and eyes, tied, or occasionally buttoned.
In "Waffen und Kostumkunde" 1977, Janet Arnold wrote an article called
"Elizabethan and Jacobean Smocks and Shirts." In this article she gives a pattern
for a shirt. It is very clear in her article the difference
between smocks and shirts.
There is a late sixteenth century men's shirt (probably Italian) in "Cut My
Cote" by Dorthy K. Burnham, Textile Department of the Royal Ontario Museum,
Toronto. It is an extremely simple pattern and uses the fabric well.
----------------------------
I / \ I / \ a I
I / \ I / \ I
I / \ I / \ I
I/ \I/ \I
I I I Sleeves & gussets (a gets sewn to a)
I I I
I I I a
I I I I I I
----------------------------
I I
I I
I I
I I
I I
I I
I I
I I
I I
I -------------- I
I I I Body of shirt
I I I
I I I
I I I
I I
I I
I I
I I
I I
I I
I I
I I
I I
I I
----------------------------
I I Cuffs and collar
----------------------------
I I
----------------------------
The "T" in the body is cut and is gathered into the collar (the straight
part of the "T" is the neck slit).
Hope this helps clarify things.
Danielle/Gwendoline
------------------------------------------------------------------------------
Date: Wed, 20 May 1998 17:04:59 -1000
From: Cynthia Virtue
Subject: Re: H-COST: *Cool* 15th Century garb??
The Purple Elephant wrote:
> Yes, I've been thinking about houppelands lately too. I was wondering
> whether they would have been made in just four essentially trapezoidal
> pieces, or whether they would have been essentially rectangular with
> lots of gores.
I've been playing with an idea for them -- and this weekend I'm going to get
to do it up in fabric. Read on, if you like:
I've looked at most of the usual resources & illustrations, and I have a
different theory for the women's and men's houppelandes that have the
cartridge-pleating look at the belt, with the folds of the c-pleats angling up
towards the shoulders.
These are the usual theories:
1. The houppelandes are very full trapezoids (pieced or single-cut), and the
fabric is just folded carefully and held in place by the belt. 2. Same as #1, but
they are cartridge pleated.
3. Same as #1, but it is then knife-pleated, including pleating over the
shoulders, to give those lines (especially the shorter houppelandes for young men).
4. The fabric starts out as a rectangle or moderate trapezoid, with multiple
gores/godets (half dozen or more) carefully inserted in the middle of the
fabric to give the folded/c-pleated look.
The reason I'm not comfortable with these theories (aside from the lack of
extant archeological houppelandes, sigh) is that they don't produce nearly
enough puddles of skirt and fullness at the waist for the women, and they
don't adequately explain pleats going strongly toward the shoulder for the
men's shorter houppelandes.
So how do you get something like the soft cartridge pleating? I asked myself.
One place you get it is in a full-circle skirt that isn't held out with thick
petticoats. It comes of using circle-sections -- and the narrow top of the
circle-sections are pulled up parallel to the ground by them going around the wearer's
waist. That lets all the extra fabric hang free.
But if you do circle-sections for houppelandes, the natural place for the
"waist" or top of the circle section to go, is your neck. That gives you
folds pointing toward your neck, and not as many of them, because the neck is
round, not straight.
But consider: what if the "waist" or top of the circle-section is the shoulder
seam? The shoulder would pull that curve up, giving the right folds, which
would point toward the shoulder. You'd have more than enough material at the belt
for lots of pleats, and lots of material at the feet for puddles.
The short muslin I did on this theory worked quite well -- four quarter circles.
I think of it as my "full circle houppelande" theory. I'd love to
hear others' reactions to this, on both the practicality and historic/accuracy aspects.
cv
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