Re: [h-cost] Barge's cement

[Becky Rautine]

I use E3000 glue. It takes a whike ti dry on fabrics but well worth the time. 
It holds heavy trim or stonework. It is good for seams edging or torn fabrics 
that are repaired by placing a backing fabric covered in glue them sandwiched 
to original fabrics. It can bobd with most fabrics



--- Original Message ---

From: "Marjorie Wilser" 
Sent: September 1, 2014 1:35 AM
To: "Historical Costume" 
Subject: [h-cost] Barge's cement

So I have a repair project which is only marginally costume-y.

However. It is a cheapie modern trunk made to look old with vinyl trim. The 
trim is stitched and then glued down. Yeah. Right. But it’s coming up all over 
and looks horrible. I still like the little trunk and want to make it shipshape 
again.

In examining the offerings on Amazon, I find (link below)
http://www.amazon.com/s/ref=nb_sb_noss_1?url=search-alias%3Daps&field-keywords=barge%27s+cement

Too many packages to make an intelligent choice from. All claim to be Barge’s 
cement.

So, users of Barge’s for shoemaking and other wonders— which is my best bet, 
please?

Many thanks!

==Marjorie Wilser


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Re: [h-cost] Searching for pattern

[Becky Rautine]

Joann's Fabrics often has patterns on sale and I will try to get some next sale.

--- Original Message ---

From: "Aylwen Gardiner-Garden" 
Sent: May 1, 2014 11:19 PM
To: "Historical Costume" 
Subject: Re: [h-cost] Searching for pattern

Dear Paula,
Thankyou for your kind offer. I worry that I might be too far away? I'm in
Australia and still hoping to borrow 3637 size 8-14, its selling for $88 on
ebay and is too much for me to afford. I'm happy to pay postage to
Australia if anyone can loan it to me - I don't want anyone to be out of
pocket. I will send it back intact - only trace out the pieces I need - no
cutting.
Many thanks,
Aylwen


*Aylwen Gardiner-Garden*

*Jane Austen Festival Australia  *
*Earthly Delights Historic Dance Academy
*


On 12 March 2014 05:42, Paula Praxis  wrote:

> Dear Aylwen,
>
>  Have you found the 2 patterns you are looking for?
>
>
>
>I have both of them.  The pannier pattern has been cut & used but all
> sizes (8-14) are there.
>
> The gown has not been used and is still factory folded.
>
>
>
>I can let you borrow them for free.  I am a costumer for our local high
> school in Santa Clarita, California, (just north of Los Angeles) so I
> really do want to get them back.
>
>
>
> Please contact me if you still need these,
>
> Paula Soltero
>
> praxis_...@hotmail.com
>
>
> > From: aylwe...@gmail.com
> > Date: Tue, 11 Mar 2014 22:39:32 +1100
> > To: h-cost...@indra.com
> > Subject: [h-cost] Searching for pattern
> >
> > Does anyone here have a copy of Simplicity 3635 and 3637 (size 8-14) they
> > no longer need that I can buy or that I can borrow for personal use?
> > Its the blue 18th Century gown and panniers.
> >
> > Many thanks,
> > Aylwen
> >
> > *Aylwen Gardiner-Garden*
> >
> > *Jane Austen Festival Australia  *
> > *Earthly Delights Historic Dance Academy
> > *
> > ___
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Re: [h-cost] fiddly question

[Becky Rautine]

I burn the edges of 45degree cuts. Not burn to the point of BURNT showing. Just 
melted. I use a candle with smokeless wick, hold the ribbon above the flame and 
approach the flame until it melts but not too close. Try some test before you 
work on project itself.

--- Original Message ---

From: "MargaretDecker" 
Sent: April 29, 2014 7:58 AM
To: "Historical Costume" 
Subject: Re: [h-cost] fiddly question

If it is less than 1/2 inch wide, cut it at a 45 degree angle, otherwise a
small rolled hem. Margaret

-Original Message-
From: humbugfo...@att.net
Sent: Monday, April 28, 2014 9:29 PM
To: h-costume@mail.indra.com
Subject: [h-cost] fiddly question

I'm making a couple of Regency bonnets, with satin ribbons as ties.
How do you finish off the end of the ribbon? Hem it? Cut it, and if so,
how? Such a minor detail, but I'm stumped.
Thanks,
Julie
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Re: [h-cost] Grandes assiettes - single or double layer

[Becky Rautine]

I've never seen a garment like this ( or I've never noticed one like it). It 
sure makes the male figure look broad shoulders and narrow of waist. Very 
upright and proud model. What do you call this garment and what period is it? 
Italian maybe?

Sincerely,
Rebecca Rautine

> From: astr...@schaefferarts.com
> Date: Tue, 6 Dec 2011 12:57:38 -0500
> To: h-cost...@indra.com
> Subject: Re: [h-cost] Grandes assiettes - single or double layer
> 
> You know, Zuzana, a thought--
> 
> Looking at your photos again, it strikes me that it almost looks like two 
> different fabrics, because the body is on the straight grain and the sleeves 
> are on the bias, and they reflect light differently. I always hesitate to put 
> thoughts into long-ago minds, but it doesn't seem unlikely to me that someone 
> would have seen a similar effect and decided to take the next step, actually 
> using a different color. 
> 
> Astrida
> 
> On Dec 6, 2011, at 5:11 AM, Zuzana Kraemerova wrote:
> 
> > Hi,
> > 
> > I checked all I could find out (year 1999 mostly, then something from 
> > 2000), but didn't find an answer to what I'm searching for. You were 
> > discussing bit different things. Maybe I just missed some important post?
> > So were the "grandes assiettes" sleeves pictured in one colour, and the 
> > body in another, one garment? I read the Adrien Harmand's book and it semms 
> > she thinks it was one garment.
> > 
> > Do you have this monograph from Musee de Tissus? How it's called? Where can 
> > I get it? I am very curious about the theory of the under "vest". I've done 
> > various pourpoints of this style, but as I didn't find any info on how the 
> > chest wast stuffed, I just put two small cushions on either side of the 
> > chest, hidden by the lining, which made the large chest in the end. This 
> > technique works well for quilted garments, but not so well for anything 
> > without stuffing, because the soft fabric will dip in at the front opening. 
> > See my last "charles de Blois" attempt here: 
> > http://www.facebook.com/media/set/?set=a.10150367778803721.352533.294387883720&type=3
> > 
> > Just one observation I have to follow on some of the 12 year old 
> > discussions - I think the grande assiette sleeve is easy to construct once 
> > you know how. You can do any form of sleeve, whether tight fitting, bag, or 
> > wide at the bottom. I will be writing a detailed tutorial on how to do this 
> > once I get to it. Would you folks be interested?
> > 
> > Zuzana
> > 
> > _
> > www.sartor.cz 
> > 
> > 
> > --- On Tue, 12/6/11, Cin  wrote:
> > 
> >> From: Cin 
> >> Subject: Re: [h-cost] Grandes assiettes - single or double layer
> >> To: "Historical Costume" 
> >> Date: Tuesday, December 6, 2011, 1:56 AM
> >> In a monograph published by the Musee
> >> des Tissus (Lyons), the Charles
> >> de Blois pourpoint is conjectured to be worn over a
> >> vest-like thing
> >> that held all the stuffing for the fashionable high puff
> >> chest.  This
> >> particular example has the sleeves & body of the gament
> >> all in the
> >> same fabric.
> >> We discussed this pourpoint, the account books from the
> >> Dukes of
> >> Lorraine,  Jeanne d'Arc & the records from her
> >> trial waaay-back. Check
> >> the h-cost archives.
> >> --cin
> >> Cynthia Barnes
> >> cinbar...@gmail.com
> >> 
> >> 
> >> 
> >> On Sat, Dec 3, 2011 at 4:54 AM, Zuzana Kraemerova 
> >> wrote:
> >>> Hi there,
> >>> 
> >>> I am searching for evidence for the grandes assiettes
> >> sleeve construction from the 14th and 15th centuries, the
> >> type with two coloured garment - sleeves in one colour,
> >> bodice in another. Like this: 
> >> http://www.cottesimple.com/blois_and_sleeves/grande_assiette/Sachsenspiegel_large.jpg
> >>> 
> >>> Do you know whether this was one garment made from two
> >> fabrics, or two separate garments, the upper being a
> >> vest-sort of thing? I know this is often discussed, but has
> >> anyone already found an answer to this question?
> >>> 
> >>> Thanks a lot,
> >>> 
> >>> Zuzana
> >> 
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> > 
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Re: [h-cost] Renaissance dance costumes

[Becky Rautine]

Also a quick fix would be Velcro parts. iron designs are quick and easy to 
remove to change afterwards.

Sent from my iPad Becky Rautine

On Nov 7, 2011, at 10:01 PM, "Sharon Collier"  wrote:

> Fabric paint on a plain or print fabric will make it look rich under stage
> lights. 
> 
> -Original Message-
> From: h-costume-boun...@indra.com [mailto:h-costume-boun...@indra.com] On
> Behalf Of Aylwen Gardiner-Garden
> Sent: Monday, November 07, 2011 3:58 PM
> To: Historical Costume
> Subject: [h-cost] Renaissance dance costumes
> 
> Dear H-cost list
> 
> I have to make 20 costumes for an upcoming Italian renaissance performance
> and have been thinking about using
> http://www.reconstructinghistory.com/products/rh509-1470s-1500-florentine-wo
> mans-outfit-1#.
> Can you think of different ways we can decorate these gowns so they don't
> all look the same? Plus they need to look grand because we will be on stage
> under lights.
> 
> I am still working out what to dress the men in, and fear they will not want
> to wear short doublets and tights :((
> 
> *Aylwen*
> *
> *
> *Aylwen's Historical Costumes*
> www.aylwen.com
> http://aylwen.blogspot.com
> *
> *
> *Earthly Delights Historic Dance Academy* www.earthlydelights.com.au
> http://edhda.eventbrite.com
> 
> 
> *
> *
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Re: [h-cost] costume on book covers, argh

[Becky Rautine]

What is " bodice ripper poses"?
Sincerely,
Rebecca Rautine

> Date: Mon, 26 Sep 2011 07:53:04 -0400
> From: katybisho...@gmail.com
> To: h-cost...@indra.com
> Subject: Re: [h-cost] costume on book covers, argh
> 
> About 20 years ago a friend who is a historical artist, borrowed
> several of my period gowns and had his gorgeous wife, my friend, pose
> in them in bodice ripper poses.  His goal was to start doing
> historically accurate bodice ripper covers.  I don't know if anything
> came of it.  I should ask his wife.

  
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Re: [h-cost] Hallowe'en - Alice in Wonderland

[Becky Rautine]

I also make costumes. I am in Amarillo. I sew for a costume shop in Syracuse, 
ny. And sell mascot heads on eBay when I can.

Sent from my iPad Becky Rautine

On Sep 24, 2011, at 9:10 PM, Suzanne  wrote:

> I don't usually purchase costumes. . . but my daughter [who's in college, and 
> in a different time zone] has asked for help with a traditional Disney "Alice 
> in Wonderland" blue dress with white pinafore.  She's looked in the standard 
> costume shops that pop up at this time of year and says the dresses are all 
> too short.  She's looked on e-bay and it seems that everyone is selling the 
> same "custom" design that comes from China and takes 6 weeks for delivery.
> 
> Does anyone know of a costume shop in New York City that has real costumes 
> instead of stuff-to-get-drunk-in?
> Thanks for any suggestions!
> Suzanne
> 
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Re: [h-cost] Miss Universe 2011 "national" costumes

[Becky Rautine]

Looks like a piece of bend wood used for furniture. Do they do that there?

Sincerely,
Rebecca Rautine

> From: lando...@netins.net
> To: h-cost...@indra.com
> Date: Tue, 13 Sep 2011 11:17:14 -0500
> Subject: Re: [h-cost] Miss Universe 2011 "national" costumes
> 
> > What the heck has Czeck Republic
> >have over her shoulder--basket
> >handles?
> 
> it reminded me of a certain type of farm/peasant horse cart harness 
> arrangement seen in that part of the world.
> 
> this is the first image I found that illustrates it:
> http://farm5.static.flickr.com/4022/4348331290_015ba6f4f2.jpg
> 
> Why on earth they'd want to symbolize horse harness on their candidate is 
> beyond me. :)
> 
> Denise
> Iowa
> 
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Re: [h-cost] Miss Universe 2011 "national" costumes

[Becky Rautine]

What some show that must have been. I missed it. I didn't get the Miss England 
one and several others. Some were grand while some were the bare minimum (bare 
being the main part). The futuristic warrior Miss Tanzania was a but much for 
me. Kinda Zena meets Buck Rogers (with gold lame') The feather ones were 
fabulous. With the variety, I wonder what the requirements were for these. I 
wonder how much most of the cost! and how much time it went into making them.

Sincerely,
Rebecca Rautine

  
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Re: [h-cost] Sewing Apps

[Becky Rautine]

I visited the link posted and was so proud THAT IS MY DRAWING!! used on the 
Margo Anderson Tudor pattern. I like the program and may check it out. I know 
it would help keep up with the patterns I already have. Fabric, threads, trim 
and buttons all in one place. Thanks.

Sincerely,
Rebecca Rautine

> From: kim...@kimiko1.com
> Date: Mon, 8 Aug 2011 13:33:47 -0700
> To: h-cost...@indra.com
> Subject: Re: [h-cost] Sewing Apps
> 
> I have a Mac, on which I use Bento for a simple database program. On Bento, 
> one can create Templates, and I've created at least one for historical and 
> vintage patterns that I've shared on the Bento Templates area online. 
> http://solutions.filemaker.com/database-templates/detail.jsp?serial=2551354
> I think it is outdated since I haven't updated to their latest version, but 
> it works for me. Bento can also be ported to an App for the iPhone, which I 
> will do as soon as I can find the iTunes card I bought for buying apps. I am 
> also keeping track of my embroidery supplies list on a similar template which 
> I've yet to upload.
> 
> Also, there are old fashion print-outs to keep track of fabric & trim 
> swatches. I offer a few different types here:
> http://kimiko1.com/largesse.html
> I prefer to keep my fabric and trim swatches on a card, as I'd rather be able 
> to touch and see exactly what I have. While it would be nice to have them on 
> my iPhone, the colors change depending on what sort of light I took the photo 
> from. I also "shop" my own stash cards before I head out to buy whatever I 
> may be missing, and then I will take the cards with me in a folder, if I 
> really need to color match.
> 
> Kimiko
> 
> 
> On Aug 8, 2011, at 1:08 PM, Franchesca wrote:
> 
> > I remember a thread about organizers for our computers for our stashes as
> > well as an entire mailing list (or two) on this but I cannot find it now.
> > 
> > Anyone have any PC programs that do all this?
> 
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Re: [h-cost] 1840s question

[Becky Rautine]

The photograph of all those women... they definitely must be family, sisters or 
even sets of twins. They look so alike. And SKINNY. The bodices seem to all be 
quilted or very fitted for each lady. Do you think the white flower-petal 
collars are crochet? I love crochet collars.

Sincerely,
Rebecca Rautine

> Date: Sun, 26 Jun 2011 23:13:51 +1000
> From: elizabeth.r.walp...@gmail.com
> To: h-cost...@indra.com
> Subject: Re: [h-cost] 1840s question
> 
> Thanks for that, I have the blue & gold one but the others will come in handy.
> Elizabeth
> 
> On Sun, Jun 26, 2011 at 9:21 PM, Beteena Paradise
>  wrote:
> > I have three photos which show gowns from the 1840s like you are describing.
> > There are two photos of extant gowns and one is a photograph of a bunch of
> > women. The address to the folder is:
> > http://s522.photobucket.com/albums/w344/my_stitching/For%20Elizabeth%20Walpole/
> > I could probably come up with a few more images if you need them.
> >
> > Teena
> >
> >
> >
> > 
> > From: Elizabeth Walpole 
> > To: Historical Costume 
> > Sent: Sun, June 26, 2011 4:21:01 AM
> > Subject: [h-cost] 1840s question
> >
> > Hello everyone,
> >
> > I'm trying to pin down some plans for some taffeta I bought a while
> > ago. When I bought it I had a picture in my mind of what I thought of
> > as a 'typical' 1840s dress with a very plain dart-fitted bodice
> > (perhaps with a pointed waist) and tight sleeves. But now that I'm
> > actually looking at images and extant garments that look like what I'm
> > thinking of.
> > What I've seen is either a shirred/fan front bodice with plain fitted
> > sleeves or a darted bodice with rather more complicated sleeves (e.g.
> > the puff below the elbow or some variation on a trumpet/funnel shaped
> > sleeve)
> >
> > So essentially what I'm asking from the collected 19th century wisdom
> > on this list, is my idea a rarity or non existent or perhaps it
> > belongs to another era.
> >
> > Elizabeth
> >
> > --
> > --
> > Elizabeth Walpole
> > http://magpiecostumer.wordpress.com/
> > http://magpiecostumer.110mb.com/
> > ___
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> >
> 
> 
> 
> -- 
> --
> Elizabeth Walpole
> http://magpiecostumer.wordpress.com/
> http://magpiecostumer.110mb.com/
> 
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Re: [h-cost] Carol Burnett's Curtain Dress

[Becky Rautine]

I tried to view the photos and other items on the site. I asked for password 
and id. How do I get one to research costumes and hair of the 1800s Prairie of 
Texas and Oklahoma. My daughter is a child actor in the play "Texas" in Palo 
Duro Canyon. I am making her costumes. I want to find examples to go by and use 
patterns I already have. I have no idea about her hair. It is cut too short to 
do much with.

Sincerely,
Rebecca Rautine



> From: penn...@costumegallery.com
> To: h-cost...@indra.com
> Date: Fri, 20 May 2011 03:27:09 -0400
> Subject: Re: [h-cost] Carol Burnett's Curtain Dress
> 
> I love Bob Mackie's costumes and his book!  YUMMY!  He is one of my all-time
> favorite designers.   When I was in Vegas, I didn't know that Mackie
> designed the showgirl costumes for Jubilee!  We were taking a
> behind-the-scenes tour of the show and they showed us his costumes.  OMG!!!
> When he designed the show, it created a worldwide shortage of rhinestones.
> His costumes in the early 1980s cost $5-15,000 to make.  
> 
> Thank goodness that we were photographing that day.  You cannot photograph
> in the Mackie Room.  But we photographed all the other costumes.   Here they
> are!
> http://www.costumegallery.com/Vegas/Jubilee/  
> 
> My son & his bride will be in Vegas June 12 for their honeymoon.  She just
> awarded a full ride scholarship for costume design grad school.  Guess what
> I am giving them for a present?  This tour!  I wish the Liberace Museum
> wasn't closed down.  She would love it as much as I did.  I showed some
> people in my Costume-Con workshop my Liberace costume photos...their jaws
> dropped.  BTW, at one point Liberace created a worldwide shortage of
> Austrian crystals for his costume, grand piano, and Roll Royce that were
> completely covered with them.
> 
> I would love to photograph the Vegas costumes of Reve.
> 
> Penny Ladnier, owner
> The Costume Gallery Websites
> www.costumegallery.com
> 15 websites of fashion, costume, and textile history
> FaceBook:
> http://www.facebook.com/pages/The-Costume-Gallery-Websites/107498415961579 
> 
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Re: [h-cost] Men's Outfits in Brueghel

[Becky Rautine]

The skivvies one looks like it is tied to the vest. Maybe they had invisible 
thread... just like the Emperor's new clothes were made of.

Sincerely,
Rebecca Rautine



> From: otsi...@socket.net
> To: h-cost...@indra.com
> Date: Tue, 26 Apr 2011 20:23:37 -0500
> Subject: Re: [h-cost] Men's Outfits in Brueghel
> 
> Would these help
> http://tinyurl.com/3j2vzgh
> http://tinyurl.com/3uh7h7p
> 
> De
> 
> 
> 
> 
> 
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Re: [h-cost] Men's Outfits in Brueghel

[Becky Rautine]

If you search online, you'll find a site that has made these type leggings. I 
think it is in the Tudor Tailor book as well. The pants/leggins were woolen and 
shaped to fit snuggly. But I wondered if the tummy bulges helped or hindered 
the stay-up-ness of the leggins. I guess if you sweat, it could act as glue to 
keep them up.

Sincerely,
Rebecca Rautine



> Date: Tue, 26 Apr 2011 15:13:49 -0400
> From: jaur...@gmail.com
> To: h-cost...@indra.com
> Subject: [h-cost] Men's Outfits in Brueghel
> 
> I am going to be making my husband an outfit for sca wear.  I would like it
> to take after the Brueghel paintings, and at the end of the email I will
> list links to several of the paintings that I am refrencing.
> 
> Ok, first issue--I know, these works span a great length of time, but I
> think my question applies to all of them, and they show the leg
> coverings/hosen as being fairy consistant--of couse, this could be because
> the paintings in the ovre were ferequently copied, but I am not intrested in
> doing any more research into this then enough to make the costumes at this
> moment.
> 
> So, here is the question.  It is obvious that the hosen have points to tie
> them up to(I assume) the vest that seems fairly standard.  It is also fairly
> ovious(looks at the harvester painting) that the pants stay up on their
> own.  HOW???
> 
> Secondary questions
>1) It looks like these will show modern men's underpants...any ideas on
> how to work around my husband's fairly obssive need for them?  should i make
> very lightweight linen shorts for underneith the pants?  he also really
> likes, i mean, really, his modern athlic shoes He also has an adversion
> to any heavy fabric, and is pickty about colors, but well, he is willing to
> buy me as much fabric as I want for my garb, and does not complain about
> sewing/knitting/traveling expenses, so I think it he is worth dealing with
> :)
> 
> 
>2) Anyone have some good web sources on this type/period for men?  I have
> been making my garb out of the "Well Dress'd Peasant" by Drea Leed for
> several years, and since we have had a tragic accendent(his garb has gone
> tottaly missing, we can't find it, have looked everywhere, i swear, i did
> not lose it on purpose-found out two weeks ago when i wanted to do a survey
> of it to see whaty needed attention before summer sca seson started) I might
> as well do his stuff to be nice.
> I have Master Richard Wymarc's very nice handout that can be found
> http://www.wymarc.com/artifacts/artifacts.php, but am not finding much
> else.  But my google-fu is not as great as it could be.
> 
>   3) One of the
> 
> Thanks for any time or info that comes back.
> *Summer*, 1570
> Pieter van der Heyden after Pieter Bruegel the Elder (Netherlandish, active
> by 1551, died 1569)
> Engraving; first state of two
> Source: Pieter van der Heyden after Pieter Bruegel the Elder: Summer
> (26.72.23) | Heilbrunn Timeline of Art History | The Metropolitan Museum of
> Art 
> http://www.metmuseum.org/toah/works-of-art/26.72.23
> 
> 
> *Peasant Wedding Dance*
> 1607
> Oil on panel
> Mus�es Royaux des Beaux-Arts, Brussels
> http://www.wga.hu/art/b/bruegel/pieter_y/wedding.jpg
> 
> 
> 
> *Peasants Making Merry outside a Tavern 'The Swan'*
> c. 1630
> Oil on oak panel, 55 x 69 cm
> Private collection
> http://www.wga.hu/art/b/bruegel/pieter_y/peasants.jpg
> 
> 
> The Harvesters
> 1565 (180 Kb); Oil on wood, 118.1 x 160.7 cm (46 1/2 x 63 1/4 in);
> Metropolitan Museum of Art, New York
> http://www.ibiblio.org/wm/paint/auth/bruegel/harvesters.jpg
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Re: [h-cost] a costumer's term question

[Becky Rautine]

Why are they scraps called cabbage? That's new to me but then I don't know all 
the terms for costuming or garb technology.

Sincerely,
Rebecca Rautine



> Date: Sun, 17 Apr 2011 01:06:06 -0400
> From: ca...@thyrsus.com
> To: h-cost...@indra.com
> Subject: Re: [h-cost] a costumer's term question
> 
> 
> 
> 
> On 04/17/2011 01:21 AM, Linda Rice wrote:
> > Garb-age?
> >
> >
> > Today's question is, if the cut-off bits of cloth are cabbage, what are
> > the cut-off bits of fur?
> 
>  > Jen/Margaret
> 
> Very punny.  :-)
> 
> I think that fur scraps from costume-making would still be called 
> "cabbage"--the name comes from the odd shape, not the substance, right?
> 
> 
> 
> -- 
> Cathy Raymond
> ca...@thyrsus.com
> 
> "Beware how you take away hope from another human being."
> --Oliver Wendell Holmes
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Re: [h-cost] a costumer's term question

[Becky Rautine]

"Furr-bage"?

Sincerely,
Rebecca Rautine



> Date: Sat, 16 Apr 2011 15:57:10 -0500
> From: pi...@hundred-acre-wood.com
> To: h-cost...@indra.com
> Subject: [h-cost] a costumer's term question
> 
> 
> [I am procrastinating, yes I am!]
> 
> I'm in the process of attempting to restore some modicum of order to the 
> office (where the cutting table lives) and the sewing room (where 
> everything else lives) and since it doesn't require a great deal of 
> brainpower my brain has been wandering about without a chaperone.
> 
> Today's question is, if the cut-off bits of cloth are cabbage, what are 
> the cut-off bits of fur?
> 
> Jen/Margaret
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Re: [h-cost] Your family and costuming genes

[Becky Rautine]

I love costuming and productions for recitals or plays. My mom tried to teach 
me to sew so many times but I'd start then toss it aside when it didn't turn 
out right. I really started sewing quilts and baby clothes for my first 
daughter. Hand stitching for most of the baby clothes. I learned and even got 
to the point of making clothes for other people for a while. Then I discovered 
the renaissance fair near Harrisburg, PA... and we went. I'd been buying the 99 
cent patterns on sale when I could. Once I found Margo's patterns, I was hooked 
on the fabrics and trim that I could see on a gorgeous gown. I made my first 
gown for my daughter as Princess Elizabeth. She was to go to the fair as 
Honorary Princess on Kids Weekend...but it rained all day. It took me a year to 
make it all, every piece sewn by hand. I made polymer clay jewels and gadgets. 
I found the exact match of velvet on the portrait on ebay. It took me 3 weeks 
to get the nerve to cut it. I've cut out 1 piece from it a!
 nd now it lies in a box of honor in my craft room. 6 meters of it... waiting 
for the next time to use it. I've made the Iron Hand garment and a Linen 
ensemble since then.
My sister has created costumes for the Pocahontas Festival in Larado, TX 
several times. She loves bead work and leather work. My aunt crocheted and 
knit. My grandmother crocheted until she could see straight, others in the 
family do sewing but not like our family. I love the feel of fabric. I'm very 
tactile.
My daughter loves to make purses! So she's learning.

Sincerely,
Rebecca Rautine



  
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Re: [h-cost] Need help identifying furs

[Becky Rautine]

maybe mink but sable and mink are pretty much the same thing. The white could 
be what some old heraldry called ermine. Mink/Sable/Ermine all go through color 
changes due to winter. Dark in the spring, the white for cold snowy times. 
Either way, I'd say these are the same family of furred critters.

Sincerely,
Rebecca Rautine



> From: ladya...@cox.net
> To: h-cost...@indra.com
> Date: Wed, 3 Nov 2010 11:32:53 -0400
> Subject: Re: [h-cost] Need help identifying furs
> 
> I have some Russian sable and some of your fur looks just like it (the
> darker, reddish one).  Hope that helps.
> 
> Anne
> 
> -Original Message-
> From: h-costume-boun...@indra.com [mailto:h-costume-boun...@indra.com] On
> Behalf Of Michelle Plumb
> Sent: Tuesday, November 02, 2010 12:31 PM
> To: h-cost...@indra.com
> Subject: [h-cost] Need help identifying furs
> 
> Hello, all.
> 
> I was given two fur pieces (to be worn around the neck, I assume), and  
> would like some help identifying them and to find out approximately what  
> they're worth.
> 
> I don't personally wear fur, but it seems a shame to waste them if someone  
> could use them for a costume.
> 
> I put pictures of them in my Flickr page:
> 
> http://www.flickr.com/photos/24767...@n06/sets/72157625297457400/
> 
> Any help would be appreciated!
> Thanks,
> Michelle
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Re: [h-cost] Opinions on Manesse Codex diagonal stripes

[Becky Rautine]

Also, during this period, the silk trade was flourishing. One thing the Orient 
did to change fabrics was the bound dying. Using a board in a clamp to resist 
and area and dye the exposed area. The bias of the fabric isn't affected and a 
unique pattern is created. Maybe this is what the author/designer was doing. 

Sincerely,
Rebecca Rautine



> From: heather.jo...@earthlink.net
> Date: Thu, 21 Oct 2010 17:13:02 -0700
> To: h-cost...@indra.com
> Subject: Re: [h-cost] Opinions on Manesse Codex diagonal stripes
> 
> 
> On Oct 21, 2010, at 8:53 AM, Schaeffer, Astrida wrote:
> 
> > Sigh. Must reconstruct my thoughts, stupid e-mail program erased my message 
> > when I hit "send". I hate Microsoft.
> > 
> > 
> > 
> > Assuming the patterning isn't a matter of artistic license, I think this is 
> > a combination of bias use of a woven stripe fabric, and piecework 
> > (constructing fabric out of contrasting strips). Painted fabric wouldn't 
> > hold up well. Piecework would have been in the craft vocabulary because of 
> > domestic textiles and repair work, as well as to fill in missing corners 
> > during garment construction (widening skirts, lengthening sleeves, etc.),
> > 
> > If a tailor had striped fabric to work with, it isn't a stretch to see him 
> > play around with the patterns that so easily pop up when moving one piece 
> > of striped fabric around on top of another. Especially given the existing 
> > patterning in contemporary architecture, tiles, etc. Chevrons, here we 
> > come! 
> > 
> > My question is: how many of the striped garments depicted in the Codex are 
> > diagonals as opposed to verticals and horizontals? 
> 
> That's one of the interesting things.  No vertical stripes at all that I can 
> find.  Plenty of horizontal stripes of varying widths.  A fair sprinkling of 
> the diagonals. (In both cases, sometimes on a particolored garment with half 
> solid.)  A very few examples of chevron (zig-zag) designs.
> 
> Heather
> 
> 
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Re: [h-cost] Cleaning rust from sewing scissors

[Becky Rautine]

It may sound strange but I remove rust with ketchup! I apply a glob and let sit 
overnight. I then buff it out with SOS pads. To remove any burs or rough spots, 
I cut long strips of aluminum foil. It sharpens scissors well. I have sharpened 
large old blade cutters the same way.
My mom uses vinegar and baking soda to foam it out of tight places.

Sincerely,
Rebecca Rautine



> Date: Mon, 26 Jul 2010 23:08:28 -0500
> To: h-cost...@indra.com
> From: costu...@radiks.net
> Subject: Re: [h-cost] Cleaning rust from sewing scissors
> 
> Again, if you don't mind scratches:
> 
> Zud cleanser, or BarKeeper's Friend cleanser.  Both contain oxalic 
> acid, which will chemically react with the rust, and the abrasives 
> (use gently) will help remove it.  Do not use if you have a septic system.
> 
> Sandy
> 
> At 09:59 PM 7/26/2010, you wrote:
> >I have two pairs of Gingher scissors (with fairly short blades, the 
> >kind you use for trimming seams rather than cutting out) and two 
> >pairs of fancy embroidery scissors (brand unknown) that are unusably 
> >coated with rust. They are all relatively new and I'd prefer to make 
> >them usable instead of replacing them. Long story, but the rust is 
> >my husband's fault. I insisted that he clean them. First he tried a 
> >product called Never-Dull that comes on precoated little fibrous 
> >sheets (and is supposed to clean practically any metal), then he 
> >tried naval jelly and a toothbrush.
> >
> >They still have a fair amount of rust on them. Does anyone know of a 
> >product or method for cleaning them?  I am sorry, but I don't know 
> >what metal the blades are made of.
> >
> >Fran
> >Lavolta Press
> >Books on making historic clothing
> >www.lavoltapress.com
> 
> "Those Who Fail to Learn History
> Are Doomed to Repeat It;
> Those Who Fail To Learn History Correctly -
> Why They Are Simply Doomed."
> 
> Achemdro'hm
> "The Illusion of Historical Fact"
> -- C. Y. 4971
> 
> Andromeda  
> 
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Re: [h-cost] textile pattern of Charles de Blois pourpoint

[Becky Rautine]

It looks like 4 arch angel images inside a twining angular vine. I've seen one 
that is similar on ebay. I can't remember the name of the seller but they have 
a business on there for celtic/renaissance fabrics.

Sincerely,
Rebecca Rautine



> Date: Wed, 12 May 2010 10:36:14 -0700
> From: zkraemer...@yahoo.com
> To: h-cost...@indra.com
> Subject: Re: [h-cost] textile pattern of Charles de Blois pourpoint
> 
> Yes please! I don't have the book:-) (Is it worth buying?)
> ___
> Sartor...custom-made costumes
> www.sartor.cz 
> 
> 
> 
> 
> 
> --- On Wed, 5/12/10, Hanna Zickermann  wrote:
> 
> > From: Hanna Zickermann 
> > Subject: Re: [h-cost] textile pattern of Charles de Blois pourpoint
> > To: "Historical Costume" 
> > Date: Wednesday, May 12, 2010, 6:57 PM
> > There´s a sketch of the pattern in
> > "Kleidung und 
> > Waffen der Spätgotik 1320-1370" bei Ulrich 
> > Lehnart. Do you want me to scan the page for you?
> > 
> > Regards,
> > Hanna
> > 
> > 
> > At 18:36 12.05.2010, you wrote:
> > >Hi all,
> > >
> > >I want to make a reproduction fabric of the 
> > >Charles de Blois pourpoint. The problem is that 
> > >I cannot find any detailed picture that would 
> > >clearly show the pattern. The best I found so far is:
> > >http://www.musee-des-tissus.com/en/02_02/col06/tis07/ima_2.gif
> > >Does anybody have a better picture?
> > >
> > >Thanks,
> > >
> > >Zuzana
> > >___
> > >Sartor...custom-made costumes
> > >www.sartor.cz
> > >
> > >
> > >
> > >
> > >
> > >
> > >___
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> > >h-costume@mail.indra.com
> > >http://mail.indra.com/mailman/listinfo/h-costume
> > 
> > 
> > 
> > ___
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> > http://mail.indra.com/mailman/listinfo/h-costume
> > 
> 
> 
>   
> 
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Re: [h-cost] Subject: Arty recycling of garments-Recycled Jacket

[Becky Rautine]

Today of MSN.com there is a link to photos of clothes made from other clothes 
or other things. Just about anything can be restyled
http://lifestyle.msn.com/your-life/staticslideshowdg.aspx?cp-documentid=23728245>1=32055
 

Sincerely,
Rebecca Rautine



> Date: Thu, 22 Apr 2010 12:28:29 -0700
> From: f...@lavoltapress.com
> To: h-cost...@indra.com
> Subject: Re: [h-cost] Subject: Arty recycling of garments-Recycled Jacket
> 
> Recycling garments into others was routine long before the 1930s. I've 
> always thought that the 1920s would have killed the habit, because 20s 
> styles used so little material in comparison to most garments of 
> previous generations, and because ready-to-wear became the prominent 
> method of obtaining clothing in the 1920s (even though RTW existed long 
> before that). Except, the depression of the 1930s and the rationing of 
> the 1940s forced most people to recycle, so by the 1950s they were 
> associating it with severe hardship and wanted to get away from it.
> 
> What is different about the recycling of the 1970s and again, recently, 
> is the association with "personalizing" ready-to-wear garments, 
> translating into making it obvious that you mended, altered, trimmed, 
> and/or dyed the garment, or made it out of something else entirely, such 
> as household linens.
> 
> I really like the style of that jacket, though I admit the colors, like 
> many men's suit colors, are too neutral for my taste. Good idea though, 
> as men's suits are often discarded when they are still in very good shape.
> 
> Fran
> Lavolta Press
> www.lavoltapress.com
> 
> 
> On 4/22/2010 12:12 PM, Käthe Barrows wrote:
> >> For one of my classes A while Back I had to recycle mens wool garments
> >> into a tailored  jacket.
> >
> > Recycling garments into other garments became popular in the Great
> > Depression of the 1930s, and became unpopular when it didn't have to
> > be so necessary.
> >
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Re: [h-cost] Arty recycling of garments

[Becky Rautine]

I do. I go yard sales and buy linen table cloths or curtains and make 
undergarments for my Renaissance costumes. I got one that is long rectangular 
for $.50 a few weeks ago. Off white, but no stains ready to be restyled. I 
buy sweaters to make pillow covers, chenille. Which I can also unweave for yarn 
if it's not cut side seams.

Sincerely,
Rebecca Rautine



> Date: Wed, 21 Apr 2010 16:42:42 -0700
> From: kay...@gmail.com
> To: h-cost...@indra.com
> Subject: Re: [h-cost] Arty recycling of garments
> 
> > I'm wondering: How many adults are doing arty recycling
> > of garments and linens? By arty I mean more than just buying something
> > second hand and altering it to size.
> 
> Google on "Discarded To Divine".  It's an example of "Altered
> Couture", another thing to Google on.  Discarded to Divine is a yearly
> fashion show sponsored by the St. Vincent de Paul in San Francisco,
> for recycling fabric things too trashed for them to be willing to
> sell.  They turn this stuff over to designers who do altered couture,
> then hold a fashion show, the profits going to some charity they are
> into.  There should be photos from former shows on their site.  I am
> informed this year's show is coming up soon.
> 
> -- 
> Carolyn Kayta Barrows
> --
> “The future is already here, it is just unevenly distributed.”
> -William Gibson
> --
> 
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Re: [h-cost] Blackwork pattern sought

[Becky Rautine]

Can you send me an image of what you have so far? Maybe I can draw one out for 
you.
I have this site: http://tasha.htmlplanet.com/SCA/4seasons.html It may be the 
one you're looking for.

Sincerely,
Rebecca Rautine



> From: jtkn...@jtknits.cts.com
> To: h-cost...@indra.com
> Date: Tue, 23 Mar 2010 11:12:30 -0700
> Subject: [h-cost] Blackwork pattern sought
> 
> I hope this isn't off topic - it *is* for a costume.
> 
> I'm hoping someone here can help me out.  I've misplaced the pattern for some 
> blackwork that's in progress.  I've checked everything I have at home and 
> haven't turned it up.  The pattern is a counted blackwork with acorns, oak 
> leaves and trellis work that repeats in mirror image/left/right.  It's not in 
> Gostelow and not in the Blackwork Archives.  I'm pretty sure it was from an 
> online source.  Everything else I've checked is a broken link.
> Any suggestions?
> 
> Thanks in advance.
> 
> Julie in Ramona
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Re: [h-cost] The Young Victoria's Film Costumes

[Becky Rautine]

Just like the special effects done by computer... things aren't always what 
they seem. I think it's great to fudge the reality of fabrics sometimes. Unless 
someone has their hands on the fabric itself, probably won't be able to tell 
when it's real or faked. It got the desired "effect" that affected the scene so 
congratulations on the work!! Need help sometime? Just give me a call if you 
want more hands to help.

Sincerely,
Rebecca Rautine



> To: h-cost...@indra.com
> Date: Tue, 26 Jan 2010 12:20:01 -0500
> From: albert...@aol.com
> Subject: Re: [h-cost] The Young Victoria's Film Costumes
> 
> 
> 
> There are painted costumes.
> 
> *
> 
> 
> There was a wonderful Dutch fabric painter (who I got along with famously) on 
> "Interview with the Vampire" (Sandy Powell designed that) and much painting 
> in that film. Several people in the shop were worried about things looking 
> painted instead of embroidered but in the film, everything looks fine. 
> 
> 
> The painting also goes further than just imitation of time consuming 
> embroideries, but some plain fabrics are given "texture" and depth by 
> painting. In "Interview..." for example, the two young boys Claudia uses to 
> trick Lestat into drinking "dead" blood... The director decided he wanted the 
> boys dressed alike, so we had to whip up the day before some breeches for 
> them (I had to make them without measurements!) The fabric I was given was a 
> typical moire acetate taffeta in electric yellow! Matilde (the Dutch fabric 
> painter) sprayed and painted the breeches after they were made up to look as 
> they do in the film: a sort of shimmery ochre, which up close glowed and 
> sparkled with a hint of metalic.
> 
> 
>   And of course there's "teching" ("Distressing" in theatre terms) which is 
> aging of garments right off the sewing machine. A task I enjoy. It's like 
> makeup for clothes and you can "tell a story" with where stains and worn 
> places are placed.
> 
> 
> 
> 
> 
> 
>  
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Re: [h-cost] The Young Victoria's Film Costumes

[Becky Rautine]

I kept looking and found a description that stated that it was handpainted.

Sincerely,
Rebecca Rautine



> Date: Mon, 25 Jan 2010 18:21:43 -0800
> To: h-cost...@indra.com
> From: joa...@surewest.net
> Subject: Re: [h-cost] The Young Victoria's Film Costumes
> 
> At 06:02 PM 1/25/2010, you wrote:
> 
> 
> >I looked at many of the photos on the site and found one that I had 
> >a question about... this one: 
> >http://www.flickr.com/photos/moorina/3854505420/in/photostream/
> >Does it look painted to you
> >Sincerely,
> >Rebecca Rautine
> 
> Yes, it does look painted to me.
> 
> 
> Joan Jurancich
> joa...@surewest.net 
> 
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Re: [h-cost] The Young Victoria's Film Costumes

[Becky Rautine]

I looked at many of the photos on the site and found one that I had a question 
about... this one: 
http://www.flickr.com/photos/moorina/3854505420/in/photostream/ 
Does it look painted to you
Sincerely,
Rebecca Rautine


  
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Re: [h-cost] how to fix a pulled seam

[Becky Rautine]

iF THE JACKET STYLE WOULD LOOK OKAY WITH A TRIM OVER THE SEAMS, TRY THAT. 
ZIPGAG OVER THE SEAM BEFORE STITCHING THE TRIM OVER IT. ADD SOME NEW STYLE TO 
AN OLD FAVORITE. JUST DON'T GO OVERBOARD. MAYBE YOU CAN FIND A SIMILAR CLOTH TO 
MAKE SOME BIAS TAPE TRIM THAT WON'T BE SO OBVIOUS AS A REPAIR JOB.

Sincerely,
Rebecca Rautine



> From: jtkn...@jtknits.cts.com
> To: h-cost...@indra.com
> Date: Tue, 19 Jan 2010 12:26:46 -0800
> Subject: [h-cost] how to fix a pulled seam
> 
> Help!
> I have a favorite jacket I'm trying to save.  The fabric is a plain weave 
> silky fabric.  The seam was just sewn with a straight stitch with no seam 
> allowance treatment.  The stitches are just pulling through the seam 
> allowance making fringe.  It's on a 2 piece sleeve near the elbow.
> 
> What are my options to save this?  It's pulled right to the seamline in 
> several places.  I'm guessing I'll need to use a zig zag stitch but that's 
> about as far as I've gotten.  There's little to no seam allowance to work 
> with.
> 
> Julie
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Re: [h-cost] Chalking a line

[Becky Rautine]

You could always use that water soluable interfacing. Draw on it like on paper, 
then tack it to the fabric, do your handiwork... and get it wet and the 
paper-like interfacing disappears. Problem solved and in a short amount of 
time. But sometimes the prep work does take more than the actual handiwork for 
the end product. Good luck.

Sincerely,
Rebecca Rautine



> From: aqua...@patriot.net
> Date: Wed, 13 Jan 2010 21:37:21 -0500
> To: h-cost...@indra.com
> Subject: Re: [h-cost] Chalking a line
> 
> 
> On Jan 13, 2010, at 2:25 PM, Alexandria Doyle wrote:
> 
> > I can help but think that running the basting line will take nearly  
> > as long to do as doing the couching.  I know it won't, I just  
> > finished the pearling on the collar and I had the pattern drawn out  
> > of muslin, and basted to the black velvet so I could "feel" where  
> > the pearls were to go...
> >
> > alex
> 
> 
>   Thread tracing does take time, but sometimes it's worth it. I  
> once had tiny pleats to make on a very woodgy fabric (grain shifted  
> easily). The thread tracing took longer than it did to actually  
> stitch the pleats, but was the best way to get everything in the  
> right place.
> 
>   -Carol
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Re: [h-cost] Roman question

[Becky Rautine]

Do you have an image to refresh my memory?
I think we studied some Early Roman paintings that the teacher said had this 
type of hood/ covering. I think he suggested that most outer edges were left 
raw but folded somehow. Like a double piece of fabric that is made when you 
fold 2 edges together on one piece. Some of the weaving of the cloth was 
actually woven in the desired shape then stitched side by side, no overlap or 
seam allowance. I'm not sure if that applied to what you're looking at. 

Sincerely,
Rebecca Rautine



> From: costume...@mazarineblue.com
> To: h-cost...@indra.com
> Date: Fri, 11 Sep 2009 18:23:15 -0700
> Subject: [h-cost] Roman question
> 
> Hi,
> 
> Finally making progress in my quest to build pieces to use in my history
> class.  The ancients are certainly some of the simplest to build, but of
> course I have an insatiable need to complicate my life and my projects! 
> 
> So, if you were building a Roman paenula (hooded poncho-like garment) in a
> thick wool or fake wool (actual fiber not certain), the cut edges of which
> are pretty stable, how would you sew the seams?  Obviously I'm not looking
> for serging ideas here.  I am maybe contemplating actually hand stitching it
> since it doesn't amount to a whole lot of sewing.  
> 
> I think my question is do we think that they would have lapped the edges and
> sewn through the layers - no flapping seam allowances on the inside?  Or
> would regular, plain seams, pressed open or to one side seem more likely?
> 
> This is NOT life altering stuff here!  I've not gone over the edge in a
> quest for period accuracy.  I'm just curious.
> 
> Laurie Taylor
> 
> (480) 560-7016
> 
> www.costumeraz.blogspot.com
> 
> 
> 
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Re: [h-cost] HELP!

[Becky Rautine]

I have a projector that doesn't require the transparencies. It can use a book 
or a photo, turn it on and it's projected onto the wall or onto a fabric 
hanging up. I used it for making large logo wall murals, a celtic knot design 
on a bed sheet for a quilt, taking small photos and creating charcoal 
portraits. It cost about $199 a few years back but well worth it then and now. 
I'd have to dig it out of my closet to tell you the brand. I think Art-o-graph, 
but I'll check. My sister used it this week for a quilt design and I don't know 
where she put it. BUT I promise I'll let you know in the morning when I clean 
up the crafts room.

Sincerely,
Rebecca Rautine



> From: goo...@comcast.net
> To: h-cost...@indra.com
> Date: Tue, 25 Aug 2009 19:36:41 -0400
> Subject: Re: [h-cost] HELP!
> 
> Thank you everyone so much for your suggestions. The recommendation on
> using a projector has always intrigued me but the unfortunate thing is
> that now days people who would or did once use them are less likely to,
> since the upgraded technology has led many to discard the old projector
> and adopt newer systems such as power point slides, etc.>>
> 
> You can, however, still find small projectors at craft stores.
> 
> I've purchased the gridded pattern interfacing at JoAnn's, and in fact, as 
> soon as DH finds a job, I'm going to have to make a serious supply run. Need 
> interfacing, embroidery stabilizer, just general basics. When I don't have 
> the gridded interfacing on hand, a roll of white paper from an office supply 
> store and a quilter's ruler work too.
> 
> Dianne
> 
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Re: [h-cost] What period is this Butterick from?

[Becky Rautine]

Maybe the strange world of Art Deco? I've never seen shoulder wing flaps like 
that.

Sincerely,
Rebecca Rautine



> Date: Tue, 4 Aug 2009 20:17:46 -0700
> From: kay...@gmail.com
> To: h-cost...@indra.com
> Subject: Re: [h-cost] What period is this Butterick from?
> 
>  If you had to assign a time period
> > what date would you give for this:
> > http://www.butterick.com/item/B5405.htm?tab=costumes&page=1
> 
> 1940s?
> 
> -- 
> Carolyn Kayta Barrows
> --
> “The future is already here, it is just unevenly distributed.”   -William 
> Gibson
> --
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Re: [h-cost] Lacing question frayed ends

[Becky Rautine]

I wasn't sure how to create a personna and what to do about making it 
correctly. Can you look at the sketch I posted in Becky's Iron Dress folder? 
Please  tell me if you think that sketch fits what I want. I like it anyway but 
want to design one for a specific class. I'll be using my blackwork smock since 
it's so beautiful. I don't know about my farthingale from my noblity gown. I 
think it sticks out too far for middle class, from what I've read. 
I'm starting a diary of my progress but not online. I have photos. I have some 
wonderful red linen and black linen for the trim. I wanted to make my own 
braided trim to go on top of the black down the front. It would add some detail 
with out looking as fancy as my other gown. It's definitely nobility class. I 
want it above the peasant gown but not noblity. 

Sincerely,
Rebecca Rautine



> Date: Mon, 27 Jul 2009 14:01:03 -0700
> From: sstormwa...@yahoo.com
> To: h-cost...@indra.com
> Subject: Re: [h-cost] Lacing question frayed ends
> 
> 
> Just be a merchant trader's wife, as they usually are rich, and involved in 
> importing in fine fabrics and other fineries that people bought. A tailor was 
> not paid a whole lot to make up those fine fabrics into garments, and was 
> considered just a craftsmen. And women didn't seem to be allowed to own their 
> own stores, unless they were widows continuing their husband's job. I am 
> applying this to England, and it may be even harsher in other countries of 
> the time period.
> 
> Kimiko
> 
> --- On Mon, 7/27/09, Becky Rautine  wrote:
> 
> > garment. SOmeone with some money but not noblity, rich,
> > merchant trader's wife who runs her own shop to make those
> > nobility and court gowns. She'd have access to left overs
> 
> 
> 
>   
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Re: [h-cost] I have a request for info about a wooden loom

[Becky Rautine]

I have just done that myself.  Mine is a jack loom so my harnesses rise. You'd 
have to check to see if yours rise or fall or is counterbalanced over a roller. 
It puts together very similar but I don't know about the counterbalance parts. 
TO assemble a large floor loom: If you wish I can send a photo with numbers but 
offboard)
1. layout all the pieces. Find the side pieces. This may be several pieces to 
form the ends of the frame. One left One right.
2. Most looms have a back board that hold the bottom back edge together. Find 
that.  If there is a front bottom board, connect it as well.
3. THere should be 2 beams that turn. One goes in the back, the warping beam, 
for winding the yarn onto before carrying the yarn through the heddles. THe 
other, the cloth beam, is placed in the front about halfway down. This is the 
beam where the woven fabric is collected once woven. THere may be parts for 
stopping each of the warping and cloth beams.
4. On mine I attach the strange piece that holds the foot unit where the 
tie-ups will be later. One brake will prevent the warping beam from turning too 
much. You'd have to figure out what your loom does, because there are different 
brakes used. On the front there will be some kind of device to advance the 
cloth beam, usually looks like a handle of some kind.
5. Castle assembly (I left mine assembled for moving): this is the broad 
multi-pieced unit that sits on top of the frame. It has the frames that hold 
the heddles and ropes to lift the harnesses(the wire frame that hold the 
heddles). Connect this unit to the frame at the sides. Follow the ropes around 
the round wheels on the end and carry them down and around the end to the under 
carriage of the castle. It looks like a box that hold 4 or more swinging parts 
with little hooks to attach the ropes. When attached properly, some kind of 
hook/bolt will hang down to pick up one of the foot petals to make a pattern. 
WHen assembled correctly, depress a foot petal, this pulls down one of the 
undercarriage, pulling the rope tight, lifting or sinking one of the farnesses. 
If this happens then it's running right.
6. Attach the beater bar unit. It has 2 end boards and one that is horizontal. 
There are 2 boards but the opper one moves and the bottom one is stationary. It 
ususally attaches somewhere towards the front edge of both side units. It 
should swing toward the front easily.
7. There are 2 boards that look alike or very similar. One is a backbeam and 
one is a breast beam. 
I think this will be a complete instruction to assemble the loom. 
I can write the numbers on a photo of a loom if you have one. I can find one if 
you know the model you have. I went to grad school to do this so I had to 
assemble and disassemble a loom for a test. Just let me know if you need more 
help. 

Sincerely,
Rebecca Rautine



> Date: Mon, 27 Jul 2009 18:20:06 -0700
> To: h-cost...@indra.com
> From: joa...@surewest.net
> Subject: Re: [h-cost] I have a request for info about a wooden loom
> 
> At 05:58 PM 7/27/2009, you wrote:
> >I have a new friend whose daughter inherited a large wooden loom - 
> >which unfortunately was disassembled.
> >
> >Does anyone know of a website for general information about 
> >reassembling a very large loom?  He knows almost nothing about the 
> >loom (it's in another state).  His daughter could not find any 
> >markings on it.  It was manually operated.  Disassembled, it fit 
> >(barely) in the back of a pickup.
> >
> >Is there a website he can use to get some idea of how to put it back 
> >together?
> >
> >Thanks,
> >   Deb Salisbury
> >   The Mantua-Maker
> >   Designer and creator of quality historical sewing patterns
> >   Renaissance to Victorian
> >   Now available:
> >  Elephant's Breath and London Smoke: Historical Colors, 
> > Names, Definitions & Uses
> >   www.mantua-maker.com
> >   http://mantua-maker-patterns.blogspot.com - See my Color of the Day
> 
> I would recommend that he look for a Weavers' Guild in his 
> area.  That way he can actually find someone who weaves and can draw 
> on their expertise.  Here's the web site for the Handweavers' Guild 
> of America http://www.weavespindye.org/ ; other source for guilds are 
> Spin-off Magazine http://spinoffmagazine.com/ and Handwoven 
> http://www.interweave.com/weave/handwoven_magazine/ .
> 
> 
> Joan Jurancich
> joa...@surewest.net 
> 
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Re: [h-cost] Lacing question frayed ends

[Becky Rautine]

One way to keep the ends from coming out the holes is to allow extra length and 
creating a decorative knot. I'm learning Chinese knotwork and love it for trim 
a well as 'stay-put' knots. SOme people call them frogs but these are the most 
elegant knots I've ever seen. I'm buying this book when I get working again. 
In my Iron Dress working, I have decided to weave my own trim using the Chinese 
knots and a silver/bronze yarn. It will sit on my black linen. It isn't as rich 
looking as the bought trim but I don't want it to be like a nolibily garment. 
SOmeone with some money but not noblity, rich, merchant trader's wife who runs 
her own shop to make those nobility and court gowns. She'd have access to left 
overs and discarded gowns or get paid with embellishments such as imported 
beads or silk threads. It's an idea in progress.

Sincerely,
Rebecca Rautine



> Date: Mon, 27 Jul 2009 12:46:58 -0700
> From: kay...@gmail.com
> To: h-cost...@indra.com
> Subject: Re: [h-cost] Lacing question frayed ends
> 
> For corsets I  make I use really big grommets.  So a knot in the end of
> whatever I'm using for lacing is fine, fits right through the holes.
> 
> On Mon, Jul 27, 2009 at 11:04 AM, Kate Pinner  wrote:
> 
> > Certainly not period correct, but I use lacing cord-by-the spool from
> > Greenberg & Hammer and using a narrow zig-zag stich on the machine, I
> > stitch
> > about 1.5" down each end a couple of times (actualy I stitch about 3" while
> > stretching the cord to make it as narrow as possible, then cut it from the
> > spool in the center leaving one end already done for the next time) -- then
> > I use Fray-Check on the ends.  It's long enough to to last for the run of a
> > show and then trim off the 1/4" or so of the end when it starts to fray,
> > and
> > re-Fray-Check the newly cut end.
> >
> >
> > Kate Pinner
> >
> > -Original Message-
> > From: h-costume-boun...@indra.com [mailto:h-costume-boun...@indra.com] On
> > Behalf Of albert...@aol.com
> > Sent: Monday, July 27, 2009 10:37 AM
> > To: h-cost...@indra.com
> > Subject: Re: [h-cost] Lacing question
> >
> >
> >
> >
> >
> >
> >
> > Right now, for convenience and in the interest of stash reduction, I'm
> > using
> > 1/8" and 1/4" silk ribbon, leftover from my last round of silk ribbon
> > embroidery.  It's not very satisfactory, but I could not figure out a good
> > alternative.
> >
> > 20 years ago I bought a huge industrial spool of 1/4" cotton twill tape. (I
> > STILL have tons of it!) I use that and it works well, but the ends do fray.
> >
> >
> >
> >
> > I think I ordered the spool from Greenburg & Hammer.
> >
> >
> >
> >
> > http://www.greenberg-hammer.com/
> >
> > ___
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> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
> >
> >
> >
> >
> >
> >
> > ___
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
> >
> > ___
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> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
> 
> 
> 
> -- 
> Carolyn Kayta Barrows
> --
> “The future is already here, it is just unevenly distributed.”   -William
> Gibson
> --
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Re: [h-cost] Lacing question

[Becky Rautine]

When Iuse a ribbon I melt the ends together with a candle. Then it doesn't come 
unraveled.

Sincerely,
Rebecca Rautine



> Date: Sat, 25 Jul 2009 14:56:52 -0700
> From: sstormwa...@yahoo.com
> To: h-cost...@indra.com
> Subject: Re: [h-cost] Lacing question
> 
> 
> Hello Laurie
> 
> I have used shoestrings in the past, really long ones. They work well and in 
> my use remained hidden so it didn't matter if it looked wrong.
> 
> My latest effigy corset, I had made a 7 strand kumihimo style braid that was 
> actually a test piece for the technique. Really easy to make up, but it takes 
> time. It has a little more stretch than the shoelace, but it was made in blue 
> and white strands of cotton embroidery floss, and is surprisingly strong 
> enough to handle the tension.
> 
> I gave up ribbons some time ago, as they couldn't handle the strain. You can 
> also buy corset lacing, which I've also used... bought bulk on a roll from a 
> one time source (group buy of corset supplies). I now have more corset boning 
> steels than I know what to do with.
> 
> Kimiko
> 
> 
> --- On Sat, 7/25/09, Laurie Taylor  wrote:
> 
> > What do you use for lacing your various types of corsets
> > and/or stays?  When
> > I think about going to the local fabric store and buying
> > the cotton cord
> 
> 
> 
>   
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Re: [h-cost] Threads top 10 weirdest dresses

[Becky Rautine]

At UGA one year, we received a box of art supplies. The packing material was 
sheets of Bush's Baked Beans, uncut label sheets. One student got an idea.. to 
use them for a costume/garment we had to make. She cut one large sheet into an 
apron, a chef hat, oven mitt and placemats from others. It was a really cute 
getup. She covered them with clear plastic like for table cloths and stitched 
the edges. The apron and hat were usable but the mitt wasn't for hot stuff. The 
teacher kept the set.

Sincerely,
Rebecca Rautine



> From: cc2010m...@cs.com
> Date: Wed, 24 Jun 2009 21:30:50 -0400
> To: h-cost...@indra.com
> Subject: Re: [h-cost] Threads top 10 weirdest dresses
> 
> Reminds me of an entry at Costume-Con 25 in St. Louis that was made 
> entirely from USPS packing materials.
> 
> Henry W. Osier
> Chairman, Costume-Con 28
> May 7 to May 10, 2010
> www.CC28.org
> Questions? 
> Join the CostumeCon Yahoo group!
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Re: [h-cost] Looking for teachers and presenters for historic sewing conference

[Becky Rautine]

Would airfare be included? If si, I'd like to do a class on blackwork or 
embroidery/stitiching of the period.

Sincerely, Rebecca Rautine


 
> Date: Sun, 21 Jun 2009 13:05:00 +1000
> From: aylwe...@gmail.com
> To: aussieacwfo...@yahoogroups.com; h-cost...@indra.com; 
> 19cwo...@yahoogroups.com; 1812civil...@yahoogroups.com
> Subject: [h-cost] Looking for teachers and presenters for historic sewing 
> conference
> 
> Dear friends
> We are organising a 19th century historical sewing conference to be
> held over the 2010 June long-weekend in New South Wales, Australia.
> We are looking for teachers/presenters for workshops, classes and
> demonstrations. Do you know of anyone who might be interested, or who
> we can invite to participate?
> The conference is planned to be all-contained with meals and
> accommodation provided, and to be located in/near a tourist town so
> non-sewing partners/parents can participate in outside organised
> activites.
> Bye for now,
> 
> Aylwen Gardiner-Garden
> Earthly Delights Historic Dance Academy
> http://www.earthlydelights.com.au
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Re: [h-cost] Working class pattern

[Becky Rautine]

Thank you. I will.

Sincerely, Rebecca Rautine


 
> Date: Thu, 18 Jun 2009 18:05:44 -0700
> From: elvestoor...@yahoo.com
> To: h-cost...@indra.com
> Subject: Re: [h-cost] Working class pattern
> 
> 
> The gold skirt is part of the gown--see the matching bodice.
> 
> The green is an apron. This doesn't seem to be a purely functional boring old 
> apron, which is only decorated by spills.
> It is decorated with a strip of trimming down the center front and along the 
> bottom hem. The base of the apron is further trimmed with fringe or tufting. 
> Check out the portfolio of images including a better copy of the Fruit Seller 
> at Festive Attyre: 
> <http://www.festiveattyre.com/research/wkclass/portfolio.html>, which has 
> more images by the same artist, including some side and back views.
> 
> Ann in CT
> 
> --- On Thu, 6/18/09, Becky Rautine  wrote:
> 
> > New image: http://www.marquise.de/en/1500/pics/1580_2.shtml
> > 
> > New question: In this image, is this the working pattern?
> > Is the a front part of the skirt or an apron. Is she sitting
> > on a gold cloth and the green is her skirt. I see decoration
> > of the front so it must not be an apron. 
> > 
> > Becky Rautine
> 
> 
> 
> 
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[h-cost] Working class pattern

[Becky Rautine]

 

New image: http://www.marquise.de/en/1500/pics/1580_2.shtml

New situation: I'm hoping to be a aprticipant next year at a Ren Faire 
(hopefully Scarsborough) as a weaver. I want to have a shoppe to sell weavings 
of shawls, mats, handkerchiefs, etc. I have a floor loom and am wanting to make 
a smaller one for the shoppe. Trilooms and small looms to show kids how to 
weave. I'd need a persona for working class, maybe Italian like the image.

New question: In this image, is this the working pattern? Is the a front part 
of the skirt or an apron. Is she sitting on a gold cloth and the green is her 
skirt. I see decoration of the front so it must not be an apron. 

I really like this portrait.

I love the gold and green combo. And the ribbons at the shoulder.

Creative overload!!!

Becky Rautine

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Re: [h-cost] Black beads Princess Elizabeth image

[Becky Rautine]

Can you tell me  more about the rings? I've never heard that. I've seen it but 
never noticed.

Sincerely,
Rebecca Rautine



> Date: Wed, 17 Jun 2009 19:32:52 -0700
> From: maggi...@gmail.com
> To: h-cost...@indra.com
> Subject: Re: [h-cost] Black beads Princess Elizabeth image
> 
> On Tue, Jun 16, 2009 at 10:34 PM, Becky Rautine wrote:
> 
> >
> > All her rings match the ouches.
> 
> 
> 
> Just as a sidebar... notice that there are NO rings on the middle fingers.
> Look at portrait after 16th century portrait and this is what you find 90%
> of the time. and not just in England. People are almost never shown with a
> ring on a middle finger.
> 
> This feature is pointed out in _Rings for the Finger_ by Kuntz. Ever since I
> learned this, I find it impossible to wear a ring on a middle finger when in
> period dress!
> 
> MaggiRos
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Re: [h-cost] Black beads Princess Elizabeth image

[Becky Rautine]

I've documented the gown from start to now and hopefully to the end. I'll add 
this information to the documentation of it. Thanks.

My cloth isn't red and gold but an orange-pinkish fabric with the same pattern 
as that in the portrait. Jacquard or brocade... it looks very similar. Who 
wouldn't want a gown of fine spun gold thread and deep rich red silk. Sure bet 
it never had a strain in a seam to fix!

I did find out some things on a Lady Jane Grey site that told about how these 
portraits were painted as bethrothal gift before a marriage. Maybe that was why 
it was given to her... as a precursor to a good marriage arrangement by her 
brother or father. 

Sincerely, Rebecca Rautine


 
> Date: Tue, 16 Jun 2009 23:34:28 -0700
> From: sstormwa...@yahoo.com
> To: h-cost...@indra.com
> Subject: Re: [h-cost] Black beads Princess Elizabeth image
> 
> 
> Found it in my old emails. Ninya stated: 
> " It is in fact red cloth of gold, the mixture of red and gold threads give 
> an overall impression of a different colour. "
> 
> You can see the streaks of gold in the painting. Jacquard is a modern term, 
> and I am not positive if "brocade" is the right term for the fabric. Whatever 
> the term, you are right... it would have been very expensive!
> 
> Kimiko
> 
> 
> --- On Tue, 6/16/09, Becky Rautine  wrote:
> > Her gown fabric
> > would have been a jacquard I think so it would have been
> > expensive. 
> 
> 
> 
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Re: [h-cost] Question about a portrait

[Becky Rautine]

I didn't mean "doublet" but I wasn't quite sure how to state what I thought it 
was. I like this type of "over gown jacket like thingy". It looked like a 
separate layer in the photo. I assumed it was something like the velvet partlet 
others are talking about. Thanks for clearing that up for me. 

Sincerely,
Rebecca Rautine



> From: otsi...@socket.net
> To: h-cost...@indra.com
> Date: Tue, 16 Jun 2009 13:38:41 -0500
> Subject: Re: [h-cost] Question about a portrait
> 
> She is not wearing a doublet. She is wearing a gown with an over partlet
> (black section)
> 
> -Original Message-
> This is a portrait I haven't seen before... of Lady Jane Grey.
> http://www.bitterwisdom.com/ladyjanegrey/life/panel-2-lady-jane-grey.jpg
> I found this and like the doublet style. Can anyone tell me what the white
> things are on the shoulders? What can you tell me about the making of this
> gown?
> Sincerely,
> Rebecca Rautine
> 
> 
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Re: [h-cost] Black beads Princess Elizabeth image

[Becky Rautine]

I remember someone saying something about that long ago. I think it was barely 
seen as some kind of  hidden thing between her and her brother since he was the 
one that gave the painting to her...or so I'm told. All her jewelry is gold, 
but I can't see much of the bracelet, except that it has little beading similar 
to the gold beading used with enamel work. I don't know the term, but it uses 
tiny gold beads to make lines and filled in areas. VERY DELICATE looking.All 
her rings match the ouches. Her gown fabric would have been a jacquard I think 
so it would have been expensive. THe massive pearls would have been 
expensive...all showing she had rich roots even if she didn't become queen. 
Family money to those who might want the ear of the king by marrying his 
daughter.
Also in similar patterns of pearls in other Tudor portraits, Elizabeth had many 
more pearls in the grouping. I count 6 smaller ones with 2 larger pearls 
sitting on them. In one of Mary, I think, it's 4 small and 1 large. There are 
others with the pearl group and ouches in a set pattern so I can compare them 
in needed or just to kill time.
Someone suggested that the open blank book was to support her religious 
background and not favor any religion since there was a break with the Catholic 
Church at that time. Her finger in the book also showed that she was devote and 
a worthy wife-to-be. It might have been propaganda for future husbands, just in 
case she wasn't to be queen one day. A bargining chip in negotiations. 

Sincerely,
Rebecca Rautine



> From: otsi...@socket.net
> To: h-cost...@indra.com
> Date: Tue, 16 Jun 2009 20:16:04 -0500
> Subject: Re: [h-cost] Black beads Princess Elizabeth image
> 
> I had noticed that too. Could be shading when compared to the pearls on her
> neckline.
> I just noticed that she has a gold bracelet on her left wrist. :)
> I wonder what the symbolism/meaning to the open book with no writing or
> print on the pages.
> 
> De
> 
> -Original Message-
> With a larger photo, do the pearls on the french hood look like 2 different
> colors? Some gray on the outside and whiter ones to the inside. Or am I just
> looking too close now that I take the time to do so.
> 
> Sincerely, Rebecca Rautine
> 
> 
> 
> >
> > -Original Message-
> > A larger pic.
> > http://upload.wikimedia.org/wikipedia/commons/3/3d/El_bieta_I_lat_13.jpg
> > http://tinyurl.com/lyd429
> >
> > To my understanding, black diamonds are post 1600.
> >
> > De
> >
> >
> 
> 
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Re: [h-cost] Question about a portrait

[Becky Rautine]

I think the other font was Garamond or one of the thicker curvilinear ones. But 
that didn't matter. I just thought it was a strange picture.

Sincerely,
Rebecca Rautine



> From: otsi...@socket.net
> To: h-cost...@indra.com
> Date: Tue, 16 Jun 2009 20:22:16 -0500
> Subject: Re: [h-cost] Question about a portrait
> 
> Lost the URL for the picture. Does this come close to it?
> http://www.fontspace.com/livin-hell/carnivalee-freakshow
> This is 1800s font.
> 
> -Original Message-
> >If the font is any indication of the date then I would say 1800s and not
> >1500s.
> 
> My resident calligrapher says the font is at least 1950's; if 
> earlier, probably confined to cowboys-and-indians Westerns.
> 
> chimene
> 
> 
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Re: [h-cost] Question about a portrait

[Becky Rautine]

It would be for myself. I found one of the doublet/bodice with an embroidered 
open necked collar that I love. It had a small ruff on the neckband and it 
matched the front of the skirt. I'll find it and post it for suggestions. I 
love the idea of embroidery on the inside of the top and turned outward as 
design. SInce I fell in love with the blackwork, I'd like to try the embroidery 
details on the next one after recreating my daughter's Princess ELizabeth 
one that I'm waiting on Margo's Tudor pattern to do that. I'm taking it apart 
and waiting to change it all. It's a shame I have to take it apart. It was all 
hand sewn, too. Took my a little less than a 3 months to do just the gown. THe 
parts took longer to find that to make it. That whole process took almost a 
year. I didn't get to finish it due to weather on the day she was to wear it 
and moving. She's grown so much, it's all too tight now...so reconstruction 
time! It's so beautiful, I want her to wear it at least a couple of times 
before making another one for her. She has her own ideas of what her next one 
will be. Add it to the To-Do List.

Sincerely,
Rebecca Rautine



> Date: Tue, 16 Jun 2009 20:34:24 -0700
> From: sstormwa...@yahoo.com
> To: h-cost...@indra.com
> Subject: Re: [h-cost] Question about a portrait
> 
> 
> No, I think that the artist gave us their modern interpretation of how things 
> were worn, as we see in the images as given on that site on Lady Jane Grey.
> 
> If you want to make it that way, then go for it. Just know that some people 
> might wonder why it is off on the style of the time period. Unless you plan 
> on having the garment judged for its accuracy, enjoy yourself in your 
> interpretation.
> 
> Kimiko
> 
> 
> --- On Tue, 6/16/09, Becky Rautine  wrote:
> > As for the difference of color, do you think she is wearing
> > just the kirtle and no fancy overdress?
> > 
> > Sincerely, Rebecca Rautine
> 
> 
> 
>   
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Re: [h-cost] Question about a portrait

[Becky Rautine]

I am making the ouches/buttons to look similar to the gold and black ones in 
the picture. I will say I think they are enamel work so mine will "look" like 
those. I decided to round up what I had and they really look close. I just have 
to make 40 of them! I already have the 20 on the sleeves. I counted them 
all and got 45 on the neckline and hood, then added 20 for the belt/girdle 
top=about 65. I'm making more in case some get lost or broken. I'll store those 
in my stash of beads. I may not want to make them down the road. I make a few, 
then do something else... then make some more...bake them, shape them, carve on 
the details, paint them then seal them. Lots of work but that's the only way 
for it to look accurate like my daughter wants. Since it's all hand sewn, I 
might enter the whole thing in some contest at the next faire we go to. 
Anything in Texas, Arkansas or Louisiana area where I could do that?

Sincerely,
Rebecca Rautine



> Date: Tue, 16 Jun 2009 21:05:01 -0700
> From: kay...@gmail.com
> To: h-cost...@indra.com
> Subject: Re: [h-cost] Question about a portrait
> 
> >Unless you plan on having the garment judged for its accuracy, enjoy 
> >yourself in your interpretation.
> 
> At a place like CostumeCon there's a whole category called
> Interpretation, for different takes on historical garments.
> 
> -- 
> Carolyn Kayta Barrows
> --
> “The future is already here, it is just unevenly distributed.”   -William 
> Gibson
> --
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Re: [h-cost] Black beads Princess Elizabeth image

[Becky Rautine]

With a larger photo, do the pearls on the french hood look like 2 different 
colors? Some gray on the outside and whiter ones to the inside. Or am I just 
looking too close now that I take the time to do so.

Sincerely, Rebecca Rautine


 
> From: otsi...@socket.net
> To: h-cost...@indra.com
> Date: Tue, 16 Jun 2009 16:47:24 -0500
> Subject: Re: [h-cost] Black beads Princess Elizabeth image
> 
> I stand corrected. Black diamonds are/were very, very rare but were know as
> early as 1477 with Mary of Burgundy's engagement ring.
> 
> -Original Message-
> A larger pic.
> http://upload.wikimedia.org/wikipedia/commons/3/3d/El_bieta_I_lat_13.jpg
> http://tinyurl.com/lyd429
> 
> To my understanding, black diamonds are post 1600.
> 
> De
> 
> 
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Re: [h-cost] Question about a portrait

[Becky Rautine]

I was searching for images of doublets online. I came across Lady Jane Grey 
ones. Then I looked at them and found this one. It's online, that's all I know. 
It struck me as different with the white fabric. Not nobility looking at all. 
But it peaked my interests.
Sincerely, Rebecca Rautine


 
> Date: Tue, 16 Jun 2009 08:14:50 -0700
> From: kay...@gmail.com
> To: h-cost...@indra.com
> Subject: Re: [h-cost] Question about a portrait
> 
> > What a strange portrait. It looks like an amalgamation, or artist's
> > re-imagining of something like these two gowns, with a bit of Flanders flair
> > in the color and in the hat:
> >
> 
> 
> > As others have already said, I'd guess a much later date, more like early
> > 20th century than Victorian, though.
> 
> 
> The face is what I based my mid-20th-century guess on. This example doesn't
> look like a 1920s face. And, as it happens, I own a c.1922-goes-Renaissance
> doll (as in, probably made c.1922). It has much more of the c.1922 line to
> the dress - that dropped waist-and-panniers look - along with a plausible
> ruff, skirt, neckline, and sleeves. So I'm guessing mis-20th-Century rather
> than early-20th-Century.
> 
> Where did this portrait come from? Do we know anything else about it?
> 
> -- 
> Carolyn Kayta Barrows
> --
> “The future is already here, it is just unevenly distributed.” -William
> Gibson
> --
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Re: [h-cost] Black beads Princess Elizabeth image

[Becky Rautine]

Well, I'm making mine look like enamel work. Same shape, same color as the 
portrait. The longer I looked at the ones I'm making, I decided to change them 
from the diamond shape to a more rounded one. I cut off the points and it looks 
fine. I trimmed down the round dome into a cut gen stone look. So they look 
much like the ouches in the portrait...but now I have to make 18 more for the 
ones I bought long ago. Oh well, a few at a time and it'll get done.

Sincerely, Rebecca Rautine


 
> Date: Tue, 16 Jun 2009 08:43:28 -0500
> From: garbaho...@gmail.com
> To: h-cost...@indra.com
> Subject: Re: [h-cost] Black beads Princess Elizabeth image
> 
> During this period it was common for the diamonds to have a foil backing, so
> they could and do typically look black in paintings.
> 
> alex
> 
> On Mon, Jun 15, 2009 at 11:28 PM, Becky Rautine wrote:
> 
> >
> > After all the discussion about the black beads in other portraits, I see
> > the black squares in the Princess ELizabeth portrait as the black with a
> > white spot like someone said. Could these be diamonds instead of onyx or
> > some other black stones?The pearls are black here, but maybe the others are.
> > One site that reproduces Renaissance jewelry has this as a white diamond
> > instead of the black square on the necklace part. I'm making this complete
> > outfit for my daughter. Are these suppose to be white diamonds instead of
> > the black squares? I never thought about it until the recent eye-opening
> > research on black pearls in paintings.
> >
> > Sincerely,
> > Rebecca Rautine
> >
> >
> > _
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> >
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> >
> 
> 
> 
> -- 
> So much to do and so little attention span to get it done with…
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Re: [h-cost] Question about a portrait

[Becky Rautine]

Later when I looked at it again, I saw that it was something like a shawl 
wrapped around under the arms. DOn't know why it's be that way on a noble lady. 
But I understand what they might be. 
As for the difference of color, do you think she is wearing just the kirtle and 
no fancy overdress?

Sincerely, Rebecca Rautine


 
> Date: Mon, 15 Jun 2009 23:14:02 -0700
> From: sstormwa...@yahoo.com
> To: h-cost...@indra.com
> Subject: Re: [h-cost] Question about a portrait
> 
> 
> Hi Rebecca,
> 
> First of all, it looks to be a later image, meaning a painting not done 
> during her lifetime. Most likely this is a Victorian image or even more 
> modern, I don't know for sure. But the background looks familiar. I think we 
> talked about a similar painting here before.
> 
> The doublet as you've named it is her bodice, most likely square necked with 
> a partlet over the top of it; in this case with a standing collar in what is 
> modernly called "medici" style. It is odd that the bottom of the bodice is 
> black, when the rest of the gown is not black. This tells me that the artist 
> didn't really understand Tudor fashions. Usually, if any part of the gown 
> were to contrast, it would be the partlet worn over the upper half of the 
> chest, along with the foresleeves and forepart (the decorative parts of the 
> kirtle). The whole gown usually is of one fabric.
> 
> As to the white things on her shoulder... I would say it is a linen rail; a 
> large linen square being worn much like a shawl, but how it is only on the 
> sleeves... maybe pinned?. I have an image showing a similarly worn rail that 
> is contemporary.
> http://www.kimiko1.com/research-16th/TudorWomen/1530/MargaretPole.html
> 
> hth,
> 
> Kimiko
> 
> 
> --- On Mon, 6/15/09, Becky Rautine  wrote:
> > This is a portrait I haven't seen before... of Lady Jane
> > Grey.
> > http://www.bitterwisdom.com/ladyjanegrey/life/panel-2-lady-jane-grey.jpg
> > I found this and like the doublet style. Can anyone tell me
> > what the white things are on the shoulders? What can you
> > tell me about the making of this gown?
> > Sincerely,
> > Rebecca Rautine
> 
> 
> 
> 
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[h-cost] Question about a portrait

[Becky Rautine]

This is a portrait I haven't seen before... of Lady Jane Grey.
http://www.bitterwisdom.com/ladyjanegrey/life/panel-2-lady-jane-grey.jpg
I found this and like the doublet style. Can anyone tell me what the white 
things are on the shoulders? What can you tell me about the making of this gown?
Sincerely,
Rebecca Rautine



> From: zearti...@hotmail.com
> To: h-cost...@indra.com
> Date: Tue, 16 Jun 2009 00:31:00 -0400
> Subject: [h-cost] FW: Black beads Princess Elizabeth image
> 
> 
> Along this same line how does the girdle end? It doesn't show in the 
> portraits I have seen.. I never noticed it wasn't shown in the images before.
> I made the little urn shapes, the beads and all the part that hangs
> down in front. I haven't gotten to the pearls yet, but they are sorted
> and waiting... what is the concensus of how it should end???
> Sincerely,
> Rebecca Rautine
> 
> 
> 
> From: zearti...@hotmail.com
> To: h-cost...@indra.com
> Subject: Black beads Princess Elizabeth image
> Date: Tue, 16 Jun 2009 00:28:28 -0400
> 
> 
> 
> 
> 
> 
> 
> 
> After all the discussion about the black beads in other portraits, I see the 
> black squares in the Princess ELizabeth portrait as the black with a white 
> spot like someone said. Could these be diamonds instead of onyx or some other 
> black stones?The pearls are black here, but maybe the others are.
>  One site that reproduces Renaissance jewelry has this as a white diamond 
> instead of the black square on the necklace part. I'm making this complete 
> outfit for my daughter. Are these suppose to be white diamonds instead of the 
> black squares? I never thought about it until the recent eye-opening research 
> on black pearls in paintings.
> 
> Sincerely,
> Rebecca Rautine
> 
> 
> Insert movie times and more without leaving Hotmail®.  See how.
> _
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[h-cost] FW: Black beads Princess Elizabeth image

[Becky Rautine]

Along this same line how does the girdle end? It doesn't show in the 
portraits I have seen.. I never noticed it wasn't shown in the images before.
I made the little urn shapes, the beads and all the part that hangs
down in front. I haven't gotten to the pearls yet, but they are sorted
and waiting... what is the concensus of how it should end???
Sincerely,
Rebecca Rautine



From: zearti...@hotmail.com
To: h-cost...@indra.com
Subject: Black beads Princess Elizabeth image
Date: Tue, 16 Jun 2009 00:28:28 -0400








After all the discussion about the black beads in other portraits, I see the 
black squares in the Princess ELizabeth portrait as the black with a white spot 
like someone said. Could these be diamonds instead of onyx or some other black 
stones?The pearls are black here, but maybe the others are.
 One site that reproduces Renaissance jewelry has this as a white diamond 
instead of the black square on the necklace part. I'm making this complete 
outfit for my daughter. Are these suppose to be white diamonds instead of the 
black squares? I never thought about it until the recent eye-opening research 
on black pearls in paintings.

Sincerely,
Rebecca Rautine


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[h-cost] Black beads Princess Elizabeth image

[Becky Rautine]

After all the discussion about the black beads in other portraits, I see the 
black squares in the Princess ELizabeth portrait as the black with a white spot 
like someone said. Could these be diamonds instead of onyx or some other black 
stones?The pearls are black here, but maybe the others are.
 One site that reproduces Renaissance jewelry has this as a white diamond 
instead of the black square on the necklace part. I'm making this complete 
outfit for my daughter. Are these suppose to be white diamonds instead of the 
black squares? I never thought about it until the recent eye-opening research 
on black pearls in paintings.

Sincerely,
Rebecca Rautine


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Re: [h-cost] Need Ruff Making Advice

[Becky Rautine]

Iy msy be on a band or attached directly to the neckline of a high necked 
shirt/tunic thingy.

The fabric does need to be very stiff to stand out like that. Ironing before 
stitching can create those knife-sharp creases.

Sincerely, Rebecca Rautine


 
> Date: Sat, 13 Jun 2009 18:01:44 -0700
> From: kay...@gmail.com
> To: h-cost...@indra.com
> Subject: Re: [h-cost] Need Ruff Making Advice
> 
> > My son and I are making an anime costume
> > http://www.geocities.com/eyesofaclown/images/Perriot.JPG . Does anyone
> > have advice on how to attach the ruffles to the band.
> 
> 
> The one in your image looks similar to cartridge pleating. To stiffen it,
> start with something already a little stiff and double it over. Two layers
> are stiffer than one is, and the folded outer edge takes care of any hem
> issues. For a costume ruff you might even use one thickness of stiff
> non-woven interfacing. I like to use several yards of the selvedge of
> something for my ruffs - not exactly correct, but neater at the outside edge
> than any hem I can do.
> 
> -- 
> Carolyn Kayta Barrows
> --
> “The future is already here, it is just unevenly distributed.” -William
> Gibson
> --
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Re: [h-cost] Corset for a man

[Becky Rautine]

When I read this email, the scene of them lacing up the old drunk gunslinger 
(Lee Marvin) in the movie "Cat Balue" came to mind. That made me laugh. I might 
just have to find that movie to watch again.

Nothing wrong with men wearing corsets. They do the same thing for men as they 
do women. 

Sincerely, Rebecca Rautine


 
> From: sha...@collierfam.com
> To: h-cost...@indra.com
> Date: Tue, 9 Jun 2009 03:09:19 -0700
> Subject: Re: [h-cost] Corset for a man
> 
> "Dark Garden" in San Francisco, a corset making business, regularly makes
> men's corsets. You might want to contact them. 
> 
> -Original Message-
> From: h-costume-boun...@indra.com [mailto:h-costume-boun...@indra.com] On
> Behalf Of Hanna Zickermann
> Sent: Tuesday, June 09, 2009 12:56 AM
> To: Historical Costume
> Subject: [h-cost] Corset for a man
> 
> Hi there,
> 
> I am asked to make experiments with a romantic era corset - for a man!
> 
> So far I only found information in "Waisted Efforts", but I am sure there
> are other sources somewhere else. Any recommendations or things to consider
> when lacing a man?
> 
> Thank you so much,
> Hanna
> *clueless this time*
> 
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Re: [h-cost] Elizabethan Pair of Bodies for a petite figure.

[Becky Rautine]

I took loose the bottom of my old corset and added tabs. In the spaces I added 
longer boning, too. It helped tremendously. I like the grommets and the ties to 
hold them together. My new one doesn't have those... YET. After wearing the 
farthingale and it being a bit too long, the grommets and ties will be added 
before the next time I wear it. My new one does have the tabs and it make 
everything much more comfortable for me. It actually stayed on my waist/hips... 
which isn't as defined as it used to me. 

Sincerely, Rebecca Rautine


 
> From: sha...@collierfam.com
> To: h-cost...@indra.com
> Date: Wed, 20 May 2009 17:13:36 -0700
> Subject: Re: [h-cost] Elizabethan Pair of Bodies for a petite figure.
> 
> My daughter is thin and made a corset without tabs. She has not been happy
> with it, as it transfers all the weight of the farthingale and skirts to her
> waist/back. She now wishes she'd made one with tabs to help distribute the
> weight better. Remember, thin women don't have as much "padding" as we
> not-so-thin ones. 
> 
> -Original Message-
> From: h-costume-boun...@indra.com [mailto:h-costume-boun...@indra.com] On
> Behalf Of Elizabeth Walpole
> Sent: Wednesday, May 20, 2009 5:32 AM
> To: 'Historical Costume'
> Subject: [h-cost] Elizabethan Pair of Bodies for a petite figure.
> 
> This has been cross posted to another list so sorry if you get it twice.
> I've offered to help a friend make her first Elizabethan outfit and I am not
> sure about the best style of corset to recommend as her body type is exactly
> opposite to mine. She is short, very slim with almost no hips or bust
> whatsoever (whereas all my experience comes from fitting my 5'10"
> overweight, very curvy figure). She will be using the Reconstructing History
> corset pattern
> https://www.reconstructinghistory.com/rh203-elizabethan-corsets.php?s=&c=22&;
> d=190&e=30&q=2&p=43&w=21 (I think the most important difference is probably
> between the boned or unboned tabs). So for those with experience fitting
> similarly non curvy figure type which style would you suggest?
> Thanks
> Elizabeth
> ---
> Elizabeth Walpole 
> Canberra, Australia
> http://magpiecostumer.110mb.com/
> 
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Re: [h-cost] The meaning of hand position in art - OT?

[Becky Rautine]

Those are called Hand Mudras. Jesus usually uses the pan mudra. Check Christian 
Iconography and symbolism in Christian art. The hand positions are basically 
the same in most religions.

I found this: http://www.joyofsects.com/art.shtml

Sincerely, Rebecca Rautine


 
> From: wickedf...@msn.com
> To: h-cost...@indra.com
> Date: Fri, 15 May 2009 18:26:53 -0700
> Subject: [h-cost] The meaning of hand position in art - OT?
> 
> 
> Well, I guess this could be considered OT - or mannerisms are a part of 
> fashion -
> 
> I know someone here knows this...where or how do I find information on the 
> hand positions in artwork??? These are a few links below for examples...the 
> one I was really thinking of was where the hand is held up and the forefinger 
> touches the thumbof course I can't find a picture of it right now. It 
> seems to me that I remember it as a typical gesture in the paintings of 
> Christ and/or the Madonna.
> 
> http://www.viewbuildings.com/simages/isleham-full.jpg
> 
> http://upload.wikimedia.org/wikipedia/commons/0/0f/Jan_van_Eyck_001.jpg
> 
> Thanks in advance!
> 
> Sg
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Re: [h-cost] Pattern for red dress on Dr Who

[Becky Rautine]

It looks like the transaction period between the Civil war era and early 
victorian. There are several patterns that are similar but none that I know of 
that has that kind of front. SImplicity has several that might work. Check 
their historical patterns on their website. May not be totally accurate but 
easy to make.

Sincerely,
Rebecca Rautine



> Date: Tue, 5 May 2009 12:47:34 +1000
> From: sid.yo...@gmail.com
> To: h-cost...@indra.com
> Subject: [h-cost] Pattern for red dress on Dr Who
> 
> I am trying to locate a suitable pattern to possibly recreate the red dress
> featured on an episode of the Sci Fi show "Dr Who"
> 
> Below are some links, does anyone recognise the dress style and perhaps
> suggest a pattern to use as a base?
> 
> http://www.thestage.co.uk/images/pics/24120.jpg
> 
> http://www.radiotimes.com/content/features/galleries/doctor-who-christmas-special/04/mainImage.jpg
> 
> http://z.about.com/d/scifi/1/0/m/O/-/-/s0_05_wal_03.jpg
> 
> http://i416.photobucket.com/albums/pp245/combomweek3/more_tnd_pics/TNDb_35.jpg?t=1241487067
> 
> http://i416.photobucket.com/albums/pp245/combomweek3/more_tnd_pics/TNDb_18.jpg?t=1241487143
> 
> http://l.yimg.com/g/images/spaceball.gif
> 
> 
> Thanks
> 
> Sidney
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Re: [h-cost] CC27

[Becky Rautine]

What is the H for? I know some kind of badge...why an "H"?What does the "H" 
stans for?

Sincerely, Rebecca Rautine


 
> Date: Wed, 29 Apr 2009 22:24:33 -0400
> From: judymi...@theoldforest.net
> To: h-cost...@indra.com
> Subject: Re: [h-cost] CC27
> 
> annbw...@aol.com wrote:
> > So sounds like I should contrive some kind of red "H," eh?
> > 
> > Ann Wass
> 
> That's been the standard for the last few years at conventions (or 
> anywhere that uses badges). Some sort of red H.
> 
> -Judy Mitchell
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Re: [h-cost] CC27

[Becky Rautine]

Where is it this year?

Sincerely, Rebecca Rautine


 
> To: h-cost...@indra.com
> Date: Wed, 29 Apr 2009 14:42:24 -0400
> From: annbw...@aol.com
> Subject: [h-cost] CC27
> 
> Dear List,
> I'm going to check out Costume Con this year, since it is nearby.? As I've 
> never been, what will list members be wearing as ID?
> 
> Ann Wass
> 
> 
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Re: [h-cost] stitching on ruffs [SEC=UNCLASSIFIED]

[Becky Rautine]

Is the stronger white line at the base some kind of support? I wonder how much 
this one weighs!! Beautiful in it's curved shapes but way more than I'd want to 
wear.

Sincerely, Rebecca Rautine


 
> Date: Tue, 14 Apr 2009 09:29:05 +1000
> From: annette.wil...@environment.gov.au
> To: h-cost...@indra.com
> Subject: Re: [h-cost] stitching on ruffs [SEC=UNCLASSIFIED]
> 
> Until recently I had thought that the figure-of-eight ruffs were never
> stitched to hold the shape, but last week I found a portrait in a
> current Sotherby's catalogue for a sale of Old Master and early British
> paintings.
> This is the link to the catalogue:
> http://www.sothebys.com/app/paddleReg/paddlereg.do?dispatch=eventDetails
> &event_id=29138
> 
> and the particular painting is:
> http://www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=159527660
> 
> The ruff is formed with a lattice effect, intersecting 4 times, and
> there is a pearl at every intersection, with a group of 3 pearls at the
> top and bottom edge. I think the pearls are stitched on, rather than
> representing pin-heads, especially given the groups of pearls at top and
> bottom. It would be a nightmare to reset after washing.
> 
> I have never seen anything similar - has anyone else?
> Suzi, is this similar to the one you referred to.
> 
> Needless to say I have downloaded it for future reference.
> 
> Annette Wilson 
> 
> -
> Message: 2
> Date: Thu, 09 Apr 2009 20:39:41 +0200
> From: Hanna Zickermann 
> Subject: [h-cost] Stitching on ruffs
> To: Historical Costume 
> Message-ID: <200904091839.n39iduov018...@net.indra.com>
> Content-Type: text/plain; charset="us-ascii"; format=flowed
> 
> Hello,
> 
> has anyone ever seen a ruff that really had the stitching along the
> outer edge to keep the "8"s in shape? "Period Costume for Stage and
> Screen" even suggests embellishing the ruff with beads on top of these
> stitches, but I feel they are just a theatrical neccessity as the ruffs
> are not properly starched and must keep their shapes in nylon material.
> Or is there evidence that these stitches would have been used as a
> decorative feature as well and that they are documentable?
> 
> Thank you,
> Hanna
> 
> 
> 
> --
> 
> Message: 3
> Date: Thu, 09 Apr 2009 19:55:26 +0100
> From: Suzi Clarke 
> Subject: Re: [h-cost] Stitching on ruffs
> To: Historical Costume 
> Message-ID: <7.0.1.0.2.20090409195249.03cb2...@suziclarke.co.uk>
> Content-Type: text/plain; charset="us-ascii"; format=flowed
> 
> At 19:39 09/04/2009, you wrote:
> >Hello,
> >
> >has anyone ever seen a ruff that really had the stitching along the 
> >outer edge to keep the "8"s in shape? "Period Costume for Stage and 
> >Screen" even suggests embellishing the ruff with beads on top of these 
> >stitches, but I feel they are just a theatrical neccessity as the ruffs
> 
> >are not properly starched and must keep their shapes in nylon material.
> >Or is there evidence that these stitches would have been used as a 
> >decorative feature as well and that they are documentable?
> 
> I have seen pictures of ruffs where the "8"s are apparently held
> together, probably with wax (see Janet Arnold). I am sure I also have a
> photo of a ruff held with red beads - I'll have to go and look for that
> though - my library is not next to the computer!
> 
> Suzi
> 
> 
> 
> 
> 
> --
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> 
> 
> 
> Please consider the environment before printing this email.
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Re: [h-cost] Patterns date question

[Becky Rautine]

NOt that anyone would want to part with sucha a valuable item. I was suggesting 
it might contain missing photographs that are a part of history of old films. 
With all those photos of different people, most might have been lost over the 
years and few existing news articles, magazine articles or such of that era. 
That is what I meant. A collector would love to get one like this. A museum 
might want it for their collection of film era history. It might be somethng of 
HISTORICAL signifigance, as well as amusement value.

Sincerely, Rebecca Rautine


 
> Date: Mon, 16 Mar 2009 11:01:26 -0400
> From: exst...@gmail.com
> To: h-cost...@indra.com
> Subject: Re: [h-cost] Patterns date question
> 
> On Sun, Mar 15, 2009 at 6:26 PM, Becky Rautine  wrote:
> > It might even be worth something to them.
> 
> I must admit, the "Cash in the Attic" watcher in me saw dollar signs.
> If I owned this scrapbook, though, I don't think I'd be able to part
> with it... thanks so much for photographing it and sharing it with us!
> 
> -E House
> (drat my limited bandwidth satellite internet connection...)
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Re: [h-cost] Patterns date question

[Becky Rautine]

Is there some museum dedicated to old black and white films? Maybe they could 
help identify some of the photos. It might even be worth something to them. It 
is quite a documentation of photos from that era. With a bit of work it would 
be a wonderful edition with labels and additional infor on what you can get.

Sincerely, Rebecca Rautine


 
> Date: Sun, 15 Mar 2009 14:43:06 -0700
> From: litln...@slumberland.seattle.wa.us
> To: h-cost...@indra.com
> Subject: Re: [h-cost] Patterns date question
> 
> On 3/15/09 9:32 AM, Becky Rautine wrote:
> > What a collection of photos. I wonder who the twin ladies are.
> 
> I wonder too. They don't seem to be any of the most famous sisters or
> twins I know of in films of that era like Norma and Constance Talmadge,
> etc. But my facial recognition abilities are so poor that I might miss 
> an obvious identification.
> 
> I have been going through and trying to identify people in the pictures
> when possible, but any identifications would be welcome! Just last night 
> I was able to identify several, and find other copies of some of these 
> photos on the Web. But there are many people there that can't be identified.
> 
> One sad thing is that many of these actors pictured have very few or no 
> surviving films left to watch. The majority of films from that era have 
> not survived, I think.
> 
> I am glad people enjoyed the scrapbook! It really does have some nice 
> images of circa-1916 fashion.
> 
> On 3/15/09 11:12 AM, albert...@aol.com wrote:
> 
> > In a message dated 3/15/2009 12:33:04 P.M. Eastern Daylight Time,
> > zearti...@hotmail.com writes:
> >
> > I love the dragonfly/dancers
> >
> >
> > 
> >
> >
> > That might be Anna Pavlova.
> 
> I think it may be -- there is another clipping loose in the book of a 
> dancer in the same costume, labeled as Pavlova.
> 
> 
> W
> 
> 
> 
> -- 
> *---+---+--*
> \ Wendi Dunlap-Simpson | litlnemo at slumberland.seattle.wa.us | dear/
> / Seattle, Wash., USA | http://www.slumberland.seattle.wa.us | 23 \
> *--"Somehow everything will be a little different than you thought"*
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Re: [h-cost] Patterns date question

[Becky Rautine]

What a collection of photos. I wonder who the twin ladies are. I love the 
dragonfly/dancers. One photo near the end kinda looks like Drew Barrymore.

Thanks for sharing them.

Sincerely, Rebecca Rautine


 
> Date: Sun, 15 Mar 2009 06:13:14 -0700
> From: litln...@slumberland.seattle.wa.us
> To: h-cost...@indra.com
> Subject: Re: [h-cost] Patterns date question
> 
> On 3/14/09 6:22 AM, Wendi Dunlap wrote:
> > You might also enjoy the photo collection I've posted at
> > http://www.flickr.com/photos/litlnemo/sets/72157615210203836/ .
> 
> I just thought of another thing I have that might be helpful:
> 
> http://slumberland.org/vintage_kitchen/kitchenimages.html
> 
> It's actually a collection of images of kitchens, intended to include 
> images from 1905-1925, but so far most of the images are 1917-1920, and 
> some of them do include women in period clothing and might be useful. Of 
> course, they are all American, but still might give some insight.
> 
> For some reason I seem to be collecting stuff from the 1910s lately. :)
> 
> W
> 
> -- 
> *---+---+--*
> \ Wendi Dunlap-Simpson | litlnemo at slumberland.seattle.wa.us | dear/
> / Seattle, Wash., USA | http://www.slumberland.seattle.wa.us | 23 \
> *--"Somehow everything will be a little different than you thought"*
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Re: [h-cost] Browned lace Edwardian? Collars

[Becky Rautine]

I've cleaned antique lace and doilies with Didi7 and Oxyclean. Start mild. You 
can always add more. You never can tell when to much is used until it messes up 
the lace.

Sincerely, Rebecca Rautine


 
> Date: Sat, 7 Mar 2009 10:06:09 -0800
> From: f...@lavoltapress.com
> To: h-cost...@indra.com
> Subject: Re: [h-cost] Browned lace Edwardian? Collars
> 
> 
> 
> Wanda Pease wrote:
> 
> > 
> > Being totally ignorant about lace... were they ever supposed to be white?
> > The most beautiful three are ecru (?) or a coffee with lots of cream shade.
> 
> Quite possibly not. The late Victorians and Edwardians very much liked 
> "antique-looking" ecru and cream shades for lace. If you hand wash the 
> lace in a gentle soap solution, what comes off is probably dirt and what 
> remains is probably dye of some sort (coffee was sometimes used, among 
> other things).
> 
> Fran
> Lavolta Press
> New book on 1820s clothing!
> http://www.lavoltapress.com
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Re: [h-cost] link??? Was: Large family

[Becky Rautine]

My great-grand father had 6 wives and 18 kids. My grandfather had 15 kids... I 
know about large families. I have 62 first cousins and second cousins. When he 
died at 76 he had 201 descendants!!! Our family reunion is a hoot. We hope half 
of them DON'T show up.

Sincerely, Rebecca Rautine


 
> Date: Sat, 7 Mar 2009 13:44:30 -0800
> From: maggi...@gmail.com
> To: h-cost...@indra.com
> Subject: Re: [h-cost] link??? Was: Large family
> 
> That and multiple remarriages can give one person a huge number of children
> and step children o ver a wide age range.
> 
> MaggiRos
> 
> 
> 
> Maggie Secara
> ~A Compendium of Common Knowledge 1558-1603
> ISBN 978-0-9818401-0-9
> Available at http://elizabethan.org/compendium/paperback.html
> See our gallery at http://www.zazzle.com/popinjaypress
> 
> 
> On Thu, Mar 5, 2009 at 7:47 AM, Saragrace Knauf  wrote:
> 
> >
> > What post was this in reply to??? I must have missed the link...but I would
> > bet your are looking at some donor picture where they painted every kid they
> > ever had - even if it died young.
> >
> > Sg
> >
> > > From: la...@hotmail.com
> > > To: h-cost...@indra.com
> > > Date: Thu, 5 Mar 2009 06:11:00 -0800
> > > Subject: Re: [h-cost] Large family (Was Mary I -- FOUND)
> > >
> > >
> > >
> > >
> > >
> > > There is the old saying that "Bach had 20 children because his organ had
> > no stops"
> > >
> > >
> > >
> > > Laurie
> > >
> > >
> > >
> > >
> > > > From: zearti...@hotmail.com
> > > > To: h-cost...@indra.com
> > > > Date: Wed, 4 Mar 2009 21:49:20 -0500
> > > > Subject: Re: [h-cost] Mary I -- FOUND
> > > >
> > >
> > ___
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> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
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Re: [h-cost] Bamboo for corsets, was Re: Arnolfi dags and pleats

[Becky Rautine]

I will go look tomorrow. I didn't know they came that long. I definitely ask 
for the longer ones. I can cut them myself.. I think. We have a can of that 
plastic cover paint to use on the ends.

Sincerely, Rebecca Rautine


 
> Date: Thu, 5 Mar 2009 18:24:03 -0600
> From: d...@reddawn.net
> To: h-cost...@indra.com
> Subject: Re: [h-cost] Bamboo for corsets, was Re: Arnolfi dags and pleats
> 
> Becky Rautine wrote:
> > The ones I can find around here are too short. I bought 2 packs today and 
> > they were 11" and about 2-3 inches too short for my torso. I'll go looking 
> > again tomorrow.
> 
> I believe the bigger ones are sold with plumbing supplies. They come in 
> 24" and 36" lengths. If you ask for "zip ties" or "cable ties" you'll 
> get the shorter ones.
> 
> 
> Dawn
> 
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Re: [h-cost] Bamboo for corsets, was Re: Arnolfi dags and pleats

[Becky Rautine]

The ones I can find around here are too short. I bought 2 packs today and they 
were 11" and about 2-3 inches too short for my torso. I'll go looking again 
tomorrow.

The bamboo I was considering is a Japanese kind used for making furniture and 
it doesn't splinter unless it's cut that way. It grows about 40 feet tall and 
sections are around 15-20" long. It's diameter can be up to 6 inches. It's like 
a forest in his yard. I'd need only one at that size. I may try a few and see 
what happens but I plan to make the top of the channels with a removable tape 
so I can remove the boning if I have to wash it anyway.

Sincerely, Rebecca Rautine


 
> Date: Thu, 5 Mar 2009 15:50:26 -0800
> From: morrgha...@yahoo.com
> To: h-cost...@indra.com
> Subject: Re: [h-cost] Bamboo for corsets, was Re: Arnolfi dags and pleats
> 
> At the expense of my pride I must try to discourage using bamboo. I was young 
> I didn't really know any better, and it was a bad idea. It splintered the 
> first time I wore it. If you are looking for a cheap boning, I would use zip 
> ties.
> 
> Morrghan
> 
> 
> 
> 
> 
> From: Joan Jurancich 
> To: Historical Costume 
> Sent: Thursday, March 5, 2009 3:37:26 PM
> Subject: [h-cost] Bamboo for corsets, was Re: Arnolfi dags and pleats
> 
> At 01:45 PM 3/5/2009, you wrote:
> 
> > The closest SCA is almost 2 hours away from me now. If I move to Dallas, I 
> > think my sister will go with me. We both love costumes and this period. She 
> > makes costumes/garb for the Pocahontas Festival in Larado for several 
> > years. BEAUTIFUL beading. HEAVY costumes, too.
> > 
> > I'm trying to find boning or something to use for my sorset. The ties I 
> > bought aren't long enough so back to the store they go. My neighbor has a 
> > yard of MASSIVE bamboo. I may get some of that and strip it into narrow 
> > pieces to use. I'll use it green and have it on a dummy until it's dried 
> > inside. That way it should keep whatever shape I put it into. It will take 
> > some work but no money since it's free. I'm now working so I have no extra 
> > money (extra= any).
> > 
> > Sincerely, Rebecca Rautine
> 
> I'd be very leery of using bamboo. It splinters very easily and such 
> splinters pierce just about any fabric and can go into your flesh.
> 
> 
> Joan Jurancich
> joa...@surewest.net 
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> 
> 
> 
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Re: [h-cost] Arnolfi dags and pleats

[Becky Rautine]

The closest SCA is almost 2 hours away from me now. If I move to Dallas, I 
think my sister will go with me. We both love costumes and this period. She 
makes costumes/garb for the Pocahontas Festival in Larado for several years. 
BEAUTIFUL beading. HEAVY costumes, too. 

I'm trying to find boning or something to use for my sorset. The ties I bought 
aren't long enough so back to the store they go. My neighbor has a yard of 
MASSIVE bamboo. I may get some of that and strip it into narrow pieces to use. 
I'll use it green and have it on a dummy until it's dried inside. That way it 
should keep whatever shape I put it into. It will take some work but no money 
since it's free. I'm now working so I have no extra money (extra= any).

Sincerely, Rebecca Rautine


 
> From: wickedf...@msn.com
> To: h-cost...@indra.com
> Date: Thu, 5 Mar 2009 07:50:26 -0700
> Subject: Re: [h-cost] Arnolfi dags and pleats
> 
> 
> Dear Rebecca, I see the SCA in your future: :) ...I started at Ren Fests too 
> and am having about 100 times more fun there...
> 
> Anyway - the pleats. I haven't done the mockup yet, but I will probably try 
> Jean Hunnisetts method which is a series of strips (I think - she shows an 
> example them cut in a strip and a pattern of how they attach) of box pleats. 
> I am not entirely convinced yet, but I will start there and fiddle till I am 
> happy - may be next year before I am happy. I think I will be going through a 
> lot of wool in the mean time
> 
> Sg
> 
> > From: zearti...@hotmail.com
> > To: h-cost...@indra.com
> > Date: Wed, 4 Mar 2009 18:35:22 -0500
> > Subject: Re: [h-cost] Arnolfi dags and pleats
> > 
> > 
> > I looked at the picture for a while. Are these hanging from the sleeve like 
> > a thick fringe or sewn to some type of fabric and that hangs from the lower 
> > edge? I think that if it's just hanging there it might turn all which-a-way 
> > and not look right. I'm interested in how this is done. I know the site 
> > tells how to cut the effect but not how to attach it.
> > 
> >
> > 
> > Sincerely, Rebecca Rautine
> > 
> 
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Re: [h-cost] Mary I -- FOUND

[Becky Rautine]

WOW what a family! Do you think they are all the main couple's kids or some of 
the married children's kids included. I don't know anything about this 
portrait. I count 20 kids but not sure.

Sincerely, Rebecca Rautine


 
> Date: Wed, 4 Mar 2009 21:08:07 -0500
> From: hope.greenb...@uvm.edu
> To: h-cost...@indra.com
> Subject: Re: [h-cost] Mary I -- FOUND
> 
> After Holbein - I'll say - way after! Holbein died in what, 1543, which 
> would be just a few months after Mary Queen of Scots was born. Mary 1 of 
> England died in 1558. If those sleeves happened before the 1560s I'd be 
> mightily surprised. The nearest I can find on a quick look is
> ZEEUW, Cornelis de "Portrait of the De Mucheron Family"1563
> http://www.wga.hu/art/z/zeeuw/p_family.jpg
> 
> It's a wonder how these things get propagated, though. Here's an article 
> from about.com that uses the image, which it got from clipart.com that 
> has the same (must be erroneous) attribution.
> http://womenshistory.about.com/od/medbritishqueens/tp/medieval_british_queens.01.htm
> http://www.clipart.com/en/close-up?o=5272687&memlevel=A&a=a&q=mary%20i&k_mode=all&s=1&e=15&show=&c=&cid=&findincat=&g=&cc=&page=&k_exc=&pubid=
> 
> - Hope
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Re: [h-cost] Arnolfi dags and pleats

[Becky Rautine]

I looked at the picture for a while. Are these hanging from the sleeve like a 
thick fringe or sewn to some type of fabric and that hangs from the lower edge? 
I think that if it's just hanging there it might turn all which-a-way and not 
look right. I'm interested in how this is done. I know the site tells how to 
cut the effect but not how to attach it.

I'm working on a corset/body now that my Iron Hand smock is done. I washed it, 
neatly pressed it and it sits waiting for the other pieces to get done. Then 
I'm dressing up and having my portrait taken so I can paint a massive picture 
of myself and my daughter in our garb...and then I'll make up some story of 
that being my ancestors way back in Scotland under the Clan Buchanan (McCammon 
sept) I may even weave triangle shawls os the tartan pattern the whole 
thing! Won't we be a site at the next Ren Faire Which I think will be the 
one outside of Dallas... REAL SOON... waiting on my tax refund to have money to 
go.

I'm also posting a picture of my new grandson from my visit this weekend.

Sincerely, Rebecca Rautine


 
> From: wickedf...@msn.com
> To: h-cost...@indra.com
> Date: Wed, 4 Mar 2009 15:11:41 -0700
> Subject: Re: [h-cost] Arnolfi dags and pleats
> 
> 
> This is cool - another alternative to Hunnisett's method.
> 
> > From: zearti...@hotmail.com
> > To: h-cost...@indra.com
> > Date: Wed, 4 Mar 2009 13:29:39 -0500
> > Subject: Re: [h-cost] Arnolfi dags and pleats
> > 
> > 
> > Didn't know what "dagging" was so I looked it up. Found lots about the 
> > painting but only this one on the technique: 
> > http://jauncourt.i8.com/dagges/index.htm
> > 
> > Sincerely, Rebecca Rautine
> 
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Re: [h-cost] Arnolfi dags and pleats

[Becky Rautine]

Didn't know what "dagging" was so I looked it up. Found lots about the painting 
but only this one on the technique: http://jauncourt.i8.com/dagges/index.htm

Sincerely, Rebecca Rautine


 
> Date: Wed, 4 Mar 2009 09:39:17 -0800
> From: cinbar...@gmail.com
> To: h-cost...@indra.com
> Subject: [h-cost] Arnolfi dags and pleats
> 
> I think I'd dig out some scrap wool and make a few samples. That's a
> lot of wool to cut up badly & ruin. Do early samples on maybe a 12x12
> piece & work out the scale. Make your final samples big so you can get
> an idea not just of scale & density of cuts, but of the droop,
> ravelling, directionality of the resulting mass.
> --cin
> Cynthia Barnes
> cinbar...@gmail.com
> 
> >I have posted pictures and a journal entry here:
> http://wickedfrau.livejournal.com/1966.html
> http://pics.livejournal.com/wickedfrau/pic/3fze/g8 (Picture is here)
> 
> >I am wondering how big those dags and pleats areHunnisett thinks they
> are only 2" square.
> 
> >What do you think?
> 
> Sg
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Re: [h-cost] Mary I -- FOUND

[Becky Rautine]

I like the Marquite one. Anyone have any idea how that partlet was "textured" 
or manipulated to look like that?

Sincerely, Rebecca Rautine


 
> From: e...@huskers.unl.edu
> To: h-cost...@indra.com
> Date: Wed, 4 Mar 2009 15:01:53 +
> Subject: Re: [h-cost] Mary I -- FOUND
> 
> It isn't really more on the Mary I painting, but this miniature of Catherine 
> de Medici has the same odd ermine piping, and prominant eyes.
> http://www.allposters.com/-sp/Miniature-of-Catherine-De-Medici-Posters_i1586548_.htm
> I wonder if they know that Margurite of Valois further down the page is 
> upside down?
> 
> From: h-costume-boun...@indra.com [h-costume-boun...@indra.com] On Behalf Of 
> Patricia Dunham [chim...@ravensgard.org]
> Sent: Wednesday, March 04, 2009 2:38 AM
> To: Historical Costume
> Subject: Re: [h-cost] Mary I -- FOUND
> 
> My dear husband is loopy tonight, too much work out in the cold
> today. So he was noodling around on-line, bored with his cheating
> cribbage program (!), and found the original Mary I painting.
> 
> http://tvtropes.org/pmwiki/pmwiki.php/Main/TheHouseOfTudor
> 
> still looking for an attribution. (for hours and hours and hours! no luck!!)
> 
> ah, the wonder-boy does it again! I had cleaned away all the links
> to the engraving that started this, but he has found it
> http://womenshistory.about.com/od/tudor/a/tudor_women_4.htm The
> caption there says "after Holbein"!
> 
> Comparing the two, we find it very interesting how much older the
> monochrome looks (the person in the monochrome, I mean), vs. the
> child in color! The white furring in the color image looks much more
> reasonable, too.
> 
> enjoy!
> Chimene & Gerek
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Re: [h-cost] Continuous knotting a necklace

[Becky Rautine]

When I make a continious string necklace, I make sure to add knots ever so 
often so if it breaks, it all doesn't hit the floor. I also use strong fishing 
line or fine metal wire when I can...both. Heavy beads definitely use several 
strands of the strongest fishing line I can find.

Sincerely, Rebecca Rautine


 
> From: sha...@collierfam.com
> To: h-cost...@indra.com
> Date: Wed, 4 Mar 2009 09:06:55 -0800
> Subject: Re: [h-cost] Continuous knotting a necklace
> 
> My mom uses plastic wrapped wire, and fastens the ends with a tiny (less
> than 1/8" sq.)crimp. Look at my pearls next time you see me.
> Sharon 
> 
> -Original Message-
> From: h-costume-boun...@indra.com [mailto:h-costume-boun...@indra.com] On
> Behalf Of Cin
> Sent: Wednesday, March 04, 2009 8:36 AM
> To: h-cost
> Subject: [h-cost] Continuous knotting a necklace
> 
> I"m planning a necklace, as an accessory to a 15th c Italian gown, and would
> like to know if, and how, to make one that is a continuous strand. The
> clerk at the bead shop didnt know how. All she wanted to do was sell me
> inappropriate findings. I'm sure there's a way, I just dont know what to
> call it so I can search online.
> --cin
> Cynthia Barnes
> cinbar...@gmail.com
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Re: [h-cost] Flemish Dress

[Becky Rautine]

Off topic... but This is the first time I noticed your name is the same forward 
as backwards. I like that. It's unique.

Sincerely, Rebecca Rautine


 
> From: otsi...@socket.net
> To: h-cost...@indra.com
> Date: Tue, 3 Mar 2009 22:01:20 -0600
> Subject: Re: [h-cost] Flemish Dress
> 
> Were you not wanting to not line it for heat reasons or sewing reasons?
> If you were wanting a cooler outfit you might try tropical weight wool and
> line with linen for the outer piece and make the kirtle out of linen, only
> lining the bodice.
> 
> 
> 
> 
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Re: [h-cost] Rabbit - was: What kind of fur would you use for this?** NOT BUN!

[Becky Rautine]

One thing to look at also as a source is a second hand store or Salvation army 
clothing area. I have found some old mink or beaver coats there that make great 
costume additions. I have a beaver coat that looks just like mink. It's soft 
and delicate but extremely sturdy! It doesn't shed much either. It is an awful 
coat by the cut of it but the fabric/leather/fur is the reason I bought it...to 
use as something else. A fur cape maybe one day.

Sincerely, Rebecca Rautine


 
> From: albert...@aol.com
> Date: Tue, 3 Mar 2009 08:44:47 -0500
> To: h-cost...@indra.com
> Subject: Re: [h-cost] Rabbit - was: What kind of fur would you use for 
> this?** NOT BUN!
> 
> 
> In a message dated 3/2/2009 8:28:21 P.M. Eastern Standard Time, 
> celticredhead2...@yahoo.com writes:
> 
> Someone told me that rabbit (and cat) are one of the few furs that sheds 
> 
> 
> 
> 
> 
> Well my cat does shed, but I haven't killed it and skinned it.yet.
> **A Good Credit Score is 700 or Above. See yours in just 2 easy 
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Re: [h-cost] Reprint of 1879 book--Lessons on Clothing

[Becky Rautine]

One passage talks about fabric such as alpaca. Alpaca isn't a goat, it's 
cousing to a llama. I have a shawl of it and it's as soft as mohair but much 
sturdier, thicker and similar to wool. Wool makes me itch so I love alpaca 
instead. I saved the pdf of it so I can read the rest.Sincerely, Rebecca 
Rautine> Date: Mon, 16 Feb 2009 13:11:39 -0800> From: morrgha...@yahoo.com> To: 
h-cost...@indra.com> Subject: Re: [h-cost] Reprint of 1879 book--Lessons on 
Clothing> > It's on Google books> > 
http://books.google.com/books?id=4kMCQAAJ&printsec=frontcover&dq=Lessons+on+Clothing+%3E&lr=&ei=U9aZSeL-J43akATI6sDmCQ>
 > Morrghan> > > > From: Joan Jurancich 
> To: Historical Costume > Sent: 
Monday, February 16, 2009 12:31:44 PM> Subject: Re: [h-cost] Reprint of 1879 
book--Lessons on Clothing> > At 11:56 AM 2/16/2009, you wrote:> >Do you know 
anything about this book? Amazon doesn't say much.> >Sharon C.> >> 
>-Original Message-> >From: h-costume-boun...@indra.com 
[mailto:h-costume-boun...@indra.com] On> >Behalf Of Joan Jurancich> >Sent: 
Monday, February 16, 2009 9:30 AM> >To: h-cost...@indra.com> >Subject: [h-cost] 
Reprint of 1879 book--Lessons on Clothing> >> >I just received a note from 
Amazon about this new reprint and thought that> >some of the members would be 
interested:> 
>http://www.amazon.com/gp/product/1441408142/ref=pe_5050_11352390_pe_snp_142> 
>The author is Mrs. W. T. Greenup.> >> >Joan Jurancich> >joa...@surewest.net> > 
I know absolutely nothing about this book other than what is on > Amazon 
(pretty minimal). I was hoping that someone on the list would > be familiar 
with it and could give advice on whether or not it is a > useful reference.> > 
Joan Jurancich> joa...@surewest.net > > 
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Re: [h-cost] 16th Century Ribbon?

[Becky Rautine]

As I remember the term ribbon usually was the same as cording, such as 
hand-made or card woven. Lots of edge or trim was woven with card weaving/inkle 
weaving. There are some books of on Ecliastic weaving by a lady in 
Pennsylvania. She was the expert in our weaving guild. I think she is in this 
group as well. Maybe she will respond as well.(I can't think of her name... 
Spies??? maybe)
During this time the trade routes by the Silk Road were also going well. SO the 
ribbon might have been silk from the Far East, and could have also been loom 
woven.
So I think ribbon might have been a term then. I don't remember any other term 
that might fit here.Sincerely, Rebecca Rautine> From: li...@margospatterns.com> 
Date: Fri, 13 Feb 2009 17:55:19 -0800> To: h-cost...@indra.com> Subject: 
[h-cost] 16th Century Ribbon?> > I hope some of you textile history folks can 
help me: In the 16th > century, did the word "ribbon" mean a narrow woven 
textile, or could > it also mean a narrow piece cut from wider fabric?> > 
Margo> ___> h-costume mailing list> 
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Re: [h-cost] extra RE: Italian sleeve question

[Becky Rautine]

I recently had to deconstruct my skirt (due to not being made the correct 
size). When I clipped the stitching that was holding the pleats so tight, and 
attached it to a larger band... there was less fabric for the tightly gathered 
pleating. They didn't stand up as nicely as before. I stitched a strip of 
felted wool to the underside of the pleats, then regathered them onto the new 
band. It still had some slack. I inserted beads in between each pleat at 2 
places (one small bead near the band and one slightly larger bead about 1.5 
inches outward). The felt padded the pleats well and the result looks very 
similar to the image. It lays correctly on the bum roll and adds the poof I 
wanted. It also spaces each pleat the same amount.
I think this is what the top of the sleeves are, and not a fringe. I don't know 
if this is period or not but it holds the shape I want and adds detail to the 
waist area.
The puffyness is probably something inside it to fluff it up to much. That's my 
guess.Sincerely, Rebecca Rautine> From: otsi...@socket.net> To: 
h-cost...@indra.com; italian_renaissance_costum...@yahoogroups.com> Date: Tue, 
30 Dec 2008 21:44:02 -0600> Subject: Re: [h-cost] extra RE: Italian sleeve 
question> > I don't think that it is embroidery but a similar colored brocade 
or a> fabric that had an edge that had a gold thread design interwoven. this 
would> make sense with the two part sleeve and that the bodice looks to be 
pleated> as well to match the cuff ruffle and the sleeve cap.> Side note: She 
seems to be wearing a shift under her camicia.> > De> > > > -Original 
Message-> Greetings to the list,> > I have spent too much time looking at 
paintings today and have been> entranced by this one in particular. The dress 
is begging to be made> someday, in my mind.> > 
http://realmofvenus.renaissanceitaly.net/wardrobe/CARIANISeduction.JPG> > These 
sleeves look like the sleeve head has been embroidered and then> cartridge 
pleated, also at the cuff and then cartridge pleated near the> elbow area. Am I 
interpreting this correctly? And I am thinking the bodice> is with the same 
treatment but is flat, yes?> > Thanks for any input to my question.> > Lyonet> 
lurker 99.9% of the time> > > ___> 
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Re: [h-cost] Byzantine Headresses

[Becky Rautine]

>From my course in Early Christian history, the costumes of that time were 
>richly decorated with pearls, rubies and other gems. These were representative 
>of the chest plate from the tribe of Joshua. Justinian and Theodora were some 
>of the most known Byzantian royality. During this time, Byzantium was the 
>capital of the Holy Roman Empire, due to Constintine learning/following 
>Christianity. He converted on his death bed but not earlier. The Christian 
>church had been in Rome but was moved to Constantinople/Byzantium. This caused 
>a great rift in the Christian leaders and a power struggle followed.
The rich costuming can be researched through the colors and the use of gems 
thru iconography and lexicon books. I'd suggest finding a portrait or mural 
image and trying to replicate it's style. It doesn't have to be exact due to 
the cost of such an enterprise, but there are great fake gems that can give the 
same effect. 
A good suggestion would be to find someone connected with a Greek Orthodox 
Church. Their branch of Chritianity is pretty much the same as during this time 
period. The Virgin Mary was the patriarch of Byzantium and protector of the 
city. Someone from within the Greek Orthodox belief might give you more 
examples of the costuming and the meaning behind them. What I couldn't find for 
my research paper came from such a man who was more than happy to share the 
glory of the meanings of the Christian iconography and meanings that are lost 
in so many religious ceremonies today. That was the best clas I ever had. It 
taught the course as fact thru the art and buildings, not a theological aspect. 
It gave the history of the period and how the symbols came into existance and 
how they changed over the years.I learned quite a bit about early Christian 
history that wasn't taught in Sunday school. Sincerely, Rebecca Rautine> From: 
penhal...@juno.com> Date: Fri, 26 Dec 2008 21:10:01 +> To:!
  h-cost...@indra.com> Subject: [h-cost] Byzantine Headresses> > > I am writing 
on behalf of a friend who is interested in doing some Byzantine woman's 
headresses. She can only find a few basic styles (I think she's actually only 
found one!) and is interested in sources which might show her different 
options. Does anyone here know of places which would be good to search?> > 
Karen> Seamstrix> > 
Click for FHA loan, $0 lender fees, low rates & approvals nationwide> 
http://thirdpartyoffers.juno.com/TGL2141/fc/PnY6rw1fTGjHBEK8KkVNOzw1knq9MAAXOZGR23feYZFjhESBvKmOU/>
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Re: [h-cost] Seeking A Patternmaker

[Becky Rautine]

I would like to help if I can. I have made many garments and costumes but don't 
know if I have references for them. I am very good a graphics and computer work 
so the electronic versions are no problem. Just let me know what you 
need.Sincerely, Rebecca Rautine> From: [EMAIL PROTECTED]> Date: Thu, 6 Nov 2008 
13:18:02 -0800> To: [EMAIL PROTECTED]> Subject: [h-cost] Seeking A 
Patternmaker> > I'm looking into contracting out some of my patternmaking work. 
I've > contacted a number of companies, but I thought I'd try here as well. > 
If anyone knows of an independant contractor with professional > skills, 
references, and experience, who can supply electronic files > of finished work, 
and who is enthusiastic about historical costume, > please contact me at [EMAIL 
PROTECTED]> > > Thanks,> > Margo> 
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Re: [h-cost] Cow costume for Into the Woods

[Becky Rautine]

Now I remember the cow we had. One of the boys kept knocking it over. IT was on 
wheels to help it off but after a few moves, it didn't want to roll so the boy 
just picked it up and walked off with it under his arm. It was funny.


Sincerely,
Rebecca Rautine


> From: [EMAIL PROTECTED]
> To: [EMAIL PROTECTED]
> Date: Mon, 22 Sep 2008 09:03:27 -0400
> Subject: [h-cost] Cow costume for Into the Woods
> 
> My mother-in-law teaches in Chicago and is doing Into the Woods and is
> looking for  a cow costume, does anyone have any leads on where she can rent
> one?
> Thanks,
> 
> Meredith Moseley-Bennett
> Certification Coordinator
> Entertainment Technician Certification Program-ETCP
> 875 Sixth Avenue, Suite 1005
> NYC, NY 10001
> Phone:  212.244.1505
> Fax:  212.244.1502
> 
> 
> 
> 
> -Original Message-
> From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On
> Behalf Of [EMAIL PROTECTED]
> Sent: Sunday, September 21, 2008 2:00 PM
> To: h-costume@mail.indra.com
> Subject: h-costume Digest, Vol 7, Issue 342
> 
> Send h-costume mailing list submissions to
>   h-costume@mail.indra.com
> 
> To subscribe or unsubscribe via the World Wide Web, visit
>   http://mail.indra.com/mailman/listinfo/h-costume
> or, via email, send a message with subject or body 'help' to
>   [EMAIL PROTECTED]
> 
> You can reach the person managing the list at
>   [EMAIL PROTECTED]
> 
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of h-costume digest..."
> 
> 
> Today's Topics:
> 
>1. corsets (JAMES OGILVIE)
>2. Re: corsets (Elena House)
>3. Re: corsets (JAMES OGILVIE)
>4. Re: corsets (Dawn)
>5. Re: corsets ([EMAIL PROTECTED])
>6. Re: corsets (Alexandria Doyle)
>7. Re: corsets (paige)
> 
> 
> --
> 
> Message: 1
> Date: Sat, 20 Sep 2008 19:15:47 +
> From: "JAMES OGILVIE" 
> Subject: [h-cost] corsets
> To: [EMAIL PROTECTED]
> Message-ID: 
> Content-Type: text/plain; format=flowed
> 
> Yesterday I got a "review" copy of a brand-new book called "Corsets: 
> Historical Patterns and Techniques".  It looks like a great resource for 
> those with interests between 1750 and 1917.  (Unfortunately, I don't care 
> about anything after 1650!)
> 
> Janet
> 
> 
> 
> 
> --
> 
> Message: 2
> Date: Sat, 20 Sep 2008 17:11:04 -0400
> From: "Elena House" 
> Subject: Re: [h-cost] corsets
> To: "Historical Costume" 
> Message-ID:
>   
> Content-Type: text/plain; charset=ISO-8859-1
> 
> Who's the author?  And do you mind if I forward this to a couple of my
> corset groups?
> 
> -E House
> 
> On Sat, Sep 20, 2008 at 3:15 PM, JAMES OGILVIE  wrote:
> 
>> Yesterday I got a "review" copy of a brand-new book called "Corsets:
>> Historical Patterns and Techniques".  It looks like a great resource for
>> those with interests between 1750 and 1917.  (Unfortunately, I don't care
>> about anything after 1650!)
>>
>> Janet
>>
>>
>> ___
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
> 
> 
> --
> 
> Message: 3
> Date: Sun, 21 Sep 2008 02:52:25 +
> From: "JAMES OGILVIE" 
> Subject: Re: [h-cost] corsets
> To: [EMAIL PROTECTED]
> Message-ID: 
> Content-Type: text/plain; format=flowed
> 
> The author's name is Jill Salen and it's published by Quite Specific Media, 
> which may make it hard to find.  I've dealt with them because they are also 
> the U.S. publisher for "The Medieval Tailor's Assistant" and "The Tudor 
> Tailor" but most bookstores don't carry their stuff.
> 
> Of course you may forward the e-mails.
> 
> Janet
> 
> 
> 
> 
> --
> 
> Message: 4
> Date: Sat, 20 Sep 2008 22:27:34 -0600
> From: Dawn 
> Subject: Re: [h-cost] corsets
> To: Historical Costume 
> Message-ID: 
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
> 
> JAMES OGILVIE wrote:
>> The author's name is Jill Salen and it's published by Quite Specific 
>> Media, which may make it hard to find.  I've dealt with them because 
>> they are also the U.S. publisher for "The Medieval Tailor's Assistant" 
>> and "The Tudor Tailor" but most bookstores don't carry their stuff.
> 
> I've ordered direct from QSM before and they are a pleasure to deal 
> with. Most of their books are worth buying sight unseen.
> 
> I see they are expecting Patterns of Fashion 3 to be available in just a 
> couple weeks now.
> 
> 
> 
> 
> Dawn
> 
> 
> 
> --
> 
> Message: 5
> Date: Sun, 21 Sep 2008 09:56:46 EDT
> From: [EMAIL PROTECTED]
> Subject: Re: [h-cost] corsets
> To: [EMAIL PROTECTED]
> Message-ID: 
> Content-Type: text/plain; charset="US-ASCII"
> 
> My copy came yesterday. This is a great book! Some interesting patterns, on
> 
> a grid. And  some "projects": a hand made 18th century jumps and a

Re: [h-cost] Cow costume for Into the Woods

[Becky Rautine]

I know that Simplicity has one that is very easy to make and might be cheaper 
than renting at most places.  I'd be willing to help make it if you get the 
material or send me the money to get it here. Let me know if you'd consider 
that option. we can discuss it.
We did Into the Woods several years agoand I don't remember a cow. But then 
I was backstage doing makeup and didn't see it all either. My daughter was only 
a month old then. They used her for the baker's baby in the last scene. She 
played a boy and loved the singing. They used a crying track since she wouldn't 
cry when they sang to her. It shocked the whole audience when the princess 
turned her around and she moved. It was a great effect. I was so proud. My 
older daughter, age 16, was the voice of the Giant's wife. 
The first time the idea of using her as the baby happened the night before the 
show opened. The girl playing the princess handed the boy who was the baker my 
baby. He froze. He kept saying his lines but he didn't move. We stopped the 
practice. He'd never held a baby so we practiced. He got good at it. In the 
second night of the show, Elizabeth did fuss and the princess came over and too 
her from the baker. He looked so hurt and the audience loved it. I love doing 
plays, costumes, props, makeup and sets. Let me know if I can help out.


Sincerely,
Rebecca Rautine


> From: [EMAIL PROTECTED]
> To: [EMAIL PROTECTED]
> Date: Mon, 22 Sep 2008 09:03:27 -0400
> Subject: [h-cost] Cow costume for Into the Woods
> 
> My mother-in-law teaches in Chicago and is doing Into the Woods and is
> looking for  a cow costume, does anyone have any leads on where she can rent
> one?
> Thanks,
> 
> Meredith Moseley-Bennett
> Certification Coordinator
> Entertainment Technician Certification Program-ETCP
> 875 Sixth Avenue, Suite 1005
> NYC, NY 10001
> Phone:  212.244.1505
> Fax:  212.244.1502
> 
> 
> 
> 
> -Original Message-
> From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On
> Behalf Of [EMAIL PROTECTED]
> Sent: Sunday, September 21, 2008 2:00 PM
> To: h-costume@mail.indra.com
> Subject: h-costume Digest, Vol 7, Issue 342
> 
> Send h-costume mailing list submissions to
>   h-costume@mail.indra.com
> 
> To subscribe or unsubscribe via the World Wide Web, visit
>   http://mail.indra.com/mailman/listinfo/h-costume
> or, via email, send a message with subject or body 'help' to
>   [EMAIL PROTECTED]
> 
> You can reach the person managing the list at
>   [EMAIL PROTECTED]
> 
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of h-costume digest..."
> 
> 
> Today's Topics:
> 
>1. corsets (JAMES OGILVIE)
>2. Re: corsets (Elena House)
>3. Re: corsets (JAMES OGILVIE)
>4. Re: corsets (Dawn)
>5. Re: corsets ([EMAIL PROTECTED])
>6. Re: corsets (Alexandria Doyle)
>7. Re: corsets (paige)
> 
> 
> --
> 
> Message: 1
> Date: Sat, 20 Sep 2008 19:15:47 +
> From: "JAMES OGILVIE" 
> Subject: [h-cost] corsets
> To: [EMAIL PROTECTED]
> Message-ID: 
> Content-Type: text/plain; format=flowed
> 
> Yesterday I got a "review" copy of a brand-new book called "Corsets: 
> Historical Patterns and Techniques".  It looks like a great resource for 
> those with interests between 1750 and 1917.  (Unfortunately, I don't care 
> about anything after 1650!)
> 
> Janet
> 
> 
> 
> 
> --
> 
> Message: 2
> Date: Sat, 20 Sep 2008 17:11:04 -0400
> From: "Elena House" 
> Subject: Re: [h-cost] corsets
> To: "Historical Costume" 
> Message-ID:
>   
> Content-Type: text/plain; charset=ISO-8859-1
> 
> Who's the author?  And do you mind if I forward this to a couple of my
> corset groups?
> 
> -E House
> 
> On Sat, Sep 20, 2008 at 3:15 PM, JAMES OGILVIE  wrote:
> 
>> Yesterday I got a "review" copy of a brand-new book called "Corsets:
>> Historical Patterns and Techniques".  It looks like a great resource for
>> those with interests between 1750 and 1917.  (Unfortunately, I don't care
>> about anything after 1650!)
>>
>> Janet
>>
>>
>> ___
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
> 
> 
> --
> 
> Message: 3
> Date: Sun, 21 Sep 2008 02:52:25 +
> From: "JAMES OGILVIE" 
> Subject: Re: [h-cost] corsets
> To: [EMAIL PROTECTED]
> Message-ID: 
> Content-Type: text/plain; format=flowed
> 
> The author's name is Jill Salen and it's published by Quite Specific Media, 
> which may make it hard to find.  I've dealt with them because they are also 
> the U.S. publisher for "The Medieval Tailor's Assistant" and "The Tudor 
> Tailor" but most bookstores don't carry their stuff.
> 
> Of course you may forward the e-mails.
> 
> Janet
> 
> 
> 
> 
> --
> 
> Message: 4
> Date: Sat, 20 Sep 2008 22:27:34 -060

Re: [h-cost] the name of an embroidery technique

[Becky Rautine]

Trupunto is a technique where a 3d effect is achieved by layering or creating 
puckered lines around a shape. It can be over cording, cloth of a different 
color or batting. It is often done with thread of the same color as the top 
layer of cloth. It's it's own embellishment treatment. Lots of time but the 
effect is well worth the effort.Sincerely, Rebecca Rautine> Date: Mon, 25 Aug 
2008 13:03:53 -0700> From: [EMAIL PROTECTED]> To: [EMAIL PROTECTED]> Subject: 
Re: [h-cost] the name of an embroidery technique> > I believe you are talking 
about trapunto.  It's a type of quilting technique.  Lynn> > --- On Mon, 
8/25/08, J A Urbik <[EMAIL PROTECTED]> wrote:> > From: J A Urbik <[EMAIL 
PROTECTED]>> Subject: Re: [h-cost] the name of an embroidery technique> To: 
"Historical Costume" <[EMAIL PROTECTED]>> Date: Monday, August 25, 2008, 2:41 
PM> > Well.. if you are going to be technical. yes, but it was coming up in 
my> brain under embroidery. that, i think, just goes to show!
  something is wrong> in that particular organ.> > On Mon, Aug 25, 2008 at 1:32 
PM, Lavolta Press> <[EMAIL PROTECTED]>wrote:> > > Trapunto? Technically more of 
a quilting technique.> >> > Fran> > Lavolta Press Books on Historic Costuming> 
> http://www.lavoltapress.com> >> >> > J A Urbik wrote:> >> >> This name is 
just not coming to mind, i want to do some, but i> can't think> >> of the name, 
and i wanted to look at some examples before i get> started.> >>> >> What it is 
basically is sewing together two pieces of fabric, then> >> stuffing> >> the 
area of the design with some cotton so that the design gets a> little> >> 
puffy.> >>> >> I think the name starts with a t, but am not sure...> >>> >> 
Thanks for your time, Jordana> >>> > 
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h-costume@mail.indra.com> > http://mail.indra.com/mailman/listinfo/h-costume> 
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Re: [h-cost] Moda a Firenze or Queen Elizabeth?

[Becky Rautine]

I'd check the local library to see if they have one or both. Look at them and 
make a decision. If they only have one, buy the other one. That you'd have 
access to both editions.

Sincerely,
Rebecca Rautine

> Date: Thu, 7 Aug 2008 06:07:56 -0700
> From: [EMAIL PROTECTED]
> To: h-costume@mail.indra.com
> Subject: [h-cost] Moda a Firenze or Queen Elizabeth?
> 
> Hi,
> 
> I am planning to spend some money and I have a real dilemma. I am hesitating 
> between Moda a Firenze and Queen Elizabeth's wardrobe unlocked. I've heard 
> very good reference on both. I do not have any special area of interest, so 
> Florence or England are both interesting to me, but I would welcome a 
> detailed study with lots of large, quality photographs and also some tips on 
> reconstruction (patterns or details - fastenings etc.)
> 
> If you could boy only one, which one would you choose?
> 
> Thanks,
> 
> Zuzana
> ___
> Sartor...custom-made costumes
> www.sartor.cz 
> 
> 
> 
> 
> 
>   
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Re: [h-cost] Itlalian Renaissance hat

[Becky Rautine]

I saw a chemise that had floral swirls all over it and can't find it now. I 
thought I'd get a book of patterns and draw my own on the pieces, embroider 
them and have that as the decoration for the lower skirt as well, Maybe match 
the chemise and the skirt front SOunds like I need to start sketching 
before I forget what I started to say.Sincerely, Rebecca Rautine> From: [EMAIL 
PROTECTED]> To: [EMAIL PROTECTED]> Date: Mon, 28 Jul 2008 02:54:18 -0500> 
Subject: Re: [h-cost] Itlalian Renaissance hat> > 
http://www.imdb.com/title/tt0061407/mediaindex> 
http://peppermintkisskiss.com/images/tfaustus.jpg> some pictures.> > Perhaps 
the chemise/camicia could have a blend of black, maroon and gold> embrodery.> > 
De> > -Original Message-> Thank you. I recently saw The Taming of the 
Shrew and wondered about her> head dresses and hair arrangements. I thought 
they were beautiful so I> paused the film over and over to sketch the wedding 
dress, hair and all,> then the complete se!
 t she wore at her sister's wedding. That wire thingy> must have taken a lot of 
time to weave in and out and around in those> angles. I'd love one like that. 
It's crown like but still a head garment.> For my purposes, it doesn't matter 
if its authentic period. I think I'll> make one to go with a gown I'm creating. 
Don't know all the stages yet but> going to be maroon and gold, light ivory and 
black designs on the front.> Maybe a blackwork chemise with blooming sleeves to 
show off the blackwork. I> love embroidry so it may have lots of hidden little 
things only I'll know> about. If I get to the sketch stage with final 
decisions, I'll post> it.Sincerely, Rebecca Rautine>> > > 
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Re: [h-cost] Itlalian Renaissance hat

[Becky Rautine]

Thank you. I recently saw The Taming of the Shrew and wondered about her head 
dresses and hair arrangements. I thought they were beautiful so I paused the 
film over and over to sketch the wedding dress, hair and all, then the complete 
set she wore at her sister's wedding. That wire thingy must have taken a lot of 
time to weave in and out and around in those angles. I'd love one like that. 
It's crown like but still a head garment. For my purposes, it doesn't matter if 
its authentic period. I think I'll make one to go with a gown I'm creating. 
Don't know all the stages yet but going to be maroon and gold, light ivory and 
black designs on the front. Maybe a blackwork chemise with blooming sleeves to 
show off the blackwork. I love embroidry so it may have lots of hidden little 
things only I'll know about. If I get to the sketch stage with final decisions, 
I'll post it.Sincerely, Rebecca Rautine> Date: Sun, 27 Jul 2008 14:24:18 -0700> 
From: [EMAIL PROTECTED]> To:!
  [EMAIL PROTECTED]> Subject: Re: [h-cost] Itlalian Renaissance hat> > Hi 
Becky, it's a Balzo or Capigliara. Here is a great page about/how-to:> 
http://home.earthlink.net/~lizjones429/balzo-new.htm> >  Bella> The Realm of 
Venus> http://realmofvenus.net> > > > - Original Message > From: Becky 
Rautine [EMAIL PROTECTED]> Subject: [h-cost] Itlalian Renaissance hat> > > I'm 
trying to find a pattern or how-to make a round balloon like Italian hat, such 
as worn in Romeo and Juliette and THe Taming of the Shrew. It's a bel? I 
can't remember the term and can't seem to find a description in any 
painting.<<<<<<> > > > Find a better answer, faster with the new Yahoo!7 
Search. www.yahoo7.com.au/search> 
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[h-cost] Itlalian Renaissance hat

[Becky Rautine]

I'm trying to find a pattern or how-to make a round balloon like Italian hat, 
such as worn in Romeo and Juliette and THe Taming of the Shrew. It's a bel? 
I can't remember the term and can't seem to find a description in any painting.
http://www.abcgallery.com/T/titian/titian96.html
http://www.festiveattyre.com/research/secondflor/secflor29.htmlSincerely, 
Rebecca Rautine
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Re: [h-cost] odd outfit

[Becky Rautine]

I don't think it is a sideless due to the conformaty of the front. It wouldn't 
lie so snug if not held against her breast. I think the light area is the 
fabric reflecting the light, or just a bad spot in the painting. Paint was 
mixed one area at a time then and it was easy to have inconsistant color 
values. They didn't have Sherman Williams to get a gallon of paint the same 
color. Also I don't think a saint would be allowed to be painted without 
modesty and respect. Cleavage was fine but not uncovered breasts on a saint.
She is wearing the long sleeves of a shiny material. I'd guess that the side is 
made of that same material. The side is plain and not as ornate as the front.
On this same image, can anyone tell me the meaning of the stones used during 
the Byzantine period? I know it has something to do with the Early 
Christian/Byzantine church being centered in Constantinople/Istanbul. Most 
everything was steeped in meaning or relation to the area. I did research on 
this era while in school, but can't remember the specifics of their meaning. 
Later times copied the Byzantine styles for elegance and luxury in the use of 
jewels.Sincerely, Rebecca Rautine> From: [EMAIL PROTECTED]> To: [EMAIL 
PROTECTED]> Date: Wed, 23 Jul 2008 18:50:10 -0500> Subject: [h-cost] odd 
outfit> > http://www.artsmia.org/viewer/detail.php?v=12&id=547> At a first 
glance it looks as if St. Catherine is wearing a sideless.> Click on the 
picture to get to the zoom.> Can someone tell me what she is actually wearing?> 
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Re: [h-cost] [ h-cost] Renaissance coif or hood

[Becky Rautine]

I looked back at the photos. She is wearing a necklace that lies on her chest, 
one that hangs from her shoulders and the girdle. The middle one is the one 
that looks like an office insignia. That's the one I meant. The smaller 
necklace and the insignia one have S on them.Sincerely, Rebecca Rautine> From: 
[EMAIL PROTECTED]> To: [EMAIL PROTECTED]> Date: Wed, 23 Jul 2008 01:44:54 
-0700> Subject: Re: [h-cost] [ h-cost] Renaissance coif or hood> > Belt 
part---> Do you mean girdle? Long necklace-like belt that goes around waist and 
hangs> down center front? > > -Original Message-> From: [EMAIL 
PROTECTED] [mailto:[EMAIL PROTECTED] On> Behalf Of Kate M Bunting> Sent: 
Wednesday, July 23, 2008 1:19 AM> To: [EMAIL PROTECTED]> Subject: Re: [h-cost] 
[ h-cost] Renaissance coif or hood> > > > Becky Rautine wrote:> > > >Sorry, the 
second S is on her large necklace like a baron would wear or an> >official 
ensignia. Are there many portraits where the perso!
 n wears 2> >necklaces? I thought they wore a necklace and the belt-like part 
(I can't> >think of what it's called right now.> > Isn't this the IHS monogram 
which we discussed a couple of months ago? It> was stated that this symbol 
(representing the name of Jesus) was worn in> Protestant countries at this time 
because a crucifix was considered too> Catholic.> > Kate Bunting> Cataloguing & 
Data Quality Librarian,> University of Derby> 
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Re: [h-cost] renaissance headwear

[Becky Rautine]

What are the gold parts on your design? It looks ornate so far. Form your past 
work, it will be magnificant. Keep us posted as to it's completion.Sincerely, 
Rebecca Rautine> From: [EMAIL PROTECTED]> To: [EMAIL PROTECTED]> Date: Wed, 23 
Jul 2008 21:14:20 +0200> Subject: [h-cost] renaissance headwear> > I was 
allowed to show my headdress after all, not the pattern til later, but you can 
get an idea how it looks like in shape!> http://www.my-drewscostumes.dk/br.htm> 
I have started the pearl decoration, and it gets quite heavy, so i have 
interlined with a heavy linnen. Its freshwater pearls and gold pearl purl, gold 
spangels for decoration...> > Bjarne> 
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Re: [h-cost] [ h-cost] Renaissance coif or hood

[Becky Rautine]

Yes, it's been a while since I did work in the Renaissance era. I know it's not 
a belt but couldn't remember exactly what it was called. It was late and I was 
tired.
I'm starting back into the era. I'm starting a new garb set for an upcoming Ren 
Faire event. I'll have to pull out my books and read up on the ins and outs of 
the period.Sincerely, Rebecca Rautine> From: [EMAIL PROTECTED]> To: [EMAIL 
PROTECTED]> Date: Wed, 23 Jul 2008 01:44:54 -0700> Subject: Re: [h-cost] [ 
h-cost] Renaissance coif or hood> > Belt part---> Do you mean girdle? Long 
necklace-like belt that goes around waist and hangs> down center front? > > 
-Original Message-> From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] 
On> Behalf Of Kate M Bunting> Sent: Wednesday, July 23, 2008 1:19 AM> To: 
[EMAIL PROTECTED]> Subject: Re: [h-cost] [ h-cost] Renaissance coif or hood> > 
> > Becky Rautine wrote:> > > >Sorry, the second S is on her large necklace 
like a baron would wear or an> >official ensignia. Are there many portraits 
where the person wears 2> >necklaces? I thought they wore a necklace and the 
belt-like part (I can't> >think of what !
 it's called right now.> > Isn't this the IHS monogram which we discussed a 
couple of months ago? It> was stated that this symbol (representing the name of 
Jesus) was worn in> Protestant countries at this time because a crucifix was 
considered too> Catholic.> > Kate Bunting> Cataloguing & Data Quality 
Librarian,> University of Derby> 
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Re: [h-cost] Renaissance coif or hood?

[Becky Rautine]

Sorry, the second S is on her large necklace like a baron would wear or an 
official ensignia. Are there many portraits where the person wears 2 necklaces? 
I thought they wore a necklace and the belt-like part (I can't think of what 
it's called right now. I'm tired and it's late) This is the first time I've 
seem the images that was referred to.
Do you think that the transparent aprons were like the little caps/head 
coverings that certain religions wear today? The ladies still wear the 
transparent caps/bonnets (not sure what religion that is really). Their 
material seems very stiff too. In the paintings, the aprons seem to buckle when 
they kneel. The angle seems unnatural and angular as it should curve under 
their knees.Sincerely, Rebecca Rautine> From: [EMAIL PROTECTED]> To: [EMAIL 
PROTECTED]> Date: Mon, 21 Jul 2008 20:16:53 -0400> Subject: Re: [h-cost] 
Renaissance coif or hood?> > > Her necklace looks like some that modern gang 
members wear. I gues that's ancient bling. I wonder what the S stands for. It's 
also on there belt.Sincerely, Rebecca 
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Re: [h-cost] Renaissance coif or hood?

[Becky Rautine]

Her necklace looks like some that modern gang members wear. I gues that's 
ancient bling. I wonder what the S stands for. It's also on there 
belt.Sincerely, Rebecca Rautine> From: [EMAIL PROTECTED]> To: [EMAIL 
PROTECTED]> Date: Mon, 21 Jul 2008 20:55:24 +0200> Subject: Re: [h-cost] 
Renaissance coif or hood?> > I have today made a mock up of the head dress from 
1600 and i found pictures > wich i was allowed to use from an effigy figure at 
the Ribe Cathedral in > Denmark. This is the type of head dress wich was found 
in a grave recently!> I suppose the round shape you can see under the head 
dress must be a hair > pad or something?> Here you can see the pictures:> 
http://www.my-drewscostumes.dk/br.htm> > Bjarne > > > 
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Re: [h-cost] Renaissance coif or hood?

[Becky Rautine]

I think that many of the hair pieces at this time used buckram or horse hair 
fabric for a stiffer and unforgiving shape to the hats/coverings. It looks much 
like the frames that held up veils but combined with a cone shaped top. Kinda 
like a Cone-head from Saturday Night Live. The shape looks to be to be a strip 
of stiff fabric that is shaped around the face. It would stand off the face a 
little so the pearls could be seen just in front of the ears. It went cown to 
the bottom of the ear lobe. It looks like someone came up with a first in 
portraits of this time. A hat with the french hood front. Just in my opinion. 
I've never seen one like this before.Sincerely, Rebecca Rautine> From: [EMAIL 
PROTECTED]> To: [EMAIL PROTECTED]> Date: Sat, 19 Jul 2008 17:37:04 +0200> 
Subject: [h-cost] Renaissance coif or hood?> > First i am not sertain if the 
word is coif or hood, i am talking about the head dress worn for the lady i am 
going to recreate:> http://www.my-drewscostumes.dk/br2.htm> What i can't figure 
out is the linnen part that peaks out from the black pearl coif. To me i cant 
figure out how it can bend out in the oval sides without bending in again at 
the ears, is it the painter who made something wrong or how on earth is it 
done?> Can someone explain to me please?> I have ben so fortunate that a grave 
found recently found in Hørby Kirke from 1600 had a coif excactly like this i 
am going to make, unfortunately i am not allowed to publish it yeat, because 
they want it to be published at the website called: 
http://www.livinghistory.dk/- I have just printed out the pattern in the right 
size and i guess i am going to use the same pattern for the under linnen part, 
only slightly bigger.> I am very excited to start this projekt, and i must go 
hunting for pearls on monday for the embellishment. I have planned to use some 
of my gold pearl purl also.> It is a lady named Ester Grølsted, who made the 
pattern draft after original wich was red silk.> > Bjarne> 
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Re: [h-cost] Spanish gown

[Becky Rautine]

One suggestion for sewing silk velvet or other slick fabrics. Starch it. Spray 
starch can be misted away or left in for a long while. I found that when I sew 
slick fabrics that move alot is to tape the edges about 1/4 inch in from the 
edge. Scotch tape or masking tape. There is also the water soluable fabrics 
used for quilting or other sewing. If necessary stick freezer paper to it 
and sew. (Iron the waxy side to the back of the fabric with a light heat iron.) 
Remove the paper later when all the stitching is done. The fabric is sometimes 
hard to manouver around corners but it does make it keep it's shape, no warping 
or stretching out of size limitations. No need to fudge that seam matching 
stuff with it.
I made a ballerina tutu with satin. That's the only way to deal with that 
ravelly stuff... the hit the edges with seam sealer or fray check.Sincerely, 
Rebecca Rautine> From: [EMAIL PROTECTED]> To: [EMAIL PROTECTED]> Date: Tue, 1 
Jul 2008 21:54:06 -0400> Subject: Re: [h-cost] Spanish gown> > > This is my 
pattern:> > That's an interesting shape to say the least!> > > 
http://www.australiancostumersguild.org.au/index.php?ind=news&op=news_show_single&ide=13>
 > Beautiful!> > > the bottom half of the sleeve is angled> > inwards from 
wrist to tip (So I think that pattern would wind up> > looking a bit like a 
kite if opened up).> > More like a bat, actually :-) I'll send pics when I can. 
The Alcega pattern > really is cool. I couldn't figure it out until I traced it 
on some scrap > paper and cut out the shapes. Then it suddenly all made sense 
:-)> > Thanks for the patterns. I love seeing your work!> > Audrey > > 
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Re: [h-cost] 2 piece sleeves

[Becky Rautine]

Thanks for that explanation. I can see what you meant now.I think that the 2 
peice would definitely hang better if cut that way. It can even make the 
slit/peek-a-boo area easier to align.Sincerely, Rebecca Rautine> From: [EMAIL 
PROTECTED]> Date: Fri, 6 Jun 2008 20:13:55 -0400> To: [EMAIL PROTECTED]> 
Subject: Re: [h-cost] 2 piece sleeves> > > In a message dated 6/6/2008 3:27:26 
P.M. Eastern Daylight Time, > [EMAIL PROTECTED] writes:> > 2 piece, vertically> 
> > > > A shape that evolved obviously to accommodate the 
natural curve of the arm > when at rest by one's side. For centuries the 
outside seam falls at the > shortest part of that arch: from where your arm 
meets your chest down to the mid > point of where your arm "folds" on itself 
when you bend your elbow to the wrist > bone where the metacarpal bone for you 
thumb attaches. The longer outside > seam usually runs from a little higher 
than where your arm attaches to your > torso in back, at the shoulder blade, 
across the bony part of the elbow to the > protruding bone of the wrist. 
Matching the seams on the bodice was not really > a concern. The way one's arm 
hangs was the deciding factor.> > It's interesting how the earlier 
versionsall the way to the 19th > century are two identical curved 
pieces, the difference being the top piece had > a sleeve head and the under 
sleeve piece is scooped out to eliminate fabric > under the arm. Otherwise, 
it's the same curved piece. Indeed sometimes the > above the elbow part of the 
sleeve in the back is a straight seam. It could be > cut on the fold [and is 
sometimes] without a seam at all until after the > elbow. The shorter inside 
curve usually is a curve from the shoulder to the wrist. > > Still even later, 
like the late 19th century, especially on men's coats, the > under sleeve piece 
becomes narrower than the top piece, nudging both seams > to the underside of 
the sleeve.> > > > **Get trade secrets for amazing burgers. Watch 
"Cooking with > Tyler Florence" on AOL Food. > 
(http://food.aol.com/tyler-florence?video=4?&NCID=aolfod000302)> 
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Re: [h-cost] 2 piece sleeves

[Becky Rautine]

What do you mean when you say a two pieced sleeve? 2piece vertical or 1 
horizontally connected? Haven't seen that one but there are also sleeves the 
have a front and backs seam so the outter part is smooth. Can't think what a 2 
piece sleeve looks like. Brain block recently.
Sincerely,
Rebecca Rautine

> From: [EMAIL PROTECTED]
> Date: Fri, 6 Jun 2008 08:55:32 -0600
> To: [EMAIL PROTECTED]
> Subject: Re: [h-cost] 2 piece sleeves
> 
> Not what I wanted to hear.   Heaven forbid that my clothes are not on a 
> par with royalty.  Just kidding.   Thanks all for the comments.   I 
> don't think I'm going to worry about it.  The pattern has too many 
> other fitting problems anyhow I need to deal with.   I thought I would 
> be saving myself some time using commercial patterns when I should have 
> just drafted it from the start.I need it to look good because I'm 
> wearing it for my son's wedding next week.   Purchased some beautiful 
> ice blue dupioni from Exotic Silks at a pretty penny and want to do 
> justice to it.
> 
> Sylvia
> 
> On Jun 6, 2008, at 8:15 AM, Abel, Cynthia wrote:
> 
> > I saw the traveling exhibition of Princess Diana's clothing several 
> > years ago(it came to Omaha!) and noted on all the long-sleeved 
> > garments that the sleeves were two-piece and the seams all matched up.
> >
> > Cindy Abel
> >
> > -Original Message-
> > From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] 
> > On Behalf Of Hanna Zickermann
> > Sent: Friday, June 06, 2008 1:04 AM
> > To: Historical Costume
> > Subject: Re: [h-cost] 2 piece sleeves
> >
> > It´s a modern jacket? From what I´ve learned, in
> > modern custom-made clothing it´s rather
> > coincidence whether the seams match or not. It´s
> > just a design issue. Industrially made garments
> > often have them because they use mock-ups until they achieve matching 
> > seams.
> >
> > Hanna
> >
> > At 00:50 06.06.2008, you wrote:
> >> This isn't really a historical costume question, but it's been ages
> >> since I belonged to a general sewing/patternmaking email list.   If
> >> anyone knows of one that currently exists, I'd appreciate a link.
> >>
> >> My question concerns a jacket I am patterning and making for myself.
> >> Actually, I am using a couple commercial patterns and adapting them.
> >> I have a 2 piece sleeve and a bodice with front and back princess 
> >> seams
> >> that end at the armhole.   I really can't adjust the front seam
> >> downward any more than it already is and it isn't matching the front
> >> sleeve seam.   The back seams don't match either but I've frequently
> >> garments where they don't match in the back or they don't match in the
> >> front but they match on the opposite side.  I know 2 piece sleeves are
> >> often seen in 19th century onward women's garments so I thought I'd 
> >> see
> >> where you all stand on this issue.  Do you really think the seams need
> >> to match on either the front or the back?
> >>
> >> Sylvia
> >>
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> >> http://mail.indra.com/mailman/listinfo/h-costume
> >
> >
> > ___
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> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
> 
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RE: [h-cost] Fwd: Joan, Enormous Sale - 20 yard bolts in different fabric weights!

[Becky Rautine]

I'm interested. How much is it by the yard or by the bolt? I need one bolt of 
the light weight linen. Costumes to make for upcoming events. i loved the linen 
chemise I made last year. Light and kept me cooler than I thought. 
PLEASE let us know how to get in on this deal!!!Sincerely, Rebecca Rautine> 
Date: Wed, 19 Mar 2008 10:56:31 -0700> To: [EMAIL PROTECTED]> From: [EMAIL 
PROTECTED]> CC: > Subject: [h-cost] Fwd: Joan, Enormous Sale - 20 yard bolts in 
different fabric weights!> > A sale on linen in three weights. I thought that 
list members would > like to have the opportunity to order.> > Joan> (who 
already has a linen stash 8-))> > >To: "Joan" <[EMAIL PROTECTED]>> >From: 
"Fabrics-Store.com Chronicle" <[EMAIL PROTECTED]>> >Date: Wed, 19 Mar 2008 
08:11:12 -0400> >Subject: Joan, Enormous Sale - 20 yard bolts in different 
fabric weights!> >> >Dear Joan,> >> >Winter is almost officially over and to 
celebrate the Spring Equinox > >- we are having an enormous sale!> >> >We are 
taking all the basic fabric weights:> >Light weight 3.5 ounces/yard 100% linen> 
>Medium weight 5.3 ounces/yard 100% linen> >Heavy weight 7.1 ounces/yard 100% 
linen> >> >We are including the utmost necessary fabrics :> >Bleached> 
>Bleached Softened> >Natural> >Natural Softened> >> >We are cutting them down 
to easy to order 20 yard bolts and > >discounting the bolts 10%!> >> >The 
Natural and Bleached colors never go out of style and the weight > >diversity 
allows you to make anything ranging from bed linens for > >children, to summer 
suits for both men and women, to slipcovers for your couch.> >> >Hey, with this 
discount - you can even have linen as your wall paper.> >> >These utmost 
necessary fabrics, in the basic weights necessary to > >complete most projects 
- will be on sale only for this week until > >Sunday March 23.> 
>Enter
 > >here to go directly to the discounted bolts and save 10%!> >> >Thank you 
and enjoy,> >> >Nikolai Karpushin> >Owner and President,> 
>Fabrics-store.com>
 >> >P.S. Don't forget that with every purchase, you earn points that can > >be 
transferred into dollar credit.> >> >P.P.S. Sign up to receive our Doggie bag 
alerts and be the first to > >know when new Doggie bags are posted. These are 
1st quality precut > >pieces of fabric. Since they are precut, you get them at 
terrific > >discount. After all, you'd cut them anyway.> >> >P.P.P.S If you 
know someone who will value this information, feel > >free to forward them this 
email.> >> >Terms & Conditions> >Offer cannot be applied to previous or pending 
purchases.> >> >Creative Work Media, LLC., 6325 Santa Monica Blvd., Suite 102, 
> >Hollywood, CA 90038, USA> >> >To unsubscribe or change subscriber options 
visit:> 
>http://www.aweber.com/z/r/?TKxsHMwstMysjCycjCxstEa0zIycHBwcLA==>
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