Re: [h-cost]Theater vs Historic (was:new Butterick pattern

[LLOYD MITCHELL]

A nearer time period for this study of the constraints of fabric width/usage 
and its effect on  clothing design is the Utility rules in place during WW2. 
There were strict rules for manufacturers of civilian wear in how much 
fabric could be used for specified garments. These restrictions are directly 
seen in the creative cut and line of fashion developed.


I have been aware for some time that when you come across referances of a 
gown taking 10-18 yards of fabric in the 18th when the fab.width of the time 
was 22-28" that is you combine these measurements with the average width of 
todays yardage that it comes out roughly to about half the historical 
yardage. Have you ever tried to put 10panels of skirt yardage on a 25" 
waist?


Kathleen
- Original Message - 
From: "Sue Clemenger" <[EMAIL PROTECTED]>

To: "Historical Costume" <[EMAIL PROTECTED]>
Sent: Thursday, May 03, 2007 8:29 PM
Subject: Re: [h-cost]Theater vs Historic (was:new Butterick pattern



Frankly, I thinking working with fabrics in authentic widths would be a
blast.  But then, I'm here more for the historical/reenactment end of
things.  And if I ever win the lottery (not that I play, mind you, 
but),

then porsches be darned, I'm getting some of those exquisite silk velvets
that cost, what was it, 1500? 1600? euro/meter?
--Sue

- Original Message -
From: "Abel, Cynthia" <[EMAIL PROTECTED]>
To: "Historical Costume" <[EMAIL PROTECTED]>
Sent: Thursday, May 03, 2007 1:45 PM
Subject: RE: [h-cost]Theater vs Historic (was:new Butterick pattern




What most of us couldn't afford to today is the amount of money people
in the past had to spend on a single outfit. One noble person's single
ensemble,during the reign of Elizabeth I, for court wear, could cost as
much as a Porshe or more today. And would we want to have to work with
lengths of expensive fabrics as narrow as 21" wide?



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Re: [h-cost]Theater vs Historic (was:new Butterick pattern

[Carmen Beaudry]

Frankly, I thinking working with fabrics in authentic widths would be a
blast.  But then, I'm here more for the historical/reenactment end of
things.  And if I ever win the lottery (not that I play, mind you, 
but),

then porsches be darned, I'm getting some of those exquisite silk velvets
that cost, what was it, 1500? 1600? euro/meter?
--Sue


I'm with you thereand then I want to just roll around on it for a while.

Melusine 


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Re: [h-cost]Theater vs Historic (was:new Butterick pattern

[Sue Clemenger]

Frankly, I thinking working with fabrics in authentic widths would be a
blast.  But then, I'm here more for the historical/reenactment end of
things.  And if I ever win the lottery (not that I play, mind you, but),
then porsches be darned, I'm getting some of those exquisite silk velvets
that cost, what was it, 1500? 1600? euro/meter?
--Sue

- Original Message -
From: "Abel, Cynthia" <[EMAIL PROTECTED]>
To: "Historical Costume" <[EMAIL PROTECTED]>
Sent: Thursday, May 03, 2007 1:45 PM
Subject: RE: [h-cost]Theater vs Historic (was:new Butterick pattern


>
> What most of us couldn't afford to today is the amount of money people
> in the past had to spend on a single outfit. One noble person's single
> ensemble,during the reign of Elizabeth I, for court wear, could cost as
> much as a Porshe or more today. And would we want to have to work with
> lengths of expensive fabrics as narrow as 21" wide?


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Re: [h-cost]Theater vs Historic (was:new Butterick pattern

[LLOYD MITCHELL]

re what can be seen to the folk in the cheap seats:

We attended a performance of Madame Butterfly with a large college group. 
Sitting  way up in heaven at the Benedum, we had an excellent view of all 
the scene changes andd an especially goodview of the right side prop table 
for most of the show!


Kathleen
- Original Message - 
From: "Abel, Cynthia" <[EMAIL PROTECTED]>

To: "Historical Costume" <[EMAIL PROTECTED]>
Sent: Thursday, May 03, 2007 3:45 PM
Subject: RE: [h-cost]Theater vs Historic (was:new Butterick pattern


Also in the theater, on top of budget limitations, there is also the
consideration of what is going to be seen by the audience, both in the
front row and the "cheap seats" Lighting, director's vision, and just
the present-time aesthetics also play a big part.

Costume budgets have always been a relatively small part of the total
budget in historically-set films. In the multi-disc DVD version of Room
With a View, costume designer Jenny Bevan remarks on the difficulty on
working with small budgets and what you can even source--she mentions
that during the '70's everything was polyester. What the costume
designer or costume department wants to do and what ends up on stage and
screen has almost always been a compromise.

We have to remember that mass-market pattern suppliers are marketing to
a wide audience and what will sell is what comes first. So what is
relatively easy to make and looks attractive to the modern eye trumps
authenticity more often than not.

What most of us couldn't afford to today is the amount of money people
in the past had to spend on a single outfit. One noble person's single
ensemble,during the reign of Elizabeth I, for court wear, could cost as
much as a Porshe or more today. And would we want to have to work with
lengths of expensive fabrics as narrow as 21" wide?

Cindy Abel



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RE: [h-cost]Theater vs Historic (was:new Butterick pattern

[Abel, Cynthia]

 Also in the theater, on top of budget limitations, there is also the
consideration of what is going to be seen by the audience, both in the
front row and the "cheap seats" Lighting, director's vision, and just
the present-time aesthetics also play a big part.

Costume budgets have always been a relatively small part of the total
budget in historically-set films. In the multi-disc DVD version of Room
With a View, costume designer Jenny Bevan remarks on the difficulty on
working with small budgets and what you can even source--she mentions
that during the '70's everything was polyester. What the costume
designer or costume department wants to do and what ends up on stage and
screen has almost always been a compromise.

We have to remember that mass-market pattern suppliers are marketing to
a wide audience and what will sell is what comes first. So what is
relatively easy to make and looks attractive to the modern eye trumps
authenticity more often than not.

What most of us couldn't afford to today is the amount of money people
in the past had to spend on a single outfit. One noble person's single
ensemble,during the reign of Elizabeth I, for court wear, could cost as
much as a Porshe or more today. And would we want to have to work with
lengths of expensive fabrics as narrow as 21" wide?

Cindy Abel

 
 
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Re: [h-cost]Theater vs Historic (was:new Butterick pattern

[MaggiRos]

And are we all ready for James Purefoy (sigh, faint,
oh my) this sunday as Beau Brummel? 

BBC America at 8:00pm for those who subscribe. The
website only has a few pictures, but he looks, dare I
say it, dandy!


MaggiRos
~who only knows about the Regency what she sees on TV.
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Re: [h-cost]Theater vs Historic (was:new Butterick pattern

[Cin]

Compromises?
When the performers are required to provide their own costumes at
their own expense. 20 different people will each compromise in 20
different ways: this one for vanity, that one for cost, another for a
favorite color, she has a quick change, he changes from tux to tails
and so on.  Our dance company www.DanseLibre.org is doing 4 different
decades this year.  Just changing shoes is a significant investment in
a costume closet.
--cin
Cynthia Barnes
[EMAIL PROTECTED]
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