Re: [h-cost] RE: Things to do in DC [SEC=UNCLASSIFIED]
In a message dated 6/11/2007 11:30:20 PM Eastern Daylight Time, [EMAIL PROTECTED] writes: on any really good fabric shops there, In addition to G Street Fabrics (you can get to the Rockville store via Metro), this store is downtown. I was wondering if it was still there, but the website looks up to date: Exquisite Fabrics _http://www.exqfabrics.com/_ (http://www.exqfabrics.com/) Ann Wass ** See what's free at http://www.aol.com. ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
RE: [h-cost] Women in Art. OT- a little
How charming! Thanks for pointing it out. Jenn -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Saragrace Knauf Sent: Friday, June 08, 2007 4:57 PM To: h-costume; GermanRenCostume; TheRenaissanceTailor; thefrazzledfrau Subject: [h-cost] Women in Art. OT- a little This is pretty cool, and while it may be OT, we will all recognize some of the paintings! less than 3 minutes about:blank http://www.youtube.com/watch?v=nUDIoN-_Hxs ___ h-costume mailing list 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
RE: [h-cost] RE: Things to do in DC
At 04:28 12/06/2007, you wrote: I have stayed at the Harrington. Not elegant, but clean and reasonable, in a great location. Kim http://www.hotel-harrington.com/ I second the Harrington. We stayed there last year on recommendation from this list, and it is within walking distance of everywhere we wanted to go on a short trip. Suzi I will be in Washington DC with my husband for two and a half days in late July. The exhibitions so far described sound interesting, especially the one on Red at the Textile Museum and the Italian Renaissance and Baroque Women Painters I hope they will still be on, and I would also be grateful for advice on any really good fabric shops there, though if I remember right this was discussed not long ago and there wasn't much. Can any one also recommend (off-list since it isn't topical) a good, reasonably priced hotel which is fairly central to the Smithsonian musuems? I'm really looking forward to this - it will be the first time we have been to Washington except for a stopover at the airport (which doesn't count :-) Annette Wilson in wintery Canberra, Australia ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
Re: [h-cost] Town Crier
There is also a town crier competition, in Benicia, California, I believe. You may want to google that competition to see what has been in the contest previously. LynnD On 6/11/07, Suzi Clarke [EMAIL PROTECTED] wrote: At 17:28 11/06/2007, you wrote: I have a friend who wants me to make him a costume for an American colonial Town Crier. He says he's seen an illustration with the Crier in, judging from what he describes, as an English Smock. Would this be so? Of course I want him in a coat and waistcoat [even if the smock is correct, I still have to do breeches and a shirt]. He may just not want to fool with a coat [It's hot.]. I wondered if the Crier was some kind of city official...like with a uniform or something to indicate his office. I suppose that might depend on the town. Any thoughts and/or directions on research would be greatly appreciated. If you Google Town Crier, (Images) you will find a number if pictures of Town Criers, all in pseudo 18th century gear. This is what I remember from my childhood in Stratford on Avon. See also Beadle, who was a similar status official. Suzi ___ h-costume mailing list 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
[h-cost] Edwardian Straight Front Theory
Hi, first time poster. Firstly thank you for having a place where there is alot of knowledge and willingness to help. I recently started corsetry around three months ago. I'm a very technically minded person so have spent most of the time working out patterns for under and overbusts with great success...I can say I understand the shapes. But having recently bought the past patterns edwardian straight front corset I am completely dumbfounded as to what these lines are doing to creat this dramatic curve. I have drafted atleast 6 of my own patterns and sewn 3 mockups but I seem to be going further from the solution, I've had a look at the patterns here aswell. My question is this, I'm not asking for trade secrets but can someone tell me how each line of a straight front pattern affects the end result shape? I've noticed there are incredibly large gaps between pieces in the waist and bust sometimes adding upto 6-8 inches reduction. Also the s-curve line...should it be located dead on the side line? Straight or at an angle? Should the waistline be angled upwards towards the back? Should the top and bottom follow suit or stay straight? I mean I basically understand the principle of it, basically it's just like a normal corset with the waist reduced as normal. Then from the side you pull back the top and bottom lines until the front is straight and the back gets curved but looking at the patterns there must be more to it. If anyone who drafts there own patterns could give me some technical insight it would be much appreciated. You see I don't want to just copy patterns, I want to understand how there made giving me a greater insight into making my own. I have looked at every resource there is on the net and I can't find anything technical to help me and I'm sick of not understanding what I'm doing when drafting. - Yahoo! Answers - Get better answers from someone who knows. Tryit now. ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
Re: [h-cost] Edwardian Straight Front Theory
snip But having recently bought the past patterns edwardian straight front corset I am completely dumbfounded as to what these lines are doing to creat this dramatic curve. I haven't made this pattern, though I have made Victorian corsets. One thing to remember about the fashionable Edwardian S-curve silhouette is that it involves more than the corset. First, fashionable women wore hip pads. Second, the S-shape was enhanced considerably by a fashionable posture: Lean forward from the waist and stick out your behind, BUT, also thrust your bosom out (also padded if necessary, or enhanced with a ruffled corset cover; the effect should be as if your bosom was placed rather low), AND, throw your head backward. When feasible: Also, put one hand behind your back at waist level, with your elbow bent and the back of your hand pressing against the small of your back. Use your other hand to hold a parasol, or to lean on the back of a chair or something. Fran Lavolta Press Books of Historic Costume Patterns http://www.lavoltapress.com ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
Re: [h-cost] Edwardian Straight Front Theory
In a message dated 6/12/2007 11:39:34 P.M. Eastern Daylight Time, [EMAIL PROTECTED] writes: But having recently bought the past patterns edwardian straight front corset ** I HATE that pattern! It has little to do with the envelope illustration. Find another pattern! ** See what's free at http://www.aol.com. ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
Re: [h-cost] Edwardian Straight Front Theory
I just taught this lesson a week and a half ago, so it is fresh in my mine. I have done research as to what makes the S-shape silhouette. I also teach this in my class and dress out forms to show the students how this look was created. My grades or in (YIPPEE) so I have time to read the list again! The S-shape gives an illusion of a very small waist. It is an illusion! The silhouette is called pigeon-breast, but was first called the Marie Antoinette Dip or Parisian Dip. The bodice and skirt waistline are worn lower in the front and higher in the back. This difference from previous silhouettes is that the back can be from 1-2 higher than a normal waistline. . I have online an article from Delineator magazine, Sept. 1900, titled The Dressmaker: The Maier Antoinette Dip by A.L. Gorman. I also provide online some examples of fashion plates and some of Butterick's patterns for the dipped shirt. The rear pad is not as large as the previous decade. The bust can be made larger with bust improvers. Alden O'Brien at DAR in Washington DC has a wonderful wire mesh bust improver. The bodice of the Parisian Dip creates a mono-bosom. The bodices for these dresses have an inner bodice that are usually boned similar to a corset. If a woman is not well endowed, this look needs an improver or stuffing in-between the two bodices. The outer bodice generally has a generous amount of fabric compared to the inner bodice. Most of the bodices that I have worked with have a petersham band to hold the bodice in place. From the photos I have observed, large women look really nice in this silhouette. Small chested women do not create the silhouette well without enhancers. The skirts from 1899-the Edwardian period have really unique designs. I admire the detailing and overlaid panels/yokes made onto/into them. The skirts in period magazines are described by how many gores are in the skirt. The skirt gores are generally in odd number, 3, 5, 7, etc. The petticoats of this time followed the same waistline placement as the skirt. I have several petticoats with the flat center front and layers of ruffles in the back. One that comes to mind has five rows of ruffles on the train or sweep. The top row (first) is the widest and starts near the placement of our present day side seams. Each ruffle is about 1.5 deep. I have all of this measured and in my notes for the petticoat's photograph on my computer. The second row of ruffles is shorter in length but the depth is the same for all ruffles. Each row to #5 is shorter in length than the previous. Row 5 is not very long. The rows of ruffles are set upon the petticoat. The center back seam for this petticoat has mirroring wedge shaped gores from about the knee down. The skirt's sweep of the Parisian Dip skirt is very important to the silhouette. Last semester I found another Delineator article about the different types of sweeps/trains and their names for this time period. I plan to get this article and one more on this subject online this summer. The beginning of the Parisian Dip is smaller and more of a funnel shape, almost V-shaped at the centerfront waistline. It almost comes in a point just below the normal waistline. I have a lot of these bodices and no belt is worn exteriorly. Most have a built in girdle at the bottom. The midriff area in the lower front generally has several bones. Some of the girdles have separate bones from the inner bodice. As the decade progresses the lower front bodice becomes more rounded or bloused looking more like the pigeon's breast (the real bird.) I need to look at my fashion magazines this summer and try to pin-point around when in 1899 the Parisian Dip makes its debut. This style is also fashionable today for evening wear. Look at Jessica Biel's Oscar dress, http://www.oscar.com/oscarnight/redcarpet/?pn=galleryg=0i=4 This silhouette has been all over the fashion mags since the Oscars. The dip is becoming more pronounced every month generally with a dark colored belt. I guess with Jennifer Lopez making having a booty fashionable, this silhouette returning to fashion's limelight makes sense. It seems I recall my students from the spring semester pointed out three actresses wearing Parisian Dip dresses at the Oscars. I showed an Oscar Red Carpet video to my students and they had to pin-point fashions inspired from previous decades. Most of the students got the time frames incorrect on the Oscar project. But this was near the beginning of the semester. The last week of class each student is required to give me a current fashion magazine. Then as part of my final exam, I hand the magazine back to them. I gave them 30 minutes to find 5 fashions that are inspired from the time periods they have studied. They had to write an argument about why they thought each fashion was inspired from a previous decade. Last Friday's final exam, only two
