Re: [h-cost] Large jewelry box with large compartments

[Alexandria Doyle]

​Check out someplace like Harbor Freight that has the wooden tool boxes.
I'm not sure of the depth of the drawers, but if it handles tools it might
be large enough for the oversize jewelry​\

alex

So much to do and so little attention span to get it done with…

On Mon, May 9, 2016 at 3:35 PM, Lavolta Press  wrote:

> I'm still packing my stuff to move to Sacramento. I have a fair amount of
> steampunk and historic-inspired costume jewelry that's just big. Large
> necklaces. Chunky cuff bracelets. Tiaras. It's been lying around on top of
> things because I didn't have any jewelry box big enough for it all. I'd
> like a nice box, not the kind of plastic bin people use for sewing
> supplies. (Artbin, anyone?) Preferably wooden, but leather would do.
>
> And I'm not finding one. I've always thought the Reed & Barton jewelry
> boxes (bought on Ebay) were the best quality for the money, but half their
> drawers have small, fixed compartments for things like little pendants,
> which this stuff won't fit into. I need a big box with big compartments and
> deep drawers. Any suggestions?
>
>
> Fran
>
> Lavolta Press
>
> Books on making historic clothing
>
> www.lavoltapress.com
>
>
>
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[h-cost] Original ads

[Alexandria Doyle]

I have been conversing with a friend recently that it seems she
inherited a number of magazine ads that she is looking to sell.  Can
anyone advise on the best place to sell these?  I think she's looking
at ebay or etsy right now, and of course, she is unsure how best to
price them.  I have a scan of a couple of items, if anyone is
interested in seeing what they look like.  There is concern about
scanning in the rest of them because the paper is fragile, and the
lady's scanner is small, the ads large.
I've included the highlights of our conversation below, which is all
the further information that I have at this time, but I can get more
info or even connect you if desired.

alex
So much to do and so little attention span to get it done with…

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Re: [h-cost] beginner sewing machine

[Alexandria Doyle]

So what was the model number of the amazing buttonhole machine?

alex
seriously considering purchasing a machine just for the buttonhole
feature, but still prefers her 1954 Pfaff, another of those workhorses
that does sews everything but buttonholes.


So much to do and so little attention span to get it done with…



On Tue, Feb 7, 2012 at 2:13 PM, Lynn Downward  wrote:
>  I bought an inexpensive Singer a couple of years ago because it was 
> lightweight and it did an amazing button hole, something no machine
> I've ever owned has done.

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Re: [h-cost] Victorian Underpinnings

[Alexandria Doyle]

Make that Colorado, not Colorado,  silly autocorrect!

On Thursday, January 19, 2012, Alexandria Doyle 
wrote:
>
> Russians have considered red as a "woman's "Colorado, and was good luck
for special garments/occassions.  I don't know if that has an impact.
>
> alex
> On Thursday, January 19, 2012, Sharon Collier 
wrote:
>> Red flannel was believed to be warmer, I believe, maybe because of the
>> color. Or maybe flannel originally only came in red, so the tradition was
>> established that way.
>> Sharon C.
>>
>> -Original Message-
>> From: h-costume-boun...@indra.com [mailto:h-costume-boun...@indra.com] On
>> Behalf Of Angelique Carlson
>> Sent: Thursday, January 19, 2012 10:28 AM
>> To: h-cost...@indra.com
>> Subject: [h-cost] Victorian Underpinnings
>>
>> This topic is really interesting. My great grandmother,  post Victorian
and
>> a very conservative dresser, wore a red winter petticoat. I believe it
was
>> flannel. When I was young I though that it was amazing and wanted one of
my
>> own. I wonder how ideas and colors of underpinnings have changed.
>>
>> Angelique
>>
>> Grandmother was a tee totaling Methodist and not wild in the least. She
did
>> bake an excellent sugar cream pie and smelled like Lavendar.
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>
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>

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Re: [h-cost] Victorian Underpinnings

[Alexandria Doyle]

Russians have considered red as a "woman's "Colorado, and was good luck for
special garments/occassions.  I don't know if that has an impact.

alex
On Thursday, January 19, 2012, Sharon Collier  wrote:
> Red flannel was believed to be warmer, I believe, maybe because of the
> color. Or maybe flannel originally only came in red, so the tradition was
> established that way.
> Sharon C.
>
> -Original Message-
> From: h-costume-boun...@indra.com [mailto:h-costume-boun...@indra.com] On
> Behalf Of Angelique Carlson
> Sent: Thursday, January 19, 2012 10:28 AM
> To: h-cost...@indra.com
> Subject: [h-cost] Victorian Underpinnings
>
> This topic is really interesting. My great grandmother,  post Victorian
and
> a very conservative dresser, wore a red winter petticoat. I believe it was
> flannel. When I was young I though that it was amazing and wanted one of
my
> own. I wonder how ideas and colors of underpinnings have changed.
>
> Angelique
>
> Grandmother was a tee totaling Methodist and not wild in the least. She
did
> bake an excellent sugar cream pie and smelled like Lavendar.
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Re: [h-cost] Early Elizabethan Corsets for Barbie

[Alexandria Doyle]

You might find the work easier to do with hand rather than machine.  I
have found that the smaller the doll and costume the easier it was to
sew by hand.  One of the things is that seam widths are easier to keep
to the narrow by hand and that will help with the bulk too.

alex
So much to do and so little attention span to get it done with…



On Fri, Jan 14, 2011 at 1:42 PM, Natalie  wrote:
> Oh very helpful link,thank you!
>
> I'm going for a skin-out accuracy... as much as possible anyway with machine
> sewing. I'm just going to have to be careful in my fabric selection so there
> isn't too much bulk.
>
> I'll be sure to share pics when I'm done, though it may be a long process
> since I'm also a SAHM to 2 busy boys under 3!
>
> Natalie
>
>
> On 1/14/2011 1:58 PM, cw15147-hcos...@yahoo.com wrote:
>>
>> It just occurred to me, for a body that small I would skip the
>> underpinnings,
>> and build the structure into the gown itself. The underpinnings may add to
>> much
>> bulk to make the garment look right. It just comes down to your goal,
>> accurate
>> from the skin out or merely accurate to the eye.
>>
>> Here's some more photos to give you ideas, just look for the links that
>> say
>> "Doll Size".
>>
>> 
>>
>>
>>
>>
>> Claudine
>>
>>
>>
>> - Original Message 
>>>
>>> From: Natalie
>>> To: Historical Costume
>>> Sent: Fri, January 14, 2011 9:18:29 AM
>>> Subject: [h-cost] Early Elizabethan Corsets for Barbie
>>>
>>> I'm taking my passion for Barbie in a new direction (she previously only
>>> kept
>>> my  crochet hook busy). I know I have seen a very well done website
>>> detailing
>>> how to  make early Elizabethan underpinnings for Barbie, but now my
>>> google-fu
>>> fails me  and I don't have it bookmarked either. It is not so much the
>>> pattern
>>> construction that eludes me as what to use to stiffen the corset to
>>> create the
>>> conical 'Bethan shape instead of Barbie's hourglass.
>>>
>>> If anyone has any  ideas or can point me to the site I am wondering
>>> about, it
>>> would be very much  appreciated! Thanks in  advance!
>>>
>>> Natalie
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Re: [h-cost] Early Elizabethan Corsets for Barbie

[Alexandria Doyle]

When making a doll's corset of a scale to Barbie, I used tooth picks
snipped to the length desired.  otherwise the consrtuction was the
same as I'd do for myself.  My doll was squishable, so I'd guess that
Barbie will have to have a bit of padding to fill in the gaps inside
the corset.
alex
So much to do and so little attention span to get it done with…



On Fri, Jan 14, 2011 at 11:18 AM, Natalie  wrote:
> I'm taking my passion for Barbie in a new direction (she previously only
> kept my crochet hook busy). I know I have seen a very well done website
> detailing how to make early Elizabethan underpinnings for Barbie, but now my
> google-fu fails me and I don't have it bookmarked either. It is not so much
> the pattern construction that eludes me as what to use to stiffen the corset
> to create the conical 'Bethan shape instead of Barbie's hourglass.
>
> If anyone has any ideas or can point me to the site I am wondering about, it
> would be very much appreciated! Thanks in advance!
>
> Natalie
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Re: [h-cost] Book review

[Alexandria Doyle]

The $15 is the shipping cost, off to the right is the price...$50.

alex
So much to do and so little attention span to get it done with…



On Thu, Dec 30, 2010 at 8:34 PM, Joan Jurancich  wrote:
> At 06:01 PM 12/30/2010, you wrote:
>>
>> I've been asked about this book, but not haven't seen it before, I
>> couldn't offer much.  Has anyone seen this one?  Good Bad?
>>
>>
>> http://www.etsy.com/listing/39296868/encyclopedie-illustree-du-costume-et-de
>>
>> alex
>> So much to do and so little attention span to get it done with…
>
> I must say that for $15 I'd take a chance on it.
>
>
> Joan Jurancich
> joa...@surewest.net
>
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[h-cost] Book review

[Alexandria Doyle]

I've been asked about this book, but not haven't seen it before, I
couldn't offer much.  Has anyone seen this one?  Good Bad?

http://www.etsy.com/listing/39296868/encyclopedie-illustree-du-costume-et-de

alex
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Re: [h-cost] Hooks & bars problem

[Alexandria Doyle]

>
> Option 2: which, someone already mentioned: set the hooks and eyes into the
> seam. Yes, they will show, and I figure: cover them with a placket.
>

Just a note here, when you sew the hooks and eyes into the seam, you
shouldn't be able to really see them anymore, just the edges of your
bodice butting up together, so in this case, no placket to cover them
is required.

Oh, and you have to not only tack the lower part of the hook to the
fabric, you also have to tack the upper part of the hook to fabric
edge.  The hook will have no oppertunity to flap or gap.  it would
only show at this point if there's A LOT of stress on it that pulls it
out of their little pocket inside the seams.

alex
So much to do and so little attention span to get it done with…

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Re: [h-cost] Hooks & bars problem

[Alexandria Doyle]

I referenced Arnold's PoF for the type and setting of the hooks and
eyes at the center front opennings.  They used large hooks and eyes, I
used the standard coat hook and eyes, and then they are set into the
seam so you can only see just the tips of either part, not on the face
of either side.

They seems to work well for me, especially with a supportive layer
underneath (corset or petticoat bodies).  The only time I've had
problems is when I skipped the ridge support layer and there was a
slight weight increase.  I think I've also included boning alone the
edge and that has helped too.

alex
So much to do and so little attention span to get it done with…



On Mon, Oct 18, 2010 at 12:07 AM, Kimiko Small  wrote:
> Hi all,
>
> This is more of a how-to do sewing technique question, but it does apply to
> historical clothing.
>
> I made up a new silk damask early 16th c. gown, which came out wonderfully for
> the most part, except for one major problem. The gown was closed down the 
> center
> front with hooks & bars, as it was the only way I could think of to close the
> center front, doing an overlap. I don't use hooks & bars, or eyes, very often
> for a stressed situation. I usually lace closures shut. Usually I use hooks &
> bars or threadbars on small cuffs or to close a skirt closed where it doesn't
> show, and/or the item isn't under stress.
>
> Well, these were a little stressed, although I made the outer kirtle at least 
> an
> inch bigger than the supporting petticoat (which was fully laced shut), and 
> then
> redid the seams to make it even a bit looser. But the outer fabric pulled back
> and the hooks could be seen down the middle of the bodice front. It was not 
> very
> attractive and made me feel uncomfortable wearing it.
>
> How do I prevent this from happening again? Does anyone have a good book or 
> site
> or something that will help me? I'd love to improve on this so I don't feel so
> self conscious about what I am wearing.
>
> Thanks in advance.
>
> Kimiko Small
> http://www.kimiko1.com
> "Be the change you want to see in the world." ~ Ghandi
>
>
> The Tudor Lady's Wardrobe pattern
> http://www.margospatterns.com/
>
>
>
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Re: [h-cost] Lucets v. Fingerloop braiding (was Re: I found my way back!)

[Alexandria Doyle]

You don't have to turn the lucet, though that is the instruction I
found when first learning.  My process is to wrap a figure eight
around the horns, then pull the loops over those.  There are two
advantages to working a lucet this way.  The first is less stress on
the wrist that has to do all the twisting.  The second is that you can
work two or more colors to produce stripes, if you want wide stripes,
just carry the secondary color in the center of the braid as you do
the first color, switching colors as desired length of stripe is
achieved.  I am aware that there are a number of variations of lucet
cords that can be done, but since this basic fulfilled my needs I
really haven't gone further with it.

alex

So much to do and so little attention span to get it done with…



On Wed, Oct 13, 2010 at 1:53 PM, Ginni Morgan  wrote:
> Lucet cords are produced on a lucet (2 pronged tool for making loops).  Most 
> lucet work uses one (1) string to create its cord in a manner somewhat 
> reminiscent of crotchet (pull a loop through a previous loop - turn tool - 
> repeat).  This creates a series of connected loops.  There are double lucets 
> (4 points) on which you can use two (2) different strings to create 
> bi-colored cords.  However, you are limited to either one or two strings as 
> your working threads and only one person does the working.  Lucet work can be 
> carried in your basket or pouch anywhere you want to go, and can even be done 
> while you are walking there.  You can add in string at the end of your cord 
> and keep working for longer pieces.  However, you are limited to one type of 
> cord with an alternate possibility of bicolored cords if you want to use a 
> double lucet.  BTW, you can use your thumb and forefinger instead of a lucet 
> tool.  All you really need is string.
>
>> Please pardon the lecture.  I'm preparing to teach a class on fingerloop 
>> braiding and many of my friends do lucet work.  If anyone finds errors in 
>> the above, please let me know.  This was written entirely off the top of my 
>> head as I am at work without my reference materials.
>
> Ginni Morgan
> (Gwenhwyfaer ferch Gwilym)
>
>
>

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[h-cost] fitting question

[Alexandria Doyle]

I have in the past made several ladies a fitted cote, circa 1400.  The
fit of the body has been good and I don't have a problem with thet.  I
have been having problems with the fit of the sleeve/shoulders in
ladies that have wide shoulders.  Usually when I drape with the arm
straight out from the shoulder, sleeve fits snug to the arm pit.  For
those with narrower shoulders, there doesn't seem to be a problem.
But I've come across two ladies now, with wide shoulders that while
everything fits in the neutral position, the moment they make
movements with the arms forward they have issues with bunching at the
front of the arm hole in particular, and to a certain extent gaping at
the neckline.

The capes on the sleeve at this point are realitively shallow, so
would increasing the depth of the curve help?  making the armhole
openning larger?  Add a gusset to the armpit?  I'm currently working
with a dress that is made up, and while I can recut new sleeves if
needed, starting from scratch on the body is out of the question.

alex
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Re: [h-cost] Value of handmade costumes...

[Alexandria Doyle]

This is what I've had to do recently for a friend with damaged or
destroyed garb for a friend.  Some of it we were able to find similar
things on the web, and then there's what I actually charge to make
such things.  Those estimates were what was used to filed their claim
with their insurance.

alex
So much to do and so little attention span to get it done with…



On Sun, Aug 22, 2010 at 2:04 PM, Franchesca Havas
 wrote:
> For insurance reasons you need to find something like it with a price tag to 
> use as your baseline. What would it cost you to replace it is the name of 
> this game.
>
> Ches
>
> -Original Message-
> From: Guenievre de Monmarche 
> Sent: Sunday, August 22, 2010 9:42 AM
> To: Historical Costume 
> Subject: [h-cost] Value of handmade costumes...
>
> Hi!
> This is a slightly off-topic question, but as I'm in the middle of the
> post-Pennsic garb cleaning binge, spending hour cleaning hems and
> steaming wrinkles gives one a lot of time to ponder the value of the
> fabric and time in one's garb. So I started wondering whether I should
> get a rider on my insurance to cover the garb, and realized I had no
> idea how to estimate the value in question. In most cases I know how
> to estimate the fabric cost, but how do I estimate labor, especially
> on things with 100+ hours of embroidery? I'm not a pro seamstress, so
> I'm somewhat at a loss...
>
> Jennifer aka Guenièvre
>
> Sent from my iPhone
>
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Re: [h-cost] FW: [Alderfolk] Fashion Crisis!

[Alexandria Doyle]

I think the same for the Elizabethan, Italian Renn and the medieval
periods that I've seen.  I have a couple just because, but I wouldn't
even use them for the "let's get you in the general area and then look
for better examples" type of search.  They seem rather outlandish in
most cases...

alex
who would only use these for halloween costumes when historical
accuracy is no where in the picture
So much to do and so little attention span to get it done with…



On Thu, Aug 19, 2010 at 1:33 PM,   wrote:
>
> Maybe the Victorian is ok, but the 18thC is bad. Take Tom Tierney with a
> huge bag of salt — if you think he did actual research for the period in
> question, track down the sources. The more you rely on someone else's
> creative efforts, the farther you get from the facts.
>
> -Carol
>
>
>> I'm not SCA, don't know anything about Irish Celts in the 6C except
>> that they were there.
>>
>> Having said that, Tom Tierney's colors should be in a little girls
>> bedroom, all pastels, even when pastels are not the appropriate color.
>> From my research, his designs come from other research books or
>> original information (i.e., Godey's Ladies Magazine for Victorian
>> dresses) and aren't too bad. I just can't abide his color schemes.
>>
>> LynnD
>>
>> On Thu, Aug 19, 2010 at 10:46 AM, Rickard, Patty
>> wrote:
>>
>>> Comments?
>>> Thanks,
>>> Ceit
>>>
>>> To: Marche of Alderford
>>> Subject: [Alderfolk] Fashion Crisis!
>>>
>>> OK my SCAdian family...I have a book by Tom Tierney on Celtic Fashions.
>>> What I would like to know is how reputable is this source? What I am
>>> looking for is Irish Celt in the 6th Century. I really like the style
>>> on the cover but the illustration states "Frankish Celts, ca 450 B.C."
>>> PeaceDub Essa/Cliodhna
>
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Re: [h-cost] Suggestions on trim

[Alexandria Doyle]

On Sat, Jun 12, 2010 at 4:23 PM, otsisto  wrote:
> Which gown? There are at least 4 types.

This is the one:

> Are you speaking of the burial gown?
> http://farm1.static.flickr.com/155/413141744_784f44dc14_o.jpg
> http://tinyurl.com/278vn6n
>

That's what I was thinking as well, and was leaning toward something
gold or metalic

> Personal thought is that a white would be to stark.
> 4 inches? That seems a bit wide.

The triming down at the hem and up the front of the skirt is
definitely wide, I think 4 inches, while the bodice has three inches.
I hadn't considered using a mix of trim and fabric, that would give me
a core that ties the two trims together, while giving me the
appropirate width for each section.

> You do have the option of using the strip of silk that is dyed as a way to
> widen the trim by laying a 2" or more trim on that and possibly if you feel
> the need, embellish.
> You should look for trim that is gold tone and possibly trim with hint of
> white or small pearl bead accents.
> Or the trim can be a complimentary color with gold metallic.
>

Hum, i can add bits of narrow gold trim to something of middling
width, and I think I'll see what green looks like against it...  might
have to go fabric shopping this weekend...


thanks for the thoughts
alex
>
> De
>
>
> -Original Message-



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[h-cost] Suggestions on trim

[Alexandria Doyle]

I am putting together a gown in the style Eleanora de Toledo's burial
gown.  The fabric I am using is a once ivory embroidered silk.  The
color is a lovely cranberry/claret color.  The embroidery didn't take
much if any of the dye so I have a scrolling vine/flower in a nearly
white on the cranberry/clart back grown.  I suspected this would
happen, since I didn't think the embroidery was done in silk, or any
other natural fiber.  This I can live with.

My question is in regards to the trim/guards for the gown.  In the
same dye bath I put in a  yard or so of an off white silk that I can
make a matching trim.  There's no embroidery on this silk and I intend
to add whatever decoration that it needs, embroidery, pearls, gold
beads, etc.  I'm just not sure this is the right color for the
trim/guard since it's so close to the main fabric.  I wonder if some
black velveteen might work, but with the white embroidery on the body
of the gown?  Maybe a white velveteen?  Has anyone seen a white color
used as trim/guards on Floretine fashions on the mid 16th century?

I'm estimating about ten to twelve yards of trim, so unless I can find
some three-to four inch wide trim really inexpensive, I was planning
to make the trim.

alex

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Re: [h-cost] 19th c women's dress - pockets

[Alexandria Doyle]

There are people even today that go to buffets and will stick food
into their pockets.  I think when you reach the point of
hoarding/stealing food as such, the mess it will make on the inside of
the pocket is beside the point.

And through out history there have been court cases against people who
have stolen food and other items by stuffing the ill gotten gains into
a pocket or otherwise in their clothes.  ISTR a 16th case of a man
charged with steal a LOT of food stuff by stuffing it into his padded
rolled pants.

alex

On Wed, Jun 9, 2010 at 1:06 PM,   wrote:
>
> I'd agree with that.
>
> Firstly, even though a pocket may have been sizable enough to accomodate
> the items referred to, it wouldn't be waterproof.
>
> Secondly, who in their right mind would put them all in there  together???
> My coat has poachers pockets - designed for the transportation  of freshly
> shot game birds and therefore waterproof (not that I use it for such)  - I
> still wouldn't be putting cake and wine and chicken in there all at  once...
>
>
> I'd suspect it's some sort of sarcy joke about the size of women's pockets,
>  and the amount that they carry round in them - in the same way as you get
> jokes  today about women with the kitchen sink in their handbags.
>
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[h-cost] Reviving the crispness of silk

[Alexandria Doyle]

I have some lovely embroidered silk that was crisp and shiny, and
nearly white that I purchased some time ago.  After much
consideration, I dyed it another cloth because the color was not
suitable to me. Of course, now I have a not so shiny, and soft, almost
a crepe texture to the silk.  I haven't tried to do anything with it
yet, but are there any suggestions of getting at least the crispness
back?  My first thought is to gently press and starch, but I don't
know how silk and starch deal with each other over time...

Any help greatly appreciated
Alex

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[h-cost] BUTTONS

[Alexandria Doyle]

I am looking for metal (or metal look) shank buttons, with the motif
of snowflakes, holly or stags.  Does anyone have any sources to check
out?  So far I've come up with white plastic snowflakes...

thanks
alex

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Re: [h-cost] Victorian Hair: hair receptacle

[Alexandria Doyle]

Oh yes, hair has scales and will felt!  I had a lock of human hair
that I dyed along with some other thing I was dying black.  I had to
basically card the hair afterwards to work out all the matting, think
dred locks...

alex

On Tue, May 4, 2010 at 6:17 AM, landofoz  wrote:
>> But wool has scales on the fibres that help the felting process  hair
>> doesn't. Nylon net. . . well, I don't want any of that stuff on  my scalp
>> :-D  (of course, this _is_ Penny's topic, not mine!)
>>
>
> Hair does have scales, just not the same as wool.
>
> Anyway -- scales are not necessary for needle felting. You can successfully
> needle felt nearly any fiber, including synthetics.
>
> Denise
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Re: [h-cost] Chalking a line

[Alexandria Doyle]

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

On Tue, Jan 12, 2010 at 5:19 PM, Patricia Dunham  wrote:
> If you're still worried about the chalk line lasting, you could run a
> basting thread along the chalk line...  the couched cord will cover any
> holes from the basting, and if you use a fine needle, the holes won't last
> long anyway... this is actually Gerek's idea, he can't remember where he got
> it, but thinks it might even be a period method??
>
> chimene
>
>> Alexandria Doyle wrote:
>>
>>> My idea to mark the placement of these lines involves a chalk line
>>> snapped against the silk that can then be marked with a disapearing
>>> marker so they last until I get to that section of the 7 inch by 5
>>> yards piece.   I can use a cork board with a grid marked and pins to
>>> get the lines at the proper angle.  What I'm wondering is about
>>> chalking the string.  Would rubbing a piece of chalk against the
>>> string between "snaps" be enough to have enough chalk to transfer?
>>
>> Yes, but there's another way you might like better. Instead of a string, I
>> use a firm (not bendable) ruler with a sharp edge. Metal, wood, or very hard
>> thin plastic work well. (For large projects, I use a wooden yardstick that
>> has nice crisp corners on the long edge.) Rub cheap classroom chalk (white
>> or a color) along the edge. Place the ruler, on its edge, on the fabric
>> where you want the line, and slide it back and forth a couple of times in
>> the direction of the line. The chalk transfers in a nice clean line. I
>> wouldn't even bother using fabric marker -- just carefully roll up the
>> marked fabric, and unroll it as you need it. Before you roll, you might
>> cover it with a thin strip of extra fabric to keep the excess chalk from
>> transferring to the back of your working fabric.
>>
>> --Robin
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Re: [h-cost] h-costume Digest, Vol 9, Issue 13, message 8

[Alexandria Doyle]

Really?  I've used such a marker for more than tens years on various
embroidery pieces and haven't noticed the problem.  Could it be the
materials used?  I usually work with silk and linen, and rarely do
these pieces end up being pressed or ironed.  Maybe it's the way the
fabric is treated after project completion?

alex

On Tue, Jan 12, 2010 at 1:43 PM, Audrey Bergeron-Morin
 wrote:
>> In reference to using a disappearing marker--on a site I can't remember
>> the name of--quilters were finding holes years--5-10--later where they
>> had marked with a disappearing marker.
>
> One problem I've encountered is that when heated (by ironing the
> fabric), it turned a nasty brownish yellow colour. It really needs to
> be washed out (which is not always possible with embroidery or other
> delicate work).
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[h-cost] Chalking a line

[Alexandria Doyle]

For my current project I need to couch a silk cord in a geometric
pattern on to silk fabric.  Most of the lines will be at a straight 45
degree angle.  I will be doing this by hand as well.

My idea to mark the placement of these lines involves a chalk line
snapped against the silk that can then be marked with a disapearing
marker so they last until I get to that section of the 7 inch by 5
yards piece.   I can use a cork board with a grid marked and pins to
get the lines at the proper angle.  What I'm wondering is about
chalking the string.  Would rubbing a piece of chalk against the
string between "snaps" be enough to have enough chalk to transfer?
Anyone done anything like this on fabric?

alex

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Re: [h-cost] stiffen agent

[Alexandria Doyle]

Was this on a hanging or clothing?  I wonder about having a piece of
paper permenent inside of a component of the bodice

alex

On Fri, Dec 11, 2009 at 12:14 PM, Kimiko Small  wrote:
> Try thin stiff paper. I recall that's what some extant 16th century garments 
> have as their backings on the appliques of silk.
>
>  Kimiko Small
> http://www.kimiko1.com
> "Be the change you want to see in the world." ~ Ghandi
>
>
> The Tudor Lady's Wardrobe pattern
> http://www.margospatterns.com/
>
>
>
>
> 
> From: Alexandria Doyle 
> To: Historical Costume 
> Sent: Fri, December 11, 2009 7:08:08 AM
> Subject: [h-cost] stiffen agent
> 
> Does anyone have have suggestions of anything else that could have
> been used early to mid 16th century Germany as a stiffening agent and
> /or base fabric for this kind of project?
>
> thanks
> alex
>
>
>
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Re: [h-cost] stabilizer/facing material [was:Re: s-t-i-f-f-en agent]

[Alexandria Doyle]

This is one of those projects that I want to as plausably correct to
the period as I possibly can.

The inspiration :
<http://www.lib-art.com/imgpainting/0/1/8710-portrait-of-a-young-woman-lucas-the-elder-cranach.jpg>

With what I've already spent on materials, I don't want to go with a
cheap and quick  alternative if spending a few more minutes preparing
my own "buckram" will get me closer to what the original may have
been.  That's my goal here...

On Fri, Dec 11, 2009 at 1:09 PM,   wrote:
> How about the cheap, light-weight buckram (sometimes found at Hancock 
> Fabrics)? It's "fabric stiffened with glue" so if you're willing to ignore 
> the content of the glue and fabric, it's sort of period.
>
>
>
> Claudine
>
>> 
>
>> From: Alexandria Doyle
>> To: Historical Costume
>> Sent: Fri, December 11, 2009 7:08:08 AM
>> Subject: [h-cost] stiffen agent
>>
>> Does anyone have have suggestions of anything else that could have
>> been used early to mid 16th century Germany as a stiffening agent and
>> /or base fabric for this kind of project?
>>
>> thanks
>> alex
>>
>>
>>
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[h-cost] stiffen agent

[Alexandria Doyle]

I am about to attempt an applique project with silk on silk, then
pearls added on top.  The bottom layer of silk is a duponi, not a
completely smooth surface.  The top layer is a thin blouse weight of
silk (literally cut from the back of an old silk blouse)  I want to
use an interfacing type piece cut to the shape I need that I can form
the top layer over and around before applying to the bottom layer.  As
mentioned, there will then be pearls added that will define the shape
further.

Because this is for a German gown circa 1530, I wanted to use a
plausable product for this.  I will be doing test pieces to test
various theories.  Currently, I have considered: felt, cut to shape,
no additional finishing agent needed, but bulky; linen with - wax,
thin glue, or starch - coating that will stiffen the piece, keep the
edges from fraying and not be too stiff.

Whatever I use needs to be allow the finishing step of sewing pearls
through all the layers.

Does anyone have have suggestions of anything else that could have
been used early to mid 16th century Germany as a stiffening agent and
/or base fabric for this kind of project?

thanks
alex

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Re: [h-cost] cleaning up a wool gown

[Alexandria Doyle]

I was planning to run it through the dryer with one of the at-home dry
cleaner products to freshen it up, but it seems like hair and such
just cling horribly to the wool and I don't know that the tumbling
would be enough to get the grass off.

alex

On Thu, Oct 15, 2009 at 12:15 PM, Dawn  wrote:
> Alexandria Doyle wrote:
>>
>> I have a wool gown that I need to clean-up/freshen up for wear this
>> weekend.  The last outing with this black wool 15th century kirtle was
>> at a dusty/windy camp ground.  The skirt is covered with dried grass
>> and such.  What is the quickest way to get all this grass and debris
>> off the skirt?
>
> Beat it like you would a carpet.
>
> If it wasn't wool I'd be tempted to put it in the dryer with no heat and
> tumble it for a while. That's how I get hair and dust off my quilts.
>
>
>
> Dawn
>
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Re: [h-cost] cleaning up a wool gown

[Alexandria Doyle]

I don't think I have a "standard brush" for a hair brush, everything I
have is wire/wide spacing, same thing with all the combs in my house.
I have to go pick up a fine tooth comb to comb out some tassels I'm
making.  Although, I might have a natural bristle brush in the back of
the cupboard, maybe...
alex

2009/10/15 Käthe Barrows :
> Hairbrush
>
> On a "fuzzy" dress, I have really good luck with brushing dirt and such out
>> of hems with what was sold as a pot brush, but is a round, natural bristled
>> brush about 3 inches in diameter. I'd like to find a bigger one, but this
>> one at least is nice and stiff. I got it at World Market.
>
>
> --
> Carolyn Kayta Barrows
> --
> “The future is already here, it is just unevenly distributed.”   -William
> Gibson
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[h-cost] cleaning up a wool gown

[Alexandria Doyle]

I have a wool gown that I need to clean-up/freshen up for wear this
weekend.  The last outing with this black wool 15th century kirtle was
at a dusty/windy camp ground.  The skirt is covered with dried grass
and such.  What is the quickest way to get all this grass and debris
off the skirt?  I keep thinking brushing is the term I've heard used,
but never done so.  I've always used tape on wool skirts to remove pet
hair (my usual clingy debris).  Is there a particular type of brush I
should use?  Stick with the tape?

Of course I've procrastinated until the last minute and it has to be
done tonight with a jillion other things to be ready for the event
tomorrow morning, so any shortcuts are welcome!

thanks
alex

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Re: [h-cost] Creeping underskirt

[Alexandria Doyle]

Was it a static cling issue?  Lotion rubbed light over the
leg/stocking seems to help that

alex

On Fri, Oct 9, 2009 at 9:42 AM, Tania Gruning  wrote:
> Hiya all.
> I hope you can all help me with a practical question.
>
> I have made 2 skirts from this pattern 
> http://www.marquise.de/en/1900/schnitte/s1908_6.gif. it was easy and the 
> result rather nice. 1 in red wool in a medium weight and the other in cotton 
> broadcloth as an underskirt.
>
> My problem is that I have worn them today, and the cotton underskirt kept 
> creeping up. What do I do to avoid that. put weights in the hem, make a 
> another underskirt in a smoother fabric, don't wear wool/nylon stockings?.
>
> Hope you have some advice for me.
>
> Tania
>
>
>
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Re: [h-cost] Color dye mixing

[Alexandria Doyle]

It was definately wool, judging by the reduction from 6 to 4 yards in
my earlier efforts.  It was also purchased from a reliable seller of
wool fabrics.

I used Dylon dyes for this effort, I can't tell you what I used the
first time around, though Rit is very likely.

alex

On Mon, Oct 5, 2009 at 6:06 PM, Catherine Olanich Raymond
 wrote:
> On Monday 05 October 2009 6:54:57 pm landofoz wrote:
>> Are you positive this was wool?  I find it suspect that neither color
>> remover nor dye had any effect.  What kind of dye did you use?
>
> If she used Rit, I'm not necessarily surprised.  I find that Rit is hit or 
> miss
> on wool, especially if the water temperature is a bit too cool.
>
>
>
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Re: [h-cost] Color dye mixing

[Alexandria Doyle]

Just thought I'd tell you what I did try with this lovely bit of wool
that was too pink...  I had attempted overdying this piece of fabric
several years ago, with what I don't remember now with the only result
was the fulling of the fabric.

Therefore I started with a dye remover.  I suspect that I didn't have
enough to do much for the yardage, but since I saw NO color seepage
into the water, I doubt it would have mattered if I'd had more.

I had the brown dye on hand and I'm not likely to use brown dye
anytime soon, so I went ahead and did the dye bath.  It did not take,
at all.

In the end, I turned the fabric over to the friend who owns it and I
believe she is planning to have a lovely fucshia viking
caftan/overcoat of this wonderfully fulled wool.  She will be warm,
dry and highly visible when wearing it.

alex


> On Fri, Sep 25, 2009 at 4:21 PM, Alexandria Doyle  
> wrote:
>> I have a length of wool that is a fushia color that I would like to
>> take to burgundy.  any suggestions on the colors to add to the fushia
>> to get burgundy?  I was thinking blue, but don't want to go purple...
>>
>> alex

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Re: [h-cost] ORGANIZATION

[Alexandria Doyle]

Most of what I have to store in the garage isn't what I'd consider of
a quality to be concerned with the long term effect.

My second project is going to making sachets to go into the tubs.
Somewhere sometime someone gave me one and this past weekend I found
the tub with it, it was really nice.  I'd like to do that with all of
them

alex

On Mon, Sep 28, 2009 at 6:41 PM, Schaeffer, Astrida
 wrote:
> If you're storing the tubs in temperature extremes, you might need to 
> consider the stability of the plastic and its outgassing effects on the 
> contents. Just a word of caution from the textile conservation side of 
> things...
>
>
> Astrida
>
>
> 
>
>
> -Original Message-
> From: h-costume-boun...@indra.com [mailto:h-costume-boun...@indra.com] On
> Behalf Of Alexandria Doyle
> Sent: Monday, September 28, 2009 1:23 PM
> To: Historical Costume
> Subject: [h-cost] ORGANIZATION
>
> I had a very frustrating time of trying to locate some items this weekend to
> show to a newcomer and have had it with the disorganization of my costumes,
> my sewing  and assorted art supplies and tools.  When I moved into my house
> I had a sewing room, then children moved home and things were packed in to
> tubs hapharzardly and stored in the garage and corners of my room, and for a
> while I had things in the living room and - I just don't know what I have or
> where it's at anymore as well as having some of the tubs only half full now
> because I've move some of the contents to another location.
>
> Over the upcoming holidays I have several long weekends that I could use to
> tackle this problem.  I am thinking that an inventory list on the front of
> the tubs should be my first step.  The question is, what can I use to fix
> the list to the box?  The boxes stored in my garage are subject to intensive
> heat all summer long (Over 50 days with triple digits this past summer) so
> I'm concerned that tape of most sorts will just melt.  And I'd like the list
> to be easy to change as I remove things so I'll know when I should combine
> tubs
>
>
> any help greatly appreciated
> alex
> need to check for those organizations that take scrap fabric because I know
> I have lots and after five years plus in storage I'm not going to use it.
>
>
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Re: [h-cost] ORGANIZATION

[Alexandria Doyle]

Except I already have the tubs, and most are opaque.  I wonder how
attractive the flap of muslin would be to cats that crawl through
everything

alex


On Mon, Sep 28, 2009 at 4:08 PM, Sharon Collier  wrote:
> If you get translucent bins, you can slip a piece of card stock down between
> the side of the bin and the stuff in the bin. The stuff holds it tight to
> the bin, so you can read it. If opaque, hang a piece of muslin over the lip
> of the bin, with whatever is in the bin written on the muslin with a marker.
> Cheap and easy to change, later, if needed and no tape.
>

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[h-cost] ORGANIZATION

[Alexandria Doyle]

I had a very frustrating time of trying to locate some items this
weekend to show to a newcomer and have had it with the disorganization
of my costumes, my sewing  and assorted art supplies and tools.  When
I moved into my house I had a sewing room, then children moved home
and things were packed in to tubs hapharzardly and stored in the
garage and corners of my room, and for a while I had things in the
living room and - I just don't know what I have or where it's at
anymore as well as having some of the tubs only half full now because
I've move some of the contents to another location.

Over the upcoming holidays I have several long weekends that I could
use to tackle this problem.  I am thinking that an inventory list on
the front of the tubs should be my first step.  The question is, what
can I use to fix the list to the box?  The boxes stored in my garage
are subject to intensive heat all summer long (Over 50 days with
triple digits this past summer) so I'm concerned that tape of most
sorts will just melt.  And I'd like the list to be easy to change as I
remove things so I'll know when I should combine tubs


any help greatly appreciated
alex
need to check for those organizations that take scrap fabric because I
know I have lots and after five years plus in storage I'm not going to
use it.


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[h-cost] Color dye mixing

[Alexandria Doyle]

I have a length of wool that is a fushia color that I would like to
take to burgundy.  any suggestions on the colors to add to the fushia
to get burgundy?  I was thinking blue, but don't want to go purple...

alex

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Re: [h-cost] cloak or woman's outer garment for 15th century

[Alexandria Doyle]

My solution for this has just been more layers.  Either make several
layers in warm fabrics or one layer in an extra warm fabric - with a
fur lining perhaps.

alex

On Sun, Sep 6, 2009 at 12:34 PM, Zuzana Kraemerova wrote:
> Hello,
>
> I recently discovered that I need to make myself a warm cloak or outer 
> garment for reenacting events for the 15th century. I was wondering about 
> something like garnache - a warm outer garment with sleeves. Cloaks are much 
> less practical. But the trouble is, I cannot find any sort of such outer 
> garment for 15th century women!
> Does any of you know of some illustrations or written evidence that would 
> help me? Time and location doesn't matter much as anything will help me, but 
> if you insist, I'm acting as a mid 15th century middle class woman from 
> France.
>
> Thanks a lot!
>
> Zuzana
>
>
>
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Re: [h-cost] overdying and yellowing silk

[Alexandria Doyle]

Oh, I have considered that as well, but it's such a soft, sweet
velveteen, I hate to part with it.  Still, I'd rather a
cranberry/claret colored velveteen, so I may have to do it...

alex

On Thu, Sep 3, 2009 at 11:21 PM, Dawn wrote:
> Alexandria Doyle wrote:
>>
>> In prepping for another project I was rummaging through the stash and
>> came across a length of chocolate brown cotton velveteen
>
> Any
>>
>> suggestions?
>>
>
> Trade it for something else?
>
> During one of these costume conventions we should set up a swap-and-shop.
> Bring something you don't want and trade it for other people's cast offs.
>
>
> Dawn
>
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Re: [h-cost] having it all in one place

[Alexandria Doyle]

I use to have it all in one little room, sigh, then there was this
host of family members moving in and out - my daughter and
granddaughter are here now and everything is scattered.  I know I have
tubs full of stuff that I won't use again, that were once organized on
shelves and occasionally used, but now they are out of sight, out of
mind and I buy new frequently rather than rummage through the stash.
Next year on my job I'm up to three weeks of vacation, and I'm
sincerely thinking that maybe I should take one of those weeks and
clean out the stash.  I'd have space to work in again and know where
things are...

alex


On Thu, Sep 3, 2009 at 2:43 PM, Mary + Doug Piero
Carey wrote:
> Oh, are you building?  We were not so ambitious.  We only moved from a
> 1911ish American Foursquare into a 1960 Ranch.  It is a lovely house, but
> the proportions are SO different!  The closets are a completely different
> shape & NONE of my boxes fit into them.  We had to completely repack
> everything that was in seasonal storage boxes into different shapes.  And
> the Pantry shelves were DEFinitely not spaced by anyone with a clue about
> the dimensions of food packages.
> Marjorie Wilser said:
>
> Oh, huzzah for having it all in ONE place! I have yet to achievethat
> nirvana. . . have to make the place first
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Re: [h-cost] What's your dressmaker's dummy wearing today?

[Alexandria Doyle]

If I had one, It would have the 1540-ish green Florentine gown that
I'm able to remake this weekend.  I'd put the gown together several
years ago, but the sleeves are wrong- they need slashing, I'm going to
take off the shoulders and maybe re-pleat the skirt.  Other than
lacking several details that this gown needs to BE 1540-sih
Florentine, it was a good fit, nice fabric, comfortable to wear, but
has so far only made it out of the house once or twice.  That's why I
need a new partlet and veil too.

That's my holiday weekend project!

alex
who even found the perfect pair of shoes to go with the gown as well
as the "right" beads to make the gridle as well...

On Wed, Sep 2, 2009 at 4:35 PM, Gilbert wrote:
> My dummy is wearing the white poodle skirt I made for my dance recital (we
> did a tap routine to Mr Sandman). It's gorgeous...
>
> Marjorie
>
> Marjorie Gilbert
> author of THE RETURN, a novel set in Georgian England
> www.marjoriegilbert.net
> Royal Ascot Finalist 2009
> www.gilbertinfrared.com
>
>
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[h-cost] overdying and yellowing silk

[Alexandria Doyle]

In prepping for another project I was rummaging through the stash and
came across a length of chocolate brown cotton velveteen.  It's a
lovely color, but not one that I would not wear.  Every time I have
put brown on I take one look at myself and change to something else,
so I don't want to make something special and never wear it.  I tried
bleaching it, hoping to take the color down to a rust that I would
wear, but it didn't change.  I've tried over dying with red and gotten
a slight hint of red to the color but not a significant amount.  I've
thought of trying a blue to see if it would go burgundy or such.  Any
suggestions?

Another find is a white silk skirt, one of those thin floating things
that is about to be re-purposed to a veil and partlet.  the silk has
yellowed significantly, and I prefer this yellowing as white against
the face isn't a good thing for me either.  I am concerned that this
coloring may not be permanent.  While I don't anticipate washing the
partlet often considering the metal thread embroidery I'm about to
apply, I'm concerned that the veil will need to be washed because
someone spilled something on it (Don't asked about the gown that beer
was spilt on and a through laundering made the skirt shrink - not the
bodice, just the skirt grrh!) and now the coloring is different
between this set...

thanks
alex

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

[Alexandria Doyle]

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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Re: [h-cost] London's Hidden Gems

[Alexandria Doyle]

May I suggest the museum of Children in Bethel Green?  I went there to
see the dolls but they do have a bit of collection of children's
clothing.  I went several years ago, but the curator in charge of the
dolls had some wonderful stories about the clothing as well, since
they can document exactly what children wore these clothing (mostly
Victorian era) and a bot about their life.

Of course, they have some wonderful dolls, doll houses and other toys, too

alex

On Sat, Jun 6, 2009 at 11:02 AM, Onaree Berard wrote:
> Anyone know of any little known or hidden gems in London?
>
> I'm going in late Oct and I know all the big stuff but was wondering
> about the lesser known stuff.
>
> Usually I ask about museums and old buildings but in London that is
> like asking someone in Los Angles if they know any highways.
>
> Onaree
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Re: [h-cost] late Elizabethan headdress

[Alexandria Doyle]

Just  to make sure I understand this, there is a difference between
coif and caul, isn't there?

I've always thought the coif was the embroider (or not) little hat
item that covers the top, side and back of the head, basically a
shaped folded piece of cloth.

A caul was more of a cap worn on the back of the head, covering the
hair that was put back in a bun/braid.  It would be highly decorated
with beads, jewels and embroidery.  there may or may not be a veil
pinned to the caul as well.

alex

On Wed, May 27, 2009 at 12:10 PM, Sharon Collier  wrote:
> If not a coif/caul, what? I don't want something to cover the ears. Did
> french hoods sit back farther on the head later in the century? I keep
> seeing pictures with what appears to be a jeweled or fancy fabric "headband"
> type of thing, but don't know how to make it. And have no idea what the back
> of such an item would look like.
>
> -Original Message-
> From: h-costume-boun...@indra.com [mailto:h-costume-boun...@indra.com] On
> Behalf Of Melanie Schuessler
> Sent: Wednesday, May 27, 2009 9:11 AM
> To: Historical Costume
> Subject: Re: [h-cost] late Elizabethan headdress
>
> While I agree with Laura on how coifs were probably worn, there is some
> debate about who would have worn them and under what circumstances.  In the
> 1570s, coifs were probably worn in public mostly by the middle and lower
> classes, not by the upper and noble classes.  The very fancy ones that
> survive were probably home/
> sleepwear.   The only exception I can think of off-hand is
> Theophilia, wife of the 3rd Earl of Worcester (1567):
> http://www.elizabethan-portraits.com/Theophila.jpg
> Please note that she's also wearing a forehead cloth.
>
> If you're doing an upper or noble class outfit, there is this one piece of
> evidence for coif-wearing, but you might be better served with a more formal
> type of headwear.
>
> Melanie Schuessler
>
>
> On May 27, 2009, at 11:11 AM, Susan Farmer wrote:
>
>>  On May 27, 2009, at 2:59 AM, Sharon Collier wrote:
>>>
 Thank you. Very interesting. Looks like what I want is a caul with a
 decorated billiment. Does that sound like what they were wearing in
 1570's?
>>
>> Have you looked here yet?
>>
>> http://www.extremecostuming.com/articles/howtowearthecoif.html
>> http://www.extremecostuming.com/reproductions/vacoift281975.html
>>
>> I suspect that this is what you want.
>>
>> jerusha/ susan
>> -
>> Susan Farmer
>> sfar...@goldsword.com
>> Abraham Baldwin Agricultural College
>> Division of Science and Math
>> http://www.goldsword.com/sfarmer/Trillium/
>>
>>
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Re: [h-cost] Elizabethan Pair of Bodies for a petite figure.

[Alexandria Doyle]

I never found the tabs to be all that useful - until I had less
difference between hip and waist measurements.  then the tabs were
useful for provide a bit of bulk over the hips and creating the
illustion that I had a waist again.  And that is without boning the
tabs...

alex

On Wed, May 20, 2009 at 7:56 AM, Melanie Schuessler  wrote:
> Either one will work, but view A will be more comfortable.  If she isn't
> curvy, she doesn't need all the boning around the back on view B.    And the
> boned tabs aren't so important for spreading the stress out over the upper
> hip if she doesn't really have hips.
>
> I would encourage you to talk to her about tying her farthingale to her
> corset if she's wearing a farthingale.  You'll need to put in eyelet holes
> if she agrees (and the drawing from the pattern cover seems to show
> them--they were there in the original).  This is especially important for
> figures with no hips to speak of, as the farthingale will just slide down if
> it's not tied to the corset.  You can see how mine works here:
> http://www.faucet.net/costume/period/under.html
>
> Best of luck,
> Melanie Schuessler
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Re: [h-cost] What's your dressmaker's dummy wearing?

[Alexandria Doyle]

 - Original Message -
> From: "Suzi Clarke" 
> To: "Historical Costume" 
> Sent: Monday, February 23, 2009 11:55:46 AM GMT -05:00 US/Canada Eastern
> Subject: Re: [h-cost] What's your dressmaker's dummy wearing?
>
>
> 1770's stays, pocket hoops made of striped ticking, calico petticoat,
> and yards or ready made quilted silk that I am trying to wrastle into
> a quilted petticoat, without it adding 6" to the waist measurement.
> The only way it makes sense is to take a ginormous dart from waist to
> hem - not authentic, but then neither is ready made quilting!
>
> Suzi
>
>

I would separate/remove the batting/quilting for about six seven
inches from the waist - depending on where you'd like that extra to
burst into life - so that you are only gathering/pleating one layer of
fabric without the batting to the waistband.

it's what I've done working with quilted fabrics at seams where I
didn't want bulk, trim away batting and extra layers as needed.

alex
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Re: [h-cost] Which end of the thread?

[Alexandria Doyle]

My handsewing threads are usually one stranded.  I only double up when
it's a particular need- such as buttons.

And I usually cut to my arm length, or so, then thread my needle.
It's the way my mom taught me, and her aunties taught her...
alex

On Mon, Nov 24, 2008 at 2:24 PM, Maggie <[EMAIL PROTECTED]> wrote:
> Plus, I don't measure out and cut a length of thread and then thread the
> needle. Who does that? I stick the end in the needle, pull the needle away
> while holding onto the thread, and when it's the length (doubled) I want, I
> cut it. Isn't that normal? Does it it really make enough difference to
> totally change the way I thread a needle?
>
> Hmm, using a doubled thread, one of the two strands will always be going the
> opposite direction to the other anyway. So which end you thread first
> couldn't possibly matter.
>
> MaggiRos
>
>

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Re: [h-cost] Which end of the thread?

[Alexandria Doyle]

I don't know if it damages the thread, but I know that watching the
way the twist goes into the needle means there is less knotting and
frustration when I'm embroidering with silk.

alex

On Sun, Nov 23, 2008 at 4:07 PM, Cynthia J Ley <[EMAIL PROTECTED]> wrote:
> Go with the grain of the thread. Run your fingers down the thread one
> way, then down the other way. The path of least resistance is the grain.
>
> Going against the grain can damage the thread!
>
> Arlys
>
> On Sun, 23 Nov 2008 21:25:22 - "Viv Watkins" <[EMAIL PROTECTED]>
> writes:
>> This is not exactly historical but it is about hand-sewing, so...
>>
>> I have always thought that you thread the end that comes off the
>> spool first
>> through the needle.  But today I was reading one of those 'useful
>> hints'
>> books which said you should thread the other end first to prevent
>> knots!
>>
>> Any thoughts?
>> Viv.
>>
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[h-cost] dying question

[Alexandria Doyle]

I have some scrap wool flannel in a deep pink - it's not a pastel and
it's not a fushia, just a good solid color.  The color was good for my
granddaughter who is a pink girl, but not for me - I'm a jewel tone
fan.

I want to make a shawl or drape that I can wear while in bed/ around
the house kind of thing -I'm getting ready for some major surgery that
may or may not keep me bed bound for the recovery, at the first of
December, and the local weather may be cold, and it may not... But I
thought a wrap of this wool would be lovely for reading in bed or
while in the hospital.  I just can't live with the pink.  I'd like
something in the cranberry/claret range.

I'm also expecting to full this so it will be real warm, because you
never can tell about hospital rooms, either over warm or freezing!

any suggestions on what colors to use to get the cranberry/claret color desired?
alex

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Re: [h-cost] sewing machines and button holes

[Alexandria Doyle]

I have an additional question, if one were to purchase a machine just
to do buttonholes, what machine would you reccomend?

alex
hates to do them manually, and considering a machine that does nothing but...

On Mon, Nov 10, 2008 at 11:35 AM, Susan Data-Samtak <[EMAIL PROTECTED]> wrote:
> FYI - I was told that Brother is made by Singer.
>
> All that was said about newer Singers presumably holds with newer Brothers,
> as well.
>
> Susan
> NJ
>
>
>
> On Nov 10, 08, at 11:33 AM, Kim Baird wrote:
>
>>
>> Susan wrote:
>> " The BEST advice I read was "Just re-thread it.  I know you think you did
>> it right, but do it over."  On the few occasions that I had thread tangle,
>> I
>> simply re-threaded and it was OK."
>>
>> Here's a tip for threading your machine--the spool should be VERTICAL, not
>> horizontal, for best thread flow. Thread with the presser foot UP so that
>> the tension discs are open, and your thread can go in.
>>
>> And if you are buying a machine, DON'T buy a Singer, unless it is old,
>> black
>> and metal. Check out your local Bernina dealer--they may have something
>> wonderful available as a trade in.
>>
>> Kim
>>
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Re: [h-cost] Has Amazon.com gone insane?

[Alexandria Doyle]

With the range of interests that I have I always wonder what people
think of the recommendations they are getting from me, but the
connection that I get sometimes have me wondering...

Of course, it's interesting to note when something gets popular too.
Such as a particular painting book that I bought years ago that had
dropped off the recommendation list has shown up recently with a lot
of hits for other things recently.

alex

On Fri, Oct 24, 2008 at 9:26 AM, Abel, Cynthia
<[EMAIL PROTECTED]> wrote:
> Might be a glitch in their selections. Maybe someone in the Hogfather
> wears a corset or someone that ordered "BoCB" also ordered the
> Hogfather!  Who knows?
>
> Cindy Abel
>
> -Original Message-
>
>> I've received a gift certificate so I was looking in their
> "Recommended for You" and they suggested as as I've purchased "The
> Basics of Corset Building: A Handbook for Beginners" that they
> suggested the DVD "The Hogfather".
>
> Is it just me or is The Hogfather the last thing that comes to mind
> when building a corset?
>
> Onaree
>--
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Re: [h-cost] Signature Line: was> sewing machine woes

[Alexandria Doyle]

Thanks you, actually I borrowed it from another, originally it was
only about fabric, and had something about chocolate emergencies in
there, something I don't have a problem with and books are required
almost as much as fabric around here.

The waffenrock is done, though after this weekend I want to add some
trim to it, it just needs a little something, and my son did like the
idea of a really large codpiece that I didn't have time to make this
week...

Now I'm working on a redress of a pocelan doll, to be a purple and
black witch on a broom of violets, a soft sculpture ghost for the
haunted house and a couple of banners, so it's a major play weekend,
Yay!

alex
happy to be making things for her family

On Sat, Oct 11, 2008 at 2:40 PM, Wanda Pease <[EMAIL PROTECTED]> wrote:
> Glad to know that the belt problem was solved.
>
> Wanted you to know that I love your sig line so much I want to use it too!
> (Do you want credit?).  It is way too accurate.  I'm sitting here if front
> of a pile of 8 new books, one of which is a duplicate that I know I will
> NEED for a present and the others are simply because I may have a century to
> read they sometime.  Besides.  They aren't going to be any cheaper!
>
> Regina
>>
>> --
>> "I'm buying this fabric/book now in case I have an emergency...you
>> know, having to suddenly make presents for everyone, sickness, flood,
>> injury, mosquito infestations, not enough silk in the house, it's
>> Friday..."  ;)
>
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Re: [h-cost] sewing machine woes

[Alexandria Doyle]

And the saga continues...  I've checked the replacement belt and there
doesn't appear to be any evidence of oil, I'm guessing that the
plastic may have been old and that's why it fell apart so quickly.
There's no telling how long it's been sitting on the shelf before I
received it.

The local shop thought that the belt might have been too tight and
that's why it went bad so fast so they gave my son a belt a little
larger... too large it turns out, didn't make any tension to the
proper parts, so he took it back and got another belt.  This belt
seemed to be right, but there was some issue with it working, the
mechanisms in the machine, not the motor, were not turning.  It was
funny because I looked down on the floor and found the original belt
that I had replaced last March - that I couldn't find two days ago.  I
compared it to the new belt and noted that while the outside of the
belt was the same size, the inside of the belts weren't, so I put the
old belt on, and then cleaned out the thread that had gotten wrapped
around inside of the upper mechanism and I have a happy sewing
machine... with the orignal belt.  I think I'm going to take the old
belt to some place like an auto supply place because this belt has
more in common with those than these plastic teeth things that I've
gotten lately.  That is, after I sew the waffenrock tonight and have
my first costume crisis of the month over with...

alex

On Wed, Oct 8, 2008 at 11:32 AM, Sharon Collier <[EMAIL PROTECTED]> wrote:
> Sounds like the belt was defective, or maybe had some oil on it . I seem to
> remember that oil can break down rubber. Worth looking into, maybe check
> that you don't have oil dripping onto the belt inside the machine.
>
>
> Just because I know that most of you will understand I am whining here.
>
> Earlier this year on my 1952 vinatage Pfaff sewing machine I noted the belt
> was separating, not surprising when you consider it was last replaced prior
. That's when I noticed that
> the replacement belt had bits of the outer plastic crumbling off.  I
> continued through the shirt and found I was having trouble getting the
> machine to work, the belt wasn't able to maintain the tension needed to run
> the machine.
>
> uuurggg  Fortunately, the local shop believes they have the belt I
> need in stock and my son has the time off to go and take the picture of the
> machine and the bad belt in to get the right replacement, so everything
> should work out just fine.  It's just that I had a belt that lasted for at
> least 25 years, probably 55 years and a simple replacement only lasted 8
> months.  And those 8 months weren't heavy usuage months either.
>
> alex
> taking a deep breath and getting ready to finish that Waffenrock tonight, so
> everything should be fine...
>



-- 
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[h-cost] sewing machine woes

[Alexandria Doyle]

Just because I know that most of you will understand I am whining here.

Earlier this year on my 1952 vinatage Pfaff sewing machine I noted the
belt was separating, not surprising when you consider it was last
replaced prior to 1980, if ever.  I looked up a place on line and
ordered a replacement, and my separating belt continued to work in the
meantime.  I installed the new wone when it arrived and everything was
good without a break in usage.  This weekend when I was pressed for
time when I found the four piece ensemble for my son's renn faire
excursion was due next weekend, not next month as I had thought, and I
have a another such ensemble for a friend's halloween costume, and
there's an SCA event between here and there that I need to put
together a few things and ...and... That's when I noticed that the
replacement belt had bits of the outer plastic crumbling off.  I
continued through the shirt and found I was having trouble getting the
machine to work, the belt wasn't able to maintain the tension needed
to run the machine.

uuurggg  Fortunately, the local shop believes they have the
belt I need in stock and my son has the time off to go and take the
picture of the machine and the bad belt in to get the right
replacement, so everything should work out just fine.  It's just that
I had a belt that lasted for at least 25 years, probably 55 years and
a simple replacement only lasted 8 months.  And those 8 months weren't
heavy usuage months either.

alex
taking a deep breath and getting ready to finish that Waffenrock
tonight, so everything should be fine...

-- 
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know, having to suddenly make presents for everyone, sickness,flood,
injury, mosquito infestations, not enough silk in the house, it's
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Re: [h-cost] What to see in the UK

[Alexandria Doyle]

Not much in the way of costume but with significate connections to the
16th century:

Hardwick Hall, Chesterfield, Derbyshire

Sulgrave Manor in Northamptonshire

Stranger's hall in Norwich

I'd also check the National Trust properties,  I know there are more.


alex
On Wed, Oct 1, 2008 at 11:09 PM, Elizabeth Walpole
<[EMAIL PROTECTED]> wrote:
> Hello everyone,
> I'm in the early planning stages of a Holliday to the UK about this time
> next year and I'm trying to work out what I should visit, I'm spending a
> week in London with friends and after that point I'm planning to spend
> another 2 or 3 weeks around the UK & Ireland. the London part of my trip is
> fairly firmly planned but for the rest of the UK & Ireland I've only got
> Bath, Stratford on Avon, Warwick Castle, and Hampton Court definitely on my
> list so far, so what else would you suggest for a costumer and Tudor history
> nut?
> Elizabeth
> ---
> Elizabeth Walpole
> Canberra, Australia
> http://magpiecostumer.110mb.com/
>
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Re: [h-cost] What's your dressmaker's dummy wearing?

[Alexandria Doyle]

I have several projects working,
1. redressing an inexpensive porcelan doll - my granddaughter opted
for the pretty witch for her Halloween/birthday party.  She'll be
dressed in purple satin, lots of sparkly tulle in black and purple
with a broom of purple silk flowers.

2. Landsknetch for my son.  Just got in the linen for shirt, pants and
doublet, and already had the wool for the waffenrock.  I just have to
get the red velvet for the trim on the 'rock and will be ready to go.

3. "Davy Crockett" for a co-worker (In exchange for helping with the
haunted house at the aforementioned party)  He's wanting to go
"historical" and given me free range with what this means, so I'm
still very tentative with this one.  I have the cut for the shirt, and
will be making a vest and jacket, though it's so far afield from what
I usually do.  Any one have some suggestions for the cut of a men's
coat?  He referenced the latest Alamo movie as sort of what he
wanted

4. I'm finishing up the blackwork sleeves for an Elizabethan smock.
and the dress of a thousand pearls...my version of the Pelican
portrait.

other than that, not much...
alex

On Tue, Sep 30, 2008 at 5:34 AM,  <[EMAIL PROTECTED]> wrote:
>
> In a message dated 30/09/2008 06:03:08 GMT Standard Time,
> [EMAIL PROTECTED] writes:
>
> PS. It's  ok to run into the sewing room, toss something marvelous on
> the dummy and  *then* tell us about it. It's also ok to tell what's on
> your design  sketchbook, worktable, at the sewing machine or in the
> embroidery  hoop.
>
>
> Well on my work dummy is an ATS desert uniform for a museum.
>
> But other than that, there's my wedding dress (on work table and embroidery
> hoop), two bridesmaid dresses (sketch pad), and a load of wasitcoats (pattern
> cutting shelf).
>
> Plently of time, with two months to go!
>
>
>
>
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Re: [h-cost] corsets

[Alexandria Doyle]

On Sun, Sep 21, 2008 at 8:56 AM,  <[EMAIL PROTECTED]> wrote:
> My copy came yesterday. ... Even some doll  corsets

Doll corsets?  What's the  dae for those dolls and or their corsets?
please?  pretty please?

alex


-- 
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know, having to suddenly make presents for everyone, sickness,flood,
injury, mosquito infestations, not enough silk in the house, it's
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Re: [h-cost] wrinkles out of silk

[Alexandria Doyle]

I hung the skirt on the back of the bathroom door and just one shower
was enough to loosen most of the wrinkles out of both layers of the
silk!

I have some modifications to do to the skirt hem and I'll press to get
the creases that I want, but it looks like there's little to none of
the other creases and wrinkles.

alex

always happy to find a process that requires minimun effort on my part  :)

On Tue, Sep 9, 2008 at 2:54 PM, Dawn <[EMAIL PROTECTED]> wrote:
>
>>
>> Dampen and toss in warm dryer?  Press with a higher heat?  Use Steam
>> with higher heat?  obviously I don't want to ruin the fabric and I
>> definitely don't want to lose the crispness of the duponi.
>>
>
> Don't do the damp and dryer thing, that will just make it worse and you will
> lose crispness. I have good luck with a little steam, it doesn't have to be
> super hot. I use a lot of dupioni remnants for linings and they are always
> wrinkled. If you can press on the wrinkles with the creases pointing up,
> like this ^ it's better than pressing them the other way.
>
> If you have a small bathroom and can get it really steamy, you might try
> just hanging the skirt and seeing what will fall out of it that way.
>
>
>
> Dawn
>
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Re: [h-cost] Re. wrinkles out of silk

[Alexandria Doyle]

Thanks to all that have replied.  My first step is to hang the skirt
in the bathroom and will try the steam process first since it's the
least labor intensive, and the event I was going to display this at,
has been canceled because of the incoming hurricane.

Next step will be to try higher heat and more steam/damp cloth
pressing.   I do have a question - the iron I have doesn't steam as
well as I like (aside from burping water onto my fabric - yuk) and
usually when I want steam I have a small bottle of water on hand to
mist.  Does anyone see a problem with this?  I usually get a better
coverage that the iron will manage without huge wet spots.

alex

On Wed, Sep 10, 2008 at 2:42 PM, Martha Kelly <[EMAIL PROTECTED]> wrote:
> A hot iron with steam - absolutely, but did anybody mention a damp press
> cloth?  Damp, not wet. I iron the whole shebang with steam and then go back
> and catch resistant wrinkles with the damp cloth.
>
>
>
> Martha
>
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Re: [h-cost] wrinkles out of silk

[Alexandria Doyle]

I had tried pressing with a light mist at a notch or two higher on the
iron than the silk setting, without good results.  The duponi is a red
and black shot and the duschess is black, so no embroidery on it (yet)
that I have to worry about.

thanks
alex

On Tue, Sep 9, 2008 at 3:08 PM, Land of Oz <[EMAIL PROTECTED]> wrote:
> I find using a hot iron on silk makes wrinkles disappear in no time and
> preserves (or even enhances) the crisp hand.  Try it on a scrap if you can.
> Just be careful not to scortch, of course.
>
> If there is anything printed or embroidered on the fabric, be sure to test
> that as well!
>
> Denise B
>
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[h-cost] wrinkles out of silk

[Alexandria Doyle]

I have a skirt i put together, one silk of duponi and the second of a
duchess satin, both silk.  How to I get wrinkles out of these fabrics?

The duchess satin is very wrinkled from it's time in storage between
purchase and use (several years, I'm sad to say) and yes, there's
crease marks on the duponi as well, though not as many.  I've tried
lightly pressing, but it had little to no effect.

The skirt is three panels of fabric, floor length, (more in one panel
for a train) and pleated to a waistband.  I plan to attach a velvet
guard to the front side openings and along the hem after beading
and/or couching of much gold cord.I'm hoping that will weight it
down and tame the wrinkles at the very least, but what can I do in the
mean time?

Dampen and toss in warm dryer?  Press with a higher heat?  Use Steam
with higher heat?  obviously I don't want to ruin the fabric and I
definitely don't want to lose the crispness of the duponi.

what should I do?

alex


-- 
"I'm buying this fabric/book now in case I have an emergency...you
know, having to suddenly make presents for everyone, sickness,flood,
injury, mosquito infestations, not enough silk in the house, it's
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Re: [h-cost] general fitting questions

[Alexandria Doyle]

Lower the sleeve cap curve.  If you look at the garment in the flat
I'll bet the sleeves naturally lay pointed straight down.  Rotate the
sleeve up until you get the motion/position you want.  keeping the
armhole opening as small as possible will help with that too.

alex

> From: Dawn <[EMAIL PROTECTED]>

> I made up Vogue 7733 to wear at an event last week and had some fitting
> issues with it.
>
> http://img.sewingtoday.com/cat/2/itm_img/V7733.jpg
>
> Here's a bad pic of me wearing it:
>
> http://www.reddawn.net/temp/DSCN3883.jpg
>
> I know how to solve the falling-off-the-shoulders problem. What was
> killing me is that I can't raise my arms in this thing. The model in the
> first image demonstrates the limit of range-of-motion available. I had
> trouble just getting my shoulder bag on my shoulder because I couldn't
> lift my arms enough.  How do I fix this? What do I need to adjust on the
> pattern so I can do more than just stand around and look pretty wearing
> this top? I don't need to do jumping jacks, but I couldn't even push my
> hair out of my face without difficulty.
>
>
> Dawn
>
>
>
-- 
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know, having to suddenly make presents for everyone, sickness,flood,
injury, mosquito infestations, not enough silk in the house, it's
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Re: [h-cost] Fwd: 16th-century Mechanical doll

[Alexandria Doyle]

I'm pretty sure all the listings indicate that it's an automation,
though some don't go into much detail.  I've seen one photo from the
other side view but I suspect that it is a reversed photo.

alex

On Thu, Aug 14, 2008 at 11:28 AM, Saragrace Knauf <[EMAIL PROTECTED]> wrote:
>
> It seemed familiar to me, but I don't know that I remember it being an 
> automaton...  The fabric seems to be in excellent shape.
> Sg
>
>
>> Date: Thu, 14 Aug 2008 09:42:01 -0500
>> From: [EMAIL PROTECTED]
>> To: [EMAIL PROTECTED]
>> Subject: Re: [h-cost] Fwd: 16th-century Mechanical doll
>>
>> This lady shows up in some of the doll histories, but the photo and
>> blurb posted are about all that's included - if that much
>>
>> alex
>>
>> On Thu, Aug 14, 2008 at 8:32 AM, Saragrace Knauf <[EMAIL PROTECTED]> wrote:
>> > That is really cool.  I'd sure like to see more detailed pictures.
>> > Sg
>> >
>> >
>> >
>> >> To: [EMAIL PROTECTED]
>> >> From: [EMAIL PROTECTED]
>> >> Date: Thu, 14 Aug 2008 05:37:39 -0400
>> >> Subject: [h-cost] Fwd:  16th-century Mechanical doll
>> >>
>> >>
>
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Re: [h-cost] Fwd: 16th-century Mechanical doll

[Alexandria Doyle]

This lady shows up in some of the doll histories, but the photo and
blurb posted are about all that's included - if that much

alex

On Thu, Aug 14, 2008 at 8:32 AM, Saragrace Knauf <[EMAIL PROTECTED]> wrote:
> That is really cool.  I'd sure like to see more detailed pictures.
> Sg
>
>
>
>> To: [EMAIL PROTECTED]
>> From: [EMAIL PROTECTED]
>> Date: Thu, 14 Aug 2008 05:37:39 -0400
>> Subject: [h-cost] Fwd:  16th-century Mechanical doll
>>
>>
>>
>> Begin forwarded message:
>>
>> > From: "Jocelyn Hinkle" <[EMAIL PROTECTED]>
>> >
>> > I was browsing the Kunsthistoriches Museum collection and ran
>> > across this
>> > mechanical doll
>> > http://www.khm.at/staticE/page1808.html
>> > Mid 16th century
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Re: [h-cost] crepines?

[Alexandria Doyle]

I did a quick google search and the word "crepin" (Singular?) shows up
frequently as a name- various people and seems to be a location names
as well.  I think there's a disease as well.
the word "crepiner" shows up again as a name, though not as much under
the first search, and as I believe a piece of a musical instrument.
I'm not 100% sure of the context, since the original site was danish
and I was looking at a translated version.  There were a number of
danish sites and/or books on the web that used this word.  You want to
take a look and see.

alex

On Fri, Jul 4, 2008 at 10:16 AM, Leif og Bjarne Drews
<[EMAIL PROTECTED]> wrote:
> Sorry for the confusion, the word is CREPINER and when the word ends with ER
> it is multiple.
>
> Bjarne
>>> A friend found a box in an archive, containing letters and bills. One of
>>> the bills was for a young girl in 1748, she had boaght caps, stockings,
>>> gloves, piano lessons and linnens for embroidery. There was also a pannier
>>> with matching "crepiner" in danish. Is there a similar word in french,
>>> german for crepines? Could it be skirts, to cover the panniers with? Rolls?
>>> I have never seen this word before, and wondered if any have heard
>>> anything similar. I know it is difficult because its danish, but crepins
>>> dont sound danish to me att all...
>>>
>>> Thanks
>>>
>>> Bjarne
-- 
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Re: [h-cost] More help with Spanish gown

[Alexandria Doyle]

> Oh! That makes sense! Recently I judged an SCA A&S contest and in the
> "household" class was a lovely bookbinding display, including a
> reprint of an article. In it it discusses that the majority of book
> covers from the North are made from wood while most of those from
> Italy are made from pasting layers of the first pages together- this
> was from a single though large collection. I do wonder if it has
> anything to do with bora and other wildlife that eats wood as the few
> wooden book covers from Italy are full of such creatures.
>
> I did initially find the image on another site and it is also
> available on AllPosters.com
> http://commons.wikimedia.org/wiki/Image:Uczta_monarsza.jpg
>

I think most of the art historians think it has to do with climate.
It's much easier to get air to the back of a canvas panel than it is
to a wooden one, and warpage was a big issue.  Climate was one of the
major influences that encouraged oil painting to be "developed" in the
North, made popular and then have it move South.  I say "developed"
because it was used earlier than the credited "discovery" of oil
painting, of about 1410 by Hubert or John Van Eyck.  Prior to this,
the means to dry an oil painting involved sitting it in the sun.
Which if it wasn't done right, could cause the paint to crackle,
ruining a painting before it might even be finished.  It's believed
probably Hubert, the older brother did some experimenting with
additives to the oil to get something that would dry in the shade and
not be quite so temperamental.
into the fifteen century there's comments by the Flemish artists that
comment on those outrageous Italians that paint on canvas, and once
the painting is dry to roll it and carry it about.

Anyway, I did a survey of 16th century portraits recently and it did
seem to follow that the Northern areas, England included did more
panel paintings, and Italy, France and Spain were more canvas
oriented.  Oh, and if anyone cares, it didn't seem to matter if you
were royalty or just in that upper class as to the size of the
portrait painting, or proportions of the piece - though a ratio
similar to the standard canvases available today was used.

alex
looking at paintings because they're paintings these days, rather than
just for the costume content, but finding much of the accumulative
library working with this new study as well as the old subjects.
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Re: [h-cost] More help with Spanish gown

[Alexandria Doyle]

> >
> > While I have my doubts that this is Coello (the feel of the painting
> > is very Netherlandish) and it is post-mortem, the figure with her back
> > to us is Isabel de Valois
>
> Doesn't feel Spanish at all, does it? I was thinking it looked
> English. In any case, it looks Northern to me...
>

http://www.kalipedia.com/arte/tema/pintura.html?x=20070718klparthis_89.Kes&ap=3


Since I don't have any understanding of the language this site is in,
can someone who does, check and see if they tell of the medium for the
painting?  If it's an oil painting and on panel (wood of some sort)
it's more likely to be Northern, while canvas was more typically used
for oil paintings in Italy, Spain, and France in this period.

There are exceptions to this generalization, of course, but the
Northern painters favored wood, the Southern painters favored canvas -
it wasn't until sometime after this period that the Northern painters
also moved to canvas as well.

alex
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Re: [h-cost] T-Tunics -help fitting

[Alexandria Doyle]

One of the things I've done is make the main panel wider at the hem
and narrower at the shoulders (maybe only in the front panel) for the
guys with the gut.  I liken it to dealing with a pregnant women's
belly.  You don't necessarily need a wider back, just room in the
front. that keeps the gores on the sides the same size and the flow is
better.  I took this from looking at the diagrams of existent clothing
on Marc Carlson's site.

alex

On 6/19/08, J A Urbik <[EMAIL PROTECTED]> wrote:
>
> question 1) Hubby has grown quite a beer belly, which is a bit of a fitting
> challenge.  I have some methods, and i base the basic construction on
> http://www.virtue.to/articles/tunic_worksheet.html, but i am always having
> trouble dealing with how to adjust the fit so that the shoulders are not too
> big, yet the belly drapes ok, and the gores do have to start directly under
> the arms.  if anyone has pointers on how to gracefully manage t-tunics so
> that they look nice and fit all parts of the body, i would be most grateful.
> I end up not making the main tunic a rectangle, but a more of a trapazoid,
> and if i need to i can making a drawing and post it, but I assume that
> ya'all have better methods then i do, so what would be the point, but if you
> want me to, I can post.
>


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Re: [h-cost] Danish Renaissance dress.

[Alexandria Doyle]

Because the top of this is rounded, rather than flat, I'd go with a
padded roll/cushion kind of thing.

The wheel fathingales were also much larger in portion to the waist
than this one is, though it's bigger than a typical padded hip/bum
roll.  Maybe a transtional style?

The shape I'd go with would be a "c" shape for the waist with a larger
"C" for the outer edge with the distance at the sides about 6" inches
(15 cm) maybe a little larger in the back.  Thickness of the pad would
be what sits best on the hips to make the skirts stand out as
required.

hope this helps
alex

On 5/15/08, Leif og Bjarne Drews <[EMAIL PROTECTED]> wrote:
> Hi all,
> I have received some close up photos of the portrait i am going to make the 
> dress from, and i have uploaded to my webpage, mind the big files!
> http://www.my-drewscostumes.dk/br.htm
> Am i right to suggest that this could be a small wheelfarthingale?
> To me the angle of the bodice - skirt is nearly 90 degrees.
> Its not possible to see because of both hands covering the area, but i would 
> make a pleated frill on top of the wheel? Am i quite wrong with this, please 
> let me know what you think:
> Comments most welcome and greatly apreciated.
> Portrait painted in 1614 and Denmark was a little behind new fashions.
>
> Bjarne
> ___
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> h-costume@mail.indra.com
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>


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Re: [h-cost] Knitting machines

[Alexandria Doyle]

>
> I suppose I should consider taking up hand knitting, but I've got this
> childhood block about it. I suppose counting stitches is not so bad if
> you're an adult. I suppose I was also influenced by my mother's strong
> preference for crocheting over knitting.
>

I've also found that there are those who love crochet and hate
knitting, and other that love knitting and hate crochet.

I can do both, but I'd rather be knitting.

It's kind of like those that embroider, some like charted
designs/techniques and others that prefer free form work.

alex
-- 
"I'm buying this fabric/book now in case I have an emergency...you
know, having to suddenly make presents for everyone, sickness,flood,
injury, mosquito infestations, not enough silk in the house, it's
Friday..." ;)
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[h-cost] scanning large format items Was:How Many Costume Books

[Alexandria Doyle]

In the last five years are so I've worked in companies that had large
format scanners, but the document is fed into the machine, not laid on
a flat bed.  Most of these are gentle enough with the material being
scanned - some of the drawings I've worked with were originally done
in the 1950's and are pretty fragile considering the use they have
had.

So if it's not bound in a book, it could go into the scanner, if it is bound...

Scanning rate is determined by the job, and can result in large files
as mentioned.

I'd check out some of the companies that sell the paper and do
reproduction jobs for engineering firms.  they might be able to scan
the image at a lesser cost than some of the standard copy places.

alex

On 4/30/08, Beth and Bob Matney <[EMAIL PROTECTED]> wrote:
>> Blueprints (in the old days) were done with a diazo (ammonia)
> process. Most are now directly printed from computer originals,
> either 11 by 17 or using large format inkjet printers (usually 36 or
> 48 inches wide).
>
> Beth Matney
>
> >Date: Wed, 30 Apr 2008 10:40:20 -0700 (PDT)
> >From: Ann Catelli <[EMAIL PROTECTED]>
> >
> >Blueprints--check with a local construction company or two; there
> >ought to be somewhere that has a very large platen glass, and the
> >construction industry will likely use it.
> >Most blueprints are individually fed through a roller system; not
> >suitable for a bound book, or any antique paper.
> >
> >Ann in CT
>--
"I'm buying this fabric/book now in case I have an emergency...you
know, having to suddenly make presents for everyone, sickness,flood,
injury, mosquito infestations, not enough silk in the house, it's
Friday..."  ;)
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Re: [h-cost] How Many Costume Books/Magazines/Photos Do You Own

[Alexandria Doyle]

> > About how many costume/fashion related books or magazines do you own?

I have about 3 liner feet of books specific to costuming with that
much and more that are technically on other subjects but are frequent
used for costuming research.

> > What was the first one you purchased?  Where did you purchase it?

I am not sure any more which was the first, there were several that I
considered "mine" that I frequently had checked out of the library
before I bought them.  I think I've been collecting costuming books
since the early nineties.

> > What was your most recent purchase?

Tudor Tailor for actual costume book, though the art book on portraits
have some wonderful illustrations.

> > What do you think was the best deal that you have every made when 
> > purchasing a publication?

There was a merchant offering QEWU for half off, son was preparing to
purchase a gift card for the local book store for my birthday that I
managed to convince him to put toward this book, ended up paying 25
plus shipping.

> > About how many period photographs do you own just for the costuming?

Lost of post cards since I do pre-1600 costuming, but no photos per se

> > What book or magazine is your most treasured...if your house was on fire, 
> > you would take it with you.

I would be hard press to chose, just one book, and it might just be an
embroidery book if I could only take one or two - Like Digby's
Elizabethan Embroidery or Schettue's the Art of Embroidery

> > What is the worse costume book that you own?  I know Robin has a collection!
Braun and sneider left by an ex who still thought it was a good book
>>
> > Do you have a room devoted to your collection?
>
My library and I share a bed room.

> > When did you start collecting?

Collecting books? I'd say about the eights, costuming in the nineties

> > Do you consider your collection for business or pleasure?

pleasure

> > How many sewing machines do you own?  What types and age?

My main machine is the 1952 Pfaff that I got from my mother about 28
years ago. (she'd gotten it "slightly used" in '54) I have to replace
the light bulb - it finally burnt out and I don't have a clue how to
get the old one out, I'm thinking I might need a manual aftr all...

I also have three other machines, either gifts or flea market, all are
circa 1960's, singer, kenmore, and I'm not sure on that last one.

> > How many sewing patterns do you own?

I've actually ended up with several file boxes of patterns from
someone who collected costume patterns on those five for a dollar
sales.  That was three/four years ago and while I've found a home for
a few of them since I have  most of them and rarely used such things.
I prefer to drape for anything new.  I have two or three file boxes of
those patterns.

alex
>
-- 
"I'm buying this fabric/book now in case I have an emergency...you
know, having to suddenly make presents for everyone, sickness,flood,
injury, mosquito infestations, not enough silk in the house, it's
Friday..."  ;)
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Re: [h-cost] OT Re: Regional accents, was Making history hip

[Alexandria Doyle]

We have a lady in our local group who is British, complete with
accent.   There have been those who didn't know she was British
complain about the "cheesy" accent, thinking she was faking it.   Even
when pointed out she's not faking, they still insisted it sounded
cheesy.

alex

On Fri, Apr 4, 2008 at 7:01 AM, Ruth Anne Baumgartner
<[EMAIL PROTECTED]> wrote:
> And then there are the Americans who assume EVERY British accent is a
>  HIGH-CLASS British accent. Someone said to me about an acquaintance
>  who does indeed speak with a Cockney accent, "I love to hear his
>  accent! It's so refined!" And a friend who works at the stage supply
>  company says she can always recognize one particular community-
>  theater box office tape on the phone because the speaker "has a phony
>  British accent, which people seem to equate with being artistes!"
>  (No offense intended to any true Brits out there who ARE artistes, or
>  to Cockneys who ARE refined!)
>
>  --Ruth Anne Baumgartner
>  gipsy scholar and amateur costumer
>
>  --
"I'm buying this fabric/book now in case I have an emergency...you
know, having to suddenly make presents for everyone, sickness,flood,
injury, mosquito infestations, not enough silk in the house, it's
Friday..." ;)
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Re: [h-cost] Adding color to silk

[Alexandria Doyle]

On Tue, Apr 1, 2008 at 8:09 AM, Dianne <[EMAIL PROTECTED]> wrote:
>
>  I can't imagine that watercolors or oils would work well at all.
>
>  I would either use acrylic, heavily thinned with a textile medium, or bite
>  the bullet and buy silk paints from Dharma.
>
>  Dianne
>


Thanks to all that have commented.  I just have a question, for those
that reccomended acrylic paints, do you use oil paints at all?

One of my thoughts here, is that we have some evidence that fabrics
were painted on for clothing prior to 1600, if only for children's or
special occasion clothing that wasn't worn more than once or twice.
There is the painting of Elizabeth from Bess of Hardwick Hall fame
that looks to be painted fabric - though whether that was a real dress
is not certain either.  Anyway, it would seem like the oil paint would
have been what was used to permanently mark fabric.  I have only just
begun working with oil paints myself, so I don't know how they handle
in this case, whereas I have used acrylics on fabric.  I had found
that if the paint is thinned it doesn't crack or flaked, but the
chance it will soak to areas you don't want, can be problematic.

I suspect that I will be marking out the outfit I am making on my
fabric, and then I'll test painting techniques on the scraps.

Purchasing additional/specialty paints and dyes at this point is cost
prohibitive when I do have  these other paints in house and I'm
sitting at home right now waiting for the plumber to show.

thanks
alex


-- 
"I'm buying this fabric/book now in case I have an emergency...you
know, having to suddenly make presents for everyone, sickness,flood,
injury, mosquito infestations, not enough silk in the house, it's
Friday..." ;)
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[h-cost] Adding color to silk

[Alexandria Doyle]

I have a length of silk taffeta that has an embroidery pattern that is
invokative of an Elizabethan pattern, except that it is all off-white
on off-white.  I would like to add color to the flowers without
embroidering them all.
So I was thinking of painting dabs or washes of color to those
flowers.  I know that there are special paints that are typically used
on silk, but I was wondering about using paints closer to hand -
watercolors, gouaches, acryllics and oils?   Anyone have experience of
using these on silk fabric?  This gown will be worn occasionally -
maybe two or three times a year at most, and I expect it to be hand
washed only when it needs it.

thanks
alex
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Re: [h-cost] danish renaissance costumes

[Alexandria Doyle]

My two cents...
I would guess linen coif under the decorated one.  I believe it was
typical to do so.
I think this is a separate skirt and bodice.  There is just a hint of
the tabs at the bottom of the bodice that usually indicates separates
(sleeves or skirts), which is reinforced by the way the skirt opens to
show the underskirt.
The neck line/collar reminds me of some late Elizabethan open
bodice/doublet styles that I've seen in QEWU.  I'll look again tonight
to see if I can pull examples.
I think I can see little tabs/epaulettes at the armscyes.  They don't
look like much more than a inch or two of a wide ribbon folded in half
and sewn done... at least that's how I've gotten that look before.
I don't know that I've seen buttons on a woman's bodice.  It always
seems to be lacing in the back opening or hook and eyes set into the
seams for a front opening.  If there were a separate bodice it could
go either way, but with the way the top opens I'd make it front
opening.
I haven't seen buttons at the sleeves cuff, during this period.
If this is going to be worn by a manikin than I would either make the
corset for the shaping, or bone the bodice so it holds the shape.  I
know that my gowns that I put on a modern manikin or sewing form,
don't look right without the corset.
if the skirt is heavy enough the bum roll may be enough since these
skirts don't spread really wide.

alex
for what it's worth...

On Tue, Mar 18, 2008 at 2:57 PM, Leif og Bjarne Drews
<[EMAIL PROTECTED]> wrote:
> http://www.my-drewscostumes.dk/br2.htm
>
>  I see that the coif is not edged with lace, is it a linnen coif she has 
> under the black pearl embroidered coif, wich shows in the front?
>  Would this dress have the bodice sewed on to the skirt? Or is it seperate?
>  Would the neck cut of the bodice be the same as the white collar? So that 
> the white collar is resting on a black collar wich belongs to the bodice?
>  Do you think the bodice has epaulettes on the armscyes?
>  How is the bodice closed in the front, should i make black fabric covered 
> buttons?
>  Does the sleaves also have buttons at the wrist?
>  I am not going to make the costume compleately with original underwear, only 
> just make the costume, so that it looks like the portrait.
>  Do you think i need to make a corset to get the right shape?
>  Is it enough support for the skirts just to make a small bumroll?
>
>  These are my first questions for you, the male costume is comming later, 
> they want me to start with the female costume.
>
>  Bjarne
>  ___
>


-- 
"I'm buying this fabric/book now in case I have an emergency...you
know, having to suddenly make presents for everyone, sickness,flood,
injury, mosquito infestations, not enough silk in the house, it's
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Re: [h-cost] nice hems

[Alexandria Doyle]

I put my gown on and see where the skirt is touching the floor and put
a pin there.  If I need to I'll step on it to create a fold so when I
bend over to pin I know where the pin goes.  Then I straighten and
check that the pin is in the place that I want it to be.  I keep doing
that until I have the whole of the hem marked.  This way if you need
extra in the back or front, depending on where your curves are, this
is automatically determined.

alex

On Feb 1, 2008 5:02 AM, Claire Clarke <[EMAIL PROTECTED]> wrote:
> So I've finally decided I need to do something about my appalling hems.
> I'm talking about getting them level, not actually sewing them. Especially
> on dresses with large volumes of skirt (I'm rather fond of large volumes of
> skirt) that are floor length or longer. For instance, houppelandes or
> cotehardies with 6m or more hems.
>

-- 
"I'm buying this fabric/book now in case I have an emergency...you
know, having to suddenly make presents for everyone, sickness,flood,
injury, mosquito infestations, not enough silk in the house, it's
Friday..."  ;)
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Re: [h-cost] off topic price of candlesticks

[Alexandria Doyle]

If they were using the really good stuff, like beeswax than I could
see the cost being up there for those candles.  If they were tallow
candles, that would smoke more and could have a less than desirable
scent, those would be much cheaper...

alex

On Jan 25, 2008 7:39 AM, LLOYD MITCHELL <[EMAIL PROTECTED]> wrote:
> I assume that you mean candles; the contents of which was readily available
> from the kitchens and other living quarters heated by fireplaces. The number
> of 10,000 is astounding, however. Courtiers were often responsible for their
> own furnishings.  The Invitation to live at Versailles came with a price.
>
> Kathleen
>
> - Original Message -
> From: "Leif og Bjarne Drews" <[EMAIL PROTECTED]>
> To: "Historical Costume" <[EMAIL PROTECTED]>
> Sent: Friday, January 25, 2008 8:00 AM
> Subject: [h-cost] off topic price of candlesticks
>
>
> I watched a documentary film about Marie Antoinette from swedish television
> with a swedish story teller. I believe the original of the film is french.
> Anyway he tells that they burned 1 candlesticks every day at Versailles
> and the price of 1 candlestick would be as much as the vages of a worker for
> a week!
> I dont wonder why the people got angry then, but could this really be true!
>
> Bjarne
>

-- 
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know, having to suddenly make presents for everyone, sickness,flood,
injury, mosquito infestations, not enough silk in the house, it's
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Re: [h-cost] Renaissance shirt question

[Alexandria Doyle]

When I've had this problem on modern shirts it's usually been because
the neckline at the back isn't cut deep enough, so the shirt shifts to
fall where it should, making it choke you.

alex

On Jan 9, 2008 9:45 AM, Frau Anna Bleucher <[EMAIL PROTECTED]> wrote:
> We have made several shirts and keep running into the same problem. The
> neck consistantly pulls to the back. That leaves us constantly pulling
> the shirt to the front to keep from choking.
>
> Our theory is that our gusset is either in the wrong place or not large
> enough or both.
>
> Has anyone else had this problem? Does anyone have suggestions on how
> to correct it?
>
> Thank you,
>
> Connie
>
>
> --
> No virus found in this outgoing message.
> Checked by AVG Free Edition.
> Version: 7.5.516 / Virus Database: 269.19.0/1216 - Release Date: 1/9/2008 
> 10:16 AM
>
>
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injury, mosquito infestations, not enough silk in the house, it's
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Re: [h-cost] removing blod stains

[Alexandria Doyle]

I don't know about more expensive fabrics but I've used regular
shampoo to remove blood from clothing.  There was a lot of blood - I
was at the scene of a car accident involving a small child that these
men just pulled from the vehicle and set down at the side of the
highway.  She had a cut on her head, which bleed a lot.  I held her,
putting pressure on the cut until the emergency people arrived.  I
ended up being soaked through because of rain and blood.  Still a
handwashing with shampoo removed the blood from one of my favorite
sweaters.

I haven't had to test it on needlework or something I was sewing, so I
don't know about smaller patches

alex

On Dec 13, 2007 1:29 PM, Leif og Bjarne Drews <[EMAIL PROTECTED]> wrote:
> I remember i saw a tv programme from the workshop at Chanel where all the 
> work of the couturieres was shown.
> It happened from time to time, that some of the ladies, stuck their fingers 
> and bleeded on the haute couture creations, but then they had a lady they 
> send for who emediately came and removed the blod stains.
> What do you think they used?
> I have often wondered about this, and also because sometimes it happens for 
> myself two.
> What do you do?
>
> Bjarne
>
> ___



-- 
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know, having to suddenly make presents for everyone, sickness,flood,
injury, mosquito infestations, not enough silk in the house, it's
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Re: [h-cost]sewing needle breakage

[Alexandria Doyle]

On Nov 30, 2007 11:01 AM,  <[EMAIL PROTECTED]> wrote:
> Hi,
> I don't know what the "usual expectation" is -- not being snarky, I just 
> often am puzzled by how our ancestors managed when needles were scarce and 
> expensive, given that they *do* bend and break.



See, I wear the coating off as mentioned earlier, but I rarely break
hand sewing needles.  usually that happens when trying to pull a
needle threaded with a too large thread, I think.  I tend to maintain
a hold on my needles that is rather light.  If I get a twist in my
thread that brings the arm stretch up shorter than what I expect the
needle is usually out of my hand.

Then again, I prefer embroidery, usually styles that I can use
tapestry needles so I don't poke my fingers.

alex
-- 
I can handle anything that life throws at me.
I may not be able to handle it well, or correctly, or gracefully, or
with finesse, or expediently
-- but I will handle it.
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Re: [h-cost] sharp sewing needles

[Alexandria Doyle]

 There are some interesting pictures of the range of needle sizes
within some of the common types here:
http://www.colonialneedle.com/html/about-needles.html
> The page is called "all about needles" but it actually leaves off some of the 
> things I most want to know, like what it means when a packet says the size is 
> 4/8 or 7/9, or why you might want your needles gold or platinum plated, or 
> how you can tell what length a needle will be. Perhaps someone on the list 
> will enlighten me on those points? ;-)
> Best,
> Lauren

I was told that the gold plating would keep the finishing from wearing
off the needle.  I didn't find it that helpful.  I just find that no
matter what I wear off the finish when I'm working on a project, I'm
rather obsessive when I'm working which means a lot of hours close
together on the project.

As to the length, there are some stitches that are easier if you have
a smaller needle, while others are better with a larger needle.  In
general I have found that the needle ought to match the size of the
thread/floss/cord/ribbon you are working with.  Larger than your
thread and you  can leave big holes, smaller that your thread and you
fight to get it through.  Some of the "tougher" fabrics to work on -
like velvet or tight weaves, the smaller the diameter the needle the
better.

alex
hope this helps



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I may not be able to handle it well, or correctly, or gracefully, or
with finesse, or expediently
-- but I will handle it.
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Re: [h-cost] Re: embroidery machine (cahuff)

[Alexandria Doyle]

> I would recommend actually trying a few of them, and take your own
> fabrics to test with, samples of the things you typically sew.  We
> use such different fabrics than the general population that even if
> the store has anything other than the stiff cardboardy test fabric,
> it won't be anything like our costume fabrics. Sometimes the actual
> features are pretty equivalent; but the feel and process differs. If
> often comes down to the personal feel you have for the machine.
>


Oh, something else that you want to look at, the threading of machine
and bobbins.  I do remember my mom being very frustrated with the
serger she had first gotten because you practically had to stand on
your head to thread it.

alex
-- 
I can handle anything that life throws at me.
I may not be able to handle it well, or correctly, or gracefully, or
with finesse, or expediently
-- but I will handle it.
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Re: [h-cost] Embroidery sewing machine

[Alexandria Doyle]

On Nov 9, 2007 5:33 AM,  <[EMAIL PROTECTED]> wrote:
>
> In a message dated 11/9/2007 3:35:23 AM Eastern Standard Time,
> [EMAIL PROTECTED] writes:
>
> After  looking at s many I'm confused (not that it takes much to do that)
> and  can't make up my mind. My question is this  in your opinion which one do
>  you "feel" is best and why you feel this way?
>
>
> I don't have experience with their embroidery machines, but I would  probably
> go with a Bernina.  I do have a regular Bernina machine and,  through the
> shop where I bought it, have heard people who are into embroidery  and are 
> very
> happy with theirs.  The people who make Berninas, in  Switzerland, really seem
> to care about producing a quality product.
>
> Ann Wass
>
>
Along those same lines, I have a pffaff, and I love it.  My mother
loved it too before she let me have it, some twenty-five years ago.
since then she has had several pfaff's that do all kinds of things.
she purchased a nearly top of the line pfaff for machine embroidery
and really likes it, even several years later.

I've always done my embroidery by hand so I can't offer much help with the why's

alex



-- 
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with finesse, or expediently
-- but I will handle it.
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Re: [h-cost] on old subject - Elizabethan Corsets

[Alexandria Doyle]

The date is roughly 1575.  The ultimate project is a gown similar to
Elizabeth I's in the Pelican Portrait.

I am going from the skin out, embroidered smock, bodies/corset,
petticoats, farthingale, etc before I get to the gown itself.

I was intrigued with the idea that the earlier corsets weren't "white"
or necessarily an undergarment.

alex


On Nov 1, 2007 2:10 PM, Exstock <[EMAIL PROTECTED]> wrote:
> - Original Message -----
> From: "Alexandria Doyle" <[EMAIL PROTECTED]>
> > I just made a pair of bodices that was boned, yet intended to wear as
> > the outer garment on more casual occasions, under a more formal gown
> > when "dressing up".  I am trying to gather all the documentation that
> > I can on the subject to support / explain my choices for this and a
> > bigger project...
>
> What date are you going for, in each project?
>
> -E House
>
>
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[h-cost] on old subject - Elizabethan Corsets

[Alexandria Doyle]

In going through an old account I found the following email and was
wondering if those involved have more information?

I just made a pair of bodices that was boned, yet intended to wear as
the outer garment on more casual occasions, under a more formal gown
when "dressing up".  I am trying to gather all the documentation that
I can on the subject to support / explain my choices for this and a
bigger project...

thanks
alex


E House <[EMAIL PROTECTED]> wrote:
 From: "E House" <[EMAIL PROTECTED]>
To: "Historical Costume" <[EMAIL PROTECTED]>
Subject: Re: [h-cost] Non-Elizabethan Tudor Corset a Myth! (was
 PrincessElizabeth)
Date: Wed, 1 Mar 2006 11:53:36 -0600
CC:

 - Original Message -
From: "Kimiko Small"
> While I agree with you, I would love to know the specific documentation
> you have on this. I am working on an upcoming show and tell lecture for my
> faire community where I deal with various Ren-faire costuming myths being
> busted by showing the historical images, if any, or other historical
> documentation that is available. While this was something I guessed at, it
> isn't something I've been able to show a "proof" of either way. I would
> love to be able to do so.


Well, this is going to be the short version! I have a room full of new cloth
and I want to go sew now! =}

It is largely deductive; it can't help but be, in the absence of some
document from 1550 saying "I wish mightily that they woulde make alle good
speed to invent the bloddy corset already, els I will surely bust myne
seames."

However, the best proof lies in its conspicuous absense in places where it
certainly should be present if worn. For example, here's a quote from
1532-5 by Francois Rabelais:
"Next to the smock they put on the pretty kirtle or vasquin of pure silk
chamelot; above that went the taffatie or tabi vardingale, of white, red
tanne, gray or any other colour; above this taffatie petticoat they had
another of cloth of tissue or brocade, embroidered with fine gold, and
interlaced with needlework or as they thought good."
Now if they wore corsets, it would surely be listed here, yes? You find the
same conspicuous absence in inventories of the day. Instead, the
inventories and other accounts of the day DO list what they used instead.
In the quote above, it is the "pretty kirtle or vasquin" [the vasquine being
a garment with a stiffened bodice and a skirt]. In an inventory of the era,
it is: "3 ells white Parchet (fustian) under the bodice at 27 pfund for
stiffening." For Katherine of Aragon in her last years, it was "Item, three
breeste clothis of Hollande cloth with tapis of the same."

Also helpful are descriptions by foreigners of the odd things they found
while traveling. Here's a quote from a travelogue by a Spanish courtier
who accompanied Prince Phillip to England in 1554; I'm including more that
necessary here, because it's funny, and also useful to anyone dealing with
this period:
"The Queen, however, is not at all beautiful; small, and rather flabby than
fat, she is of white complexion and fair, and has no eyebrows. She is a
perfect saint, and dresses badly. All the women here wear petticoats of
coloured cloth without admixture of silk, and above come coloured robes of
damask, satin or velvet, very badly cut. Their shoes are sometimes of
velvet, but more often of leather, and they wear black stockings and show
their legs up to the knee when walking. As their skirts are not long they
are passably immodest when walking, and even when seated. They are neither
beautiful nor graceful when dancing, and their dances only consist in
strutting or trotting about. Not a single Spanish gentleman has fallen in
love with one of them nor takes any interest in them, and their feelings for
us are the same."
Here we get more speculative and deductive; the Spanish almost certainly
originated the vasquine (described above) and therefore are used to seeing
firm figures. In fact, the supported body is called a "spagnolized body" in
1588. As one can easily fit over a firm underpinning such as the vasquine
(or a corset), clothing fit without the benefit of these firm underpinnings
will indeed look badly cut to a Spanish eye, and a Mary will indeed look
flabby without support.

The travelogue is also useful in tracking who's got it and who doesn't, when
it does arrive. For example, a Venetian ambassador visiting France described
the following in 1577:
"French women have inconcievably narrow waists ...[stuff about
farthingales]. Over the chemise they wear a corset or bodice, that they
call a "corps pique" which makes their shape more delicate and more slender.
It is fastened behind which helps show off the form of the bust."
This tells us that while the French had the corset in 1577, the Venetians
most likely did not. [Note: the word 'corset' here doesn't mean much, for
two reasons. First, this is a translation, and I don't know what word was
actually used in the original. Second, 'corset' didn't mean 'corset' in the
modern sens

Re: [h-cost] Halloween and the perception of costume

[Alexandria Doyle]

For the last couple of years I've taken my historical clothing and
added fantasy elements to them to make them "costumes" like last year
was the rust colored cote with the green wool over gown with leaf
dagged sleeves, added fall leaf garlands, make-up and jewelry and I
was "Autumn".  Took first place.

alex

On Oct 31, 2007 3:15 PM, Audrey Bergeron-Morin <[EMAIL PROTECTED]> wrote:
> I know I'm not the only one...
>
> I wanted to go to work all dressed up. I looked at my medieval
> clothing and I just couldn't bring myself to wear this to work. For
> one thing, it would be like cheating. And it wouldn't really be
> something unusual to wear, from my perspective, even if people at work
> have never seen me wearing it. And it would be kind of boring. And,
> also, well... they're not really costumes, are they?
>
> So, with a closet full of beautiful costumes, I had to go out of my
> way to scrounge together a fantasy gypsy outfit... and it's very nice
> too!
> ___
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>



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I may not be able to handle it well, or correctly, or gracefully, or
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Re: [h-cost] RE:pinking and slashing was: 3 'new' portraitsofQueenElizabeth

[Alexandria Doyle]

In PoF, there is a gown that it's noted was probably remade at some
point, because of the slashing patterns.  A portion of the skirt I
believe that didn't line up with the rest/all over scheme.  I'll have
to look that up as soon as I finish the current project and
Halloween...

alex

On Oct 30, 2007 4:03 PM, Sharon Collier <[EMAIL PROTECTED]> wrote:
> I think the idea was it so weakened the fabric, it couldn't be re-used. Or
> maybe it could be re-used, but not as originally intended. Silk could be
> used for a gown for a noblewoman, but only as facings for someone of lesser
> rank. I will try to remember/find where I saw the reference.
> S.
>
>
>
> So how would a middle class or poor person deal with a pinked or slashed
> hand me down?
>

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I may not be able to handle it well, or correctly, or gracefully, or
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Re: [h-cost] cleaning problem

[Alexandria Doyle]

I've used Oxyclean on silk that my granddaughter spilt soda on, and it
was left for years before I got it back to clean.  It took several
soakings with the cleaner but did come clean.

alex

On 10/22/07, Sylvia Rognstad <[EMAIL PROTECTED]> wrote:
> I tried  spot remover, a laundry pretreater like Shout, and Zout.
> Has anyone tried Oxyclean?
>
> On Oct 22, 2007, at 11:42 AM, Sharon Collier wrote:
>
> > What things have you tried? Simple Green works well on dissolving
> > automotive
> > oil My son's basketball got smeared by rolling under a car and it was
> > the
> > only stuff to get it off.
> >
> > -Original Message-
> > From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]
> > On
> > Behalf Of Sylvia Rognstad
> > Sent: Sunday, October 21, 2007 7:00 PM
> > To: Historical Costume
> > Subject: [h-cost] cleaning problem
> >
> > I know this isn't exactly costume related, but since others on the list
> > often have problems cleaning costumes and antique clothing, I thought
> > I'd
> > see if anyone had a solution for a grease stain that has been through
> > the
> > wash twice and treated with spot removers and other stuff and still
> > remains.
> > I may have to give up on it but I thought I'd see if someone has had
> > good
> > luck with some product  haven't tried.
> >
> > Sylrog
> >
> > ___
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> >
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> >
>
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I may not be able to handle it well, or correctly, or gracefully, or
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Re: [h-cost] Cranach gown

[Alexandria Doyle]

I made something similar for a friend in broad cloth with limited
fabric available.  I cut my bands as needed, and I had an under layer
skirt of cotton sheeting, that I sewed the bands to.  With the layers
the skirt has the weight that it needs to drape properly and even
though it's in cotton, and meant as a test, it's still one of her
favorites.


On 10/6/07, Beteena Paradise <[EMAIL PROTECTED]> wrote:
> I already have the Period Patterns one, but my previous experience with them 
> is that it is so much work to refit the pattern that I could just as well 
> create the pattern from scratch. Which I might just do. ;-)  Otherwise I may 
> get Kass' german ladies pattern. What did you use?
>
>   Also, I was thinking of doing the alternating colors of the skirts by 
> sewing together the bands of fabric instead of applique (reverse or regular). 
> That is why I was concerned about he difference in weight between the damask 
> and the silk velvet. But I could get a heavier cotton velvet which might work 
> better and not be as slippery. I am also thinking of doing a plainer version 
> in wool first to get the kinks worked out and then do one in the grander 
> fabrics.
>
> Amy Cooper <[EMAIL PROTECTED]> wrote:
>
> Have you given any thought to patterns yet?
>
> -Amy
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I may not be able to handle it well, or correctly, or gracefully, or
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-- but I will handle it.
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Re: [h-cost] French hood for Elizabeth I

[Alexandria Doyle]

I've been working on historical type dolls for a couple of years now,
and I found the best place to get quality fabric for their gowns has
been the local thrift store.  A blouse of silk, a skirt of wool,
sometimes for as little as a dollar, with just enough fabric to make
the doll clothes, a good deal.

Sometimes the silk is too light weight, so I've lined it typically
with linen to give the hand the gowns need without being too much.

alex


> There used to be fabrics that could pass for Tudor and Rennaissance era
> fabrics in stores like JoAnns and Hancock Fabrics for people, but dolls
> below a certain size are almost impossible to shop for unless you are
> willing to embellish a base natural fiber fabric, like silk or wool,
> that are now very hard to find without spandex, nylon or a metallic that
> throws the authenticity off badly.
>
> Good luck on your project!
>
> Cindy Abel

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I may not be able to handle it well, or correctly, or gracefully, or
with finesse, or expediently
-- but I will handle it.
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Re: [h-cost] Re: Elizabethan Dressing Jackets

[Alexandria Doyle]

Is that an embroidered jacket or one of the knit ones?  The Boston MFA
seems to have several in their collection.

I'd love for this one you mention to have been an earlier version,
perhaps something Elizabeth might have worn as a child or young
princess, just so I can see if there was a progress in style or cut.

(sigh) Wishful thinking, that's all
alex


On 9/21/07, Dawn <[EMAIL PROTECTED]> wrote:
>   A fair warning to others, tho', it isnt Elizabethan. The
> > jacket in the portrait that they're copying is c 1614-18.
> >
>
> However, one of the pieces they reference might be. There's an
> embroidered jacket in the Boston MFA, done in silver and gold thread
> instead of multicolored, believed to have belonged to Elizabeth I. I
> remember seeing it several times when I was a student there.
> Unfortunately, I have never found a picture of it, in any book or
> online, since. I wonder if it is even still on display, given that it
> was 20 years ago. It was exquisite, and so tiny, looked like it was made
> for a 12 year old girl.
>
>
>
> Dawn
>
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Re: [h-cost] Elizabethan Dressing Jackets

[Alexandria Doyle]

So is there somewhere I can get a look at this article without buying
the book?  With a cut of hours, my budget has gotten really tight, and
I don't know how long it's going to last...

I was hoping I could make a jacket from some white, monochrome
embroidered silk  I already have in my stash.  I'm already making most
of the other elements from other sources, but I wanted to do a
painting posed like this one, to contrast the formal portrait I also
will be doing.  It's all part of a display to show the pieces and
parts of the ensemble in use, while allowing judges and other
interested parties to look over and inside the clothing and other
items.

thanks
alex

On 9/19/07, Robin Netherton <[EMAIL PROTECTED]> wrote:
>
> Alex wrote:
>
> > http://www.boughtonhouse.org.uk/htm/gallery2/paintings/countessofsoton.htm
>
> This is not my own area so I won't try to answer, but I do want to note that 
> Danielle Nunn-Weinberg, who is sometimes on this list, did a detailed study 
> of these jackets, including a point-by-point analysis of the Vernon portrait, 
> in volume 2 of Medieval Clothing and Textiles. The article is called "The 
> Matron Goes to the Masque: The Dual Identity of the English Embroidered 
> Jacket." I would strongly suggest you read this before you try to re-create 
> anything from this portrait, because it's chock-full of theatrical and 
> symbolic elements.
>
(SNIPPED)
> Danielle examined about 100 portraits showing jackets and seven extant 
> jackets. 10 of the portraits were painted before 1600. She doesn't have a lot 
> of detail about them, but I think it's worth reading the article to get a 
> sense of their line of development.
>
> Danielle may have more to say if she's reading this.
>
> --Robin
>
>

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[h-cost] Elizabethan Dressing Jackets

[Alexandria Doyle]

Good morning,

In looking at this painting of Elizabeth Vernon I had a few questions
and wondered what other's thoughts were on some of the elements of the
lady's costume.

http://www.boughtonhouse.org.uk/htm/gallery2/paintings/countessofsoton.htm

In particular, I am wondering if the smooth white we see is a lining
of the embroidered jacket, or is that her smock that is laid open to
show the falling lace collar against the jacket?

and I'm guessing that construction of the embroidered jacket is
similar to Margaret Layton (or is it Laton?)'s jacket that is still in
the V&A and there's a portrait somewhere of her wearing said jacket.
This jacket is dated to 1620, and Margaret's portrait to a few years
later.  Elizabeth's portrait is dated to 1600.

http://www.vam.ac.uk/vastatic/microsites/british_galleries/bg_styles/Style01b/objects/object5_2.html


And lastly, does anyone have leads as to what these jackets might have
looked like before the vogue for the polychrome embroidery as seen in
these paintings and artifacts that have all been dated to 1600 or
later?   I'm hoping to figure out what a lady in 1570-80 might have
worn.

alex
-- 
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I may not be able to handle it well, or correctly, or gracefully, or
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Re: [h-cost] Re: middle ages: braies for women?

[Alexandria Doyle]

> I've become a great wearer of braies not for warmth, but for comfort at
> sweaty, sticky summer events to keep my inner thighs safe from chafing.

>
> As for hose, as others have said we typically see women in knee-high hose,
> but if you've ever worn a skirt in the winter, you know how the wind can
> whistle around up underneath.  I see no reason why women wouldn't have worn
> nice tall, wooly chausses in the wintertime.  Evidence for this is another
> matter, of course, but I can't help but think practically about these
> things.
>
>  -Helena

My two cents on this, I have found that if you don't want the
chaffing, walk slower,  Living in south Texas, even when not in
costume, that if you walk slowly, chaffing is not an issue anymore.

The other thing I've found is that when your skirts drape upon the
ground, there's no draft and you stay quite warm.  Lift the skirts to
move about and then you get the drafts and cold.  It would seem
there's more to that fashion than conspicuous consumption.

for what it's worth

alex

-- 
I can handle anything that life throws at me.
I may not be able to handle it well, or correctly, or gracefully, or
with finesse, or expediently
-- but I will handle it.
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Re: [h-cost] RE: Elizabethan Gowns - to train or not to train

[Alexandria Doyle]

Sabine

That's for the site, it was interesting to see how you tackled various
elements.  Most of the gown I have worked out, such as the bodice and
sleeve rolls that I drafted and made into a simpler gown.  -the way I
did the sleeve rolls was to make them a roll around the arm but
included a diamond shaped gusset under the arm that was hand sewn to
the bodice - much as you would in the smock underarm seam.  This
allows the rolls to sit off the points of the shoulder as seen in the
original portrait.  I have found that the sleeves and partlet
underneath need to be "laced"  together to keep everything together,
and also the rolled sleeves is lined with linen that onto either linen
or velvet- my two trial sleeve types create a kind of velcro to help
hold the rolls up where they need to be.

This version of the gown isn't intended to be an exact replica, since
I plan to couch gold cord knots on velvet guards interspersed with
embroidered, appliqued symbols of friends and family.  I'm just trying
to figure out if I should do the train - which I don't have trouble
walking in - my thought there is that the train will show off the
embroidery work.  It's not like this is going to be an everyday event
gown.  But then again, would I get more use of the gown without the
train?  And just how likely was this style of gown to have had the
train... will have to look through the books tonight

thanks again
alex

On 8/5/07, Naergilien - Sabine Pothmann <[EMAIL PROTECTED]> wrote:

> I have already made the 'Pelican' portrait gown; see
> my site here:
> http://www.naergilien.info/pelicandiary/index.htm
>-)
>
> Best wishes,
> Sabine
>
>
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Re: Subject: [h-cost] Elizabethan Gowns - to train or not to train

[Alexandria Doyle]

That's interesting, because I have a couple of gowns with trains,
short ones as you've mentioned and the people that step on my train
are friends that are walking close to me.  I don't recall a train
being stepped upon by someone I don't know.  But I take an attitude
when I'm wearing such gowns, slow and graceful usually and people
generally clear a path for me.  And if I'm concern with the closeness
of the crowd, I'll pick up the train - well easy enough when it's an
overgown that is trained.

alex

On 8/5/07, Frau Anna Bleucher <[EMAIL PROTECTED]> wrote:
> I am firmly of the belief that while no one looks you in the eye,
> they're certainly not watching where their feet are going either. I
> have a gown that has a very short train (about a foot). In walking
> very quickly and purposefully in a straight line and following three
> other people toward my destination through a light crowd, I had my
> train stepped on no less than 6 times. Not only do people not see
> trains, but they have no concept of personal space.
>
> Connie
>
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[h-cost] Elizabethan Gowns - to train or not to train

[Alexandria Doyle]

I am preparing to begin on my version of the gown shown in the Pelican
portrait of Queen Elizabeth I, Nicholas Hilliard, circa 1574.  The
final gown is intended to be for formal occasions, with all the bells
and whistles, so to speak.

I have been contemplating whether to make this a trained gown or not,
and if I do, should the underskirt also be trained to help with the
flow of the over skirt?   The outer gown will be made with a fairly
lightweight red-black shot silk and lined with a black silk satin that
isn't very heavy either - with black velvet guards.  The under skirt
is probably going to be a fairly stiff silk with machine embroidered
flowers on it - unless I change my mind again!

One of my problems on this decision is that much of my research was
done several years ago, and I have spent the time collecting the
"right" fabrics and working on other projects so that now that I'm
ready to start this one, I am having to recheck everything.  I have
this thought floating in my head that perhaps the train could be a
separate layer that goes over the skirt - they is a separate skirt -
but I'm not sure where that is coming from...


alex
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Re: [h-cost] New Orleans museums

[Alexandria Doyle]

Not preciously costume related but there is an exhibit of Durer prints
at the Fine Arts Museum this summer.

alex

On 7/5/07, Beth Chamberlain <[EMAIL PROTECTED]> wrote:

I'm going to be in New Orleans for a conference next week. I've got one full
day and some scattered time for sight seeing. Anyone recommend anything as a
must-see for a costume junky?



Thanks

Beth

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