Re: [h-cost] Authenticity

2011-03-14 Thread R Lloyd Mitchell
...@patriot.net Sent 3/12/2011 5:08:34 PM To: Historical Costume h-cost...@indra.com Subject: [h-cost] Authenticity - Where do we draw the line between what is acceptable as historically accurate vs historically authentic? - With modern sewing skills and fads (such as zippers), where do we

Re: [h-cost] Authenticity

2011-03-14 Thread Cin
Carol, We dont discuss the Great Authenticity Issue on this list anymore. All the nasty arguments bitter recriminations have been made. Find the old fights in the archives. Discuss it you'll see a wave of unsubscribes. --cin Cynthia Barnes cinbar...@gmail.com On Sat, Mar 12, 2011 at 2:08

Re: [h-cost] Authenticity

2011-03-14 Thread Michael Deibert
Why must they be nasty arguements? While it's unfortunate some people react that way, if there are valid arguements to be made which can be supported through either research or even experience, and we can remain civil - isn't that what constitutes a good discussion? Perhaps, if that topic is

Re: [h-cost] Authenticity

2011-03-14 Thread Lisa A Ashton
Delurking here: My take on this, from the point of view of someone who began in historical re-creating costumes by trying to accurate re-create my great-grandmother's marriage photo from c. 1895: It is exciting to learn about each period, and what was normal and average for them, by actually

Re: [h-cost] Authenticity

2011-03-14 Thread Lavolta Press
On 3/14/2011 11:58 AM, Michael Deibert wrote: Why must they be nasty arguements? While it's unfortunate some people react that way, if there are valid arguements to be made which can be supported through either research or even experience, and we can remain civil - isn't that what constitutes

Re: [h-cost] Authenticity

2011-03-14 Thread Michael Deibert
I agree. That level of maturity is what needs to be kept. It's all about meta-cognition. You have to always consider where someone is coming from - and usually it's not the same. Also, if we had no variety... things would get rather boring and we'd stop sharing information because there'd be

Re: [h-cost] Authenticity

2011-03-14 Thread Lavolta Press
I never tried to start another flame war or tried dictating what it should be. I stated that I was going off-topic from the start. Nor was I on this list during those flame wars - so was unaware that those questions would start a huge fight instead of an educational discussion and debate. M

Re: [h-cost] Authenticity

2011-03-14 Thread Carol Kocian
Cin, I remember, I've been on the list since the 90s. I think it is possible to discuss authenticity issues without arguments. It does not have to go in that direction. So far everyone seems to be in agreement that it will vary. I enjoy stories like Lisa's about her great grandmother's

Re: [h-cost] Authenticity

2011-03-14 Thread Lavolta Press
One experience of mine that might be closer to Michael's intended discussion: I was learning about mid-18thC French women's clothing, particularly the corset which is more like English jumps: a shaping upper-body garment not as firm as stays. The information was that paper was used as an

Re: [h-cost] Authenticity

2011-03-14 Thread Lisa A Ashton
YES!!! Sometimes experiments are necessary to understand the process--this kind of sums it up for me--I am all about the process. The fact that I compete my costumes at SF cons and my county fair and Costume Con--those are secondary to the actual PROCESS. Yours i n costumign,Lisa A One

Re: [h-cost] Authenticity

2011-03-14 Thread Catherine Olanich Raymond
On 03/14/2011 02:58 PM, Lisa A Ashton wrote: Delurking here: [snip] So for me, now learning about the Civil War era, to recreate an actual person known to have lived (their clothing--I am NOT a re-enactor), the more I learn about the sewingmachines of hte time, what might have been done

[h-cost] Authenticity

2011-03-12 Thread Carol Kocian
- Where do we draw the line between what is acceptable as historically accurate vs historically authentic? - With modern sewing skills and fads (such as zippers), where do we encorporate those skills to aid in construction of period garments, or do we insist on using the period methods?