Date: Sat, 25 Jan 1997 08:44:41 -1000
From: "Penny E. Ladnier"
Subject: German Costume Book
To: Multiple recipients of list H-COSTUME
As promised, the first installment of the German Costume Book (Hanbuch der
Deutschen Tracht c. 1892) is now on my web page. This installment has 21
images of headdresses and hairstyles. The images cover periods from
1200-1870 (this should make everyone happy). Each image has 4 to 20 heads
each. The time periods are broken down into three parts to ease on
downloading time.
I actually found in the book, illustrations of early poor people costumes.
They will be the next thing added (hopefully this weekend). Then I will be
adding color clerical accessories. I have lots of color images to add in the
future.
Historic Costume Research
http://www.geocities.com/BourbonStreet/2157
Later, Penny
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Date: Tue, 24 Dec 1996 17:58:54 -1000
Reply-To: [email protected]
Subject: Re: Costume Software
Hi! I would have responded earlier to this subject, but with all the
traditional last minute Christmas gift-making and Overnight mailing, well,
you've probably all been there... Anyway ,to those interested in computer
software, there are a number of options available, of course depending on
money and your willingness to invest not only the money but the time
necessary. In regards to patterning software there are a number of options
available. The less expensive ones are more tailored to the "home-sewer"
rather than the costumer who is interested in creating period garments. Not
to say that you can not create a costume pattern from these programs.
Basically they provide slopers . You can adapt the measurements, and you do
have a limited toolbox to manipulate the patterns. I'd suggest checking out
"Raymond's Sewing Software" @ http://www.hk.supernet/~rlowe/sew.html. He
gives a brief description and review of some software packages. One of these
might work for you.
I've been lucky in that I work for a company that manufactures promotional
costumes and that we have a computerized patterning system. And after being a
theatrical cutter for the last number of years, let me tell you it has
changed my life! With the software we have, I can either use a sloper,
draft directly into the computer with flat patterning or I can digitize a
existing pattern and then manipulate it. The toolbox is extensive. Basically
I can do anything on the computer that I would do at the work table. But it
so much cleaner and faster.
I think the thing I missed the most was actually physically manipulating
the patterns. But it's sort of an eye coordination thing and after a while
you can train you eye to look at the pattern pieces on the screen. We then
print the pieces on a plotter.
I have experimented drafting period patterns from scratch, and was
extremely success full. My next step is to learn about " Frame View", where
you can import custom measurements into a pattern and the software adjusts
the pattern within seconds. Think how fabulous for a huge period show or
opera ! Anyway, this program is primarily written for the garment industry
and the demands for costuming often run counter to that. For example, the
software doesn't really let you have a curved dart, unless you know how to
get around that( there is a way) . And yes, there other odd things. But check
it out. They have a web site. http://www.padsystem.com Of course it isn't
cheap. But worth looking into for a college with a healthy budget or a
costume company! It's definitely a Great tool, but, of course, no substitute
of pattern drafting knowledge. If anyone wants to know more, write me!
Happy Holiday!
Kij
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Date: Thu, 26 Dec 1996 16:46:46 -1000
From: Kathy Wells
Subject: Re: Costume Software
-- [ From: Kathy Wells * EMC.Ver #2.5.02 ] --
I tried to find the web page of computer software for drafting patterns, Kij
was talking.
The correct address is:
http://www.hk.super.net/~rlowe/sew.html
There is a demo version there, should anyone want to explore this option.
Kathy Wells
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Date: Fri, 24 Jan 1997 07:04:34 -1000
From: Sue & Ted
Subject: Re: Barbara Johnson Book available
Kathy,
Here's a copy of the original post by Carol Kocian:
> _A Lady of Fashion: Barbara Johnson's Album_, edited
> by Natalie Rothstein, is still available from the publisher
> in England. I hope I got the title & author right - I don't
> have my copy yet! This book is a repro of fashion illustrations
> and FABRIC SWATCHES collected by Barbara Johnson in the late
> 18th & early 19thC. It's a terrific resource.
>
> This book was originally published around 1989, and I
> was an idiot & didn't get a copy. I had been kicking myself ever
> since I heard it was out of print. But Oh, Happy Day, it's still
> available! Special thanks to June Brilliant, an 18thC clothier
> from New Jersey, who gave me the information.
>
> The publisher is Thames & Hudson. From the US, phone
> 011-44-171-636-5488 or fax 636-1695. I guess those calling from
> England can leave off a few digits on the front end of the phone
> number. Ask for Rachel Kelley. She is also reachable through
> their web page, feedback section:
> http://www.thameshudson.co.uk/feedback.htm
> They don't have e-mail, so phoning would be the most efficient
> approach.
>
> The book costs 48 pounds, which works out to about $79
> (this week). It can be shipped either surface or air at an additional
> cost.
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Date: Sat, 25 Jan 1997 08:46:43 -1000
From: Eleanor Farrell
Subject: Historic patterns - reviews
In response to Fiona Thorne's request for feedback on historical patterns,
and for anyone else interested in this information:
The Greater Bay Area Costumer's Guild web page has an extensive article,
_The Great Pattern Review_, covering dozens of historical patterns
(Folkwear, Past Patterns, Attic Copies, Pegee, etc.), with comments from
guild members who have made garments using them.
Take a look at:
http://www.toreadors.com/costume/patterns.html
Eleanor Farrell
[email protected]
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Date: Mon, 3 Feb 1997 05:27:28 -1000
From: Mrs C S Yeldham
Subject: Tudor Sleeves
Some attempted answers to Sharon's questions -
> 1. Is the sleeve attached to a sleeve head or is it only attached
>at the underarm and back of the bodice? (can't find any seamlines in the
>portraits)
Opinions vary on this (and its been discussed on this list a number of
times), IMHO the answer is yes there is a sleeve head, but it is often
covered by jewels. There is a problem with keeping the sleevehead on the
shoulder with these wide necklines, exacerbated because the only back view
we have (I know of - the Holbein drawing) shows a deep V at the back. IMHO
a sleevehead is needed to keep it on the shoulder, especially with the
weight of the heavy sleeves you are talking about.
> 2. Is the seam up the back of the sleeve as in earlier periods or
>had it moved to the underarm by then?
Still up the back of the sleeve - keeps going through the 16th century (when
you're not cutting down the front to show off the undersleeves!).
> 3. Just what is the flat pattern shape to use to get those lovely
>turnbacks that show the linings and hang properly?
No simple answer to this, although Hunnisett has a pattern or two in her
book (the old one covering the 16th century onwards). Basically its a
trumpet shape, but the amount of 'trumpet' changes according to the date and
height of fashion you are aiming for. The young Elizabeth (aged 13) has
sleeves that appear to reach to her knees and are obviously stiffened -
others are softer and less exaggerated.
Usual shape to the sleevehead of the sleeve, tight around the upper arm (and
I mean tight - it takes some of the weight) and then flaring out
symmetrically. Obviously you need to decide how far back the turnback goes
before you draft the pattern - it can go back practically to the top of the
sleeve. The turnback area can go on flaring, or can reach a maximum width
and then continue fairly straight (which is the way I would draft one
reaching to the top of the sleeve). My best suggestion is experiment with
calico.
Things to watch - they takes *lots* of fabric; they are heavy, particularly
if you succumb to the temptation to 'line' in fur or velvet. Thirdly, they
are worse than corsets for restricting your movements (16th century here,
never worn 19th). The natural posture for wearing them is with your hands
clasped in front, like so many pictures. You can then 'pivot' your forearms
and hands on your elbows quite easily, but trying to reach any further
means *everything* in the vicinity is in danger (I didn't explain this very
well - but take it from me extending your arms is dangerous - the number of
things I've seen broken!) They take some getting used to. Also, if you
have made the upper arms tight then they cannot be moved far either.
Don't forget the lower half sleeves, covering the forearms - they are quite
fun, but you need an overlap to the turnback to fix them too. The other
hint is to allow lots of the white, thin underfabric (supposedly the
shirt/smock) which peaks through slashes etc. Fix this separately to the
sleeves (ie sew about twice as much as you think you'll need in), don't
rely on your smock/shirt as there is never enought fabric in that, and it
moves.
Good luck (did you gather I don't like them?)
Caroline
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Date: Mon, 3 Feb 1997 09:42:56 -1000
From: Nancee Beattie
Subject: Re: breastfeeding and clothing
At 11:20 AM 2/3/97 GMT, you wrote:
>Nancee,
>
>Can you give us the addresses - I'd be very interested in the
>illustrations.
>
>Just a thought on wetnurses, like many things there were fashions in this.
>One of the most famous was after Rousseau had published some of his books -
>still influential on the nature of children - and it became fashionable for
>a while for rich women to breast-feed their own children.
>
>Caroline
>
>
Here are two sites that will keep you busy for hours:
http://www.hol.gr/cjackson/featured.htm#limbourg
This one is a large collection of art from all over the world, over a large
span of history. Why this woman has gone to all this trouble is a mystery
to me, but I'm darn glad she did!
Http://www.bnf.fr/enluminures/aaccueil.htm
This is the Biblioteque Nationale de France. It's wonderful.
Nancee
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Date: Mon, 10 Feb 1997 12:34:29 -1000
From: Kat Hargus
Subject: Godey's Lady's Book
Found a web site www.history.rochester.edu/godeys/
They ahve various issues of Godey's online. I was looking at an article
that describes various German clothes, including a woodcut (?) 1493. Some
nice b&w illus. Thought you might want to take a look. :)
Kat Hargus,
owner, Making Time
www.makingtime.com
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Date: Thu, 20 Feb 1997 05:08:03 -1000
From: "Chandler, Sally A."
Subject: Re: help
Dear Renee,
There's a brilliant medieval footwear page on the net - try
http://www.pbm.com/~lindahl/carlson/ and you should find it from there.
From that I found loads of references, techniques etc..
I hope this helps,
Best wishes,
Sally Ann Chandler
The Historical Clothing Company
[email protected]
----------
From: Renee Waldmann
To: Multiple recipients of list H-COSTUME
Subject: help
Date: 20 February 1997 09:40
I need help in documentation for pre 1600 Shoes..especially Irish shoes...I
know they wore them I even know what they look like but I cannot find any
books to ise for Documentation as a primary source can anyone help stear me
in the right direction???
Thank you
Finafyr @aol.com
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Date: Tue, 18 Feb 1997 09:00:30 -1000
From: Valerie Winkler
Subject: Mary Houston book
Charlene Charette asked for a review of the Mary G. Houston book _Medieval
Costume in England and France_
I haven't read it entirely, but I can speak to the 14th century part. Most
of the illustrations are redrawings of illuminations or tomb
effigies/brasses, and most are identified with the source. Her commentary is
not detailed with regard to construction, but seems to be based on close
study of the sources. However, at least one of her interpretations (the
men's circular cloak worn buttoned on the right shoulder (pp 81-83)) is
raather odd. I posted a question a few weeks ago about her idea of a second
opening on the right shoulder and nobody that answered seemed to think she
was interpreting this correctly.
She has some very nice drawings of fabric and border designs, shoes, and
other ornament culled from some of the effigies and manuscripts, and even
some details on armor construction from the effigies. Altogether I found it
rather useful. (This book was also recommended by the editors of _Seams Like
Old Times_; see Compleat Anachronist #39.)
Regards,
Val Winkler
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Date: Tue, 18 Feb 1997 09:02:45 -1000
From: "James A. Packard"
Subject: Costume Book Source
Greetings
Please stop by and visit The Backstage Book Shoppe
http://shell.idt.net/~jpackrd/Book_Shoppe_Index.html
The site includes 1000's of books on all theatre topics. A special stack
for Costume Books. Stop and see the newest listings released posted
monthly. Your input in desired.
~~~~~~~~~~~~~~~~~~
Backstage Book Shoppe
[email protected]
------------------------------------------------------------------------------Date: Thu, 30 Jan 1997 11:28:34 -1000
From: Julie Adams
Subject: Re: Arnold Q
>Actually, it's several questions. First, about the kirtle. This particular
>gown is made of coarse linen covered with silk in all the places that would
>be visible beneath the overgown: front, hem and sleeves. Would this type of
>gown ever be worn by itself, perhaps at home? If so, what kind of fabric
>would it be made of? Or would it be made like this?
I think it would have been worn more often with the overgown and made
similarly. I would guess that any wool or linen would be likely.
>Second, about the overgown. I have heard people say that this type of gown
>was worn by nursing mothers, with slits cut down the front. But if so, it
>couldn't have been worn with this type of kirtle. Is that just one of those
>costuming myths?
Yes. It was also worn by matrons. And not all had slits. I have woodcut
examples of German lower and middle class wearing this overgarment and it
looks like a plain wool gown -- no slits.
>Finally, about both: has anyone made these? Did you duplicate them exactly,
>with all the lining and interlining?
I have seen them done by one person, but I think she did use a cotton base
for the Kirtle instead of linen. But she duplicated the decoration EXACTLY.
Quite impressive. I am working on a kirtle and gown for myself that is
partially done. I am using linen and silk, but the velvet is a cotton
velvet (and very NICE) because I haven't seen a silk velvet with the proper
luster and tightness of weave yet. I am not doing the identical
decorations. I am using examples from a variety of sources so that my
decorative techniques are within the bounds of what would have been used
for the time and period -- 1565 Nuremburg in my case.
>If so, how do you clean them, and do
>they weigh a ton? If not, do they hang and fit correctly?
It looks quite nice! I will probably dryclean mine due to the kinds of
trims I am using. But I will preferrably spot clean it, and be very
careful. I don't think I will be wearing this ecru silk kirtle outdoors to
a Ren. Faire, thats for sure. It is actually a light and comfortable gown
(especially compared to many of my lined felted woolen gowns with fitten
bodices.) I threw together a black damask kirtle to test out the pattern
and for a Yule feast. But the silk and linen I used for the fancier version
does not weigh much more than the damask. I have sewn the overgown, but it
is not decorated yet, and for the feast I just basted the kirtle sleeves to
the overgown.. I have lots of work to go, since I am trying to sew it as
described in Janet Arnold as much as possible. I found that my silk satin
was driving me crazy though. So I will be attaching the silk to each linen
piece and finishing the inside seam with tape or hand turning it (which are
also period ways to finish insides.)
Julie Adams
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Date: Fri, 21 Feb 1997 12:29:04 -1000
From: Kathleen Songal
Subject: British Books
I have some good news. There is a company that gives fast world-wide
delivery on all British books in print. I bought the book, "Lady in
Fashion, Barbara Johnson's Album of Styles and Fabrics" from them. It took
less than two weeks from the time I placed my order until I received the
book at my house. They are on the net. All transactions can be conducted
by e-mail (no long distance telephone bills) and they even have a page that
converts British Pound Sterling to U.S., Canadian, or Australian funds. They
do not charge an arm and a leg for shipping either--5 pounds sterling for
the first book. I am not affiliated with them, but I am pleased with their
service. Their address is:
http://www.bookpages.co.uk
Kathy Songal
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Date: Sun, 23 Feb 1997 12:22:57 -1000
From: "Sharon L. Harrett"
Subject: Re: flame/burn tests
For a burn test I will quote from "Textiles: Fiber to Fabric",4th Edition,
Potter & Corbman, NY 1967.
"If both the lengthwise and crosswise yarns in a fabric are known to to be
of the same substance, the sample may be tested as a whole. More than one
kind of yarn, however, is sometimes used in a fabric. When the presence of
different yarns is suspected, the lengthwise yarns should be separated from
the crosswise yarns and each set should be tested separately. When it is
believed that mor than one fiber has been blended into a single yarn, the
yarn should be untwisted and, with the aid of a magnifying glass and
tweezers, the individual fibers separated.
One should also be alert to the possibility that finishing agents
may have been used on the fabrics. These finishes can change the burning
characteristica of the sample.
To recognize the composition of fabrics by the burning test, the
sample of fiber, yarn or fabric should be moved slowly toward a small flame
and the reaction to the heat carefully observed. One end of the sample
should then be put directly into the flame to determine its burning rate and
characteristics. After it is removed from the flame, the burning
characteristics should continue to be observed and the burning odor noted.
After the sample has cooled, the ash should be examined for characteristics
such as amount, form, hardness, and color"
When I do a burn test, I do it in a well-ventileated room, but with
no direct draft, usually at the kitchen counter with the exhaust fan
running. I pre-wash the fiber or fabric if possible and cut a 2"x2" swatch.
I then take the warp and weft threads apart and lightly twist them into
separate bundles. I take them up with a hemostat and follow the directions
above.
While I cannot print the chart of characteristics from the book
here, I will give some generalities.
Cotton/Linen: nearly impossible to tell apart by this test; linen may burn
slower if the yarns are thicker: mercerized cotton residue is black
Both scorch approachin the flame and ignite easily, burn with yellow
flame, smell like burning paper, and have a light grey feathery ash.
Note: rayon, being also a celulose fiber will give these same
results, except may extinguish faster when removed from flame.
Silk: Smolders when approaching. In flame: burns, melts slowly and sputters.
Extinguishes quickly, smells faintly of burning hair. Residue:round, crisp,
shiny black beads, easily crushed.
Note: weighted silk burns with a glow, and leaves the skeleton of
the fiber whole when extinguished due to metal content.
Wool:Smolders when approaching. Burns with a slow flickering flame, sizzles
and curls. Extinguishes easily. Smells like burning hair. Ash is crisp,
dark, irregular shape, and crushes easily.
Acetate: Fuses away from flame, blackens. Flames quickly, puckers, sputters,
melts, drips like tar. Continues to burn out of flame. Smells like Vinegar.
Ash is brittle, hard, irregular, hard to crush.
Acrylic, Nylon, Polyester: being chemically produced, these have similar
traits, tending to fuse and shrink from flame, Acrylics burn fast and
continue out of flame, Nylon and Polyester burn slowly and melt, then go out
easily, sometimes producing soot. Acrylics may smell like burning meat,
Nylon and Polyester have pronounced chemical odors llike plastic or tar. All
leave similar residue: hard black roundish beads, usually difficult to
crush.
I hope this will be useful to many of you.
Sharon
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