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Kitty Calash

~ Confessions of a Known Bonnet-Wearer

Kitty Calash

Category Archives: Clothing

Documented Fantasies

08 Monday Aug 2016

Posted by kittycalash in Clothing, Events, History, Living History, Museums, personal, Reenacting, Research

≈ 5 Comments

Tags

19th century, 19th century clothing, art history, authenticity, Events, fashion, Federal style, happenings, interpretation, living history, performance art, Reenacting

It was three years ago on a warm August afternoon in the museum room we’d turned into a photo studio when I quipped, “All my fantasies are documented.” It’s been hard to live down ever since.

With Mrs B watching Miss B self-perambulate upon the sidewalk.

With Mrs B watching Miss B self-perambulate upon the sidewalk.

Documentation, research: we all do it, everyone who reads this blog does it. What matters is how you use it– or, maybe even more importantly, how well you understand how you are using your research. This past weekend was the Salem Maritime Festival, and round number three for me in the West India Goods Store (WIGS, which sounds far more political than it is). The year was 1804, and as you may recall, that required a new dress.

Reader, I wore it. And it survived!

Yes, it is made from an IKEA curtain. The pattern is my own, derived from examples in Janet Arnold, at Genesee, and the KCI. Once again, I discovered the power of upper body strength and leverage. It’s not that my stays are too big necessarily. The busk is too long, that I will grant you. But I think the shoulder straps are as well, and the shift– that slattern! She was rolling a la Renaissance Faire, which is completely unacceptable, of course, as she slid down my right shoulder by the end of the day when the shop had been unpacked into the conveyance.

So let us focus on the non-slattern part of the day, when a mercantile enterprise briefly overtook the WIGS.

Behind the Counter
Behind the Counter
DSCN4425

There was some custom, though numerous debts were recorded in the ledger.  (Somehow, there are no images of Mr K sweating over the figures in the book, though I recall them clearly.)

IMG_7634 (1)

The shop was hot, but we attempted to stay fed and hydrated, as we discussed the various kinds of goods imported to places like Salem and Providence in 1804. Politics were rather difficult to discuss, as Mr K has a marked antipathy for Mr Jefferson that caused a mild agitation; expanding the country does seem a bold and perhaps unconstitutional move, given the deal Mr Jefferson has struck with Bonaparte, but perhaps this is for the best. The Indians will surely benefit from Christianity and education.*

It’s engaging in the moment, and we’ve done our research. But it’s a fantasy nonetheless, a kind of happening grounded in primary sources and material culture. I’m OK with that– I understand what I am doing– but I wonder sometimes if the people I’m watching on social media understand what they are doing with the fantasies they portray.

 

 

* To be SUPER clear, I’m staying in character here. I worked in Missouri and I have enough understanding of “manifest destiny” to disagree with this point of view.

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Friday’s Fright: A Dress in White

05 Friday Aug 2016

Posted by kittycalash in Clothing, Events, History, Living History, Research, Uncategorized

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Tags

19th century clothing, art history, Costume, Events, fashion, Federal style, living history, Research, sewing

The Frightened Girl, oil on canvas by Cephas Thompson ca. 1810. MFA Boston, 1986.397

The Frightened Girl, oil on canvas by Cephas Thompson ca. 1810. MFA Boston, 1986.397

Two paths crossed for me this week, both in the early Federal era. Cephas Thompson, a self-taught New England painter, recently became very interesting to me. Although he grew up in Massachusetts, Thompson painted extensively in Virginia, but also in Providence, so of course the story resonated with me. But even more than the story, I loved the images. What a show the portraits would make– and he seems to have painted miniatures as well– so when I met with a local preservationist who turned out to be a fellow art school fugitive, wheels began to turn.

“What clothes!” my new friend said.
“I can get you a room full of people in those clothes,” I replied. And what fun would that be, a gallery opening where the people in the portraits appear to have come to life? Beats the pants off mere mannequins, but keep your Cossacks on: this one’s gonna take a while. In the meantime, what about those clothes?

Salem Register, July 14, 1803.

Salem Register, July 14, 1803.

Saturday marks the third time I’ve been part of the Salem Maritime Festival, and once again the West India Goods Store will be the base of operations for a mercantile enterprise. Millinery has its charms, but this year, the park historian shared fascinating notes on “She Merchants” of Salem, and the Hathorne sisters really intrigued me. Drunk Tailor dug into online newspapers (harder than ever to access remotely) and found an 1803 issue of the Salem Register

That’s an incredibly helpful list of goods to sell (and to pack from the Strategic Fabric Reserve), but a new year means a new dress, of course, and for reasons still not entirely clear to me, this seemed like exactly the right time to wear white. That’s sort of where Cephas Thompson comes back into play: white dresses.

Mrs. Cephas Thompson (Olivia Leonard). Oil on canvas by Cephas Thompson, 1810-1820. MMA, 1985.22

Mrs. Cephas Thompson (Olivia Leonard). Oil on canvas by Cephas Thompson, 1810-1820. MMA, 1985.22

There’s a pile of white cotton and white linen on my table, ready to be packed up this evening: with the dress on for a fitting, I felt like a bowl of whipped cream, the red silk Spencer and scarf the cherry on top. Happily, white and red are documentable to New England, though I would be mortified to be as frighted of a garter snake as the girl in Thompson’s painting. Strawberries and coffee are entirely different, and I shall probably require a bib for Saturday, lest my whipped cream be spoilt.

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Mendy Monday

26 Tuesday Jul 2016

Posted by kittycalash in Clothing, Events, Living History, Making Things

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Tags

19th century clothing, Early Republic, Federal New England Fashion, mending, Salem Maritime Festival, shifts

Best not to be shiftless, so mending was in order. I knew this day would come, and soon, and after doing the post-Genesee wash, the moment had arrived for this shift.

IMG_7472
IMG_7473

Simple, classic patching. I hadn’t expected to wear a hole in a shift quite this soon, but four years of wear whilst working and sweating have taken their toll.

It’s a toss up, now that it’s mended, as to whether or not I’ll shorten the sleeves. They’re too short for some of my gowns, but fine for others. Ideally, I’d make a second shift for this time period (early Federal) and third for the late 18th century. I’m somewhat concerned because I have taken a notion to make a new dress for Salem, which is just around the corner.

IMG_7481

Now, it’s not this dress– and this may be a pelisse, after all– but I’ve become pretty obsessed with this image, and decided, what with it being summer and all, to finally cave in and make a white cotton gown.

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~thanks to Mrs B for the image~

This is madness, of course, because I am not someone who doesn’t spill on her clothes or happily and recklessly carry strawberry-eating babies. White. Sheer. Really sheer. I don’t know what possessed me, but once I had the idea and the image to inspire me, I could not shake the notion of a white cotton gown for summer. Perhaps the recent heat is to blame: thin, white cotton seemed cool and refreshing. We’ll see how that goes in a little more than a week. Until then, bright light and fine stitches keep me busy.

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Bloody, Bratty, Boning

27 Friday May 2016

Posted by kittycalash in Clothing, Fail, Living History, Making Things

≈ 1 Comment

Tags

18th century clothing, infrastructure, mistakes, sewing, stays, underwear

File_000Sometimes I am a terrible brat, as in this past weekend, when the autocorrect on my phone insisted that the proud four-letter Anglo-Saxon words I was typing were not what I meant to say. Darn tootin’ they were.

This is not my first rodeo with stays, but somehow I’d forgotten about the special stabby hell of boning the beasts. I’m machine sewing the channels for these, mostly because I calculated the time required to completely hand-sew them and realized I would not finish them before I needed them. I’ve rationalized this by acknowledging that I’m not using the hand-woven brown wool sateen I covet, but instead a dark blue wool twill.

A bloody, messy business
A bloody, messy business
all around
all around

I know, I know: there’s a reason staymaking was a man’s trade. My hands are pretty strong, but it took some doing to figure out how to slide the pieces in neatly without jabbing the ends repeatedly into the freshly re-opened split on my thumb.

d'oh! surgical tape made this *much* better later.

d’oh! surgical tape made this *much* better later.

It takes discipline to keep doing this, the way it takes some discipline not to eat ice cream for breakfast just because you can (though I did, just this week). Spencers and dresses are so tempting, but there’s not point to making a new dress of wonder unless I have the stays to wear it over: infrastructure is required.

The stomacher and the two front pieces are boned… six more pieces plus whipping and eyelets and binding, oh, my! It’ll be a race to have them done by June 24th:  Discipline’s the thing.

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What’s it Worth Wednesday

25 Wednesday May 2016

Posted by kittycalash in Clothing, Living History, Making Things, personal, Reenacting

≈ 16 Comments

Tags

18th century, 18th century clothing, authenticity, sewing

Or, They’re Clothes, not Costumes.

This past weekend, I had a conversation with a friend about requests to borrow “costumes” we’ve made, sometimes for school children to wear, sometimes for movies, and sometimes for parties. We generally say no: these are hand-sewn clothes, and the replacement cost would be ridiculous– plus, we like them and wear them.

I hand sew because I get better control, but also because there were no sewing machines in the 18th and early 19th centuries. To get a garment right, you have to hand sew it, and that’s expensive. I took the time once to figure out what a set of clothes for the Young Giant cost– much to my dismay, and eventually, to his, as I became even more insistent that the garments be treated with respect.

IMG_3389

Last year, I sent the Young Mr off to Battle Road in a new suit, and the whole business of what he was wearing was quite expensive. Using $25/hour as a base for labor, here’s how the kid’s Battle Road suit breaks down:

Coat Labor: $1125 (estimated)
Coat fabric: $62.50
Buttons: $10.50
Coat lining & cutting: $90.00
Workshop: $125.00
Total: $1413

Let that one sink in for a while, will you? The 16-year-old boy ran around in a $1400 coat. Oh, and the breeches. Here they are.

Breeches labor: $300 (estimated)
Breeches fabric: $31.25
Buttons: $9.00
Total: $340.25

The blue suit is now up to $1753.25

Let’s add the shirt.

Labor:  $375.00 (estimated)
Fabric: $30.00
Buttons: $3.00
Total: $408

Shoes, hat and stockings:

Shoes: $119
Hat: $125
Stockings: $50
Neckcloth: $18
Glasses: $29.00
Lenses: $30.00
Total Accessories: $371

Grand total, with labor: $2532.25
Grand total without labor: $732.25

This wasn't cheap either.

This wasn’t cheap either.

So think about this the next time you attend an event with a lot of well-made garments: you are standing amid a lot of labor and love.

Sewing is a fairly simple enterprise (you’re pushing thread in and out of fabric, after all), but it takes practice to develop fine skills and speed. A well-made garment will never be cheap. The best investment you can make in your wardrobe is to invest in your skill set, and learn to sew.

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