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~ Confessions of a Known Bonnet-Wearer

Kitty Calash

Category Archives: Clothing

Chintz? Check!

10 Friday May 2013

Posted by kittycalash in 1763 Project, Clothing, History, Research

≈ 4 Comments

Tags

18th century, 18th century clothes, advertising, fabric, newspapers, Providence, Rhode Island

Les Fleur d' Inde

Les Fleur d’ Inde: delicious!

Because I am prey to a pretty print as much as the next princess costume blogger tenant farmer’s wife, I thought I should go  looking for evidence before I launch into any cotton sacques, and to justify the use of the print remnant I’m stitching up into a jacket. (Apologies in advance to my friend who bought enough for a gown, because you know we’ll wear them to the same event…)

Providence Gazette and Country Journal, March 16, 1765

Providence Gazette and Country Journal, March 16, 1765

American Historical Newspapers to the rescue, once again. Here’s an ad for Alexander Black and Archibald Stewart, from the Providence Gazette and Country Journal of March 16, 1765.  Chintz and calico: it’s here in Providence in 1765. I knew there were merchants selling calicoes and chintzes in Providence in 1768 (including Samuel Young, who printed his broadside in red).

Chintz and chip hatsThree years later, Joseph and Wm. Russell at the sign of the Golden Eagle are selling (lately imported from London and Bristol) “A neat and genteel assortment of dark ground calicoes and chintz.” This ad runs to four columns in the Providence Gazette and Country Journal, 1768, April 9. It’s a tantalizing list, and no, I did not miss those chip hats and bonnets!

forks!

Digression: I was attracted to this bit about forks as I recall being told by a historic house tour guide once that “forks were not in common use until the Civil War.” It’s an early house, maybe he meant the English Civil War, but I think forks were here to stay and be bought for a variety of prices long before the American Civil War. How else to explain those archaeological finds that show forks of some kind at Rev War forts and camp sites? /Digression. New digression: OMG, knitting needles! /New digression.

William Eliot

Back to chintz: Here, in 1771, is William Eliot, selling chintzes in Providence, and advertising in the Providence Gazette and Country Journal of June 1, 1771. He also has “flowered and sprigged lawn in aprons,” and Kenting and check handkerchiefs.  (Kenting was a fine linen fabric)

In the limited search I ran (1754-1783 newspapers), plenty of references to chintz appear in Providence alone (there were 166 hits, but the ads repeat). This completely unscientific approach in which I stopped looking in 1771*, has turned up 5 merchants, if you count the RIHS Library’s broadside for Samuel Young. Chintzes and calicoes were everywhere. Dark grounds were “genteel,” checks and spots and stripes are popular and common.

Paul Sandby, London Cries: Black Heart cherries... ca. 1759. YCBA,  B1975.3.206

Paul Sandby, London Cries: Black Heart cherries… ca. 1759. YCBA, B1975.3.206

I begin to see 18th century Providence, if not all of the Colonies, as a variegated, kaleidoscopic place of pattern and color. I think there was more than we realize, even if only in small amounts.

Look again at the cherry seller: her petticoat is yellow and blue, if not yellow, blue, and white striped,  her apron is blue, her stockings brown or faded reddish, her cap is affixed with a pink or red ribbon, and she wears a checked kerchief. She’s poor and sort of faded, but she’s colorful–more colorful, perhaps, than we have credited.

*I do have to head out to work, but I can search again.

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The 1763 Project

09 Thursday May 2013

Posted by kittycalash in 1763 Project, Clothing, Living History, Making Things, Reenacting

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Tags

1763, 18th century clothes, plans, resources, sewing project

Doll, 1763. V&A, T19.36, T19P.36

Doll, 1763. V&A, T19.36, T19P.36

Sweet, right? Who wouldn’t want to look (or at least dress–those pupils suggest something untoward, chemically) like this doll? And she’s 1763. Of course, my friend DC didn’t get the grant he applied for, so he has to try again.

Still, it seems the event will go ahead and I am stumbling on under the impression that I will have a chance to make myself something lovely for August. Of course, that comes only after I make the regimental menswear, so why am I typing and not backstitching? Because after a while, it’s just plain dull. Plus, doll! Printed cotton! Lightweight and lovely! And look: a hairstyle I can manage: birds’ nest.

Nice Petticoat.

Nice Petticoat.

What I like about this doll are her details. (The better written description is on the V&A website, but the better photos are at VADS.) She’s wearing a sacque (known also as a sack-back robe or a robe a la Francaise) and matching petticoat, a green silk quilted petticoat, a white linen petticoat, and a pocket that matches her gown.

The blue silk of her stomacher is used as trim on her sleeves, which are ornamented with flounces. Hallie Larkin goes into this well on her blog post about Changes in Cuffs. And that’s what stops me: the fine linen and the lace.

An actual reproduction, no less.

An actual reproduction, no less.

The gown itself, even a sacque, seems like something I can manage. (And yes, this is but one more piece of cotton sacque evidence.) A very similar fabric is available and if this sells out, there are variations on the theme. The blue silk stomacher can be managed: I have taffeta sources, and from making bonnets have learned the basics of the serpentine designs. I could make that. But those flounces–what about those?

Here she is from the V&A, ca. 1760, T.19-1936

Here she is from the V&A, ca. 1760, T.19-1936

Here’s the V&A description: “lace and cotton elbow ruffles.” Hmm. Cotton, perhaps that I can find in a fine, sheer weave. But the lace?

The more I think about this lovely gown, about the materials, and who would wear it, the more I think I’m better off sticking with lightweight wool and Sandby’s cherry seller...

I love a good challenge, but the lads need regimentals and their own 1763 apparel. Sandby’s woman wears a gown I’ve made before, so construction screw-ups will be fewer time will be shorter. And at least we can all wear whatever I make for various other celebrations and riots. New England had them in abundance in the 1760s and 1770s.

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Details. All in the Details.

04 Saturday May 2013

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

≈ 4 Comments

Tags

18th century, authenticity, embroidery, muse, pockets, Research, Rhode Island, sewing project

Detail, pair of pockets. Gallery of Costume, Platt Hall, Manchester City Galleries. MCAG.1922.2150

This image is from the fantastic VADS site‘s  gallery of pockets. I need new pockets, or a pocket update and overhaul, so I went looking for inspiration.

Child's Pocket, 1720-1760. RIHS 1985.1.9.

Child’s Pocket, 1720-1760. RIHS 1985.1.9.

This is a dangerous path to go down if you are as unskilled with a crewel needle as I am.

Sew18thCentury can do it– so, sew, lovely. Me…well, everything I knew about embroidery I learned as a child, and promptly forgot with puberty. So my skills remain appropriate for reproducing this, from a Rhode Island collection. The pocket is child-sized, at 14 inches, and the embroidery has a crabbed, angry look, as if the girl would much rather have been outside, chasing her dog or brother.  I can relate, at least to the dog part.

My copy, on the clearance-bin frame.

My copy, on the clearance-bin frame.

I  made a pattern of the embroidery, traced it onto linen, and started working on dredging up those long-forgotten skills. As a child, I had a sewing or embroidery book, but what I remember most about the projects I made was how far their finished form was from what I had envisioned.

Jane, and the Oldest Inhabitant

Jane, and the Oldest Inhabitant

This is not an uncommon experience for children; my son has certainly experienced this, and even adults are subject to it. I think the best rendition of it, sewing-wise, is Eleanor Estes’ portrayal in The Middle Moffat of Jane Moffat attempting to make a “brocated bag” for Mama’s Christmas present.

The image of Jane sewing or crocheting under a tree while talking to Cranbury’s Oldest Inhabitant, a Civil War veteran, sums up every reenactment I’ve ever been part of… but I digress.

DSC_0283

A detail. Sigh. I know, practice, but…

My embroidery stitches lack a lot, but most of what they lack is practice–and that’s what makes reproducing that RIHS pocket a perfect project for me. Pockets were “sampler” projects, and suitable for girls to learn on. This combines plain sewing with embroidery, and ends up as something useful and authentic, so what more can I ask?

Pocket, single, embroidered. Snowshill Costume Collection, National Trust (UK). mid 1700s. SNO1452

Pocket, single, embroidered. Snowshill Costume Collection, National Trust (UK). mid 1700s. SNO1452

The VADS site has tons of images to inspire me, and with practice, someday I could manage something as beautiful as this. I need only make sure that it fits my time period and station–and for some events it will, but for most, the plain pocket or the crabbed-stitch embroidered pocket, are probably far more appropriate.

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Shoulders and Sleeves

26 Friday Apr 2013

Posted by kittycalash in Clothing, Living History, Reenacting

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Tags

10th Massachusetts, 18th century, 18th century clothes, common dress, hunting shirt, living history, Making Things, menswear, Revolutionary War, uniforms

Dante's Own Infernal Sleeve of Poof

Dante’s Own Infernal Sleeve of Poof

Twenty-four hours on, this is where we are: Poofy, shoulder-popping sleeve of doom. How can that be a uniform sleeve?

Well, Pilgrim, this is how:

Oh. They're all Infernal Sleeves of Doom.

Oh. They’re all Infernal Sleeves of Doom.

So glad I have that near-feral hunting shirt, because without it I would have ripped this out completely. Could the Poof of Doom be there to allow movement?

Subject was detained for photography.

Before school, even.

Before school, even.

Arm out, doubts remain. Arm down, less terrifying.

I do feel sorry for him, but at the same time, I have to fit it to him.

I do feel sorry for him, but at the same time, I have to fit it to him.

It’s possible that the poof at the apogee of the shoulder is due to the intense pressing I gave this to retain the center line, and the fact that, despite washing, the linen is still pretty stiff. When I compare the two– the completed shirt and the in-progress shirt, I can see that while both display a tendency to drift up, the gathers on the adjutant’s shirt are more evenly distributed. You know what that means…and that’s why the sleeve is only basted in. Might as well change it now as on Sunday, because it must be done. So in the end, I am ripping it out completely, but with the knowledge that 1) the upward angle seems to be correct as shown in the finished garment, and 2) evening out gathers may reduce the Poof of Doom.

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Sewing for the Adjutant

25 Thursday Apr 2013

Posted by kittycalash in Clothing, Living History, Reenacting

≈ 3 Comments

Tags

10th Massachusetts, 18th century, 18th century clothes, common dress, menswear, Revolutionary War, sewing, uniforms

Falling In, OSV 2012

Falling In, OSV 2012

We were invited to join a Massachusetts regiment after the event at Old Sturbridge Village last summer, and we did. This has been a good thing, though it’s sometimes a little tricky to figure out which unit to “be” with. It is also a challenge because even though the Rhode Island unit has careful (if unwritten and slightly out-of-date) standards, the Massachusetts unit is another thing altogether.

Gathering the first sleeve head. Destination: Saturday afternoon

Gathering the sleeve heads. Saturday is soon!

The women last weekend kept asking what I was working on so assiduously. It was the hunting shirt (to become a frock) for the Young Mr for the new unit. Cut by the master, entirely hand-sewn by me. This is not something they would do.

“Sewing for The Adjutant, ” I said, “is another thing altogether.”

“Don’t even try. Who can sew like that? He’s a professional,” I was told.

What we're aiming for.

What we’re aiming for.

Well, yes.

So wouldn’t that be the very thing to reach for? It’s not like he’s not helpful. I have his shirt to copy, he answers my questions patiently, and I haven’t yet felt like an idiot.

The skill I have I owe in part to my mother and grandmother, and to the Dress U workshop with Sharon Burnston.  Stroke gathers, two-by-two stitching, using the tiniest needle possible are all things I learned or honed in Sharon’s workshop. And thanks to that workshop, this hunting shirt-(perhaps)-soon-to-be-frock is a great deal easier to tackle.

The other part of skill is practice. It’s as true for piano or soccer as it is for sewing. Just keep stitching, and it will come.

And after the fitting, the fringing. That's for someone else to do.

After fitting comes fringing. That’s for someone else to do.

What I find hardest is fit: not only is it hard for me to judge how much to take in a garment to achieve 18th century fit while maintaining enough ease for the wearer to swing an ax (or to accommodate teenage wriggling), alterations annoy me. I suspect that the key may well be not to fit at the end of a day, but at a beginning, or at least a middle. Fitting after a long day of sewing could make you think you were tossing away a whole day of work. It also feels, still, like taking a car to the mechanic or the cat to the vet. There’s something wrong, and I don’t quite understand it. Yet. But with Shoulders Roll Forward and Monkey Arms, I bet I’ll understand more soon.

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