Category Archives: Fail

Night Clubbing

16 Friday Feb 2018

Posted by in Events, Fail, Living History, personal

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Mountebanks at night. watercolor by Paul Sandby, 1758 Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

Mountebanks and miscreants: how we love them. I have found myself in a situation of late that feels altogether too much like high school, and as a means of understanding it, I have a story to tell. It will, sadly, confirm what my parents thought was happening, but hoped was not.

Let’s step back to the time when I was known as the Rat, when I spoke truth to adolescents and paid the price of ostracism and harassment. I was already largely outside whatever cliques there were in high school, for I’m not certain you can call an assemblage of despised literary hopefuls in a hallway window seat a clique, so the harassment hurt more than the exclusion. Harassment these days comes not in the form of people chanting at you in person, but rather in online trolling, which can be deleted, unless people take the energy to rise to doxing or swatting, and few in the living history world seem to– and that’s not a challenge, kids.

So, operating within a loose-knit band of misfits more Donnie Darko than Ferris Bueller, I began breaking the rules, taking films back to the public library for my teachers and spending the rest of the day at the art museum or bookstore, or combing thrift shops for my nearly-all-vintage wardrobe. I could not find a place to be, so I stepped out.

Naked Raygun at the Metro (not the club in question)

Along the way, I met some very interesting people: punk musicians, artists, dancers, and students who introduced me to a very different world than the one my classmates lived in. It was a kind of mid-western Desperately Seeking Susan, or perhaps Something Wild, only I suppose I was Susan seeking myself. I saw great bands and terrible bands, and continued my forays even after I’d left the city for college, which leads me to a moment that resonates fiercely with me in light of the past few days of highly localized re-enactor drama.

portrait of a wanna-be-artist

I had a sometime-boyfriend who was ahead of me in college, at a different university, who worked as a DJ in northside night clubs. On one summer trip to the city, I found myself walking out of a nightclub where I’d been dancing, eager for some fresh air. At the door were two of my former classmates– too much acquaintances to be called frenemies– trying, and failing, to get in. I caught their eyes, agog, as I walked out.

“You come here?” one asked. “How’d you get in?“
“I know a guy,” I said. “I’ve been coming here all summer,” and walked up the street to catch the bus to the next party.

Bad, Mad Skillz: An Origin Story

05 Saturday Aug 2017

Posted by in Clothing, Fail, Living History, personal

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Aragorn: one of many modified patterns

I’ve been sewing clothes off and on for while, and sewing pretty constantly since the 1990s—baby quilts, piped slipcovers for vintage chairs, knitting needle cases, costumes for the Giant, and sundry other items. Making calms me, and since I tend to operate at a pretty high RPM, I make a lot of things.

Historical clothing took off for me after the Giant decided he wanted in on the living history thing. Hunting frocks, overalls, and shirts gave way to stays, petticoats and gowns. I’m largely self-taught, and although workshops with Sharon Burnston and Henry Cooke helped immensely, much of what I learned about fitting and draping I learned by reading (books and tutorials, especially Koshka and Sabine) and by making mistakes.

The best way to succeed is to fail, and I am an accomplished failure —you have only to look through the archives here, and you will find waistcoats sewn by drunken, crack-addled monkeys , upside-down Spencer collars, and stays gone wrong. I’m okay with those mistakes, because they helped me (and, I hope, some of my readers) make progress towards better sewing.

Really, I’m not sure how this happened. But there it is: upside down.

I’ve made things of late of which I am proud, or at least pleased with; I have taught myself new skills over the years from pad stitching (still working on that) to hand knotting (getting better) . I’ve gained patience (which is a skill itself) as I’ve learned new techniques, and that counts for a lot.

Hand-knotted lapis bead necklace: a new, slightly frustrating skill

Way back when (for the true origins), struggling through a design studio, I realized that the greatest frustration typically comes just before a breakthrough. That understanding is really the origin of my historical sewing: getting frustrated means you’re making progress. And what’s more frustrating that replicating a historical garment?

History Hurts

23 Thursday Feb 2017

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

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We have been here before: terrible stays, stays in need of minor mods, and “it isn’t history till it hurts.” New this past weekend was the Busk Bust Blister (Bursting) which didn’t make History hurt, but sure did bring a sting to the wind-down afterwards.

 

Insides!
I was determined, and now they are bound.

These new stays are, so far, the best I’ve ever had and well worth the blood, sweat and swears it took to make them. Gowns do seem to fit better over these stays; they held up well at muggy Monmouth and in polar Princeton, but the last two rounds at Ti left me feeling like I’d taken a hoof to the ribs.

What gives, kidneys? At least this time I made it past Fort Ann and all the way into a private room in Glens Falls before I had to free the sisters and release the lower back.

IMG_7298

But this time, there was a bonus: the previously indicated Bust Blister. On the left side (I’m right handed), I developed a fairly robust .25” x .125” blister that crowned the top of a nearly 2” red mark, mirrored on the right by a less red and slightly less long mark. The culprit?

The Busk of Doom, of course.

 

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Strictly speaking, I should not sport a busk when I desport as Captain Delaplace’s serving woman, or as a refugee cooking up the last of the bread, eggs, and milk. I’ve earned these marks and (potential) future scars by dressing above my station, and need to adjust accordingly.

Step one: Rounding down the busk edges (now in the capable hands of Drunk Tailor).
Step two: Foregoing the busk when working.
Step three: Wearing partially-boned stays when working.

Two is the easiest; three is the hardest. Which do you think I am, therefore, actually contemplating as a necessary next step?

But of Course: Step Three, Pathway to Finger Cracks and Stained Stays.

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

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

Fortunately I have people close to me who will ensure that I work through steps One and Two before embarking upon step Three, but I certainly want to know more about (and will look much more closely at images of) working women in the third quarter of the 18th century. My suspicion is that women who are performing labor that requires movement– up and down before a fire, back and forth across a floor, bending over a tub– may not be wearing stays made in exactly the way high style stays are made for ladies who bend over an embroidery hoop, glide back and forth across a ballroom floor, or move up and down the stairs of a well-built home they supervise.

Or my busk pocket is too big, my busk edges too square, and my actions too fast and continuous.

Paul Sandby. At Sandpit Gate circa 1752 Pencil, pen and ink and watercolor. RCIN 914329

Paul Sandby. At Sandpit Gate circa 1752
Pencil, pen and ink and watercolor. RCIN 914329

What are these women wearing? They certainly look fully boned. What can I change to make my stays work better for working? No matter what, where there are variables, there are experiments to run, and that’s what really makes history fun (even when it hurts).

Any Old Epaulet

28 Saturday Jan 2017

Posted by in Art Rant, Fail, History, Museums

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Details: we sweat them in our historical clothing, our impressions, our writing. I try hard to pay attention to them, but in my work, I have a lot of details to manage. Some fall away– I can no longer tell the ranks of men in daguerreotypes immediately, or recognize a Colt revolver at 10 paces, but there was a time when I could. I have managed to retain at least a general understanding of how military units are organized, a general sense of various units from my state in wars before 1939, and the uniforms associated with those units. (And I know which side a man’s coat buttons on.)

What's wrong with this image? Missouri State Guard uniform coat of Col. Austin M. Standish (Confederate). Missouri Historical Society 1916-045-0001

What’s wrong with this image?
Missouri State Guard uniform coat of Col. Austin M. Standish (Confederate). Missouri Historical Society 1916-045-0001

This helps in my work: knowing what HBT is, knowing what various patches signify, knowing how units were structured and the campaigns they were part of helps me be a better cataloger, curator, and exhibit developer. My job is take the details and make them matter by telling stories about the people who wore the HBT or the machinists’ mate patch or carried an ensign or wore an officer’s coat as part of the 14th Rhode Island Heavy Artillery (colored) in the Civil War.

U.S. Flag, regimental. 14th Regiment Rhode Island Heavy Artillery. Belonged to Joseph Carey Whiting, Jr., 1st Lt., Co. B 14th R.I. Heavy Artillery. RIHS 1962.24.1

U.S. Flag, regimental. 14th Regiment Rhode Island Heavy Artillery. Belonged to Joseph Carey Whiting, Jr., 1st Lt., Co. B 14th R.I. Heavy Artillery. RIHS 1962.24.1

People matter more than things, but 154 years later, all we have are things those people owned, used, wore, and carried. The things now represent the people. So when someone working on a exhibit says, “any epaulets will do” while pointing at the shoulder boards on a Lieutenant’s coat, I’m not just taken aback, I’m upset, and reply, “If it’s just for color, you can buy them.” Because “any old epaulet [sic]” being loaned by a museum goes through a laborious process of loan approval, packing, delivery and installation. For that time investment alone, “any old epaulet” should not do: museums are not prop closets.

General's Epaulets of William Clark. Missouri Historical Society. 1924-004-0006

General’s Epaulets of William Clark. Missouri Historical Society. 1924-004-0006

I keep saying the same thing, don’t I? There ain’t nothing like the real thing.

We can’t assume that the public doesn’t know or doesn’t care– they often know more than we do, just think of the wildly detailed knowledge some of us have about very particular things– so we owe it to them, and to the people of the past, to use museum objects as more than visual accents.

Fitful Friday: Art Still Has Truth

20 Friday Jan 2017

Posted by in Clothing, Fail, Frivolous Friday, Historical Sew Fortnightly, Making Things, personal, Philosophy

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Pitt and Napoleon carve up the world.

Pitt and Napoleon carve up the world.

It’s been one of those weeks, hasn’t it? Up and down, emotionally, as we all prepare for change. Whig or Tory, these are turbulent times.

I’ve been surprised by recent fabric arrivals in the mail, disappointed when I waited a day too long to register for a dance, and now I’m at loose ends. What comes next?

Last weekend I cut out a black wool Spencer to line in lettuce green silk because why not? And teeny tiny backstitches later, I have one sleeve finished. Focus is hard to come by of late.

I meant to join the Historical Sew Monthly to give my sewing life some structure, and I still can, though I cannot seem to settle down. Clearly, I have Firsts & Lasts that could be made (not always in the time remaining, mind you, so I would have to choose wisely).Re-Make, Re-Use, Re-Fashion? Probably much there as well– at least if one counts the quilted petticoat worn at Princeton, which was remade and altered from its original form.

Red. I do love red.
Delicious wool, tasty price.

July: Fashion Plate, could become the shawl gown I’ve dreamt of for years, since, as you can see above, I’ve found one that might work, lured by a fair price on a sizable piece of wool– but wherever shall I wear it? Why can I not get past utility? The Dreamstress’ Kashmiri shawl gown and her research are there to emulate, and explain.

Oh, I have projects and events to research and plan, housework to complete, and plans to execute. But they all seem abstract and unreal at the moment when we hang on the pivot point between the future and the past. It’s been a strange year in many ways and places, and constructive projects help focus.

Art Still Has Truth Take Refuge There

Art Still Has Truth Take Refuge There

Long ago, in the first turbulent times I was old enough to understand, I lived in St. Louis. Then, as now, I think the Art Museum’s motto holds, and reminds those of us who work in or appreciate sometimes frivolous-seeming fields and hobbies that all our actions have meaning. I’ve thought for a long time about the utility of sewing historic clothing, cataloging objects, and running around recreating the past.

Getting outside one’s own experience is incredibly hard; it’s hard to have an open heart, and to encourage openness to others. But that’s one of the most important roles museums and libraries play: we help people develop imagination and empathy. I know it’s part of why I do the work I do. I like to think that ultimately, helping illuminate the complexity of the past will help us all understand the present and make a better future.

Museum Fail: Icon, not Replica

21 Wednesday Dec 2016

Posted by in Art Rant, Fail, History, material culture, Museums

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img_8606

What am I?

Do you know what this is? Do you think it’s real? Here’s a clue: it’s a relic of an iconic event in early 21st-century North America.

On the last visit to the National Marine Corps Museum, I watched the tourists circle objects at the end of the traditional galleries and displays, and overheard a woman ask her companions:

What’s this a replica of?

Reader, I cringed– and not for the sentence construction.

What's this a replica of?

What’s this a replica of?

And then I stepped back. I thought that for someone my age it would be obvious. Here, have some additional museum context.
img_8604

In a museum where everything is real, how does a visitor come to ask not only if that World Trade Center steel beam is a replica, but what is it replicating? I’m not sure semiotics can save us here. My first, New York Times-reading, media-soaked, Northeast Corridor response was, How can you miss that? How can you not recognize that, let alone mistake the steel and concrete relic for a replica?

img_8603

Ah, hubris. There is a label, though I have seen better. Would it be more helpful in a larger font, turned perpendicularly to the I-beam? Possibly. But the lesson that’s deeper than label formatting and placement is recognizing how much we take for granted. Our visitors, even those we assume to be educated consumers of media and information, may not share our knowledge base. They may not read objects or images as readily as we think they do; we certainly cannot assume they’re all taking away the same information– and that has nothing to do with education or background.

Everyone truly sees the world differently. How, and what, we choose to put on a label should always be grounded in remembering that we do not all share the same information. Context is critical, and probably would have made these relics more real, and less replica.

Hell is a Hand Basket

15 Thursday Sep 2016

Posted by in Art Rant, Clothing, Fail, History, material culture, Research

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Gentle Reader: Remember the post on semiotics? We need to go back to that once more.

Just what are we looking at here?
copley_john-singleton-mrs-daniel-rogers-middleton-collection

John Singleton Copley.
Portrait of Mrs. Daniel Rogers (Elizabeth Gorham Rogers), 1762
50 X 40, oil on canvas.
Middleton Collection, Wake Forest University
HC1991.1.1

Hmm…. 1762. Does that dress look like 1762 to you? Or does it resemble a 17th century garment? Check out those sleeves: scallops. The shift sleeves: super full. The line of the gown at the neck: a shallow scoop. The front of the bodice: closed.

Are those the hallmarks of a typical 1762 gown in New England, England, or France? You are correct, sir: They are not.

What’s happening here? What is Copley doing, and why?

He’s making his subject look good, reflecting her wealth and status. He’s flattering her by painting her in a faux-17th century gown, a “Vandyke costume, a popular artistic convention in England related to the vogue for fancy dress and masquerade.”* 1762 seems a trifle late for this convention, but in 1757, James McArdell produces a mezzotint of Thomas Hudson’s portrait of the Duchess of Ancaster. Henry Pelham wrote to Copley in 1776 that he had purchased one of those mezzotints, suggesting their use as references for Colonial American painters. Reynolda House has a nice explication of this style of dress in the Thëus portrait they own of Mrs. Thomas Lynch, shown below.

Mrs. Thomas Lynch, oil on canvas by Jeremiah Thëus, 1755. Reynolda House, 1972.2.1

Mrs. Thomas Lynch, oil on canvas by Jeremiah Thëus, 1755. Reynolda House, 1972.2.1

There was also a convention of portraying women in “timeless draperies,” following the school of Peter Lely and Godfrey Kneller, both late 17th-century English painters who produced portraits with generalized costumes.

Lady Mary Berkely, wife of Thomas Chambers. oil on canvas by Sir Godfrey Kneller, ca. 1700. Metropolitan Museum of Art, 96.30.6

Lady Mary Berkely, wife of Thomas Chambers. oil on canvas by Sir Godfrey Kneller, ca. 1700. Metropolitan Museum of Art, 96.30.6

This portrait by Kneller (born in Germany, he worked in England) explains a lot, doesn’t it? And this timeless convention persists for some time, and the stylization of the facial features and hair is copied by English and colonial American painters. John Smibert, long familiar to many of you, was a leading practitioner of this style of portrait, and his work would have been well known to Copley and his sitters.

Mrs Samuel Browne by Smibert, RIHS 1891.2.2

Mrs Samuel Browne by Smibert, RIHS 1891.2.2

Blackburn’s portrait of Mary Sylvester adopts two conventions at once, in a way: she’s in timeless-style drapery and fancy dress as a shepherdess. Let’s remember, too, that there’s symbolism in the shepherdess imagery, referencing pastoral innocence and Mary Sylvester’s unmarried, presumably virginal, status. Don’t believe me? Read the catalog entry, written (at the very least) under the supervision of actual, degree-toting art historians.

Mary Sylvester, oil on canvas by Joseph Blackburn, 1754. Metropolitan Museum of Art, 16.68.2

Mary Sylvester, oil on canvas by Joseph Blackburn, 1754. Metropolitan Museum of Art, 16.68.2

Where does that leave us with Mrs. Rogers? She’s portrayed in what is essentially fancy dress, holding her straw hat in her left hand (much as Mary Sylvester is) with a basket over her right forearm. You will note the open work of the basket, the delicate arches and the fineness of the base. What’s in it? Something gauzy, as light as the drape around her shoulders, with a square of dark blue silk and a fine white silk ribbon. Honestly I am not entirely certain — the resolution of the image is dreadful.

But what’s NOT in the basket? A redware or pewter mug, sewing, keys, bottle, food, candy, toys, or, really, anything of a very concrete or practical nature.

Is this image a justification for carrying a [nearly empty ] basket on the streets of Boston? Of course it is–as long as you justify walking the streets of Boston in imaginary or fancy dress.

*p.106, Ribeiro, Aileen. “‘The Whole Art of Dress’: Costume in the Work of John Singleton Copley.” John Singleton Copley in America, Metropolitan Museum of Art, 1995.

Serious Saturday: Security Concerns

09 Saturday Jul 2016

Posted by in Fail, History, Museums, personal

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Warning: Museum Content Ahead

Woman Selling Salop. William Henry Pyne. The Costume of Great Britain. 1805.

Woman Selling Salop. William Henry Pyne. The Costume of Great Britain. 1805.

Night watchmen. We’ve been over them before, tangentially, but never in an experienced way. Sure, sleeping overnight at museum sites, I’ve encountered the night watchman making his rounds. And as a museum visitor, I’ve met the guards who monitor how I’m wearing my messenger bag, and how close I get to various works of art.

But what I don’t think about enough, and don’t observe being thought about, is the safety of people over objects. The Museum Security Network has posts on art theft, forgery, and vandalism— all of which are important topics– but there’s a clear focus. For years, decades, that was our focus at work: stuff, buildings, not people.

That changed in our Library five years ago with one obstreperous patron who touched–didn’t hurt, but was angry, and put a hand on– one of our librarians. Now we think about books, papers, and people. But it’s hard: for as long as I’ve worked in this field, and it’s fully half my life, I’ve had the mission drummed into me: access. We preserve these materials, these objects, these sites, for the use and enjoyment of the public, and that means everyone.

The radical democracy of object care (everything we own is preserved with the best care we can provide, from 17th century basket to 21st century advertising hard hat) translated for me into the radical democracy of access: everyone gets in. (It helps that I’ve worked at places where we could provide a lot of free access, and where we continue to strive for as much free access as possible.)

Hades atop the front gate pillar

Hades atop the front gate pillar

Everyone gets in. Everyone can appreciate our shared cultural heritage. And then I met Mr Hades. That’s not his real name, but the young man who has been visiting us at the museum (after coming to the library last summer in a quieter mode) has developed an obsession with Hades. He came in Thursday, asking about the front gates, about Hades being the god of Hell, and whether the gates of hell were in our basement. I’ve heard a lot of myths about our basement, but not that one. After ten minutes, and before we could connect to 911, Mr Hades left.

But he was back yesterday, more erratic than before, sunglasses hiding his wide and striking pale green eyes, ranging through the house from front to back streaming a rap song on his phone. He paid for the tour, but left after 10 minutes in the house. He’s clearly been on a tour before.

So we met two police officers from the local substation, and we know to call them immediately if Mr Hades returns. A little research (that’s what we do) turned up a lot of interesting information about Mr Hades, and we suspect that there are officers and judges and guards who are pretty familiar with him, and that he needs help as much or more than he needs incarceration. But he disturbs our visitors, and agitates the staff, and that’s a bad visitor experience. (Thanks to my anti-anxiety meds, I don’t get anxious; I just get a stomach ache and keep talking with Mr Hades to try to keep him focused.)

But last night, talking about safety and Mr Hades with Drunk Tailor, I realized that we don’t think enough about the security of our staff. We put our visitors and our objects before the staff, and that’s not right. This incident made me put the safety of our staff above that of the objects, but we can’t help our visitors be safe unless we take care of ourselves.

oxygen-mask

If your staff members know their routines, know how to respond and have the tools they need to respond, they’ll be better able to care for and direct visitors to safety. I know we have to shift our thinking and procedures where I am; chances are your procedures are up for their annual review, too. For many of us, the new fiscal year has just begun. What better time for review and changes?