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Kitty Calash

~ Confessions of a Known Bonnet-Wearer

Kitty Calash

Category Archives: Making Things

Coat Tales

23 Monday Jun 2014

Posted by kittycalash in Clothing, Events, Fail, Living History, Making Things, Reenacting, Research

≈ 6 Comments

Tags

1812, 19th century clothing, fashion, Federal style, fitting, Fitting and Proper, frock coat, menswear, Norah Waugh, Regency, Salem event, style, tailcoat

Coat pattern version 3

Coat pattern version 3

As the Salem Maritime Festival approaches, my anxiety increases.

Whatever will those ‘gentlemen’ wear? Coats and waistcoats, and thank goodness I finished the Young Mr’s shirt and his farm trousers still fit. He has promised to be a very annoying runaway apprentice, and I have promised to chase him from the miilliners’ shop with a broom, but before any of that can happen, ‘gentlemen’ will need new waistcoats and coats.

I got out Fitting and Proper, and took a look at that coatee pattern. It’s a little earlier than I want, so I also looked at The Cut of Men’s Clothes. In truth, I did not draft up a pattern from scratch. I had a commercially available pattern that I’d purchased when it first came out, one that purported to be historically correct, researched, and came from a reputable company.

Toile number 3. One more fitting to go...

Toile number 3. One more fitting to go…

Well…so I guess the issue with the pattern is that the gentlemen in my household are not of the typically boxy build one may see streaming past tourist sites in Boston, or even lumbering across a field in historical uniforms. My gentlemen are built for the Light Infantry, so when I finished the first muslin (or toile) of the coat and fitted it to Mr S, I removed inches–yes, inches–of material along the side and center back.

I suspected this would be necessary when I first traced the pattern pieces, but went ahead because you really have to mark up a toile on the body in question to get the fit correct. Maybe it’s just this many toiles because I’m inexperienced.

Center back pattern, version 3

Center back pattern, version 3

In any case, the armscye and upper shoulder seam were re-drafted, the drape and sweep of the tails, the width of both side and center tails, the side seam of the body, and both seams on the center back piece, which originally had a flat center back seam (I ask you!), a shorter shoulder seam, and a different side seam.

I’ve left the tail length short and after toile number 4, will mark the final tail length for both gentlemen (luckily we are at a sweet spot where this fits Mr S well and the Young Mr passably, so that with minor adjustments for the lad, a second coat could be made at some time).

I still don’t believe the tail pleats entirely, but lack the time this week to draw them from an original. They still seem too wide, though I have taken an inch or more off every tail edge.

The last thing to really wrangle, after bringing the under arm seam back up, is the sleeve; the upper arm is too long, reflecting the fact that the basis for this sleeve is my Spencer sleeve, which traces its origin to Mr Cooke’s linen suit coat pattern. Both Mr S and the Young Mr have shorter humeri and femora, which put the elbow crook on their forearms which looked rather silly and uncomfortable.

In the end, the pattern I had proved useful only in saving me from the math of enlarging a pattern from a book– it got me full-scale immediately, so that I could proceed to fitting–but this project will, when it finished, reflect multiple fittings and four pattern drafts.

If there is a moral to this story, it is this: Almost nothing will fit straight out of the book or the envelope, so leave plenty of time for catching your subject and fitting muslins.

Another moral may be, “Buy muslin in bulk,” which I did thanks to a clearance sale. I’ve already used 2 yards off the bolt I bought Saturday afternoon.

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Frivolous Friday: Just a Pretty Bonnet

06 Friday Jun 2014

Posted by kittycalash in Clothing, Frivolous Friday, Living History, Making Things, Reenacting

≈ 2 Comments

Tags

1812, 19th century, 19th century clothing, bonnets, fashion, fashion plate, Frivolous Friday, millinery, millinery shop, Regency, Salem event, style

DSC_0134
DSC_0136

Like Sew 18th Century, I’ve been enjoying preparing for the August 2nd event in Salem.

I’ve not ventured too much into Regency bonnets, or into straw, but I did flirt with a 1794 bonnet. Now I’ve got hats on the brain, and the time to fully indulge my whimsy (though it runs out Sunday).

1812_CostumesParisiens_2
1812_CostumesParisiens_1

From the fashion plates, one would almost say, Anything Goes.  Of course it doesn’t, really, but you can get a sense of the exuberance of bonnet trimmings in the illustrations, and the lavish use of ribbons, bows, feathers and flowers.

DSC_0138
DSC_0140

Not all straw bonnets were lined– in fact, they often weren’t– but the lining protects the straw and the wearer’s face, and finishes this off in a way I like. Pleating in my condition was, ah, challenging, but I figure it was good for my brain to have the exercise. The lining in the brim is white taffeta, but I used white linen in the main crown or tip portion of the bonnet. Instead of bagging the lining, or trying to fit it, I mimicked what Mr B does in the hats he’s made for us. The gathered linen closes with a drawstring and required slightly less effort to fit into the hat.

The velvet ribbons came from Lunarain Designs on Etsy, the ties are taffeta ribbon from Taylor’s Etsy shop, and the straw bonnet form came from Regency Austentation. While the finish work takes time and concentration, I do enjoy both making up and trimming bonnets, and look forward to several more.

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Back Bump: The Regency Silhouette

03 Tuesday Jun 2014

Posted by kittycalash in Clothing, History, Making Things, Reenacting, Research

≈ 3 Comments

Tags

18th century clothes, 18th century clothing, authenticity, Costume, dress, fashion, fashion plates, history, living history, Making Things, Research, sewing

Ah! Quelle antiquité!!! Oh! Quelle folie que la nouveauté ... Engraving, 1797. 1892,0714.755 British Museuem

Ah! Quelle antiquité!!! Oh! Quelle folie que la nouveauté … Engraving, 1797. 1892,0714.755 British Museum

Regency, Federal, Early Republic:  we use these terms to cover (roughly) the period from 1790-1820, though technically the Regency period would mean only 1811-1820, when George IV served as Prince Regent, ruling for his incapacitated father, George III. In the United States, “Regency Costuming” is a bit of misnomer if you’re copying early American gowns, but it does serve as a handy short-hand we all tend to understand.

Grossly, the principles of dress are rooted in neo-classicism and republicanism rising from the American and French Revolutions. Specifically, we see a turning away from the heavily-boned, panniered, and formal gown styles to the looser, short-stayed, flowing, simpler gowns.  The transition is summed up for me in this satirical print.

So, you’re no longer side-to-side wide, baby: you gotta have back.

How do you get back? There are a couple of perfectly authentic tricks that do not require you to stuff a cat into the back of your dress, though you can do that if you want. The combination I have found to work is two-part: a small, crescent-shaped pad, and the method of pleating. How you deploy the pad and the pleats will give you the silhouette you desire.

First, though: which silhouette? In really the 1790s, the silhouette is rounder than you might think. It really is a round gown.

Ann Frankland Lewis, 1793. LACMA
Ann Frankland Lewis, 1793. LACMA
The Frail Sisters, 1794
The Frail Sisters, 1794

To get that look, I use a small rump pad, bustle pad, or bum roll (call it what you like), which is stitched to the inside of my petticoat.

Pad from the inside
Pad from the inside
Pad from the outside
Pad from the outside

That’s the white IKEA curtain petticoat I made during the extended snow days of last year, and which I have worn with the red curtain-along open robe and under the petticoat and open robe for What Cheer Day. The pad is the same natural light-weight linen I use for a many gown linings, filled with bamboo stuffing. If I’d had wool on hand in the small hours of the morning I made this pad, I would have used it, but all I had was bamboo in the rush to finish up and have something to wear for a photo shoot.

The other key factors are pleating styles and fabric weight. Pleats can add lift, but in general, the lighter the fabric, the more lift a small pad will give you.

Double and triple box pleats, exterior view
Double and triple box pleats, exterior view
Double and triple box pleats, interior view
Double and triple box pleats, interior view

1780_1790
I’m particularly fond of the pleats used for the gown shown on page 75 of Nancy Bradfield’s Costume in Detail. I’ve used this as a guide several times, and I am very pleased with the results. They do vary, of course, depending on fabric weight, fibre, and length. Stiffer cottons, like the Waverly Felicity of the curtain-along gown, will make a round shape; tropical weight wool does fairly well, also, but the most amazing 1790s rendition I have achieved to date is the light-weight India print cotton short gown.

On Cassandra
On Cassandra
On me
On me

Now that’s 1790s back. The bustle-like shape surprised (OK, shocked) me, but on the whole, I think I’m pleased. So there you are: pad, petticoat and pleats: that’s how you get back.

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A Whale-Safe Bonnet

23 Friday May 2014

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

≈ 6 Comments

Tags

18th century, 18th century clothing, bonnets, common dress, common people, engravings, fashion, Marquis of Grandby, millinery, Research, Revolutionary War, sewing, style

Complete with my interpretation of "Hat Face"

Complete with my interpretation of “Hat Face”

As promised, my interpretation of the ribbed bonnet in the 1789 engraving. There are a few problems with this beyond the model. (Which is not to say that I don’t like this bonnet– I do!)

I used the Kannik’s Korner bonnet pattern (view F, I think) as the basis for this because I already had a brim, lining, and caul cut and in a drawer. Given my current medicated state, using something pre-cut seemed advisable. That means I didn’t play with the brim to create the line of the Williamsburg bonnet, or the curve of the brim in the “Fortune Teller” engraving.

Detail, The Marquis of Grandby

Detail, The Marquis of Grandby

Is this style acceptable for the period I typically interpret (1775-1783)? Well… there are other examples of the lampshade-style bonnet, as in the Edward Penny painting of the Marquis of Granby. This painting is dated “after 1765” so there’s some room for interpretation there…too much room. But if that’s 1765-1770, and the “Fortune Teller” is 1789, I think we have comfortably covered the 1775-1783 time frame, even if it is a bit like a queen-sized blanket on a twin bed.

Front view: more lamp-shade like.

Front view: more lamp-shade like.

As you can see, the bonnet does have some lamp-shade-like tendencies on my head, which I consider a benefit. I like the way the ribs are visible, even if I remain unconvinced by the caning. I think it’s a little too wide, and lacks resiliency, though to be honest, I have only felt baleen at the New Bedford Whaling Museum, where there is a large sample on the second floor.

To compensate for the disappointing cane in the brim, I slipped a piece of millinery wire into the pocket underneath the cane. The layers in the brim are:

  • black taffeta
  • horsehair canvas
  • linen buckram
  • yellow taffeta

The channels are all hand-sewn, and then the cane was slipped in. I stitched the black taffeta caul to the first three layers, and then lapped the yellow taffeta over the raw edges and stitched it down to finish the brim/caul seam.

No, I didn’t take any in-process pictures…probably because this took considerable snake-eyed concentration last weekend. IMG_1477 IMG_1476

Usually, I line the cauls of my bonnets, but through shear laziness or distraction, I opted not to this time, and I think I’ll leave it this way for a while. You will also note that I have not trimmed this: I have some black silk ribbon coming, and I may try that. I don’t have enough black taffeta left to cut self-fabric ties, and there do seem to be some plain examples. A plainer, lamp-shade-like bonnet may be just the ticket for Bridget.

What would I do differently? Next time I would definitely play with the brim shape using a paper template. I’d like a lower, curvier, brim. Once I had the shape worked out in paper, I would use that as a template to cut the taffeta and horsehair or light buckram layers.

The Edenton Tea Party

The Edenton Tea Party

I’d also try zip ties. I know: not period correct! But short of risking federal prosecution resulting from a trip to New Bedford with some shears, I’m not sure that anything other than plastic will have the resiliency and spring that baleen has, and that made these bonnets so special. I thought of them while making this bonnet, but I think Mr S used them all at work in the past two months. A Facebook friend has been thinking of zip ties, though, and has a hankering for one of these bonnets. I can’t say that I blame her– and honestly, I think I might join her.

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Hat Face

21 Wednesday May 2014

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

≈ Comments Off on Hat Face

Tags

18th century, 18th century clothing, bonnets, Colonial Williamsburg, engravings, fashion, Lewis Walpole Digital Library, millinery, style

The Fortune Teller, 1789. Lewis Walpole Librray. 789.1.2.1

The Fortune Teller, 1789. Lewis Walpole Librray. 789.1.2.1

I like hats; I think it’s been made clear here before that I have a bit of a bonnet problem. As it stands, I have something in the neighborhood of a dozen bonnets, and really need to get my Etsy store up and running…

But as in life as in the Richard Scarry story, there’s always room for one more, and more to learn, so my collection hasn’t stopped me. I blame my Grandmother Elsa, who owned a dress shop, collected shoes, and had a particular face for trying on hats.

Black silk bonnet, 1770*1780. Colonial Williamsburg 1993*335

Black silk bonnet, 1770*1780. Colonial Williamsburg 1993*335

I’ve been thinking about bonnets because I lately came across some engravings showing what might be called baleen bonnets. At left above, a bonnet that is clearly reminiscent of the bonnet in the Colonial Williamsburg collection on the right. The CW bonnet (1993-335) has seven baleen bones, and a baleen rib around the bonnet brim.

It is strikingly similar to the bonnet in the 1789 engraving, down to the decoration. In “Kissing the Baby,” a lithograph in the collection of the British Museum, the older woman appears to be wearing a ribbed black bonnet in the style my friend calls “lampshade,” and that others call “bucket.”

Kissing the Child. Lithograph by David Wilkie, 1800-1841. British Museum, 1852,1211.134

Kissing the Child. Lithograph by David Wilkie, 1800-1841. British Museum, 1852,1211.134

There are more bucket or lamp-shade-like bonnets depicted in engravings and paintings, and it is possible that flamboyant style was the one that got Ann Warder in trouble in 1788. I remembered this passage on page 223 of Amelia Mott Gummere’s book, The Quaker, A Study in Costume,:whalebone quote

Whalebone bonnet? Interesting… so, having an interest but no whalebone, I send the Young Mr to the basement for the remaining stock of caning I’d used for stays, and came up with a plan to replicate a “whalebone” bonnet, which I will describe and show you next time!

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