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Kitty Calash

~ Confessions of a Known Bonnet-Wearer

Kitty Calash

Tag Archives: 19th century 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
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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.)

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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.

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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.

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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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My Grandfather’s Trunk

11 Saturday Jun 2016

Posted by kittycalash in Events, History, Living History, Reenacting

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Tags

1814, 19th century, 19th century clothing, authenticity, fashion, Federal style, Genessee Country Village Museum, interpretation, sketching

Some objects you can't shake. And then you buy them.

Some objects you can’t shake. So you buy them.

When I was little, one of the games my mother and I played was “I packed my grandfather’s trunk.” You start with that line, and take turns adding an item in alphabetical order. The trick is, you have to repeat the whole string as you go along, so that by the time you’re packing a zebra, a zither, or zwieback, you’ve got to remember the other 25 things you and your companions have packed. It’s a good game for waiting rooms when you can’t run around, and fun for people who love words. How many nouns that start with “y” can you think of?

After lining the bottom with paper, I packed the linens.

After lining the bottom with paper, I packed the linens.

In less than a week, I’ll be packing someone else’s greatx-grandfather’s trunk for a trip westward into the (relative) wilds of New York State to join a Sketching Party. Despite two intense weeks, I’ve persevered on the orange check gown and made significant progress on the Thriller Spencer and finished the second sheet. This is a trip to a different class altogether, one of my two annual forays into the mercantile class of the early Federal period.

It’s quite the thing, packing your alter ego’s equipage for another century, and as I’ve enjoyed a longer commute recently, I’ve pondered the ways in which we stereotype certain kinds of living history practitioners. Progressives don’t always travel light: they travel right, and in this case, it means a quantity of baggage to create the proper simulacrum of an 1814 excursion.

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It’s a quantity of stuff, isn’t it?

While I decry the use of film and television as sources for historical costuming, I do appreciate them for inspiration, and it is remarkably easy to get someone else hooked on a good adaptation like the BBC’s 2009 Emma. The depiction of the picnic on Box Hill is particularly good (i.e. excruciating) and the pile of materials required for appropriate comfort is overwhelming to anyone who prefers to travel lightly. Never before have I considered a turkey carpet a possible accessory to an excursion, but when one intends to ape one’s betters and bring culture to the frontier, anything is possible.

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Fine Art Friday

20 Friday May 2016

Posted by kittycalash in History, Living History, Research

≈ Comments Off on Fine Art Friday

Tags

19th century clothing, art, art history, fine art, history, interpretation, sewing, sketchbook, sketching, women's history

Sketching a Cottage, Sept 29, 1816. Watercolor by Diana Sperling

Sketching a Cottage, Sept 29, 1816. Watercolor by Diana Sperling

In a mere four weeks, I will pack the Subaru and head west into New York State as so many Rhode Islanders have before me. And while I will have clothes suitable for the time of the RI Quaker Migration, I will be leaving not to found a more utopian society nor to seek my fortune on a farm. Instead, I’ll be joining some dear friends for a weekend sketching party (minus the horse and carriage).

This new enterprise has required some additional research, and while I look forward to painting miniatures at some point this summer, I suspect this venture will be a simpler proposition. A new dress and apron are the least of my worries: brushes, watercolor boxes, sketchbooks, pencils and pens all require research just when I should be thinking more seriously about the way the Revolution played out as a civil war in New Jersey.

Anne Rushout, ca. 1768–1849, British, 3 sketchbooks of 82 drawings by Anne Rushout (B1977.14.9506-9587), 1824 to 1832, Watercolor on moderately thick, slightly textured, cream wove paper, Yale Center for British Art, Paul Mellon Collection

Anne Rushout, ca. 1768–1849, British, 3 sketchbooks of 82 drawings by Anne Rushout (B1977.14.9506-9587), 1824 to 1832, Yale Center for British Art, Paul Mellon Collection

Still, the Yale Center for British Art has rarely failed me: a simple search for sketchbook turned up a catalog record for three sketchbooks of 82 drawings by Anne Rushout. These are lovely, well-executed landscapes in a fine British tradition, far more sophisticated than Diana Sperling or Sophie DuPont– I fear I will closer to Sperling and DuPont when I take up sketching again, and can at least console myself that my wonky drawings will be part of a fine tradition of ladies’ accomplishments.

Man and cat, 2004

Man and cat, 2004

The Yale Center for British Art also has a nice Romney sketchbook for Paradise Lost, which demonstrates the cartoon-like nature of preliminary drawings (and I mean cartoon in the old sense, not the Animaniacs sense, though the uses are related). And as I sew my dress of unmatched checks, I have art programming to entertain me: Fake or Fortune, thanks to a tip from Ms B, has provided happy, envious hours of conservation labs, artists’ colourmen, and auction rooms. Vicarious delight, indeed.

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