Tag Archives: Clothing

Criss Cross

05 Wednesday Mar 2014

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Dolly Eyland, by Alexander Keith, 1808. (c) The New Art Gallery Walsall; Supplied by The Public Catalogue Foundation

Dolly Eyland, by Alexander Keith, 1808. (c) The New Art Gallery Walsall; Supplied by The Public Catalogue Foundation

I like Dolly. The colors, the textures, the style of her gown, shawl and cap all please me. She’s rocking some serious class for a woman headed towards a certain age. And she’s wearing a cross-front gown, which is what I settled on for my Quaker costume. 

Taffeta dress, ca.1800-1810, Originally found on Villa Rosemaine site, where it does not appear now.

The trouble with making a gown based on an artistic sketch in a book is that you don’t have the most complete sense of what that garment looks like, or how it goes together.

Not to worry, I went ahead anyway, because this is as close to Everest as I will ever get.

But I wanted comparable garments to help guide me. Ages ago I found the gown at left on a French costume site. That’s helpful, in that it explains the trickiness of assembling and wearing this style of garment. Three pieces coming together in the front may be one piece too many. 

In making up my pattern, I used the pattern for the Spencer as a starting place because I knew that the set of the sleeves and arm scye were what I wanted. No reason to re-invent that process!

That left me with the luxury of concentrating on the neckline.

That took a few goes with the tracing paper and muslin:  I did lose count after a while. There may have been tears, there definitely was swearing. Mr S at one point made jokes about this process appearing on the Discovery Channel’s “How it’s Made” as “the Quaker dress.” He’s really very patient, and I do understand the selective deafness he’s had to develop as a defense against the dark arts of sewing historic clothing.

Thank you, Cassidy, for the chemisette!

Eventually, I had a decent lining and even some silk bodice fronts. I fiddled with the fronts, and settled on gathers instead of pleats, but couldn’t quite figure out where the casing went. Some days I can process drawings into objects, some days I can’t. I’d just about reached the point of cutting it all up into the gown I always make when I discovered that the excellent women of the 19th US had patterned the gown from the drawing, too. (If you don’t already use this site, I highly recommend it. Excellent work.) Those pattern pieces look like my pattern pieces, so I decided it was worth carrying on with what I have.

Temporal Anxiety

24 Friday Jan 2014

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

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First draft, heading towards a Pierrot jacket.

I like to have a selection of things to wake up and panic about at 4:00 AM, don’t you? If it isn’t sewing, it’s some weird noise I think the car is making, whether the post office has lost a package, or if that noise is not the cat but instead a pending disaster. My brain generously provides me with a Whitman’s Sampler of anxieties.

To start with, that ball. For one thing, Mr S will probably have to wear his Saratoga coat, which means anything nice that I have won’t match him, temporally. For another, anything nice I think I could make in time is French and not American. So I have temporal and geographic anxiety disorder about something that is supposed to be fun. But there is this jacket I think I could make (and want to make), so I started playing with the pattern in my “sketching in muslin” method.

I haven’t got a lot of the purple, but I might have enough.

I know this is not party wear. I know KCI says jackets like this were worn with white muslin petticoats. But I note that this woman in a Pierrot is not wearing a white muslin petticoat, and I carry on. My other option is my brown wool gown, and perhaps I will wear that.

Mr S still needs a frock coat, so that has to be patterned and fitted; his breeches are still being sewn. He’ll need a wool coat no matter what, but whether it will be done by February is up for grabs.

The last two parts of my current crazy are a program in Newport on early March, with an early date of 1813, and programs in late March in Providence, which I have yet to develop. At least in Newport I don’t have to create the program, just dress and deliver.

Portrait of Sarah Comstock Coffin and Children, ca. 1815. Nantucket Historical Association, 1917.0034.001

Portrait of Sarah Comstock Coffin and Children, ca. 1815. Nantucket Historical Association, 1917.0034.001

1813 is a fun place to start, and I have been looking at images for inspiration.

At right, Mrs Coffin  is a nice example of a New England woman in 1815, wearing the kind-of cross-over, v-neck, apron-front gown I’m thinking of making. I have some fabric reminiscent of a gown at the V&A, and I have some purple sheer cotton, as well as some green silk, so there’s a whole set of what-ifs? to enjoy.

Because that’s the rub: I enjoy all this planning and fretting and picking over details. I just wish it let me sleep a little longer some days.

Pinner Aprons

23 Thursday Jan 2014

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

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Mr & Mrs Thomas Sandby. Watercolor by Paul Sandby. RCIN 917875, Royal Collection Trust.

Mr & Mrs Thomas Sandby. Watercolor by Paul Sandby. RCIN 917875, Royal Collection Trust.

On Saturday, Sew 18th Century and I went out for lunch and fabric shopping. Along the way, I brought up pinner aprons, and that I’d seen them in British prints. She said, “You should blog about that!” and I went back to check my sources. Fail! There was an English print after a French original, and that doesn’t count!

So I shelved that idea, and went about looking for more Paul Sandby images of soldiers and maids and tents, and found instead Mr and Mrs Thomas Sandby. Ahem. Pinner apron alert.

Fluke, right? Well, no, not exactly.

Lady Chambers and child. Watercolor by Paul Sandby, RCIN 914409. Royal Collection Trust.

Lady Chambers and child. Watercolor by Paul Sandby, RCIN 914409. Royal Collection Trust.

Because here is Lady Chambers and child, with Lady Chambers in a pinner apron.

The thing to note, though, is that “apron” here is a decorative, almost ceremonial garment made of black silk, while the maid engaged in Domestick Employment is wearing a working garment of [probably white] linen.

Domestick employment, washing. Mezzotint by Richard Houston after Phillipe Mercier, 1736-1775. British Museum 1876,0708.23

Domestick employment, washing. Mezzotint by Richard Houston after Phillipe Mercier, 1736-1775. British Museum 1876,0708.23

Well, can I wear a pinner apron as a Continental army laundress or not? Probably not, though I will be going back through all the images of laundering I can find. It would be so useful and protective a garment!

No, instead, it looks as if the black silk pinner apron was a fashion adopted by the British upper class probably in imitation of the aprons worn by young girls. These fleeting, black silk accessories were probably adapted to some other use when the fashion had fallen from favor. (You could make a lot of mitts out of one of those.) Sadly, I don’t care enough about the elite to go chasing inventories and more images, but someone else can. I think I have seen a few other examples of this style, but cannot immediately place them. My sense is that these are not common.

I’m much more interested in laundresses and maids. Doesn’t she look sassy? We could call her Bridget. 

A country girl, full-length, facing front, leaning against a fence & a tree. Watercolor by Paul Sandby. RCIN 914438. Royal Collection Trust

A country girl, full-length, facing front, leaning against a fence & a tree. Watercolor by Paul Sandby. RCIN 914438. Royal Collection Trust

Families and Hatters: more sale portraits

15 Wednesday Jan 2014

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Lot 627, Sale N09106, "Esmerian."

Lot 627, Sale N09106, “Esmerian.”

Another lot from the Sotheby’s American Folk Art sale is this pair of paintings by Jacob Maentel. (There’s an entire series of paintings by Maentel, all worth checking out.)

Particularly fun in this family portrait? The two little girls wearing dresses made of the same fabric. One of my former colleagues and co-conspirators always wanted to dress interpreters in clothes made of the same fabric, dresses, waistcoats and other items, as if we’d bought a sole bolt of fabric one year. Well, there it is, above: one length, two little gowns.

Lot 576, Sale N09106, "Nesmerian"

Lot 576, Sale N09106, “Nesmerian”

For my friend who makes hats, here is the portrait of Hatter John Mays of Schaeffertown, also painted by Jacob Maentel.

Top hats aplenty, bows on his shoes, and gold watch fobs. I’d say Mr Mays is doing quite well.

“Unsuspected Cat”

04 Wednesday Dec 2013

Posted by in Clothing, History, Museums, Research

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Squatting plump on an unsuspected cat in your chair!! George Cruikshank [1800]. Lewis Walpole Library, Image ID lwlpr09721 Call Number 800.00.00.176+

The Lewis Walpole Library provides endless amusement, and searching by subject yields some fun. People have had curious relationships with domestic pets for a centuries, and thank goodness cats invented the interwebs so we could get real perspective on this.

Quite aside from the minor domestic comedy of this engraving (I dislike the dark of winter and take my fun where I can), we can learn a lot. The domestic comedy itself helps remind us that while the people of the past saw the world differently, they were as foolish, bawdy and rude (or more so) than we are.

From a material culture perspective, we have (among many things):

  • a geometrically-patterned floor covering, probably a carpet but possibly painted.
  • floor-length curtains
  • looking glasses, paired
  • a slip-covered easy chair, matching the curtains and the cat’s cushion
  • two candles (only two!)
  • glasses with the characteristic straight temple pieces that end in loops
  • a colored open robe over a white muslin petticoat
  • a young gentleman in trousers, an old gentleman in breeches

I can imagine this depicting Emma and Mr Knightley (after their marriage) at home after dinner with her father and their young son: Mr Woodhouse in his nightcap and banyan, reading; Mr Knightley upset by the cat, while the Spaniel barks at the excitement.  All in all, highly satisfying.