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Kitty Calash

~ Confessions of a Known Bonnet-Wearer

Kitty Calash

Tag Archives: Costume

Frugal Friday: Make Do and Mend

11 Friday Mar 2016

Posted by kittycalash in Clothing, Living History, Making Things

≈ Comments Off on Frugal Friday: Make Do and Mend

Tags

18th century clothes, 18th century clothing, Clothing, common dress, common people, Costume, dress, sewing

In a world of fast fashion, mending is quite out of date (unless you’re a hipster, and I am one of the trilobites of hipsterism), so it is all the more appropriate that I have a gown in need of mending.

I am still making new things, like the “Bad Squishy” jellyfish cap. It didn’t look so tentacular until I held it up to show it off. As with any cap, the main goal is merely to keep it upon my head–always in doubt.

Tenactularly good. And now I can whip gather.

Tenactularly good. And now I can whip gather.

In just a week I’ll be headed up to Fort Ticonderoga to clean the officers’ quarters and generally represent the women who accompanied the 26th Regiment of Foot— and yes, I know I’m old enough to be the mother of any number of those folks, but there’s no need to point it out all the time. The main thing is the cleaning. And the weather, which looks like it could once again be unseasonably warm. That won’t stop me making another wool gown, which I am making up in a drab wool specifically for dirt and distracting my unsettled mind.

Washing, wearing, and airing

Washing, wearing, and airing

All the same, I pulled out the mother of all wrecked and wreckable gowns, the cotton gingham made for Bridget Connor. This has achieved a pretty nice patina, though I will confess to having washed it last fall after repeated wearings over the course of the summer. I know– not so necessary, but I did. Fear not: the stains remain.

I have no idea how that happened
I have no idea how that happened
Pop goes the sleevil
Pop goes the sleevil

But I wore it vigorously and made it up quickly– to the point of needing to take it off and mend it at Stony Point (was that really two years ago?). Mending is required once again, so that small seam ruptures do not become actual sleeve separations as I dust, sweep, and mop. Yes, of course I’ll be making experimental mops this weekend, why not? There just isn’t enough distraction in the world.

1750-1770 gown, Fashion in Detail
1750-1770 gown, Fashion in Detail
Eyelets help me stay dressed
Eyelets help me stay dressed

I worried about those eyelets I installed way back when, but was relieved to discover that I had seen a precedent, and that the date was within tolerances for someone of my age to retain in her clothes. The lacings also make dressing significantly easier for me; some days, putting on an open robe takes me back to the button-up and lace-up toys of pre-school, when tying shoelaces was a major accomplishment.

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Illuminating Lampshades

08 Monday Feb 2016

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

≈ 8 Comments

Tags

18th century, 18th century clothing, authenticity, bonnets, common dress, common people, Costume, fashion, Paul Sandby, style

The more you look, the harder things get. That’s usually cause for celebration, but I’m starting to feel the pressure of more ideas and commitments than time. Here’s a question: in these undated Sandby watercolors, are the women wearing the bonnet colloquially called lampshade? What does lampshade look like from the side? My guess is that it looks a great deal like the headwear of the woman sitting on the wall. (Click the images to go to the Royal Collection site where you can enlarge them.)

Somerset House Gardens. Watercolor by Paul Sandby, 1750-1760. Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

Somerset House Gardens. Watercolor by Paul Sandby, 1750-1760. Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

So much good stuff in this image: the woman sitting on the wall, swinging her foot (take that, decorum); the black silk mantles; sleeve ruffles; gloves; pointy shoes; big skirts.

About those pointy shoes and big skirts….much as I would love for this image to be really relevant to my quest, we are looking at the 1750s. At least lampshade comes in to greater focus, both in date and in construction. Ooh, look! More lampshade.

The Ladies Waldegrave, 1760-1770. Watercolor by Paul Sandby Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

The Ladies Waldegrave, 1760-1770. Watercolor by Paul Sandby Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

The eldest of these young ladies was born in 1760 and the youngest in 1762, so we’re really close to 1770 here. They’re not only incredibly adorable (I know a quite darling and very young lady for whom I want to make one of these pretty much immediately), but they’re in the right time period. Most of the bonnet images in the Royal Collection seemed to be of young women or girls, until I happened upon this image, from 1768.

A carriage, with man and lady 1768. Watercolor by Paul Sandby. Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

A carriage, with man and lady 1768. Watercolor by Paul Sandby. Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

Well, “lady” might be pushing it where I’m concerned, but that image feels like the best solid evidence of bonnetness close to 1770.

The ascent to the Round Tower c.1770. Paul Sandby. Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014
The ascent to the Round Tower c.1770. Paul Sandby. Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014
Detail, The ascent to the Round Tower c.1770. Paul Sandby, Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014
Detail, The ascent to the Round Tower c.1770. Paul Sandby, Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

Here’s another ca. 1770 image. Way in the back, there’s a bonnet.

Can’t get enough of that black taffety? Have another.

A young girl, standing 1760-1780. Paul Sandby, Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

A young girl, standing 1760-1780. Paul Sandby, Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

Wonder what that might look like from the back? Voila.

A girl in a sunhat, seen from behind, 1760-1770. Paul Sandby, Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

A girl in a sunhat, seen from behind, 1760-1770. Paul Sandby, Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

This is by no means an exhaustive search, but thanks to a Facebook commenter, I’ve rediscovered the Royal Collection, and found later images of the peculiarly lamp-shade like headwear, and one image with a firm date of 1768.

In Book of Ages, Jill Lepore quotes a February 27, 1766 letter from Jane Franklin Mecom in Boston to Deborah Read Franklin in Philadelphia, regarding the clothing her brother Benjamin had shipped to her. “For ‘Each of us a Printed coten Gownd a quilted coat a bonnet.’ She continues about her bonnet, “is very suteable for me to were now being black and a Purple coten.” (Lepore, Book of Ages, p. 144)

What do you suppose that 1766 bonnet looks like? Do you think it looks more like lampshade, or these transitional forms? Probably lampshade, but the materials are intriguing: Purple cotton. Is that the brim lining? Jane Mecom is in mourning, so I’d expect the main body (brim and caul) of the bonnet to be black, and most likely taffeta, which turns up as a descriptor in the runaway ads.

Wide-brimmed, black taffeta bonnet, possibly lined in cotton, 1766-1768. But how long did bonnets last?*  What went into them– Buckram? Pasteboard? Coated pasteboard? Baleen? A combination of pasteboard and baleen?

I’ve got some ideas, and if the next winter storm doesn’t delay the mail too long, I might have experiments to conduct this weekend.

*Or any clothing? But that’s a post for another day.

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Frivolous Friday: Checkin’ it Out

29 Friday Jan 2016

Posted by kittycalash in Clothing, Frivolous Friday, Making Things

≈ 11 Comments

Tags

19th century clothing, checks, Costume, fashion, fashion plates, Federal style, living history, Making Things

Costume Parisien 1808 Cornette et Robe de Marcelline

Costume Parisien 1808
Cornette et Robe de Marcelline

One gets ideas. I often get ideas about checks. In particular, I get ideas about loud checks. The gown in the fashion plate is appealing, when you’re looking for checks, and all the more so when you know how similar it is to an extant garment in your actual location.  The cornette I can do without– that’s the headgear, which looks like she’s crammed a sugar Easter egg on her head– but at least it could hide a short hair cut or the melting pomade of humid summer.

Costume Parisien 1808 Chapeaux et Capotes en Paille Blanche et Rubans

Costume Parisien 1808
Chapeaux et Capotes en Paille Blanche et Rubans

But wait! What check through yonder tastefulness breaks? It is the fashion plate, and  the checked bonnet is my sun. My goodness, that bonnet on the lower left is satisfying. It appeals to me the most because it is by far the most check-heavy bonnet I’ve seen, and making it would not involve plaiting straw, which I know nothing about. It’s a direct trip to obnoxious via silk taffeta, and that’s a trip I’ll buy a ticket for.

Top: check silk taffeta, Artee Fabrics Bottom: check cotton, Mood Fabrics

Top: check silk taffeta, Artee Fabrics
Bottom: check cotton, Mood Fabrics

Actually, as the result of a train ticket last August, I am the proud possessor of some delightfully bright lightweight cotton check in search of a fashion plate. The year I’m targeting (which is not 1808, but 1818) hasn’t yet provided published inspiration, but there are more places to search. In any case, an orange check gown with a blue check bonnet is pretty much crying out to be made. Bring your hanky, in case your eyes water, but make sure it’s check, too.

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High Style/Low Brow

08 Friday Jan 2016

Posted by kittycalash in Collecting, History, Research

≈ 3 Comments

Tags

18th century, american art history, art history, auctions, Clothing, Costume, history, interpretation, paintings, Robert Feke, Sotheby's

It’s auction season again, the best one of all: the major Americana sales and the Winter Antiques Show in New York. I won’t be at any of the exhibitions or sales, which is just as well for me; my friends know the twitchy “must-touch” finger motion that means I need to leave my wallet and checkbook in wiser, saner hands.

Still, even if we can’t buy, we can learn. This time around, I was delighted by the juxtaposition of two pre-1750 paintings in the Sotheby’s sales.

First, the ever-delightful Robert Feke’s portrait of Mrs Tench Francis.

Robert Feke (1707 - 1752) PORTRAIT OF MRS. TENCH FRANCIS In what appears to be the original frame; Bears a label on the back of the frame: Mr. Willing, Bryn Mawr. Painted circa 1746. Label on the back of the stretcher: Philadelphia Museum of Art, Robert Feke, Portrait of Mrs. Tench Francis, 11-1969-2. Lender: Mr. E. Shippen Willing, Jr. Oil on canvas 36 by 28 1/2 in. Sotheby's Sale N09456 Lot 1595

Robert Feke (1707 – 1752)
PORTRAIT OF MRS. TENCH FRANCIS
In what appears to be the original frame; Bears a label on the back of the frame: Mr. Willing, Bryn Mawr.
Painted circa 1746.
Label on the back of the stretcher: Philadelphia Museum of Art, Robert Feke, Portrait of Mrs. Tench Francis, 11-1969-2. Lender: Mr. E. Shippen Willing, Jr.
Oil on canvas
36 by 28 1/2 in.
Sotheby’s Sale N09456 Lot 1595

Francis. Shippen. Willing. This thing is DEEP in the history of Philadelphia, and by my fave 18th century RI painter.

But does she Remind you of anyone? Like a Smibert, maybe? Or perhaps it’s a Copley?

Mrs Samuel Browne by Smibert, RIHS 1891.2.2
Mrs Samuel Browne by Smibert, RIHS 1891.2.2
Mrs Joseph Mann by Copley, MFA Boston, 43.1353
Mrs Joseph Mann by Copley, MFA Boston, 43.1353

It was a THING, that blue silk gown business with a red silk wrapper. Better yet? This one:

Attributed to J. Cooper 1685 - 1754 WOMAN WITH YOUNG BOY Appears to retains its original frame attributed to J. Cooper. oil on canvas 30 in. by 25 in. CIRCA 1715. Sotheby's Sale N09466, Lot 398

Attributed to J. Cooper 1685 – 1754
WOMAN WITH YOUNG BOY
Appears to retains its original frame attributed to J. Cooper.
oil on canvas
30 in. by 25 in.
CIRCA 1715. Sotheby’s Sale N09466, Lot 398

What I love about the J. Cooper is how crude it is: that painting looks more like a woolwork picture than a painting. But that vernacular adaptation tells us how prevalent this portrait style was, and how desirable.

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Fort Moonrise Kingdom

06 Sunday Dec 2015

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

≈ 2 Comments

Tags

#nobletrain, 18th century, authenticity, common people, common soldier, Costume, Events, feminism, Fort Ticonderoga, history, interpretation, living history, progressive reenacting, women's history, women's work

Fort Ti was described to me as “Disney World for Re-enactors,” but my vote is for Living History’s Moonrise Kingdom.

Idyllic, ain't it?

Idyllic, ain’t it?

I almost didn’t go when my Saturday night roomshare cancelled on Monday and then I developed an ear ache on Wednesday, but on Thursday, Low Spark , Mlle Modiste and I arranged a carpool, so on Friday morning, a Carload of Rhode Islanders (a thing to behold and to be wary of) set off for points north.

Our initial plan was to to sleep in the soldiers’ huts, but they proved extremely crowded and smokey, so when Mlle Modiste and I were offered a bunk in the barracks, we took it… unfortunately, only one of the blankets I’d brought for us did not make it back up to the fort or into the car heading home.

Mlle Modiste at the huts

Mlle Modiste at the huts

Before supper, we stuffed bed ticks, started a fire, startled a bat (I was not the source of the shriek that brought officers, women, and soldiers running), and stuffed straw in the hole we thought it flew into (thank goodness I’m tall, I guess).

Smoke didn't just get in your eyes...

Smoke didn’t just get in your eyes…

The tavern moved up to the would-be armory at the barracks, though I’m certain multiple political deals and presidential candidacies could have been plotted and bought down at the smoke-filled huts. Instead, it was reenactor politics as usual: parallel experiences for men and women (not ladies, thank you, and if I hear you use “distaff” about me, expect to find one has become part of your anatomy). Just because I’m used to it doesn’t mean I don’t notice it, understand it, and still dislike it.

We’d expected to attend to “sick” soldiers in the hospital, but Saturday was such a lovely day that we spent most of it outdoors, starting and tending a fire to boil laundry and make dinner for the women’s mess. This pleased me mightily, even as I may have distracted troops despite my advanced age as I crouched at the fire being a human bellows. You try getting low in stays and see how you do: immodesty, thy name is fashion.

While I kept the fire going, much credit should go to Rory, a bad-ass woman in men’s clothing who split wood a-plenty for us.  Rory made me want badly to make myself a suit and wield an axe. I find myself wanting to do the same work as the men (I have always been this way), and I was intrigued by the debate that was reported to me: should a woman do men’s work in women’s clothes, or in men’s clothes? In the end, they chose men’s clothes, and Rory wore them well. Reader: I was jealous. I was also covetous of an axe, having realized all the cutting and hewing tools are no longer domiciled with me.

Aunt Kitty's coming' for you. boys.

Aunt Kitty’s comin’ for you, boys.

Saturday really revolved around three things for me: food, free agency, and feminism:

  • I ate some interesting things, including a smoked chocolate cake (left overnight in a hut, I can describe its flavor best as sucking diesel exhaust through a chocolate cupcake).
  • Now that I’m a free agent attending events sans unit, I have much more fun.
  • I am determined and dedicated to effecting well-researched roles for women in living history events of all kinds.

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