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Kitty Calash

~ Confessions of a Known Bonnet-Wearer

Kitty Calash

Tag Archives: living history

Maid to Order

07 Wednesday Jan 2015

Posted by kittycalash in Uncategorized

≈ 5 Comments

Tags

1820s, 19th century, 19th century clothing, common dress, common people, Federal style, living history, maids, servants, sewing, sewing project

DSC_0572 I play the maid a lot, or one the lower sort, both at home and abroad.

I’ll be a maid in Newport again this February, and for that event, I’ve made the skritchy rust brown gown.

Not quite finished, it still requires hemming and something to finish the sleeves, but in three days, I got pretty far, considering.

This back-closing bodice with bust darts was pretty awful to fit– strange relationships developed between the bodice neckline and a waistband now discarded and on its way to Johnston.

DSC_0573

The back closes with a drawstring at neck and waist, as simple as possible. Mr S and I discovered that fitting a bodice back was deleterious to our relationship, so drawstrings won over buttons. I can tie the lower string, but not the upper– annoying, as I was trying to make a gown that was easy enough to put on solo at 4:30 AM. Vanity won over a pinned apron front gown, though I know they exist in Rhode Island collections. The skritchy rust-brown cotton pays homage to that extant garment, which is a rough homespun brown wool. I may not be stylin’ extant, but I’ll be itching correctly.

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The Unbearable Sameness of Dressing

04 Sunday Jan 2015

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

≈ 9 Comments

Tags

18th century clothing, authenticity, common dress, common people, dress, John Copley, living history, sewing

One of the arguments I hear against changing the way people dress as civilians at reenactments, particularly the women but sometimes the men, is that “if we all use the same pattern, we’ll all look alike, and that’s not how people dress now or then.”

I have news for you: that is how we dress[ed].

I know, we can’t apply modern thinking to the past– that’s crap historiography. But why do we resist using the same correct patterns for historic garments when we are clearly dressing alike today?

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

I’ve not yet read a paper on the similarity of women’s dress in Robert Feke or John Copley’s portraits that really convinced me, but if you look at enough of them, you might think there’s only one woman and one dress in all of British North America, because Badger and Greenwood are painting her, too.

Even if those clothes are studio props, what does it say that the sitters wanted to be portrayed in the same clothes? Look, if that’s the only means of getting myself into a Charles James, you bet I’d take it. Or, for a more contemporary analogue, Alexander McQueen.

Luxe et Indigence. Le Bon Genre, 1817

Luxe et Indigence. Le Bon Genre, 1817

Dressing is about status as much as it is about self-expression, and in the 18th century, dressing signaled refinement, sensibility, and status through the quality of fabric as much as through the cut of clothes. Air Jordans do the same thing today, or North Face jackets, or Kate Spade purses. They show what you can afford, even if you’re eating oatmeal for dinner behind closed doors.

We dress the same now, and we dressed the same then, with variations according to pocketbook. We can’t all afford K&P superfine wool today any more than we could have bought the best wools or prints in the 18th century. But using accurate patterns and fabrics appropriate to our station will create the best impressions possible– even if my gown is cut to the same pattern as my wealthier acquaintance’s.

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Scabbers Paints

10 Wednesday Dec 2014

Posted by kittycalash in Living History, Museums, Philosophy, Reenacting

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Tags

authenticity, interpretation, living history, movies, Museums, Research, resources, theory

Perhaps you know him as Timothy Spall, but the actor playing Mr Turner is best known in my house for his role as Scabbers, AKA Peter Pettigrew, in the Harry Potter films.

I am anxiously awaiting the release of Mr Turner, and have watched the trailer multiple times in anticipation of material for the authenticity and accuracy fires.I’ve also watched The Power of Art again, because I love Simon Schama as the David Attenborough of fine art, and I’ve enjoyed the way that Mr Turner’s titles appear to use a similar color-into-liquid trope as TPOA’s bleeding titles. Just go watch it.

Why am I so excited to see Scabbers paint? Because the trailer looks so damn good.

The color, the set dressing, the intensity of the colors, all suggest that the film team paid close attention to the material culture of the past, and to those tiny details that create a satisfactory, accurate closed world that helps us achieve experiential and even transcendent authenticity.

Of course I enjoy costume drama: you’d expect that, right? And messed up costume and material culture details can wreck a film or TV program for me, but what you might not expect is that there are some films I enjoy despite their apparent inaccuracy.

Take the Muppet Christmas Carol. That’s one of my favorite adaptations of the Dickens’ work, because it creates a world true to itself filled with believable objects and characters (even the ones I can’t stand), and returns authentic emotions. Scrooge’s headmaster was never an enormous eagle muppet: but the shabby school room works, much the way Beatrix Potter’s anthropomorphic tales work.

In The Pie and the Patty Pan, Duchess can’t bake– what dog can bake? But we can believe that Duchess is a greedy eater, and might well think she swallowed the patty pan. The touch of hypochondria in a greedy dog is intensely satisfying, I think.

Cat and dog at a tea table

Where is the Patty Pan?

What does this mean for historic house and living history interpretation? It means furnishing a believable world with accurate clothing, goods, and accouterments, based on primary sources with characters who convey authentic emotions and ideas to create a transcendent learning experience.

I even have a diagram:

The experience equation

The experience equation

And that’s why I want to see Scabbers Paint. Because anything that creates a believable historical experience is worth learning from.

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Winter Workshops

05 Friday Dec 2014

Posted by kittycalash in Clothing, Events, Living History, Museums

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Tags

18th century clothes, 18th century clothing, 19th century clothing, common dress, Costume, Events, Henry Cooke, interpretation, living history, Newport Historical Society, resources, Rhode Island Historical Society, Stamp Act Protest, What Cheer Day

Interior of a Tailor's Shop, Museum of London

Interior of a Tailor’s Shop, Museum of London

Come sew with me! Well, you’ll be sewing with Henry Cooke, but I’ll be there, too.

Check the Newport Historical Society’s website for more information about workshops and conversations this winter designed to for anyone with an interest in early American history who wants to expand their understanding of material culture interpretation.

 

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Less is More

25 Tuesday Nov 2014

Posted by kittycalash in Events, Food, Living History, personal, Philosophy, Reenacting

≈ 3 Comments

Tags

10th Massachusetts, authenticity, Events, food, history, interpretation, living history, military events

Though it may seem contrary to previous posts, there are times when I really believe less is more, and that’s when we’re out in the field.

Each year I’ve tried to improve our kit and impression by replacing or removing items, mostly to increase our accuracy but also to reduce what we carry. The less we have to carry, the less I have to pack and clean and think about and the more I can think about the history. This iteration of “What the heck can I quit?” was prompted by reports of a conversation with someone I respect, which caused me to rethink what we were hauling along and how I could change it.

The Box of Doom with the Pitcher of Inaccuracy

The Box of Doom with the Pitcher of Inaccuracy

We have stripped away most of what we used to bring for the comfort of the kid; as he has grown up, he’s needed less to feel comfortable and “at home.” We traded ground pads for bed sacks* very quickly, and we never had any iron to begin with. I’ve tried to keep within seasonal and historical cooking guidelines, but the largest hurdle and heaviest literal burden is the wooden cooler box.

Feeding the Young Mr is a tricky thing: he likes what he likes, and he likes a lot of it. What he likes are carrots, apples, and meat. There’s some swapping that can be done with seasonal fruit, but the largest hurdle is meat: if I can scrap fresh, needs-to-be-kept-cool meat, I can leave the cooler box at home. (At this moment, several gentlemen are suddenly feeling empty inside, with a taste of ash in their mouths. Dirt stew, boys: it’s coming.)

No iron, but what goes into the kettle?

I had gotten about as far as pease porridge when, in a completely costuming context, I came across links to The Sewing Academy.

The squeamish and childless may writhe at the handouts on dealing with nursing babies, hygiene, and winter clothes for children, but these Civil War resources have utility for all of us trying to be more accurate in our portrayals of the past.

I had not thought about packing frozen meat and storing it underground, and though I like the idea very much, it will not suit in cases where digging is forbidden. But it is certainly a way around the cooler box, and one I’m willing to entertain. (Check “No Refrigeration Required.”) “The Progressive Questions” help sketch out a responses to a variety of situations.

“Quoth the Mavens” contains this excellent definition: A truly progressive mind-set tries to figure out the logic of what was indeed used, rather than rationalizing modern logic into a period situation.

There’s nothing more to add to that pithy statement, but a renewed sense of dedication to accuracy and “less is more” thinking.

*As accurate as my attitude would be after resting arthritic bones on the ground, no one really needs to experience that. Call it a safety measure.

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