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Kitty Calash

~ Confessions of a Known Bonnet-Wearer

Kitty Calash

Tag Archives: silk taffeta

Frivolous Friday Returns: Dressed Intentions

30 Friday Nov 2018

Posted by kittycalash in Clothing, Dressed Intentions, Frivolous Friday, Making Things

≈ 11 Comments

Tags

Dressed Intentions, Frivolous Friday, patterns, personal, sewing project, silk taffeta, silk velvet, vintage sewing, wedding dress

Every morning, I sit at the table in the main room of our townhouse in the dark with my SAD light. To my right, I watch the sun rise over the fence, and every morning the orange-blue-pink-purple morning sky delights me. This hasn’t been the easiest year, but it has been bittersweet, cold and warm, like a winter sunrise. Lady Cat’s death was dreadful, and the last memory I have is ugly but goading. She fought so hard to stay alive, every single moment; remembering that, I am ashamed any time I verge towards the hopeless, and try instead to reach for the light.

So, despite the creeping feeling of hopelessness that lurks around the edges of something I want very much, I thought I would carry on with a partial fulfillment of desire. Three weeks ago, I more-or-less asked Drunk Tailor to marry me.*  This was exciting, and pleasing, and generally felt like a good thing to finally express. The hopelessness creeps in because, after an unhappy afternoon and evening of calculations, the truth is we can not afford to marry until I land a job with health insurance benefits.** However, that doesn’t mean we can’t have a party of some kind at some date-and-place-to-be-named.

The sunrises make me think of fabrics and dresses, colors and textures. What began as an idea for a wedding dress has morphed into a party dress, which was easy enough because I never intended a “traditional” dress— unless we are talking about being in an enormous pile of Turkish Angora kittens, white floof isn’t for me.*** The sunrise colors appealed to me, and I ordered swatches from Silk Baron, planning on a dress-and-jacket combination.

I played with combinations for a while before settling on two groups. I’ve narrowed those down, I think, to cordovan silk velvet with winter sage taffeta. Cross your fingers there’ll be enough in stock when I can afford to order the fabrics! In the meantime, any Vogue pattern called “Average” is likely to create excitement in fitting and sewing– plus, a zipper! I haven’t set a zipper in years, so this project should have all the funs.

One way I thought I could cheer myself up and make the best of this intractable situation was to make this a blog-able, documented project. It’s outside my usual time zone but within my style preferences — you say bolero, I say Spencer– so why not make it a project I have to do? Pretty clothes can be a way to get joy out of disappointment, so from muslin to finished garment, let’s do this thing.****

*More-or-less because in the written proposal I made, I recognized that marriage might be a financial impossibility.

**This revelation capped a pretty awful seven day stretch that began with one day of excellent news, followed by multiple job rejections, frightening health insurance premium calculations, and the now-quarterly revelation that my workplace cannot afford to pay me for the hours I’ve already worked this month (and possibly not through the end of the year).

*** The best nap I ever had was in the back of a Subaru Outback, on a stack of bayonets. I dreamt I was in a pile of kittens. It was a warm spring afternoon (kittens) but I was getting poked by sharp things (bayonets, also, kittens).

**** Pending supplies. $212.50 for fabric is right out of my budget scheme at the moment– that’s a lot of chickens, cat chow, or half a health insurance premium, depending on the metric you prefer.

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Hair-raising

22 Saturday Feb 2014

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

≈ 4 Comments

Tags

10th Massachusetts, 18th century clothing, blue silk, Costumes, fashion, George Washington, Grand Ball, party clothes, silk taffeta, style

An old gown, with new sleeve ruffles and petticoat.

An old gown, with new sleeve ruffles and petticoat.

We are going to a ball tonight, and while I am looking forward to seeing Sew 18th Century and the lovely Mr and Mrs B among other friends, this is a different kind of experience for Mr S and me. We are, after all, more accustomed to crashing parties than attending them. (There are photos of the Riot Act Night here.)

The biggest difference is in presentation. I ended up making a changeable blue silk petticoat to dress up a cotton print gown, to which I’ve added sleeve ruffles made by the incomparable Cassidy. While I once had plans–dreams–of finishing and wearing the silk sacque in time for this, I was overtaken by events  and have settled for an ensemble more suited to my persona, and Mr S’s planned outfit, the Saratoga coat and breeches. I feel just OK with center front closing cotton print for late 1777, and have seen enough cotton print gown and silk petticoats at Williamsburg to brazen it out.

This is a marked upgrade from linen petticoats that smell like woodsmoke (sigh!) and print neckerchiefs that you shouldn’t smell.

Perhaps the biggest change, though, is to my hair. (Yes, the pun is finally paying off, like a loaded gun in the first act.)

All cleaned up with someplace to go.

All cleaned up with someplace to go.

I started this day with wet hair, curlers, setting lotion and bobby pins, swearing like a sailor and convinced/hoping the world might end right in our bathroom. Last night I watched Jenny La Fleur‘s 18th century pouf tutorial, and thought I had the basics down.

Wrong. Or half-wrong. I should have gone looking for a don’t-lose-your-mind video, plus one on how to make pin curls in exacting detail. True to my ability to over-think anything, I began to wonder which way I should spin the pin curls– clock wise? Counter-clock wise? Is it opposite if you’re in Australia and New Zealand? My brain is a cluttered place.

In under an hour I had achieved a lop-sided mound of curlers and curls, which I thoughtfully covered with a kerchief to spare my family from death by Medusa. They refused to take me to Walmart, though I finally had the hair for it. Eventually, I pulled out half the bobby pins in the known universe, and had a head full of snakes. Silver snakes. Apparently there’s more grey in my hair than I realized.

Another half-hour of pins and hairspray later, I had a slightly more upscale version of my usual hair style, accented with a shiny green ribbon. Underneath that demure cap, my hair is doing terrible, feral things. Of all the things I learned today, I know with certainty that despite my small head, the next time I’m gonna need bigger rollers, and when I get home from the ball, I must wash my hair.

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HSF #2: Innovation

03 Monday Feb 2014

Posted by kittycalash in Clothing, Historical Sew Fortnightly, History, Living History, Research

≈ 6 Comments

Tags

19th century clothing, authenticity, bonnets, Costume, fashion, fashion plates, Historical Sew Fortnightly, Quakers, Rhode Island history, sewing, silk taffeta, style

For this challenge, I initially thought I’d be working on the compere fronts for a silk sacque, but then I took another look at the calendar and realized March was awfully close! Instead, I opted to spend the past week working to better understand the Quakers, especially Quakers in Rhode Island, in advance of a program in early March. (I did do #1, Make Do and Mend, but do you need to know about re-stitching a petticoat binding?)

'Quaker' bonnet

‘Quaker’ bonnet

To help get myself out of a sewing rut and panic, and a general malaise, I made a bonnet. A ‘Quaker’ bonnet. Bonnets are like cupcakes: delicious, sugary, but lower in calories and committment than a full garment.

Quaker bonnet ca. 1800, Nantucket Historical Association, 1928.54.7

Quaker bonnet ca. 1800, Nantucket Historical Association, 1928.54.7

Quaker women in the late 18th and early 19th century did not, as far as I can tell, wear the black ‘sugar scoop’ bonnet we now associate with Quakers.

There are numerous entries in Amelia Gummere about bonnets, and types of bonnets, and the reflection of particular sects of Quakers in the pleating of the bonnet caul. But early in the 19th century, at the dawn of the Age of Bonnets, Quaker and non-Quaker styles seem to have been closer.

Fashion Plate: Promenade Dresses, 1801. Museum of London. 2002.139/1397#sthash.YsOpwKG2.dpuf

Fashion Plate: Promenade Dresses, 1801. Museum of London. 2002.139/1397#sthash.YsOpwKG2.dpuf

The fashion plate from the Museum of London presented a style that I thought I could approximate, and that made sense to me for 1800-1810ish, but I chose an olive green silk (actually yellow and black sort-of-changeable taffeta) because I have seen Quaker bonnets in olives and tans, especially earlier bonnets. Going with a color that was less distinctive, and a form that was undecorated, seemed to me to strike the best balance between plainness and style in this time period.

I chose this for innovation because the new bonnet forms of the early 19th century are departures from the full, round, pudding-on-the-head styles of the late 18th century, and the Quakers took it a bit further. In standardizing the appearance of their bonnets (simple, unadorned, eventually ossified in form and signaling sect in pleat patterns), the Quakers were innovators in clothing as  outward symbol and sign of inner faith and affiliation.

There’s your rationalization, how about some facts?

The Challenge: HSF # 2, Innovation

Fabric: Sort-of-changeable black and yellow silk taffeta in olive green for the body and ribbons, white linen for the caul lining and brim interlining, white poly taffeta for the brim lining, and pasteboard for the brim.

'Quaker' bonnet, view two.

‘Quaker’ bonnet, view two.

Pattern: Modified Kannik’s Korner Bonnets, View E

Year: ca. 1803

Notions: Thread, PVA (acid-free white glue for book binding)

How historically accurate is it? Well, white poly taffeta aside, pretty accurate. All hand-stitched and assembled in a period method. Gentlewomen can disagree about accuracy of style, but we could call this a plain bonnet ca. 1803 and be safe. After March, I can decorate the bonnet. The poly will remain, so, well, 60%? (How many points from Gryffindor for using the right weave in the wrong fiber?)

Hours to complete: Five, perhaps? These are quick, so five would be from start to finish, not including agonizing in advance.

Mr S's day took a bit of turn.

Mr S’s day took a bit of turn.

First worn: First by Mr S, who wasn’t feeling well, but to be carried along by me on March 7.

Total cost: All supplies came from the Strategic Fabric Reserve and chip board depot. It takes so little of anything to make a bonnet…maybe $2.50 in silk, $3.00 in linen, .50 in chipboard, so $6.00? (The silk came from the remnant table at $10/yard, chipboard is $2.00 a sheet, and linen about $12/yard.)

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So Hip

02 Thursday Jan 2014

Posted by kittycalash in A Silk Sacque, Clothing, Making Things, Reenacting

≈ 5 Comments

Tags

10th Massachusetts, 18th century clothes, 18th century clothing, Costume, fashion, patterns, questioning my sanity, sacque, sewing, silk taffeta, style

I don’t always feel the need to enhance my anatomy; in fact, I rarely do, but then I started on the sacque. Ah, the sacque. I nearly abandoned the whole business but then I thought I’d look pretty silly dressed as the maid, or for George Washington’s funeral instead of his birthday party.[1]

I also don’t want to have a house littered with UFOs, because that is what my knitting stash is for. In order for the sacque to look right, I need hips. HIPS.

And while I planned to make panniers AKA pocket hoops, a simpler and easier solution occurred to me. Hip pads: I’d seen them on Sharon’s site and thought I could at least try a pair. They’d help my poor fake quilted petticoat (FQP, long story[2]), which will come in handy for a party in February. So I spent my New Year’s Day making hips and playing a bit with the sacque silk.

Half hipped, or me, right after my hip replacement.
Half hipped, or me, right after my hip replacement.
Whole hipped: symmetrical, and wide.
Whole hipped: symmetrical, and wide.

To make the hips, I started out by laying a piece of muslin against Cassandra, and tracing a waist arc. I worked between the muslin and paper to create a paper pattern, and then made up a muslin, which I filled with polyester stuffing and then tested under the FQP. Better, no?

Then I added the seam allowance to the paper pattern (which you can download here and print at 100% if you have a waist in the 30 inch range and want enormous hips yourself) and cut four more of linen.

After three episodes of Death Comes to Pemberly[3], I had hips. They weren’t quite the same size, but my right hip is larger or higher or something, so I put the smaller one on the right and the larger on the left to balance my own deficiencies.

The alteration to the silhouette is pretty amazing, though Mr S did laugh. Perhaps this figure is an acquired taste.


[1] All I have right now to wear with the Celebration Spencer is a black petticoat, so I’d be rocking the 1799 George-is-Dead look.

[2] The story is that I have a real one basted onto a frame but I cannot fit both the frame and a sofa in the apartment. We chose sofa. I am sad but comfy.

[3] I’m ambivalent. Though I do love Trevor Eve, I wondered why there was not more changing of dress for various times of day

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Still More Sacques

29 Tuesday Oct 2013

Posted by kittycalash in A Silk Sacque

≈ Comments Off on Still More Sacques

Tags

10th Massachusetts, 18th century clothes, authenticity, Colonial Williamsburg, fashion, Museums, Reenacting, sacque, sewing, silk taffeta

1770-1780, Colonial Williamsburh 1999-247,A-C
1770-1780, Colonial Williamsburh 1999-247,A-C
ca. 1770 Colonial Williamsburg, 1993-330,A
ca. 1770 Colonial Williamsburg, 1993-330,A
ca. 1755 (Silk), dress remodeled ca. 1770. Colonial Williamsburg 1990-12,1
ca. 1755 (Silk), dress remodeled ca. 1770. Colonial Williamsburg 1990-12,1
ca. 1750, altered ca. 1775, Colonial Williamsburg 1989-330,1
ca. 1750, altered ca. 1775, Colonial Williamsburg 1989-330,1
ca. 1775, remade late 19th century, Colonial Williamsburg, 1955-428,1
ca. 1775, remade late 19th century, Colonial Williamsburg, 1955-428,1
1770-1780, Colonial Williamsburg CW 1991-472, A-C
1770-1780, Colonial Williamsburg CW 1991-472, A-C

I’m particularly interested in remodeled gowns, not that I have the patience to make a ca. 1750 or 1760 gown and then re-make it, even though I suppose it would be the path to the greatest authenticity. In figuring out “what next” now that the pleats are stitched down and secured to the lining, and the front panels cut, and one even pinned, awaiting a seam, I looked at the sack/sacque in Costume Close Up. It’s both tiny and a polonaise, so it’s not the best example for me to follow, but when you’re trying to understand construction before you totally screw up  take the next steps, you look at whatever details you can.

That led me back to Colonial Williamsburg’s collections database, which I try to avoid because they don’t have stable permalinks to their records. However, they have good cataloging and an amazing collection, so it’s hard not to end up back there.

I feel a little more confident in thinking of a ca. 1770- 1775 gown with a compère front. A compère front is a false stomacher, where there are two halves sewn to either side of the opening in the bodice. The sides then button closed. Button, and not pin, people: sweet. I will gladly trade you a week of sewing buttonholes for a wardrobe failure today (Of course, I’m not sure whether a compère front is accurate for a ball gown, but I very much want to avoid a pin explosion at a public gathering.)

Trim is another tricky area: in my regular, 21st century life, I am not someone who wears ruffles and lace or even many colors other than black, brown, grey and red. When I chose the cross-barred fabric, it was a choice really grounded in who I am, and in my love of things architectural, bold, and elegant. (Thanks to my Dad and my education, I now wonder, can one make a Miesian sacque? Let’s find out.)

Serpentine trim, no matter how appropriate and accurate, is not for me. I like the simple trim on the purple gown (padded furbelows), and will probably replicate linear, and not serpentine, trim.

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