Bloody, Bratty, Boning

File_000Sometimes I am a terrible brat, as in this past weekend, when the autocorrect on my phone insisted that the proud four-letter Anglo-Saxon words I was typing were not what I meant to say. Darn tootin’ they were.

This is not my first rodeo with stays, but somehow I’d forgotten about the special stabby hell of boning the beasts. I’m machine sewing the channels for these, mostly because I calculated the time required to completely hand-sew them and realized I would not finish them before I needed them. I’ve rationalized this by acknowledging that I’m not using the hand-woven brown wool sateen I covet, but instead a dark blue wool twill.

I know, I know: there’s a reason staymaking was a man’s trade. My hands are pretty strong, but it took some doing to figure out how to slide the pieces in neatly without jabbing the ends repeatedly into the freshly re-opened split on my thumb.

d'oh! surgical tape made this *much* better later.
d’oh! surgical tape made this *much* better later.

It takes discipline to keep doing this, the way it takes some discipline not to eat ice cream for breakfast just because you can (though I did, just this week). Spencers and dresses are so tempting, but there’s not point to making a new dress of wonder unless I have the stays to wear it over: infrastructure is required.

The stomacher and the two front pieces are boned… six more pieces plus whipping and eyelets and binding, oh, my! It’ll be a race to have them done by June 24th:  Discipline’s the thing.

What’s it Worth Wednesday

Or, They’re Clothes, not Costumes.

This past weekend, I had a conversation with a friend about requests to borrow “costumes” we’ve made, sometimes for school children to wear, sometimes for movies, and sometimes for parties. We generally say no: these are hand-sewn clothes, and the replacement cost would be ridiculous– plus, we like them and wear them.

I hand sew because I get better control, but also because there were no sewing machines in the 18th and early 19th centuries. To get a garment right, you have to hand sew it, and that’s expensive. I took the time once to figure out what a set of clothes for the Young Giant cost– much to my dismay, and eventually, to his, as I became even more insistent that the garments be treated with respect.

IMG_3389

Last year, I sent the Young Mr off to Battle Road in a new suit, and the whole business of what he was wearing was quite expensive. Using $25/hour as a base for labor, here’s how the kid’s Battle Road suit breaks down:

Coat Labor: $1125 (estimated)
Coat fabric: $62.50
Buttons: $10.50
Coat lining & cutting: $90.00
Workshop: $125.00
Total: $1413

Let that one sink in for a while, will you? The 16-year-old boy ran around in a $1400 coat. Oh, and the breeches. Here they are.

Breeches labor: $300 (estimated)
Breeches fabric: $31.25
Buttons: $9.00
Total: $340.25

The blue suit is now up to $1753.25

Let’s add the shirt.

Labor:  $375.00 (estimated)
Fabric: $30.00
Buttons: $3.00
Total: $408

Shoes, hat and stockings:

Shoes: $119
Hat: $125
Stockings: $50
Neckcloth: $18
Glasses: $29.00
Lenses: $30.00
Total Accessories: $371

Grand total, with labor: $2532.25
Grand total without labor: $732.25

This wasn't cheap either.
This wasn’t cheap either.

So think about this the next time you attend an event with a lot of well-made garments: you are standing amid a lot of labor and love.

Sewing is a fairly simple enterprise (you’re pushing thread in and out of fabric, after all), but it takes practice to develop fine skills and speed. A well-made garment will never be cheap. The best investment you can make in your wardrobe is to invest in your skill set, and learn to sew.

Fine Art Friday

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.

A Request from the Academie

At the Inn Door, oil on canvas by Henry Singleton, ca. 1780, V&A Museum 1834-1900
At the Inn Door, oil on canvas by Henry Singleton, ca. 1780, V&A Museum 1834-1900

Gentle Readers, Living History Enthusiasts, and Rev War Junkies: Your assistance is requested. Mrs. Boice’s Historie Academie is looking for your input for future hands-on learning weekends.

There are some interesting topics in the list– brewing? I certainly enjoy the results of brewing. Dairying? I like cows and love the local dairy farm. Language and speech patterns? I could certainly do better. Professions? Hmmm….I’ve considered several. Much to love in this list, and I’m looking forward to learning more.

Go forth, and register your opinion.