Coats and Cooking

And happy not to be walking to Walloomsac, since we can’t leave till Friday.

Before we leave, there’s plenty to done, of course, and most of it in men’s wear.*

The first piece on brown linen

The Young Mr needed a new jacket, a proper one, with pockets and everything, correct for a scalawag. So that meant patterns and muslins and fittings and questions, until neither of us could really stand the other and his father called me an ambush predator of fittings. The only way to fit these wily creatures is, as they amble through the room, to leap out and toile someone.

With the pattern more-or-less fitted to the wiggly Young Mr, I cast about for fabric: there was not enough of a striped piece for both waistcoat and jacket; waistcoat won, because matching stripes on a jacket seemed too risky in this great a hurry. Instead, I sacrificed the last yardage once meant for a gown.

The Stocking Seller, by Paul Sandby, 1759
The Stocking Seller, by Paul Sandby, 1759

This is the inspiration for the kid’s new garment, along with Sandby’s fish monger. It seems a plausible garment to work from, and the brown linen is in keeping with the brown linen jacket at Connecticut Historical Society and the unlined linen frock coat recently sold at auction. It will also match his trousers, but this is what happens when you sew from the stash.

One pair of breeches altered, one waistcoat wanting the last seven newly-made buttons, one waistcoat in production, one jacket in production: you’d think that would be enough to get done. But I’m also working to expand my cooking repertoire, as bread and cheese gets tiresome and scrounging broken ginger cakes from the Sugar Loafe Baking Co.— while potentially good theatre–is not a solid plan for sustenance.

half pint and spoon measures
Half-pint and spoon

Boiling food in summer- sounds awful, right? But it’s an easy and correct way to cook,once you translate recipe measures and control the amount you’re making. I like to use Amelia Simmons’ cookbook, because it is specifically American, and my more skillful friends cooked from it at the farm.

From Enos Hitchcock’s diary, I know that he ate a boiled flour pudding with some venison stew (near the Saratoga campaign, I think) so I consider this a plausible recipe for the field, pending eggs, of course.

A boiled Flour Pudding.

One quart milk, 9 eggs, 7 spoons flour, a little salt, put into a strong cloth and boiled three quarters of an hour.

Simple enough, though Simmons later corrected the receipt to 9 spoons of flour, and boil for an hour and a half. I got out the spoon, and looked online at modern boiled pudding recipes, and will give a modified version a whirl sometime this week (always better to fail at home than in the field). Boiling the pudding in a linen cloth in a stew would make a savory bread substitute…and I really liked the one we had at the farm. Will the gentlemen at Bennington like it? Perhaps we’ll find out. If we’re not cooking with hosewater, almost anything should be edible.

*Yes, it’s a terrible and terribly dated show, but I always hear  this in Mr Humphries‘ voice from Are You Being Served?

Can’t Type: Sewing!

What has kept me so busy I can’t blog? Mostly preparing for the millinery shop in Salem, which I am really looking forward to!

Cassandra attempts a Regency Wedgie

In just about a week, I managed a gown, now needing only a hem.  This based on the roller-printed serpentine stripe gown at Genessee Country Village and Museum, documented nicely at the 19th US site.

This was an easy gown to build up from a shoulder and back piece, once I did the math to scale it up to my size, and with the generous help of Sew 18th Century, who gave me the sleeve pattern I started from. This isn’t a drawstring sleeve, so the gown is not an exact copy of the GCV&M gown. I’m OK with that, since–as far as I can tell– it fits. It may be a little large, but that’s what an apron or sash is for. No, I don’t know when I’ll get the apron made.

Mr S saves time by modeling *both* coat and new bonnet

There should also be a coat, and many bonnets.

Mr S’s coat seems to be working, and is now faced on the right side, leaving the left, the sleeves, and just a few buttons. He was excited about helping with button manufactory until he realized that the largest tool required was patience. But what are facings and buttons and buttons holes, among friends?

Bonnet Number I Forget

Another bonnet is in the works- can you ever have too many? I think not. It is in the prickly phase, while I work this evening on taking apart a waistcoat that must be altered for the Young Mister for this weekend at Stony Point. Bouncing between 1779 New York and 1812 Salem, when one is also considering 1765 and preparing for 1800 can make telling time a little challenging!

Six Toiles, a Coat and a Bonnet

14557116394_73c2d5ea9f_zYes, six toiles.
That’s how many it took to get a coat pattern to fit Mr S the way I thought it should. I finally built the pattern around a sleeve and arm scye that I knew worked and suited the period. From there, I built out the back, altering the center back seam curve to suit Mr S’s figure. Arm scyes are still hard for me to figure out, although sleeves are often my favorite part of a garment. I like how flat pieces become three dimensional in a sleeve, and I enjoy setting sleeves– go figure.

Thanks to the three-day holiday weekend and sitting out a parade to pad stitch, I have a coat body.

I’m not thrilled about the size of the lapels, though I have found extant examples and fashion plates showing lapels this size, and sleeves, too. While I’ve pinned up the sleeves in the back, thinking there’s too much fabric there, I can also see from the images that the subject’s posture was not the best– and that was the moment when I realized that I really did want a mannequin for menswear as the subjects are hard to catch at any age, and variable in posture and wiggliness. They also object to being pinned accidentally.

But there is at least a coat body on the way to being done, so I took a break and made a bonnet, which is really the point here <ahem> milliner’s, not tailor’s, shop, after all.

IMG_1738

Pasteboard brim, blue silk taffeta lined with white silk taffeta (they had new things at the fabric store, very exciting!), trimmed with silk ribbon from Wm Booth and paper flowers from the V&A.

Now, more bonnets, two waistcoats, a gown, an exhibition, a lecture, and Stony Point are all that stand between me and the milliners’ shop in Salem…

The Taylors’ Instructor

Title page, The Taylors' Instructor
Title page, The Taylors’ Instructor

So who else was wondering what Mr Cooke meant by Lapsley and Queen? Wonder no longer, frustrated toile-makers and cuff-detail mavens, it is available on the vast interwebs of knowledge.

Go! Download the PDF and immerse yourself in an 1809 American tailors’ manual published in Philadelphia, with Eight Appropriate Engravings. We may note that there was excited squeaking when I located this, altering my nearest companions to A FIND, and letting them know that yes, I am back, and probably will continue to squeak on and off for some time to come.

From the introduction:

“…there is no situation more awkward than that of a TAYLOR who has cut and mutilated his own or his employer’s Cloth which will frequently be the case when a man has nothing to depend upon but the poor resource of chance or hope, that his clothes will fit.”

The Taylors' Instructor
The Taylors’ Instructor

I can tell from the text on Coats that my subjects will have to be further apprehended and measured, even against their will, but the results will undoubtedly be better than before.

Happy Reading, Historical Sewing Enthusiasts, and a big thank you and hat tip to Henry Cooke for the reference.