All this sewing nonsense started in earnest the year the Young Mr wanted to be Aragorn for Halloween.
You could argue about whether or not we should have allowed him to watch The Lord of the Rings at the tender age of 7, and perhaps we should not have. But we did, and it all fit within his obsessions with dragons and swords–fully developed by age 4–so when he wanted to be Aragorn, a trip to Lorraine Fabrics was in order.
The boots are rubber riding boots from the Salvation Army, and the sword came from the party supply house next to the craft store in Warwick. It’s the toothless sneer that gets me.
If I were to do this again, what would I change? Probably the cloak fabric and cloak design, but not much else: it’s a costume. Yes, those are stretch velvet leggings from the $2 a yard fabric loft at Lorraine’s, or else their remnant table. In the dark, who notices? They worked well for a kid who needed ease and speed in dressing.
The Young Mr wore this to play in until he outgrew it–and even a little beyond that. He still runs around with a sword if he thinks you’re not watching. Teen age cool cracks sometimes.
No more Halloween costumes, though. Last year he stayed home to hand out candy. When the little kids said, “Thank you,” Mr Cool replied, “No problem.”
Regular readers know I have a tendency to make things, especially clothing, especially for events. So another event–actually two: What Cheer Day! and Nathan Hale–approaches, and the question, as ever, is what to wear?
I like to start with the runaway ads for inspiration and documentation. The ads for Rhode Island runaway women can be limited, so I look in Boston and New London as well, and sometimes Philadelphia. My mother lives outside Philadelphia, and I know that trade connected Providence and Philadelphia in the 18th century, in particular through the mercantile house of Brown and Francis.
Of course, I do also have a fabric problem not unlike my bonnet problem. I buy fabric, and stash it. Most sewers do, and after regretting a pair of very-marked-down red leather Andrea Pfister pumps I did not buy at Marshall Field’s one winter, if I like something, I buy it. It is often red, viz:
When I found the ad for the runaway wearing the red and black chintz gown, I knew I wanted to make that gown.
“Run away, on the 30th of last March, from the subscriber in Fourth street, near the Post office, an apprentice girl, named Anne Carrowle came from London with Captain William Keais, in the year 1769, she has a fresh complexion, brown hair, near sighted, left handed, round shouldered, and about 16 years of age; had on, when she went away, a green silk bonnet, an India red and black and white calicoe long gown, a blue halfthicks, and striped lincey petticoat, a white apron, and new leather shoes; she has been seen trolling on the Lancaster and Gulf roads, on pretence of going to service at Esquire Moor, and the Bull Tavern, and then at Carlisle….” [Pennsylvania Gazette, 27 April, 1774]
To add to the fun, I know Lancaster and Gulph, and this could be close to where my mother lives now. Too bad I am so far from 16.
Moving on…Here’s the dilemma: front closing or not? Open robe or round gown? The last one seems easier, as the petticoat is described, and thus probably showing, so an open robe. But the bodice, what about that? Stomacher front or closed?
I think the answer is that the runaway in 1774 is not wearing the height of fashion–though at 16, she will trend as new as possible, and could be wearing a closed front gown. For me, as a middling to lower sort, I think the best choices will be a stomacher front gown with robings. I have a bodice block for a front-closing gown, know the fit works, and have a back a like and a sleeve I can live with. So on to a muslin for the stomacher front, I think. The center front closings of the striped cotton gown in Philadelphia are probably too modern for what I’m doing, and for my age.
Really, it should be brown linen. Sober. Mature. Not running away. But what are costuming and living history, if not a kind of running away?
Lot 102
AMERICAN OR ENGLISH SCHOOL LATE 18TH / EARLY 19TH CENTURY
LADY IN BLACK BONNET
In the original giltwood frames and glass, on original wood backing.
Pastel on paper
22 by 18 inches
The Sotheby’s Americana catalog arrived at work, and I had a pleasant walk browsing the sale lots as I walked from one building to another. This lovely lady is offered with her mate, a gentleman in a blue coat with brass buttons. They’re of a school of portraits made as the centuries turned, pastels rather than oils, less expensive and perhaps easier to drag about for an itinerant artist. She’s lovely, in her frothy white ruff, with that well-made bonnet. That’s a bonnet I’d like to try making…eventually.
For now, the most brilliant thing I can recommend is Hallie Larkin’s blog post on 18th century buttonholes. Needless to say, I have not been doing them right. Read, learn, and look forward to better buttonholes. Brilliant. Did I mention brilliant? The photos from Neal Hurst at B&T are especially helpful, and honestly, I am so glad I didn’t tackle the green coat’s buttonholes yet. Or a spencer. See? Value in procrastination, distraction, or whatever you want to call it. Better buttonholes…it’s like salvation!
More on the quilting process later, when I manage to download the photos I took of the stencil process, and when I take some of the sandwich and frame situation. And then there’s more documentation…along with a couple of meetings, mailing my mother’s birthday package, I forgot breakfast, and pitching the boiler repair to my boss–and finishing the new cap I started. And this is an easy day!
Not me, but Mr. S. I finished the last of 20 or so button holes on waistcoat and breeches, and got him to agree to get dressed and be photographed. He chose the rake, as he likes 18th century work. He hopes to join in as a volunteer laborer at Coggeshall Farm this coming weekend, and these are his clothes.
The shirt, which he has had for a year, is from the Kannik’s Korner pattern, made in a blue and white check linen purchased from Wm Booth Draper. There was a check shirt in the clothing inventory of a 2nd RI soldier who died at the Battle of Monmouth, and this small blue and white check is found throughout New England at this time in shirts and aprons. The neck handkerchief is from Time Travel Textiles. He has another one in blue that he likes to wear with his uniform on hot days.
The waistcoat is adapted from a BAR pattern I got from the captain. The wool is a Wm Booth Draper remnant that was not enough to make a jacket for me. It just made the waistcoat for him, and is lined in a striped linen from Jo Ann fabrics that was lurking in the stash. The breeches are made from the Mill Farm pattern, which doesn’t have diagrams but has well-written instructions. I finally got pockets to work using that pattern the first time out! The fabric is a linen-cotton blend from a remnant table at the local mill store. The waistband is lined with a utility linen from Wm Booth Draper, as there was not enough for the waistband…because these started out as overalls. They became a hot mess because Mr. S has large, single-speed-bike up Providence Hills calves. Henry Cooke got a look at the man in shorts a few weeks ago, but still thinks he can fit them. I say, it will take Mr. Cooke’s skill. At least Burnley & Trowbridge stockings fit over them.
The last photo shows him at Redcoats & Rebels this year, striding across the common to join the 10th Massachusetts. Here as above, the shoes are Robert Land’s Williamsburg shoes, and the buckles are from G Gedney Godwin. I went with plainer buckles with rounded corners because that was called for by the uniform specifications in the Continental Army, so that the buckles would not wear through the tongues of the uniform overalls. Shoes & buckles were Mr S’s Christmas gifts. The tan waistcoat was supposed to be as well, but the buttonholes got the better of me. Once I get past the first two, they’re OK, but at the start of the buttonholes for a man’s waistcoat or breeches, I have a kind of Kubler-Ross reaction: denial, anger, bargaining, depression, and acceptance.
I’m so glad he likes reenacting. Buttonholes aside, it’s been a great learning experience sewing for him. Onward to a regimental, and to this: No farmer’s smock for him, thank you. Next year, his laborer intends to be well-dressed. At least with those big buttons, there won’t be that many button holes…though I bet the total area of button hole sewing is the same!
At least the King enjoyed 2nd Grade.
If I were to do this again, what would I change? Probably the cloak fabric and cloak design, but not much else: it’s a costume. Yes, those are stretch velvet leggings from the $2 a yard fabric loft at Lorraine’s, or else their remnant table. In the dark, who notices? They worked well for a kid who needed ease and speed in dressing.
Kirsten Hammerstrom 
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