Living History Help
Newly Released: The Dressmaker’s Guide to Making Collars
Have you been needing to upgrade your personal accessories? Here’s the perfect assistant: The Dressmaker’s Guide to Making Collars!
Click through to see the full description and purchase your own copy! Instant download access… purchase today and begin sewing today. Make scads of lovely things for yourself, or gifts for family and friends in the most stylish manner.
Documentation, Citation, Information: Knowing What You Know!
The Pioneer’s Home on the Western Frontier (1867, published by Currier & Ives; Frances Flora Bond Palmer)
Living history is a different sort of hobby. Whenever we claim an aspect of ‘educating the public,’ we take on a burden of academic support for the things we share: are we sharing historical reality, or fantasy? If we claim to educate, we need to share reality in all its mess and variability. People can get fantasy and fiction anywhere! Accessing history through hands-on, personal connection is a unique thing, worthy of our efforts.
So, let’s talk a little bit about some concepts we can use to enhance and inform our living history. Understanding and using these concepts can help us when interacting with academic historians, as well, which is grand! (Let’s be honest, people who dress up and pretend we live in another era? We’re a little odd in a lot of ways, and that makes academic historians a bit nervous sometimes!)
Research
Asking questions and seeking answers to those questions.
It’s truly no more complex than that: we have questions, and we seek answers, even if they are only partial answers. What did they do, have, think, understand, value, engage with? How did historical experiences fit into the wider context of the world at that time? What did people of that time say about their own experiences?
Research is something anyone who has ever had a question can engage in, and ought to be encouraged in. Our research will not be perfect. We can revisit it as we gain skills, as we become aware of new supporting or conflicting sources, or as our interests shift and deepen. It is ongoing inquiry into a myriad of topics!
Application
Putting research into practice for any reason.
We might replicate objects or ideas to experience them ourselves, or help others experience and interact with them. We might use original practice for a sewing project, or grow historical food varieties in order to taste the flavors for ourselves, or recreate historical musical pedagogy to see if the resulting performance of a historical musical piece is similar to or different from what we’d expect to hear in modern life.
Just like our research practices, our application practices will hopefully be refined, enlarged, honed, and deepened over time. It is fine to start applying what we know now, and adapt our application over time as we know more. Perfection from the start is impossible and unneeded. Progress over time is fantastic.
Documentation
Material that provides information, evidence, or serves as a record; information that supports answers to inquiry. Also, the process of noting and classifying information or objects, such as gathering text or visual references to document that a specific object is typical or atypical for an era.
Why do we think what we think about an item or concept? We can gather supporting evidence for an idea or object from primary sources (see below) to support it as typical or atypical to an era, to support our replication of a portion or segment of historical life, to keep track of what we’ve learned or are learning in our research, or to share more in-depth information with others.
A request for documentation is not an aggressive challenge to your knowledge, authority, or ego.
(Well, some people use it that way, but it’s fine to assume a productive intent, versus a passive-aggressive intent, and sharing positively is a great way to short-circuit the passive-aggressive sorts with kindness.)
Documentation and our understanding of it changes over time, as more sources and informational bits become available. If your inquiry hasn’t brought you any conflicts in years, you’re not asking the right questions! Continual inquiry, being open to the new information, and synthesizing or adapting our understanding to harmonize with new documentation is a normal part of an evolving practice, and it’s great!
If you are earnestly asking for additional documentation from another person, it can be very useful to share information back. “I’ve looked at Ballymore’s sketches and Fortland’s detail study of the Shenanigator, but I’ve not come across a reference to Shenanigators having multiple hum-whipples as a regular thing. When you have a moment, could you point me in a good direction to learn more? Do you recall where you found the hum-whipples information, please?”
A collegial attitude and positive intent can garner excellent results and expand your own inquiry in ways you never expected.
(Documentation of the image used in this post includes multiple dated publications from the era that list the title, artist, and “pop culture” publisher. With all of that on just the one lithograph, it’s pretty securely documented as a period image!)
Provenance
A record of origin and ownership over time, to help place an object or idea in historical context and confirm its place on a timeline. Provenance can be biased through “family lore” or “donor lore”: mistaken information that becomes part of the record over time, via repetition or assertion without documentary support.
Putting an object or concept into historical context is really vital, and it’s also a neat puzzle to try to solve or support. Identifying stylistic elements or construction techniques or technologies that help date or establish the origin story can be highly satisfying, even when that process takes a long time.
Annotation
A note of explanation or context added to an object or piece of information
This might be a summary of what you found useful or not useful in a written source, information pointing toward additional referenced sources, or things you want to notice or keep track of for additional inquiry. Annotation is particularly helpful with booklists or text sources. You may not easily remember why you liked or disliked a text source, or what you gained from it, without your personal note. Annotations to physical objects can add measurements, materials, and technique notes, provenance notes, connections with textual documentation (primary or secondary) or visual documentation (other examples from the period). Annotations can be refined and updated over time, as well.
(If I add my own commentary to the image attached to this post, that’s annotating it. I could talk about artistic romanticism, pop culture development, artistic presentations of normative clothing, botany, weapons, household goods… anything I might ascribe to the image can be added in annotation. I’d want to back up any assertions with documentation, sources, and citations for my assertions to be the most valuable to others, of course!)
Citation
A reference to a source; naming a source or author whose information you are using or sharing.
Citations help us sharing information in an organized, thorough way. Being able to say, “Ah, yes, this image in my computer was saved from the MET collection, item 148902, so if you’d like to see more, you can use that item in the MET’s online collection search tool and see everything they have, including much larger images,” helps people do their own inquiry with those sources.
Citation is more than “Found it on Ebay” or “From Pinterest”–unless you have annotations from the ebay listing that add context (such as collection or de-accession notes, measurements, fiber content, etc), or your Pinterest pins have tracked back to the originating sources directly (such as linking to the Boston Museum of Fine Arts, versus someone else’s pin of a pin of a pin of a google search that brought up that gorgeous collar in the Boston MFA collection).
(Citing the image above, I can tell you I found the color lithograph version in a google image search on-line, but there is a published black engraved version available to examine in the Library of Congress, linked here. Now you have three ways to find it: by the author, title, and publisher in the caption/annotation, by an image search, and by a link to a public repository.)
Attribution
Acknowledging by name the creator of physical, digital, or intellectual properties.
Citing the authorship of concepts or words you are sharing that did not originate in your own brain is just good scholarship. If I’m sharing a technique I learned from another researcher or creator, it’s fair play to mention them and recommend them as a source. If I’m quoting from another author, I can put that quote in quotes, and identify the originator, and even link readers over to that originator as a source.
Using others’ work without attribution is bad karma, poor scholarship, and an all-around jerk move. So don’t do that. Give credit where credit is due! (And if you’re wanting to share more than a short quote from someone, ask their permission and abide by their yea or nay and any attribution notes they’d like to have attached. Creators have the right to specify how the work of their hands and brains is shared, or if it is shared at all!)
Primary Source
Information created contemporaneous to another source or object. May still be filtered or biased, but it displays historical filters or biases, versus modern.
Sometimes, multiple individuals will examine similar or the same sets of primary sources, and reach very different conclusions regarding what those sources show us. This is pretty normal! We all research with our own set of experience bias, informational bias, context bias, and generational bias, and we may or may not be aware of all the ways those biases can influence our summaries or understanding.
When questioning someone’s summaries of sources, it can be useful to share your own summary first. “This is interesting… when I started looking at Hoobitory practices, I assumed This Thing, but as I found more about Accessory Hoobitory Things, it really shifted my thinking toward That Thing. May I ask what led you to Other Thing Entirely? It sounds like you have found information I’ve not seen yet.” This lets them know you’re open to more information and greater context, and invites sharing freely and safely.
(The artist created the piece prior to its publication in 1867; wide and easy accessible publication information supports it as a primary source, created during my target era, and illustrating something valuable to those of the era–that last bit is a personal annotation, not a primary source.)
Original Practice
Techniques, processes, or habits of a specific time period. We may or may not have all the context we need to explain an original practice–but then, sometimes those in the Original Cast lacked that, too! They may have followed an original practice because “that’s just the way it’s done.”
Not everyone has a goal to replicate original practice.
I think they ought to, but I’m not in charge of everyone else.
It is spectacularly unuseful to browbeat others with our own goals. It is more useful to share what we personally get out of original practices.
For instance, some sewists use modern zig-zag-over-a-cord to gather, or assume that basting drapery tapes to the waist of a skirt will let them “gauge” a skirt. Me freaking out at them for blaspheming original practice is not useful. Me sharing the context of why I use original practice for those two things (hand-gathering allows a much higher ratio of fullness, to hit historical ratios of fullness, without machined bulk; gauging by hand takes repetition to be comfortable, but creates a minimal bulk, maximal boof, giving me the same result as original dresses have) lets them know there are valid reasons to use original practice, and gives them the space to update their own process in their own time, to meet their own goals.
Secondary Source
Information that references or summarizes one or more primary sources. Be aware of bias, and look for good source citations to track back.
Tertiary Source
Information that references or summarizes one or more secondary sources. Be aware of concept dilution or conflation, and look for good source citations to track back.
Experiential Archaeology (object experiences) or Anthropology (social experiences)
Studying something by replicating as far as possible original practices, and experiencing the thing for yourself. It is a not a perfect replication of the historical experience, because we still come with our modern experience bias, physical limitations, restricted context, and other “baggage”, but it holds value because we then have different informational context than we might gain from reading or viewing sources alone, separate from personal experience.
When we experience things first hand, even if the period setting is compromised by some modern intrusions (power lines, indoor flush toilets, electrical outlets), we have a better angle on what the Original Cast may have experienced, and can share our experience with others going forward. We can speak more confidently and describe experiences in richer detail when operating in any interpretive voice and any interpretive setting.
Knowing What You Know
How you keep track of what you know and what you’re exploring is entirely up to you. Notebooks, binders, a physical card file, book lists (annotated book lists are awesome), digital files, databases and spreadsheets, digital pin-boards (with attributions!), online collection trackers like Zotero, programs like Evernote, personal collections with notes attached… use what works best for you. What matters is that you can add your notes and re-find your information as easily as possible, and if it’s digital, that you keep backups in case of data loss.
It can be useful to review your research resources now and then, and refresh your summarized information as needed. This keeps things updated, and keeps you asking questions and questioning your application.
Sharing What You Know
No one is obligated to turn over every speck of information they’ve ever amassed for every topic they’ve ever considered, let alone turning it over for free. In a field (living history) where sharing information is pretty key to raising the threshold and getting the best results, it’s lovely to have access to free resources and free sharing.
Personally, this whole site exists because I like sharing useful things with people, and feel it’s about the only way I can “pay it forward” from the mentors who’ve helped and guided me for so many years. I’ve taken cues from those mentors, and I choose what to share and how to share it–many things entirely free, and other things at a reasonable cost that allows me to continue to research and bring more information (free and paid) to more people.
You, too, get to decide how and what you will share. If there are things you are not willing to or cannot share without contravening someone else’s permissions, it comes off better to keep silent in a discussion, versus making vague references to sources you cannot or will not disclose. If you’re able to share, consider having a small stack of sources in public access spaces that you can link to, so others can add to their own knowledge without you retyping a master’s dissertation each time. The more documentation, provenance, attribution, and primary source support you can share for your assertions, the more valuable your information and opinions become.
Happy Researching!
August Zoom Workshops with The Sewing Academy
We have some fresh topics and dates for August, as well as replay options for those who missed sessions earlier this year! Click through to see everything, and sign up for the workshops that suit your needs. (Please remember, each workshop registration spot is for an individual participant.)
If you have a scheduling conflict, no worries! Each session is recorded and a link sent out for post-session viewing, so you won’t miss a thing.
Click Through to register today! We have limited spots for each session. Registrations will switch from Livestream to Replay option 24 hours before each session begins.
Simply submit the contact form, and you’ll receive an email link to a customized, secure e-invoice through PayPal that you can complete with your PayPal account or any debit/credit card you prefer!
July 2021 Zoom Workshops Now Open
I’m delighted to finally schedule and open a set of workshops… click through and reserve your seat in one, two, three, or all four, and join me live, or with the post-presentation viewing link! Dressing children, exploring the used clothing trades and domestic living arrangements, and the expansion of the publishing world in the mid-century… this is some fun stuff to add rich context to your living history exploits!
Creating a Citizen Space: Writing Guidelines
Having a written guideline for a group, site, or event eliminates a whole host of problems right off the top, by clarifying expectations, and setting out a reasonable baseline for all to meet.
However, it’s also very easy to get bulky, bloated, or overly negative with those guidelines, and that’s when we start to do a few different things:
1: Lose people to the sheer bulk of the demands
2: Lose people to feeling overwhelmed at the negative language
3: See people getting creative about loopholes to let them stick with the stagnant “I’ve got X”, versus challenging themselves to acquire targeted upgrades in material possessions and internal knowledge.
So here’s a short set of guidelines on how to write a set of guidelines!
Keep It Positive
Skip the laundry list of all the bad stuff you’ve seen in the past. Instead, give a short list of what you do want to see, including useful resources to meet that baseline.
For example:
Our women’s roles are largely working class, and call for hardworking textiles, minimal trim (if any), and very functional systems. Women will need white cotton chemise, drawers, and petticoats; a neutral all-cotton corset; a print-approved cotton one-piece dress, or lightweight wool dress; sunbonnet (for outdoor work) and accessories. Here is a list of pre-approved pattern resources; please contact Mrs Fiberson for pre-approval of your textiles prior to any purchases, and for a current list of footwear resources. We hold sewing group days on the third Wednesday of each month, in the site classroom.
This short, positive paragraph is a lot less daunting than a full page of YOU MAY NOT edicts.
Keep It Succinct: 5W, 1H
If you can’t lay out the goal of the guide by filling in the blanks here, you’ve not thought about and refined it enough. Keep working until you can be really brief, answering the Who, What, When, Where, Why, and How (not necessarily in that order).
Here at [Where: Insert Site/Event Name] we focus on sharing [Who: Insert Role Overview] for [When: Insert Date Range] in [Where: Insert Historical Place].
[What & Why:] We use accurate clothing as a tool to convey a sense of time travel and historic context for our visitors.
[How:] Use this guide as a base for your wardrobe, and plan to work closely with [How: Insert Staff Mentor Contact].
If you can’t get your goal into these three sentences yet, keep refining until you can.
As an example, my girls and I volunteer at a local historical park. Writing guidelines for clothing at our site, I’d have this as our goal statement and introduction:
Here at North Bingham County Historical Park, we focus on sharing regional history from 1820 through 1940, with a special emphasis on the mid-19th century in Oregon Country, Old Oregon Territory, and Idaho Territory.
You may wear modern clothing with site insignia, or historical clothing. Those who desire to wear historical clothing use it as a tool to convey a sense of time travel and historic context for our visitors.
This guide will get you started with appropriate historical roles and clothing choices; you’ll be paired with a staff mentor to help you complete your wardrobe.
Short, sweet, positive.
Keep It Focused
Many times, we need to share specific information with specific groups. If there is generally applicable information, put it in general notes (which should not be more than one page, combined with the intro above!) One additional page for a specific role, including any very specific clothing resources applicable to that role, should suffice. If you can’t get it down to less than one page at normal type faces, keep refining and focusing!
Keep It Positive (Yes, Really.)
People are much more encouraged, and less likely to be overwhelmed, when you give them the Shoulds, versus the Shouldn’ts. There’s always a way to address oddball Shouldn’ts individually, if they arise.
Sample Inclusions for a Guide
- Intro and Goal: one-half page
- Detailed Historical Context: one-half to one page maximum, including group mentor contacts
- General Clothing/Role Notes: one page maximum including general recommended resources list
- Men’s Clothing Summary: one page including recommended resource list
- Women’s Clothing Summary: one page including recommended resource list
- Children’s Clothing Summary: one page including recommended resource list
- Specialized Roles Notes: no more than one page per specialized role
- Applicable Reading Lists for various roles: one to two pages
Overall, a guide could be as short as 6 pages and contain everything needful for a newbie to get going, or an oldbie to upgrade their items and knowledge.
Getting Specific
When it comes to discussing specific garments, follow the same process:
Item: Generally accepted textiles and features; reiteration of textiles approvals; approved pattern list (only list good ones). Any notes on limitations or specific needs for a specific garment–will this be useful at all interpretive stations, or for specific stations?
Example:
Petticoats: 1 or 2, full-gathered (140″ to 170″ circumference) white cotton petticoats, fitted waistband, hemmed to about the ankle. Good cotton is currently found at FabricUniverse and BigMart; plan 4.5 to 5 yards per petticoat. Free project sheet available in the Compendium at thesewingacademy.com. Your petticoats can be used for every interpretive station.
If you’re a multi-era event or site, it’s easy to add a short bullet list of how the specific garment morphs over time, such as specifying any significant changes in petticoat circumference, or whether or not hoops are typical for a particular role/station.
Streamline
As often as possible, streamline your information. Evaluate your materials periodically, to make sure you’ve got it refined and focused, and don’t need to add resources or shift recommendations (not all vendors maintain appropriate standards over time, and new vendors may emerge that meet your needs better, for instance.)
Is information too wordy? Can you create an online set of visual references (such as a Pinterest board), or point people to your site’s reference library? Are you recommending patterns with good instructions, and thus don’t need to reiterate techniques or illustrations in your standards packet? Have you fallen into a pit of “No No No”? Do you need to rewrite for a positive, accuracy-focused feeling?
It’s worthwhile to do the effort. When staff and volunteers are confident their clothing meets a high standard for historical accuracy, specific to the event or site interpretive focus, they can relax into the educational concepts and connections, as their clothing becomes a visual tool they don’t have to think about.
If you are needing to reform or upgrade existing staff/volunteer gear, it’s easiest to follow a streamlined, positive process there, too.
- Make sure you have support from the Powers That Be; without admin and budget support, making positive changes is nearly impossible.
- Make sure you have the positive base guidelines well-thought out, written, and shareable.
- Make sure there is a valid two-option system: Volunteers may do all interpretive demonstrations in modern clothing with This Type Of Site Logo/Insignia to mark them as staff; OR, if volunteers wish to dress historically, this is the base guideline to do that. Both should be encouraged. Having the dual system gives ultimate flexibility and inclusion while maintaining high accuracy standards.
- Work in individual mentoring sessions to get a list of needed upgrades. Taking the attitude of “your skills and knowledge are valuable, and we want to invest in upgrades to get your gear to the level of awesome you deserve,” tends to take any fuss out of the process… and they also have the option to go Full Modern, without any issues at all, if the process of accurate historical upgrades takes a bit, or they don’t want to wear the historical system after all. Create a list of priorities, in order of functional and visual impact, so there’s a clear path of progress.
I’ll upload some samples from history-heavy events that I’ve helped with as distance mentor for clothing (in the next few weeks, as we’re in our busiest season here!) One of my favorite stories about accuracy guidelines comes out of a discussion forum where people spent a lot of time bashing “hardcores” who set “unattainable standards” that were “exclusionary and classist”. I offered to share some common-sense guidelines… and when those were published, they were met with exclamations of “Finally, sensible stuff! Anyone can do this!” and “At last–something newbies and working class people can actually do without breaking the bank. This is really accessible, thanks!”… and then I shared that those were the guidelines I wrote for Awesome Hardcore History Heavy Citizen Event, actually–and yep, they were entirely accessible to all who wanted to have great clothing and then get on with the fun of sharing history with people.
Standards are a good thing. Well-done standards are positive, supportive, accessible, and encouraging!
Does Living History Matter?
A young friend sent me a message recently, posing a question they have been exploring, interested in my take on it.
Since I’m very rarely without an opinion on things, I was delighted to answer.
And maybe you’d like to hear my opinion on it, too. Grab a warm beverage… this is not short.
Is what I do (living history and living history education via interpretive design and material/internal culture recreation) important to the world? And, what do I get out of it, personally? Does living history matter?
Me with two of my favorite Dress-Up friends, perpetrating shenanigans in the Chaperone’s Corner.
Why is what I do important to the world? That is an excellent question, and I’d counter with another one: does it matter if it does or does not matter to the world? I mean, I’m not curing cancer. In the grand scheme of human survival, what I do in living history could entirely be described as superfluous.
Me, the lanky blonde one in the middle, with a group of lovely weirdos after our wrap-up dig presentation.
When I was 12, I was part of a GATE program (Gifted and Talented Education–we were weirdo guinea pigs for scientists of average intelligence in the mid-1980s. It was… well, we were experimental, and I survived it. Mostly intact.) One of our opportunities was to go on field archaeology digs under the supervision of a really phenomenal archaeologist from Eastern Oregon State University, Dr Jaehnig. Little bitty German/Austrian fellow, with a tall Swedish wife/field tech. I was the youngest of all the students by a full year by virtue of starting school early (which fact doesn’t really matter to the story, but does inform how shy and generally scared I was at the time).
Me, right in the middle of a literal time stream… (image by CC Davis)
When I engage in living history, I’m doing so having put in the work to set environments and experiences that increase the chances another human being will have that moment: when the timestream collapses, and they are THERE. They are history. They have a human connection with someone they have never seen. They share emotions, and physicality, and dreams, and experiences, and flavors, and scents with people from an era far before their own. They recognize the past as Full of People… people who become THEIRS, their family. Forever. And it changes them.
I’m working to connect generations who have never met–because the past is not really past! We are downstream–we are ripples, we are waterfalls, we are diverging streams and merging whitewater cataracts, we are endless waves on unseen shores–but we are all the same waters, and the more we FEEL that reality, the better we can build the world for everyone.Ten Things That Make You Look Historic
Look Like History, No Matter Where You Are! (My Middlest Girl, at a museum event in December.)
We talk a lot about a goal of replicating the Original Cast: those people who actually lived during our preferred historic era. It’s a worthy goal, and barring dysentery, we can actually get pretty close to them.
Most lists of this sort would be written in the negative: Ten Things That Are Making You Look Modern, for instance. But here at The Sewing Academy, we believe the best results come from training the eye to recognize historical examples, not modern flaws.
So here are Ten Things…. that make you look like the Original Cast!
1: Understructure In Place
A well-fitted, era-specific corset will do amazing things for your overall look. Don’t hesitate to refine and upgrade until you get great support, comfortable shaping, and your silhouette mimics those of the Original Cast, no matter what your body size and composition.
2: Textiles In Harmony With Style Choices
There’s nothing more charming than a well-chosen cotton print, fitted neatly, and worn well (even if well-worn!). You cannot beat exquisite fit and styling in a pristine silk. The joys of a fine wool dress with delicious “wool dress style” details are unparalleled. Suit your clothing to your pocketbook, and your styles to the textiles you have access to. It’s an amazing way to look Just Like They Did.
3: A Good Hair Style
Practice, search, practice more! You CAN accomplish an excellent historical hairstyle. Just recently, I gave an early 50s spin to my own short hair, with a delightful little confectionery cap set on a good wire frame, and three little ringlets in front of each ear, with the rest drawn back and hidden in a distressingly tiny knob under a hairpiece that needs to be scaled down… so that’s my next step in Good Hair Style: scale down the fake bits to suit me better. You can do it, too. Find your era-specific style and master it.
4: Appropriate Spectacles
Seriously, decent repro specs are a game-changer. Join me in changing the vision game this year! (It’s also period-appropriate to not correct poor vision, if you can do so safely in your historic settings.)
5: White Accessories in Harmony with Style Choices
Simple white lawn can be worked up plain or less-plain. Invest in great real lace, even if it’s just a touch of it. Get over to cottonlace.com and see what Luc has. You still need to know what you’re looking for to harmonize your era with the styles of lace now available, but you can make gorgeous white bits that harmonize with your dresses, and you’ll be splendid. Period magazines often have diagrams for new and pretty collar and cuff styles; size them so the pages are about 7×9″, and give them a test in muslin or tissue paper—those period shapes WORK.
6: Additional Accessories in Harmony with Activity & Style Choices
Again, your wardrobe needs to suit your accessories! If you’re cold, make some warm accessories. If you’re hot all the time, get your protection gear in gear, and try out hot-weather construction strategies like sheer and semi-sheer cotton or wool, and half-high linings, and single-layer corsets… Add something to accessorize you comfortably!
7: Harmonizing Clothes to Activity
We don’t do gross stuff in fine clothes. We don’t wear grubbies to the dance party. Dress to your activities, and then forget your clothes and go make history.
8: Skip The Mod Cosmetics
Seriously, what you look like is none of your business. A tidy personage and a positive attitude will beautify you plenty. It’s okay to have no eyebrows in the past. Don’t worry about it. There are mild period-styled cosmetic preparations you can try, but skip the modern makeup and you’ll improve your look ten-fold.
9: Consider Your Petticoats
Because you probably need another. It’s a very rare instance that you cannot be improved with a better petticoat. Use period techniques and geometry, and good cloth (not utility muslin), and enjoy the beauty that is a great set of petticoats for loft and loveliness.
10: Footwear!
You’re going to want to kick up a frolic, now that you’re looking so very splendidly-period. It’s worth your time, and maybe selling some blood plasma, to get decent historic shoes that work for your own interpretive needs. Get your shoes and sock in good shape, and stomp forth to be historically awesome!
Whatcha Doing? Or: Event Styles & You.
If you’re new to the world of living history, or just beginning to expand your event participation, you may run into some terminology regarding different types of activities. It can sometimes feel like a whole new dialect! Here’s a brief summary to get you started:
Mainstream: Let’s get this one out of the way first, because it has both indistinct and spurious connotations, and isn’t one you’re going to hear a lot these days, due to the “indistinct” problem. What it does have:
- Costumed participants, though there will not generally be a written set of material culture guidelines, and historically accuracy will vary widely with participants based on their knowledge and comfort level.
- Spectators, who will or will not expect interaction with costumed participants. Spectators may have to pay an entry fee, or not, depending on the event.
- Registration fees for participants, typically; these fees usually go to provide amenities like portalets (and hopefully, servicing!), potable water, sometimes even firewood.
- Registration is often by larger-club group registration, without accommodation for solo citizens or citizen-only groups.
- A variety of generic and specialty impressions, of varying degrees of research, as well as some who do not choose to undertake any impression or demonstration or interactions at all.
- Some standardized activities, such as 2-3 pre-planned military skirmishes each day, and things like a “ladies tea” or fashion show, and a dance (misnamed a “ball”) in the evening.
- “Mixed” camping settings are common, with families in military areas, and military roaming without period paperwork; there may or may not be any expectation of maintaining historical material culture in camping areas or foodways.
- No expectation of maintaining impressions or interpretive voice when public visitors are not present.
- Vendors often present; misnamed “Sutlers”, and found to have widely varying product accuracy, largely catering to spectators or participants who may not be concerned with historical accuracy.
In the 1990s, and into the new century, the term “mainstream” was sometimes used pejoratively to describe public events that did little to interpret accurate historical information. These events do still exist.
However, and gladly, there are many more options for historical events!
Timeline Events
- Open to the public, who may or may not pay an entry fee.
- Participants may pay a fee to cover site use, insurance, and amenities. Registration may be individual or by groups. There may or may not be written material culture expectations.
- Some specialty impressions, demonstrators, or presenters may receive a bounty, honorarium, or financial consideration for their participation.
- Individually-selected impressions, interactions, and demonstrations along a timeline of eras, either within a narrow time window (such as pre-1869 Western Emigration), or along an extensive span.
- Generally no over-arching event scenario, though there may be a theme to the event, such as showing homefront life, or celebrating a holiday through the eras; the overall theme unites the displays and interactions for the public.
- Most interpretive voices are acceptable (first, second, and third); public interaction is expected, and within scenario or impression groups, first-person interactions and short scenarios may be expected.
- Timeline events run the gamut of extremely accurate history, all the way down to “doing stuff that’s sorta loosely inspired by history in public.”
- Vendors may be present, but will generally be there to serve the needs of the visiting public and souvenir market, with some items for historical people; may or may not be juried.
- Related to timeline events are what I call “Smorgasbord” events: dealing within a specific and limited time-frame, but very open-ended as to styles of interaction, specifics of impression and demonstration, and material culture expectations. Smorgasbord events are ideal for “carpe eventum” situations, wherein a small group of like-minded folks coordinate an event-within-event with a first-person scenario for their own enjoyment and often for public education. The historical accuracy of such carpe eventum runs the gamut, dependent upon the specific small group.
Conferences & Conventions (& Retreats)
- Open to living history enthusiasts, academics, writers, makers, and the public
- Conferences with presentations and workshops will not generally have historical dress required (or even encouraged, when space is tight), though there may be some special costumed events as part of the conference schedule. Basically: if there’s a modern folding chair and powerpoint presentations, it’s a conference setting and modern clothing is going to be just fine.
- Conventions may have more scope for historical dressing, even when historical activities are not being done in the historical clothing. There’s an element of See And Be Seen to strolling a convention or exhibit hall, after all!
- Conferences and conventions will typically have a higher participation or entry fee, to cover the event expenses with a smaller number of participants. There may be extra workshops or experiences for which there is an additional cost.
- Vendors are often present; some events jury vendors (vetting for historical research and application, and specifying which wares an individual merchant can bring). Others do not jury vendors. If you know the standards of the organizers are high, and the vendor spaces are juried, conferences and conventions can be amazing places to view top-notch material culture and make really informed buying choices.
- Special events related to the experience can run the gamut from costumed historical activities (picnics, dancing, dining, garden or house tours, etc) to historic preservation efforts (modern clothing expected) and historic skills experiences (which may be a mixed bag for clothing–some modern, some historic.) Event organizers will generally be quite clear as to the expected clothing needs for different experiences at the event.
- Well-planned conferences and educational weekends are very clear on their offerings, the realities of the program and facilities, and whom the program target; most recognize that we are all beginners at something, and are designed to meet both entry-level and advanced interests.
- Smaller retreats are often sponsored by small groups of like-minded individuals who lead or bring in an instructor for a long weekend of learning and practical experience. These are typically modern settings, modern clothing, and no first person expected from participants–they are learning events, not interpretive events.
Semi-Immersion Events
- May or may not have a public attendance and interaction component; the visitors may or may not pay an entry fee.
- Participants usually expect to help cover costs (potable water, sanitation, shared food, shared event amenities). Registration is generally individual or by families, and will usually involve submitting photos and descriptions of individual impressions for approval well before the event.
- Semi-immersion events depend upon the participants’ mutual suspension of disbelief to overlook modern intrusions to the historical setting.
- Generally, first-person interpretive voice is expected when interacting with fellow participants and visitors.
- There may be limited to no “off-stage” areas or times; participants should expect to use accurate historical material culture and processes for all personal needs (exclusive of some things like keeping insulin at safe temperatures; these medical accommodations fall into the “be considerate and discreet” category).
- An over-arching event scenario unites all impressions and interactions; this scenario will require individuals to adapt their typical range of impressions to suit the interpretive needs of the event.
- Roles are often functional, serving the interpretive goals as well as the material needs of the participants. Active cooking and cleaning, hauling, harvesting, tool-mending, gardening, manufacture, and other life tasks are common.
- Semi-immersion events tend to have extensive pre-event planning and support, and can be a wonderful entry to history-heavy experiences for newer living history enthusiasts. The support of more experienced participants is extensive and… supportive.
- Vendor presence is not typical; some semi-immersion events have a separate area for food vendors for the visiting public, but it should not be in the historical area.
Immersion Events
- Typically individual registration is required, and fees go to cover shared amenities. Registration is generally limited and targeted at those who are known to enjoy and be skilled at full immersion.
- These events do not have a visible public visitor component, though they may be held in typically public spaces and require some willing suspension of disbelief to ignore modern intrusions, though usually, modern intrusions are deliberately eliminated or reduced as much as possible.
- No backstage or off-hours; participants maintain their impressions and personas round-the-clock. Medical accommodations are handled in the “considerate and discreet” manner of semi-immersion events.
- An over-arching scenario guides and molds all impressions and interactions; organizers may give individuals differing goals and motivations to help spark natural interactions through the event.
- Roles are almost always functional, serving the material needs of the participants and scenario. Impressions are carefully planned to create a coherent community for the event.
- Generally no vendor presence, unless in the form of an actual historical livelihood bartering or trading historical currency forms within the scope of the event scenario.
- Event scenarios, impression vetting, and research support is something that happens early and often.
- Immersion events are most often a once-off. While there may be a series of linked immersion events over time, it is not typical to do the same scenarios in each, and there may never be a repeat of the specific set-up.
Invitation Only
Here’s the way to get an invitation to an invitation-only event: contact the organizers and ask for an invitation. They’ll generally respond with extensive information and a request for descriptions and images of your impression, and will require the same from every participant.
Invitation Only doesn’t mean it’s an exclusionary event group; it simply means registration is highly individualized, and designed to create a very compatible and cohesive event community.
The Really Special Events
This is a whole ‘nother bag of cats related to immersion and invitation-only events, wherein a small group plans a first-person experience that involves historical settings and activities in as much of an historical way as possible.
These typically have higher individual registration costs, as they factor in shared rental of a historic property, catering, and experiences. There is not generally a public interaction or interpretive component, but first-person impressions are normal and sustained.
Event framework might involve hiking and recreation, travel, community-building, crisis experiences, or other fairly deep “experiment in history” components, which then inform the individual’s future interpretive communication.
Pre-event research and support are common.
Even if the event is repeated, the activities, mix of personalities, and details will generally change each time, to keep it fresh and interesting.
Summing Up
When it comes right down to it, no one style is the be-all, end-all of event structure! What matters is whether or not the event has clarity about itself, and whether that structure is something that sounds like your idea of fun.
If you love demonstrating a craft or art, but don’t like play-acting, then timeline and smorgasbord events are a fantastic fit for you!
If you like to “live in the past” and don’t want to deal with communicating in sound-bites to the public, immersion and small “boutique” events are more your game.
If you don’t much want to do public interaction or first-person with others, but you love learning about the past, a wide array of educational conferences, conventions, and retreats is right up your alley.
Get clarity about the sorts of things you call “fun”, find events that share that clarity, and dive into your own history!
Corsets & Cravats 2018: Don’t Miss This!
Image courtesy of Corsets & Cravats
I’m sitting down today with Dannielle Perry, one of the masterminds behind Corsets & Cravats, a new regional conference with some great national-level presenters, about the upcoming even in Newberry, South Carolina.
Dannielle, what made you decide to develop a new educational opportunity in South Carolina?
In the summer of 2016, I taught a workshop for the Greenville Ladies Aid Society at the home of Rose Favors in Newberry, South Carolina. At one point during the weekend, Rose mentioned a historic hotel and the possibility of bringing some vendors to the town.
The next spring, Kara Bocek of Corner Clothiers and I attended the DAR Agreeable Tyrant Symposium. The quality of the presentations was amazing. After listening to lectures on things like the weave of the fabric of George Washington’s inaugural suit, we got excited. We wanted to host a heavily research-based event. We wanted an opportunity to showcase both established and up and coming researchers. Kara and I had been to the Genteel Arts Symposium in Harrisburg, but there wasn’t anything like that further south.
I reached out to Rose Favors and Ann Maddox of the Greenville Ladies Aid Society in South Carolina and they were throwing around the same ideas. The four of us met and Corsets & Cravats was born.
Looking at the mix of workshops and presentations, this is not just clothing; there’s a great mix of material culture and “internal” culture. Music, literature, technology, religion; I get the sense that there’s a push to develop the whole context of the era. Can you tell me a bit more about the goals for the conference, and how you hope to develop it going forward?
People tend to over-simplify historic figures and eras. Behaviors are not singularly-motivated today or were they in the 19th century. I am a mother, a teacher, a milliner, a business owner, and a wife. My personal actions and behaviors are not solely influenced by the evening news. Political and military events do and did affect how people behave, but there is so much more to daily life than that.
Understanding mid-19th century culture helps people realize that Americans then were not so different than we are today. Studying denominations and religious practices helps us to understand the importance of God and worship to the average 19th century American. A study of popular literature can give us a glimpse into day to day life and the issues and concerns of people of the day.
Some topics are easier to understand than others. Our cultural sensitivity class will help interpreters deal with sensitive issues like race relations and the institution of slavery. A great place to start on any of these topics is research. We are offering a class on that too. In short, our goal is to improve the cultural knowledge of attendees to better interpret history.
Moving forward, we plan to expand beyond the opera house to the adjacent conference center to allow for more classes, attendees, and vendors. We are already making plans for 2019, so stay tuned.
Will there be a focus on the Southeast, or can those from any area of the country attend and absorb some new resources?
Our focus is popular and material culture in America. We are not regionally focused or limiting ourselves to regional topics. Information should be relevant to mid-19th century interpretation throughout the United States and Canada.
I happen to be a singer myself, so the musical workshop with actual performance included is particularly exciting. Developing living history skills to include appropriate music has so much potential in every setting and event! Is there a workshop that you’re particularly excited about attending?
Kara and I came up with topics and then invited instructors, so all of them. I honestly wish I could take every single class.
I am excited to be accompanying Colleen for the music class. Samantha Bullat (McCarty) is teaching a padding workshop to help us make our clothes fit the way they should. Sarah Hermann is examining genre paintings to find all the little things like baskets, food, utensils, and even the types of livestock that make living history scenes more authentic. Carolann Schmitt and Mackenzie Anderson Scholtz are each teaching classes that work together to give us the full picture of the underpinnings that create the correct shape for the Mid-19th century clothing.
These workshops and presentations don’t seem to be limited to the very narrow Civil War years, but rather, cover a more rounded lifetime of experiences leading up to the war. What made you look to that expanded context (which I adore, by the way!)?
People are not dropped from space into a four-year period. People had lives before and after the Civil War. They had hobbies and jobs just like we do. Many people did not know specific troop movements, but they did know about day to day life.
To have a convincing impression, we need to have a knowledge of mid-19th century cultural history. What songs would we sing, what books would be reading, how and how often would we worship, etc. are all things that we should be familiar with to properly interpret the 19th century.
We also hope to expand our reach beyond Civil War reenactors to living historians and historical interpreters who interpret and study more than just 1861 to 1865.
I also notice a concentration on really honing impressions to our individual needs, from the working classes on up, with things accessible to both urban and rural life. If I’m new to creating a first-person impression, or in the middle of revamping old knowledge, where should I start?
A lot of newbies ask me where to start. I tell them it is a process. A great place to start is activities that you enjoy in the modern world and expand from there. I started to participate in living history in the mid-1990s. I love music, so a purchased a melodeon and started researching period music. I learned what I should and shouldn’t be singing/playing. I learned to sew because I couldn’t afford to purchase the clothing I wanted to wear. I learned that I was pretty good at fabric arts, so I expanded my sewing to quilting, knitting, and even spinning.
I try to have one new thing for each event. It doesn’t have to be something you can touch. It can be something you have studied. Improve a little at each event and you will be amazed and how you learn, grow, and change.
I noticed some workshops are already sold out; what’s the deadline for registering? When will pre-registration for 2019 open?
The deadline for registering is July 15, 2018. However, we only have a few spots available and registration will close when it is full.
As you mentioned, many of the classes are already full and many only have one or two spots left. We kept class sizes from 15 to 20 people based on the subject matter and the size of the classroom. We wanted participants to be able to feel comfortable interacting with instructors and each other. We feel small class sizes contributes to meeting that goal. We are calling them classes rather than workshops because so often participants leave workshops with UFOs (unfinished objects) that take forever to finish. We wanted attendees to learn skills rather than walk away with half made objects.
Pre-registration for 2019 will open shortly after the Corsets & Cravats 2018 weekend. However, this will be a hold my spot only as we haven’t lined up all of our teachers for 2019 at this point. Some speaker class ideas for next year include heirloom gardens, naturalists, humor, and what it means to be middle class.
Is this a conference best suited for those who are more experienced with living history, or are “newbies” going to fit in well? How much experience do I need to have before attending?
You don’t need experience to attend. We have attendees who are new to living history and we have people who have been participating for decades. We have had interest from other costuming communities beyond living history. We are open to all who are willing to learn.
A quick peek at the vendors shows a well-curated group of merchants. Will the juried vendor space be open to the general public, or reserved for conference attendees?
As a vendor, this is a topic close to my heart. Being a vendor is a job not a hobby. Vendors work for weeks before an event producing, and preparing stock geared toward a specific event. We spend years and thousands of dollars researching the items we reproduce. Vendors need to not only meet expenses but make money to make the time and effort they have made to attend an event worthwhile.
The vendors will be open to attendees and the general public. The best time for the public to visit will be Saturday morning. Weekend attendees will have adequate shopping time throughout the weekend. We want to give our vendors the best opportunities possible to have a profitable weekend, so they will come back.
The overall conference cost is only $165, and that includes up to five workshops on two days and the Saturday presentations; tell me a bit more about the special events connected with the conference?
Beyond classes and presentations, weekend attendees are invited to attend a Friday night sociable, Saturday night entertainment, and Sunday morning church services. Our theme for Friday night is “What? This old thing? It was just hanging in my closet.” Attendees can wear any impression from 1830s to 1870s and will be given a chance to explain the outfit and give documentation. We will also have tours of the opera house and refreshments provided by the Greenville Ladies Aid Society.
Saturday night at 8:45 the Joyful Harps will entertain us on the opera house main stage. Sunday morning, Reverend Brantley will lead us in worship at the opera house.
For an additional fee, we are offering Tea on Friday, and Supper on Saturday. Tea will be hosted by Reverend and Mrs. John Taylor Brantley at a local tea house. Unfortunately, the tea is already sold out. Saturday evening, we have a period inspired supper at the community hall adjacent to the opera house with local SC foods. There are still spots available for supper.
Do I need to be in period dress the whole time?
No. You don’t have to dress out at all if you don’t want to. Period is dress is encouraged for tea, Friday night, and Saturday evening. We feel participants will be more comfortable during classes in modern clothing.
I see there is a period photographer; I love having a plate made as a truly unique souvenir of an experience! Looking at the photography page, there are a lot of options to suit my budget, with size, optional prints, and optional framing. How do I reserve time, and what should I expect of the experience? Could I have a wetplate done in modern clothes, or must I be in period clothing?
We are excited to have Harrington Traveling Photographic Artists joining us for the weekend. Their work is phenomenal. The Harrington’s made a ruby ambrotype of my family in a picnic scene at the Maryland, My Maryland event in 2012.
Most collodion artists only do ferrotypes, but Todd and Vivian make ambrotypes, ferrotypes, and carte de visite.
You may have wetplate done in period or modern clothes. In fact, many Newberry locals plan to come have their image struck. To make a reservation email admin@corsetsandcravats.com.
I’ve not been to Newberry SC before; what should I plan to do or see while I’m there for the conference? With independent lunch windows, where should I plan to eat? Any local specialties I shouldn’t miss?
I got help with this one. Rose is our local Newberrian. She is compiling a huge list of things to do and see in Newberry and all of South Carolina. She is not quite done with the big list, but here is an abridged version.
Where to eat? There are several places within walking distance of the opera house. For a sit-down lunch, try Figaro or Cabana. Figaro’s Chef John Worthington has promised to make some special fare for C&C attendees. Figaro market has to go lunches. There is also an ice cream shop called The Corner Scoop which has sandwiches too.
What to do? There are lots of great shops and boutiques in downtown Newberry. Two great antique shops are As Time Goes by and Eurolux. For history lovers, Rose Hill Plantation and Hampton-Preston house within a reasonable drive from Newberry. The town also has an internationally acclaimed nursery known for its orchids.
What top three bits of advice would you give to any attendee?
1. Don’t be afraid to ask questions. Your instructors are happy to help you.
2. Let us know if there is something we can improve. We do not know if there is a problem unless you tell us.
3. Relax and have fun.
There you have it, everyone!
For complete information on the new Corsets & Cravats educational conference in Newberry SC, August 3-5 2018, please click through to www.corsetsandcravats.com. Register ASAP to claim one of the few remaining spots! It’s sure to be a fantastic experience for all!
“Is That Real”: Or, Why You’re Not Allowed To Tater-Snark
Tater-snark: Verb. A portmanteau derived from “Spectator” (noun; visitor or observer) and “Snark” (adjective; synonyms include sarcasm, ridicule). To respond in an annoyed or snarky way to questions from visitors or spectators (or their charming tater-tots) who ask questions such as:
“Is that fire real?”
“Is that food real?”
“Is that baby real?”
“Are you hot in that?”
Yes, you’ve probably heard one of these questions, or a variant thereof, a full one-hundred times in a single day.
Yes, on the surface, these questions can seem “silly.”
And No, you’re not allowed to pitch a fit over any of it. If you’re tending toward yet another round of tater-snarking, either in-real-life or on-line, please reconsider doing public-facing events. Ever.
Here’s why, in a fairly compact but firmly-meant tirade:
It’s just rude in any century.
And rude = unproductive interaction, with high level risk of damage.
Why, when presented with an opportunity to share something we love with people who aren’t as experienced in it, would we risk turning them away empty-handed just because they didn’t ask a question in the precise wording we’d prefer?
It’s our burden, not the visitor’s.
Loads of “history people” ramble on and on about being “in this for public education” to “educate the public” since our society is so woefully ignorant of history.
That very statement should warn us that we’ll run into a lot of visitors who don’t have context for our specific era, the habits and practices and society of it all. Why should they have? It’s not their particular passion. They have no obligation to come to a history presentation, event, program, or demo with grand fore-knowledge and a master’s-thesis-level understanding of what we’re sharing.
We do.
It’s our chosen hobby/work/calling. It’s our job to share context and information effectively. It’s none of their burden at all, and we’re being foolish if we expect it to be.
If I’m not willing to educate with kindness, consideration, and accurate information, then I need to stop spouting “educating the public” as a goal, and stick with events that are private, no public in attendance.
Every question is an attempt to connect.
Connection = Awesomes.
So let’s re-think the purpose of the question before we are tempted to Tater-snark.
How many times are people presented with fiction and make-believe instead of accurate history? Every time they encounter someone who “hides” a camping cooler under a canvas “box” cover, they get make-believe, not history. Every time someone sees a galvanized tin beverage dispenser on a side-board under a canvas fly in front of a wall tent full of altered 1970s furniture, they get make-believe, not history.
People aren’t asking if that set of items is physically present in this plane of existence.
They’re asking us to share the truth, reassure them that they’re seeing history, not make-believe, and provide some greater context. Let’s answer the unspoken question, not ridicule their attempt to connect!
“Is that a real fire?”: Is that fire made with wood that would have been available here at the time? How did you get it started? Would someone stepping out of a time machine recognize this style of fire as a valid one for the era, and for the use?
“Is that real food?”: Is it seasonal and accurate to the era? How would a person in the past have gotten it? Will it taste the same as it did then? Is it safe to eat right now? Are you preparing it in a manner consistent with history? Are the tools and implements and pots just like what they’d have used in the past?
“Is that a real baby?”: Is it actually a tiny human, or a well-done doll? Are the clothes right for the history era? What about the toys? Did kids really play like that? How can I get hold of the same sorts of things? Are the games fun? How did they feed babies? Why do boys wear dresses? How do the cloth diapers work? Is it gross?
“Aren’t you hot in that?”: How do your clothes work? Are you too warm? Is it safe to wear all that? I’m hot in a tank and shorts–how are you not dead? Was their climate exactly the same as ours? Can I bring you some water? Where do you get your water? Where did they get their clothes? Did they have machines to help? Why is your clothing colorful? What do your clothes say about your life? Really, are you too hot in that?
If I can’t exercise just a tiny bit of creativity to answer the unspoken questions, and fulfill that individual’s attempt at and need for connection with me, a “person of the past”, then I have zero business at events or programs that have a public component.
Even if it’s the fortieth time I’ve heard the question in 15 minutes.
Answering those questions–the real questions behind the questions–that’s my job. It’s my responsibility. If I ever decide I don’t like doing it, then I need to find another style of event that doesn’t include people who ask those questions. Full stop.
Connection = Awesomes.
Tater-snarking is rude, unproductive, and closes off opportunities to connect.
So stop it.
The end.
Choosing Your Maker
Some questions from newer folk lately have sparked my own ruminations, and I thought it was about time to do a Part The Second to an older post about Why Things Cost Money.
Hiring sewing work done is a 100% historically accurate thing to do! In the mid-19th century, regular working class women (and certainly middle class and higher) did not do every stitch of their own sewing (unless need or preference required it.) Hiring a sewist for all of the work, or part of the work, is entirely bog-common.
(For some fun reading, check out Carrie Williams’ diary detailing her at-home work, found in “So Much To Be Done“, edited by Ruth Moynihan. Awesome book. And Carrie is just tremendously personable.)
(That link to the book is strictly courtesy; I don’t have affiliate linking. Probably ought to look into that? But when I share a link, you can be confident it’s done from admiration, not pecuniary consideration.) (Also, you can get hardbacks for under $8 and paperbacks for under $6, including shipping. This is an *awesome* book and you should probably just order a copy.)
So, when hiring sewing work done in the form of purchasing a finished wardrobe item, what are some things to keep in mind?
Recommendations
Asking others for their preferred makers for X item is a great way to refine the vast options you might find in a Google search. You can usually get honest assessments and tips, too. But beware of blanket endorsements. No individual is “The Best” at every single aspect of mid-century wardrobes and material culture, and their quality may change over time.
I get uncomfortable if someone recommends me with “Liz is awesome at EVERYTHING! She’ll set you right up!”—because frankly, I’m *not* awesome at everything. I have good dressmaking and fitting skills. I can do some pretty amazing things. But I’m not my first choice for drafting a tailored men’s frock, or building a straw bonnet. I’m still learning in those areas, and won’t do them for other people until I’m a lot further along!
Asking others for recommendations can lead you to lesser-known makers who don’t advertise widely, and that can be an absolute treasure! Many makers keep their client list small for excellent reasons, and a personal introduction to one of these private makers can bless your historical work for decades to come.
Take a close look at the standards of the person doing the recommendation. Not everyone has the same goals and baseline as you. If you want your own standards met, you’ll need to get recommendations from those who share that standard. If you want to upgrade, look for notes from those whose living history impressions make you envious along historical accuracy lines. If your goal is to look like you stepped out of the past, don’t heed recommendations from people who look like they stepped out of the Gunsmoke Extras Cabinet.
Take a close look at a maker’s *current* work. It’s a simple fact of humanity that sometimes quality goes downhill over time, through aging or hiring out work or infirmity or laxity or sheer boredom or lack of research application. There are some makers who were considered top-notch ten years ago–but whom I cannot recommend now, because they’ve taken too many shortcuts, produced poor results, and similar frustrating situations. I don’t exempt myself from the push to Keep Improving… that’s half the fun of providing resources! Keeping up a good standard, and pushing the envelope both keep me engaged as a maker. Look for someone with the same engagement!
Visual Comparison
Even with a positive recommendation to an engaged maker, know what you’re looking at before committing to a purchase. I’m always better impressed with a maker when they show me original/extant items side-by-side with their repro piece, and they compare very, very closely.
By “closely”, I’m looking for something that’d be identical, but for a patina of age (our repro items should be appropriately aged for the use they’d have in our target year, which is generally Not Much Aging). I’m looking for the same proportions as the original. I’m looking for the same materials, manipulated the same way. I’m looking for compatibility in internal and external construction techniques. Even if something is a composite reproduction, incorporating features from multiple extant pieces, I want to see the pieces replicated closely, and with consideration and coherent logic.
There are many things that can bump a maker off my list on the visual comparison component. Using modern saris (because they often have charming border print styles) for 1850s border print tiered dresses is rarely successful. While they’re both involving border print elements, modern saris aren’t made in mid-19th century print motifs. And since my criterion is “match it closely”, that’s going to fail for me, and I’ll use a different maker. I’m always going to have the key elements of mid-century fabric styles in my mind; if an otherwise-well-made dress fails at fabric style, that’s sadly going to be off my list… and I’ll probably look very carefully before buying other items from the same maker, since we may have a fundamental priority mis-match.
Critical Questions
It is always appropriate to ask a maker questions.
I’m not talking about asking them to give away their favorite fabric sources, or to give you free lessons in how they make things. Those are professional resources that you should expect to pay for, and even then, they may not be for sale.
I’m talking about questions like, “Can you tell me about the interior construction? What features does this item have, and are they commonly supported in original primary sources? Can you point me toward some of the references you’ve used?”
If you’re asking for references, expect them to be able to refer to two or three in the public sphere. Sometimes people hide behind “in private collection”, then do atypical things, and never will divulge even a single image of their proprietary sourcing. I tend to feel (and this is maybe harsh, but it’s realistic) that this “only private sources no one can look at” attitude is pretty iffy, and even when I’ve got a lot of proprietary sources in my stash of info, I’ll want to make sure there are several readily accessible to the public, to which I can point them for their own inquiry.
Another critical question to ask yourself, and your possible maker, is “Does this item really support my historic goals?” A top-notch maker will want to know your interpretive needs and activity needs, as well as personal preferences, so they can hone in on the specific range of work they provide that best suits your actual needs. They’ll even try to talk you out of buying something from them if it’s not right for you goals.
Beware a maker who tries to justify selling you something they have on hand, versus what would be truly right for your needs. “It’s here” is not a valid purchase reason if the item doesn’t meet your need criteria!
Budget Considerations
Consider that just about half of anything you pay to a maker is immediately eaten up with taxes and business expenses burdening the small proprietor. The other half buys supplies to make the item you want, keeps the lights on, and buys the pizza and ramen and avocado toast. If a maker meets your needs for the Big Three Considerations above, don’t give them grief about charging skilled rates for the labor you’re asking of them. If you need to save up for the purchase, do so.
I recommend getting a reloadable pre-paid debit card, and squirreling funds onto that card as often as possible. A few dollars here and there will net you a neat nest egg toward useful purchases, and you can use it on-line very easily, as well as in person.
Here’s to the Makers! They make specialty hobbies a whole lot easier!
Make a Girl-Worthy 19th Century Coral Necklace
In among all the fun of clothing a girl, it’s important to consider some of the elements that are often overlooked, like accessories that include jewelry!
With a bit of minor effort and hand dexterity, you can create a lovely bit of period-appropriate jewelry for your favorite girl (infancy on up) to wear in historic settings.
Coral bead strands show up with fairly good frequency in stories, advertisements, fashion notes, letters, and photographs, as well as in engravings and paintings, and in every case, there seem to be variations that suit a working class setting.
There are some very ornate mid-century pieces, but my focus was on the simple styles well-suited for a child or teen.
Many images show a necklace that’s a bit more generous than a choker, but is definitely not a long dangling strand. I chose a length that would curve neatly around the collarbones, without hanging low or feeling “chokey.”
Natural coral has a lovely heft and coolness to the beads; definitely use semi-precious natural materials, versus anything plastic. The end “drape” of the necklace has everything to do with the finished period look.
To make your own, you’ll need:
Coral Beads: I chose 6mm real coral beads (talk to Elizabeth Aldridge about getting your own strand); original coral strands vary in size, so you could opt for smaller beads or graduated beads, and still be very consistent with originals. Plan to spend about $15 on a strand long enough for a girl’s necklace.
Some coral harvesters use unsustainable practices and have poor track records with human rights. If you can’t get responsibly-sourced natural beads from Elizabeth above (her stock won’t last forever), consider using a natural semi-precious stone round bead, or a ceramic bead, that can mimic the weight, smoothness, and color ranges of natural coral.
For instance, this Etsy seller has smooth red jasper beads in a 6mm size, with a fine hole (they are imported from China, so there may be additional issues there); Fire Mountain also carries deep red jasper beads in 6mm in 4mm sizes.
Dyed red carnelian beads are another option for a mid-century girl’s jewelry; if you’ll recall from Little Women, Amy has a carnelian ring (fiction is not what we base historical impression on, but Louisa May was not making up her details from thin air!) Less-marbled pink rhodochrosite and deep coral pink or red agate are interesting visual choices, too. (Avoid overly-marbled, pearlized, crackled, or matte options for any bead.)
Silk Beading Cord: after looking at recommendations on-line, I settled on Bead Buddy #4 silk bead cord, which has a fine beading “needle” (a fine wire that slipped through the bead holes effortlessly) attached already–handy! I found it at Joann’s, of all places, for about $3.50 a packet. One packet was enough for two necklaces. For the style of necklace I chose, I needed a cord that would knot large enough to hold without sliding into the hole of the bead, so I looked for something that was about the same diameter of the bead’s hole, knowing that a simple overhand knot would then be sized just right. And while it’s described as “cord”, this stuff is very fine. (Silk has the strength and rot-resistance advantage over pearl cotton or other cotton threads.)
Period-Passable Clasps: none of the clasps currently sold market themselves as “antique replica”, so I went on a visual hunt to look at clasp styles on original simple bead strands. Flat “bar” or “box” clasps, and round slide-in clasps both showed up pretty consistently, as well as a few other styles. I found a set of 10 clasps from Hildie & Jo (again, at Joann’s) for under $4, and got four “period unobtrusive” clasps for historic purposes (plus a few that will work for modern use). Avoid lobster, toggle, and magnetic styles–these will not hold up well to the weight of the coral beads, and also look entirely modern. (Fire Mountain Gems and other jewelry suppliers have great options; WalMart does not.)
A Straight Pin: this is my main tool for getting the knots close to each bead without any fussing or cussing. Any straight pin will work, but I found a ball-headed pin worked more comfortably for the knot manipulation, without putting big dents in my fingers.
Some Time: about two hours. If you’re wanting someone else to make one for you, plan to pay them skilled rates on top of materials. While you can make one yourself for under $30, you should expect closer to $60 for someone else to make them for you with the same methods described here.
Key Technique: Individual Knotting
Placing a single, snug overhand knot between each bead gives the whole strand more stability, making it less likely to kink or knot, and should the silk cord break at some point, you’ll lose at most one bead.
The knot between each bead also cushions them from clacking against one another, which can crack or damage them over time. The extra time needed to do the knotting is well worth it!
An overhand knot is the first one most of us learn: it’s the foundation of tying your shoes. The trick to placing them very close to each bead is accomplished by using a pin in the knot’s open area, and gently pulling the free end of the cord as you move the pin snug to the bead. When the knot is snugged to the bead, you can remove the pin and firm up the knot.
Attaching the Clasp
I used the same overhand knot (well, three of them, around the last bit of cord between the clasp and bead knot) to attach the clasps. A bit of modern Fray Check or period gum arabic helps keep the cord ends intact and knots firm over time.
Then I trimmed the excess cord off.
And then two little girls ran off giggling madly into the sunset, wearing their very lovely coral necklaces.
And then the one with pierced ears came back to request some coral drop earrings… for which I’ll share notes another time.
Merchant-Row Make-Do
One challenge that shows up every year is that of working with lovely new living history enthusiasts who’ve been conned by merchants selling loose “blouse” bodices and matching cotton print skirts… they’re made cheaply with modern techniques, are multi-size, usually based on bad modern patterns, and I say “conned” rather boldly, because if the merchant is interested in history, they *know* they’re selling bad stuff to good people. I have an ethical issue with that.
But that aside, how can we salvage the hard-earned budget that went into it for the nice newb?
Sometimes, it’s just a flat “We can’t.” The fabric is too far removed from a period print style, or the skirts are only 90″. those items just can’t be remodeled, and any efforts to do so will not result in a period garment at the end.
Sometimes, it’s a reserved “Well, possibly, IF” with a whole list of Nopes that could disqualify the garment from use in historic settings:
Is it a natural fiber?
If the answer is anything other than cotton, wool, or silk, that’s a Nope that stops the process in its tracks.
Is the fabric reasonably historically accurate?
If it’s a solid cotton: Nope. If it’s a modern busy floral: Nope. If it’s a moderately passable print style but kind of “period boring” or monotone? Well, *maybe*.
Is the skirt at least 150″ around the hem?
If it’s skimpy, we’re back to Nope. If it’s greater than 180″, go ahead and take out a panel once you have the waist and hem deconstructed.
How is the hem handled?
We’re usually looking at modern machined waist treatments, and to fix it for period use, we’ll need extra fabric. If there’s a 3″ or greater turned-up-fabric hem, that’s good! Pick out the stitching and press it all flat for now.
How is the waist handled?
In merchant-row make-do, it’s usually machine-gathered, or pleated, and shoved raw-edge-up into a bulky fabric band. Take off the band entirely, pick out any stitching in the placket (which is hopefully on a seam!), and press the top edge smooth.
What’s going on in the bodice?
Most merchant-row-make-dos are a big shapeless “blouse” with big bishop sleeves and for some reason, a standing collar bit. (Okay, I know the reason. These unethical, non-history merchants all copy a “garibaldi” bodice pattern that doesn’t have the right shaping to begin with. Copies of copies of copies are awful.) Most just tuck in. While that stinks for the person who has been trying to wear it, it actually works in favor of a remodel, so we’ll just take our small win and run with it.
The Process
If you’ve not Noped Out the garment yet, here’s the general process of recovering the investment.
1: Make sure everything from here on out is done over a well-fitted corset, skirt supports, and petticoats made full-gathered (150-180″, hand-gathered), of decent white cloth that has some inherent body to it (Pimatex-brand white broadcloth or chain-store “Premium” white muslin bought with a good coupon).
2: Click through to the Compendium and read the articles on Petticoats and Gauging Skirts. Refer back as needed.
3: Face The Hem. Sew together full-width strips of plain white cotton, about 6-8″ deep, until you have something that matches your skirt’s circumference. Sew the strip right sides together with your hem edge, then press the allowances toward the skirt. Fold the white cotton facing up into place on the inside of the skirt and press the lower edge nicely. Hem the raw edge of the facing with a single-thread running stitch to finish your skirt hem.
4: Seek Balance. Have a helper measure you from corseted waist, over your skirt support and petticoats, to the desired finished hem. Follow the directions for balancing a skirt/petticoat found in The Dressmaker’s Guide, or in the excerpted article in the Compendium. Fold any extra fabric at the top edge of the skirt over to the inside and press.
5: Find the Bodice Waist. Put on the bodice over corset, skirt supports, and petticoats. Use a piece of narrow elastic tied around the body at the narrowest point of the waist to find your waist. Gently tug the fabric downward under the elastic, so it lays smoothly and you have fullness arranged from the center of each breast, toward the center front, and then right in the middle of the back–nothing blousing over the elastic. Have a helper chalk along that line.
6: Reuse the Extra. Take off the bodice. 1/2″ below the chalked line, cut off the rest of the fabric. Press the excess smooth. Cut the extra into 45-degree bias strips, about 1.25″ wide, and piece them together until you have a long bias strip that equals your waist measurement plus about 3″ for “wiggle room.” Fold the strip in half lengthwise, and baste in a fine cotton cord (#3 or #5 crochet cotton works pretty well) snugged into that fold to create bias piping.
7: Gather Yourself. Run some gathering stitches from the hemming line of the center front facings, toward the side seams, and across the center back. Put on the bodice, and draw up the gathering to handle the extra fullness in the bodice. It should keep smooth sides, but have gathered fullness from the central portion of each breast toward the center front, and concentrated fullness in the 1.5″ or so centered at center back. Wrap the gathering threads around a pin to keep your fullness control in place. If there’s a lot of fabric and you’re getting weird pulls from the armpit trying to get the sides smooth, take extra out of the side seams until you have a moderate amount of gathered fullness under the breasts, and a bit of ease at the center back.
8: Pipe the Waist. Lay the piping and bodice right sides together, matching up the raw edges of the piping with the raw edge of the bodice waist. Leave about 1″ of the piping projecting past the center front edges of the bodice for now. Baste the piping in place. Turn the seam allowances up toward to the bodice, and test the fit. The piping should ride right where the waistband of your petticoats ends. If it needs to move up a bit, reposition it until you’re happy with the length, then securely stitch the piping on, very close to the cord. Press the allowances up toward the bodice and secure with a bit of a whip stitch, taking only very tiny “bites” through the outer fabric fullness.
You can use some of the piping to pipe and finish the neckline if you’ve removed a band collar.
9: Set the Skirts. Follow the instructions for Gauging or Pleating in the Dressmaker’s Guide, or for Gauging in the free Compendium article noted above. The basic instructions create a “straight shot” placket, rather than an off-set opening, so be sure to use the “wrapped front” edge to make sure you don’t have a gap at the placket.
10. Get Closure. Replace wooden buttons with covered cloth buttons made from tiny bits leftover from your dress remodel. Use hooks and eyes for a new, functional closure right at the waist, and anywhere else between buttons where you need the closure security.
11: Add Basic Accessories. A tidy white cotton collar, little white cuffs… you’ll be tidy and presentable in a remade make-do dress!
All of this is admittedly a LOT of work. It is very do-able, IF the fabric and basic features will even allow for a remodel. The work, on top of the expense of a poorly-represented style in the first place, is one reason my nose gets severely out of joint on behalf of excited newbies who are taken advantage of by merchants who ought to know, and DO, much, much better!
Creating a Citizen Space: Foundations
One absolutely fantastic aspect of 19th century living history is that it tends to have a fairly consistent turnover rate, as people enter and exit the hobby over time (it seems like it’s about a five-year cycle). The turnover keeps fresh perspectives in the mix, and can push us to continually upgrade the experiences we create for ourselves and our visitors.
And one truly dreadful aspect is that same turnover rate: sometimes we’re stuck reinventing wheels, or retrenching after a group falls into negative patterns and habits.
But, let’s focus on the positive: how do we go about creating a “Citizen Space”, where those interested in history can live out what they’ve researched, and those visiting can experience portions of the past they might never have contemplated before, or may be longing to see?
One key is to lay a nice foundation for the sort of experiences you and your friends want to have, and communicate that clearly to others who may want to associate with you. Conflicting goals and expectations are primary sources of conflict in any situation, and even more so in living history endeavors. A postively-phrased group philosophy and baseline standard for material culture and impressions goes a long way toward clarifying your group or event expectations, and allows others to choose to associate with you, or not, according to their own history goals.
Here are a few things to keep in mind:
Keep It Brief
This is not the time for your dissertation on every aspect of the 19th century. If you cannot state the group goal in 100 words or less, it needs further clarification. Keep the standards compact, as well, with phrasing that allows flexibility for evolving impression development and additional research expansion.
The impression standards or material culture guideline doesn’t have to go into every jot and tittle of 19th century living. Again, positive phrasing (we encourage, we expect, please, do, etc) and clear expectations of using current research and documentation go a long way to creating solid, yet flexible, standards.
Clarify
Here’s one example of a clear goal statement, in a compact, positive style:
We present impressions of working-class citizens, from hands-on laboring people to professionals plying white-collar trades, with an emphasis on This Geographic Area for 18XX to 18XX. Our typical events rely heavily on public interaction in multiple “voices”, but non-speaking impressions are also available. We encourage participation from all ages, and work hard to keep a positive, family-friendly atmosphere.
(That’s 70 words, by the way.)
A basic formula of Who We Portray, Where We Are, When We Focus, and How We Interact helps you keep things very compact, but informative. Anyone reading a statement like the one above could easily determine that this group will not be a great place to portray a Russian nobleman, for instance, because that’s clearly outside the scope of the group’s stated goal.
Positively Positive
25 years ago, many group guidelines were a laundry list of Thou Shalt Not, which can be daunting and even a little insulting if you’re a newbie. Instead of the Thou Shalt Not list, simply share the Thou Shalts: the Do half of the list, phrased politely.
Compare the following:
DO NOT use nail polish or makeup, no “snoods”, no bridal hoops, no ballgowns, no “Zouave” sets, no bandanas, no flip-flops, no ponytails, no cigarettes, and absolutely NO sunglasses!
Versus:
To increase everyone’s safety, please use 100% natural fibers (cotton prints, lightweight wool, some silk) for your clothing; Miss Johnson and Mr Howell are happy to mentor with fabric selection. Our portrayal is largely working-class, which encompasses a wide range of style options. We encourage everyone to start with well-drafted, high-quality historic clothing patterns (see the resource section for our recommendations), and assemble a strong wardrobe of basics from the skin out, to allow maximum impression flexibility. High-fashion items, like ballgowns and “Zouave” combinations, will be less useful for our normal range of events, and should not be first-round wardrobe choices. Having a period hairstyle is a great finishing touch to your impression. Please refer to the resource section for some accurate hairstyle options; Mrs Baloo and Miss Cutworth are both available to help you with a style that suits you well.
(Alright, the positively-phrased version is definitely more wordy than the Thou Shalt Nots, but be honest: which makes you feel more welcomed, supported, and encouraged that you can do a good job?)
Cover The Bases
Your group guideline is a good place to note behavioral and liability issues, as well as “impression non grata” details and safety expectations. Put these in their own section, perhaps titled Safety Expectations. It’s fine to expand the definition of “safety” to “things that will get our group sued if something goes wrong” and “things our group finds inappropriate to present”; after all, the purpose of the document is to help accumulate others who share your idea of “fun”. Being clear on the delicate aspects helps others decide if the group culture is going to be a good fit for them, and also gives clarity if the group needs to invite someone to disengage at a later point.
Create Some Space
I still find myself shocked when citizen groups report they are camping in with military encampments, or begging for a few square meters of dedicated citizen space. Citizen impressions require citizenry space. Carve out a separate impression area for citizen living history; if it must be close to the military due to space constraints at the event site, or lack of cooperation from event organizers, distinguish the area with signage, so visitors know they are entering a non-military area.
Depending on the event setting, there’s still the issue of mid-century citizens living in tents, but it’s easier to mutually agree to suspend disbelief over the tent situation, versus the highly uncommon situation of everyday citizens camping with the military.
Remember, too, that living history exists outside the military plane. Gather a core of interested people, and design some citizen-focus events that have no military component. These do not need to be complex or mega-events! Getting together for a period picnic in the park, or working together to do gardening work at a historic house in historic ways, can be highly informative and fun, without requiring a large infrastructure, budget, or committee.
Evaluate & Upgrade
Be willing and able to stop, evaluate, and upgrade as needed. We are never stuck with the status quo! When you become aware of a challenge, see if your citizen living history arrangements can accommodate it as-is. If not, what is the minimum you must put in place to solve the challenge? Is there a further step that could be a positive upgrade for everyone? As with writing group guidelines, keeping a positive mindset is extremely helpful.
Back to Clarity
Communicate expectations for your living history scenario and space clearly, positively, and as often as needed. Helping both newbies and “oldbies” decide if your idea of fun is their idea of fun helps overcome a lot of problems and tension.
Sensible Precautions: Event Considerations for Youth
If you’re a young person engaged in Living History, there may be times you attend an event without a parent. How can you make it a great experience? The tips and comments here are compiled from an older discussion on the Sewing Academy @ Home forum; have you considered everything?
Some things of which to be aware:
Most public events will require youth to have an over-18 responsible party on-site at all times. This protects the event a bit, and is very reasonable (legally and insurance-wise).
Public events involve the public… strangers. Most are lovely. However, be aware that you’re surrounded by people you don’t know, and you should not give your trust easily.
You have the best chance of a great experience if you are attending an event with other like-minded people of all ages (including those responsible adults!).
Always have an exit strategy: who do you need to notify, and how will you exit if, at any point, the event feels less-than-safe to you, personally?
It goes without saying to not leave your personal things unattended, but take just as much care with your own self: don’t go walking out alone, don’t hang out in a secluded area alone. It’s possible to have personal quiet and space, even when surrounded by your history friends. Don’t risk your personal safety.
It may be prudent to take day-trips to events while you’re getting your feet wet. Many events are arranged to accommodate day visits and evening departures, and you’ll be saved from needing camping equipment right away.
No matter your age, events are much more fun when you have a purpose! Work with your chosen group to choose some activities and roles to undertake, so you have realistic tasks to accomplish and things to share with the public. You don’t need to be an expert or know everything in order to visit with visitors. It’s okay to say, “I’m quite new to this, and I don’t know… let’s ask Miss So-And-So…” Just make sure your activities and roles are actually historical.
You can also do your best to make sure you’re not a burden on friends and companions. Ask your companions what personal items you should provide, such as plate-cup-utensils, or a period-appropriate chair (you can always sit on the ground; don’t take someone else’s chair, though).
Have a modest-but-sufficient amount of personal cash for food or small purchases at the event. Expect and offer to chip in on transportation, fuel, and food costs. Behave nicely (this is “being a credit to your family”). Let your companions know where you are; be where you say you’re going to be. Be as flexible and accommodating as you can be, while keeping firm and healthy personal boundaries.
Here’s to safe and fun historical adventures!
