Criticizing Patterns

This post is not what you think it is. I'm not here to criticize patterns; I'm here to criticize people who criticize patterns. Well, sort of.

The idea of this topic came about during a discussion about clothing workshops, and that several skilled and knowledgeable people in this hobby refuse to publish patterns based on their research because of the overwhelming criticism that other researchers and experts have received.

There are many people who spend an exuberant amount of time creating patterns only to be met with a dismissive review of "this pattern is terrible. It doesn't fit, and the instructions are awful," by some neophyte who doesn't actually know what they are dealing with. Let me be the first one to say it ladies and gentleman: with most documented historic patterns, if it doesn't fit, it's not the pattern--it's you.

Seriously, it is literally you. In case you were never told so in school, every human on this planet is different. That is an unfortunate detail that many people in historic sewing ignore and the cause of frustration for those who publish historic patterns.

Most historic patterns are made by copying an the individual pieces of an original garment of known dimensions; the exact same thing that is done with historic clothing books. After that, some of the patterns are scaled to create options in line with modern common sizes, and occasionally dimensions are altered to be more in line with modern sizing conventions. Some available patterns are simply blown up versions of extant garments from those scholarly clothing books.

Ok Sean, you just said a bunch of nerdy stuff, but what does that mean? What it means is that unless you have the exact same body dimensions as the person who own the original garment, you're going to have to alter the pattern to fit you properly.

These patterns are a map to creating an replica of an extant garment. If you want to use the pattern, you are more than likely going to have to do significant alterations to the pattern to make it fit you properly. Thus the importance of making a muslin.

First of all, Garsualt talks about making muslins, so you should too. I make muslins for any new garment that I make to ensure fit and to get accustomed to the peculiarities of the original garment. Personally, I find that I have broader shoulders, longer arms, and a longer torso than most 18th century men, and I anticipate those alterations.

Anyway, I think that I've rambled enough. Be nice to your historic pattern makers, they know what they're doing. Instead of whining, learn how to alter and fit. 

Coat Series Step 4 - Seamed Pocket Flaps

There are two ways to attach pockets to 18th century coats. In the first method, perhaps the easier method, you simply sew the pocket flap in place to the outside of the garment, tack up the seam allowance and then you're done. The second method creates involves a bit more work and creates what is called a seamed pocket, which is far more elegant in my opinion. I'm going to take you through the steps of creating a seamed pocket.

The main difference with a seamed pocket is that the pocket flap becomes part of the coat and is in line with the body instead of simply being sewn to the outsize of the garment. The construction requires a little more work but your pocket flap will look much more elegant and less bulky.

If you are making an unlined garment, I highly suggest using a seamed pocket, since they allow you to cover up all your raw edges on the pocket bag using the seam allowances from the pocket flap. This feature is seen on every unlined 18th century garment that I have seen.

Step 1. Determine Pocket Placement

Pocket placed centered on a line between the buttonhole and bottom of side seam.

The positioning of 18th century pockets is very easy to determine. (If you are using a commercial pattern, ignore the pocket placement on the pattern because it's probably not correct.) The pocket is placed on a line that goes from the edge of the bottom most button hole to the bottom of the side seam. Use a quilter's ruler and some chalk and draw that line on both front pieces. You will have to determine where the edge of the bottom buttonhole should be on the piece with the buttons or else the pocket placement will be uneven. 

Easy right? If you're making a welted pocket, the pocket will go right on this line. If you're using a pocket with a flap, the top corners of the flap will rest on this line. 

Use the curve of the pattern piece to draw a line marking the flap placement.

The flap will be centered on this line. Measure your pocket flap from corner to corner and subtract that measurement from the length of the pocket flap line. Divide the remainder by 2, and that will give you the distance from edges to place the corners of the pocket flap. Measure from the edges of the pocket flap line, and mark where the flap corners should be placed.

Step 2. Draw Flap Lines

Once you have the corner points marked, place your pocket pattern piece with the corners touching those points and draw the curve on the fabric with a piece of chalk. This is where your pocket flap will sit. After drawing the line, baste an even running stitch along the chalk line. You will be using this line as a stitching guide later, so make it evenly spaced as possible. 

Baste and even running stitch on the flap line. Seen from the inside.

On the pocket flap piece, measure in from the seam allowance and sew a similar even running stitch. 

Baste the same stitch on the pocket flap stitching line

Step 3. Pin the Flap in Place

Now that you have running stitches sewn for the flap on the body and flap pieces, you pin the flap to the body piece. Placing the right sides together, use the running stitches to match up the seams and pin in place. You can go overboard on pins if you want, you are trying to match up two seams that are naturally going the opposite direction. Stiff fabrics will fight it. Try to get the seams pinned as flat as possible or else the body above your pocket will be a little lumpy.

Pin the flap from the outside. Sew it down from the inside

Step 4. Sew down the Flap

This is the most important thing to remember. Turn the pattern piece to the INSIDE and sew the pocket flap to the body using a back stitch. Don't ask me why, but if you sew from the outside, the body is lumpy every time. Always sew from the inside.

If you want, you can remove your pins as you sew to check on your work and make minor adjustments.

Step 5. Cut the Pocket Bag Opening and Press the Flap Allowances

Now that your flap is attached, you will need to cut the hole for the pocket bag. Working from the inside, make a cut approximately 1/2 inch from the flap seam to make an opening for the pocket back. As you get toward the edges of the flap, make a 45 degree angled cut to join the bag opening to the corners of the pocket flap seam.

Fold the pocket flap down flat over the body, tuck the seam allowances inside the garment so that they lay flat, and press all of the seams so that everything looks nice.

Next Up... Installing the Pocket Bags

Monmouth: It's like having an infant except it's cold... and there are guns

It came and then it went. The capstone event of the season: Monmouth Immersion Weekend. This event is one part war game, one part SERE exercies, one part LARPing, one part RPG, and all parts awesome.

Beginning at 5 p.m. on Friday, we entered 40 hours of non-stop 18th-century British military existence. The scenario was that of a forage war that happened between the British and Continental Armies during the late fall of 1778. We were up against a larger force of Continental forces that held higher ground with a constant view of our position, not to mention the cold and sleep deprivation that comes with never truly being off duty. 

For the next 40-ish hours, we would contend with the rebels harassing our lines, civilians of questionable allegiance, while we sent patrols to scout for supplies and strike the enemy, all over 1600 acres of 18th-century playground. It was awesome. 

The build-up for this event was just as intense as the event itself. To get ready, I sewed three leggings kits for unit member, altered trowzers, drafted a pair of breeches for another member, made a pair of breeches for myself (and some mitts from the scrap fabric), and a new shirt. 

The goings on of the event itself are a bit of an adrenaline-filled blur. I was constantly on the move and at the ready for the next thing. You never really knew what was going to happen next and what was over the next ridge. You could be laying down for a nap, just coming off patrol, or using the necessities, then... boom! You're back on duty with the fire of a musket to go investigate what is going on. 

One of the truly immersive moments for me came when our patrol picked up two guys from different units because one guy was stranded and the other was the only man left from an ambush by the enemy. As we were watching his comrades about to get attacked, I said "well, you're guys are dead. I guess you're coming with us now." And away he went.

It was honestly one of the coolest events I've ever done. Nothing like the powder burn festivals that are put on for spectators. This was an event to see if you could truly hack it as an 18th century soldier for a few days. And I did it. 

I can't wait for the next one. 

Hurdy Gurdies in the Colonial America

It's been over a month since my last post, and as usual I've been up to so weird stuff in between. Did some cool events with the boys of the 17th and have been pumping out clothes left and right for all sorts of reasons. My latest focus has been on the hurdy gurdy. I guess it's really not my latest focus, I have been obsessed with them for a few years now. What's changed is that I bought the bullet and bought one.

Hurdy Gurdy player is in the foreground in the tan coat from May Morning by John Collett

I won't go into the overall history of the instrument because there a tons of other way more scholarly people than I out there who have written volumes about the thing. My interest, lies in documenting the existence and use of hurdy gurdies in North America, specifically the British colonial parts.

The exercise has been more challenging than thought. Who would think that the task of discovering references to an instrument that is not specifically popular in England proper and typically associated with the lower classes of society in a region where most of the art and writings depict the the upper classes would be difficult? Add to that mix that hurdy gurdy is not always used as the reference term. I've run across references to the instrument as the hand organ, humstrum, and wheel fiddle. The first two terms can refer to instruments other than the hurdy gurdy, but the description of playing the instrument points to the HG.

I have found references though.

The earliest reference that I found is French from 1636. It comes from The Jesuit Relations. Although French, the reference does establish that HGs were in North America by 1636.

They received this answer with pleasure, begging that, as a sign of mutual rejoicing and love, some of our young people should dance to the sound of a hurdy-gurdy, that a little Frenchman held.  This was granted them, to their great satisfaction.

Then I've hit a large gap. The next reference I've found comes from the New Jersey Gazette in 1778. The entry summarizes the publications of a Philadelphia printer, exiled by the British occupation of Philadelphia, who is publishing anti-British, satirical propaganda. The entry is incredibly offense and obviously should be taken with a grain of salt since it is satire. Although the events described never occurred, I would consider this secondary evidence for the use of HGs in the American British colonies based on the author referencing them being played. 

New Jersey Gazette, 8 Apr 1778
Amongst those who left Philadelphia on the approach of the enemy to that city, a Gentleman, who had with him a portable printing-press, took refuge somewhere near Egg-Harbour.  By means of a well-conducted correspondence with a friends in the city, he obtained constant and authentic intelligence of the most minute occurrences there provided, he, for the amusement of himself and a few friends, publishes a paper every fortnight, which he calls Pasquin, or the Minute Intelligencer.
     As these papers are not for sale, and but a few copies struck off, they do not circulate and are but little known.  Being an old acquaintance, he constantly sends me one of his curious performances.  As a specimen of the work, I have selected the following articles.
     It is said the English ministry, having no hopes of subduing America by force of arms, whilst the inhabitants retain their native virtue, have instructed the officers in their army to try a more certain method of success, by debauching the morals of the men, and seducing the virtue of the women.  For this purpose playhouses are opened, gaming- tables established and balls promoted, in a city languishing under a scarcity of the necessaries of life.
     His Excellency General Howe, ever attentive to the health of his army, took the advantage of some fair weather in December last, and determined to give his troops an airing, of which they stood in great need.  For this purpose he ordered the whole of his forces out, and heading them himself, took a walk into the country.  His benevolent intention was to proceed as far as Reading and Lancaster, but finding the roads about Edge-Hill much infested with armed rebels, he thought proper to return to the city; which he did with considerable precipitation, being apprehensive of an approaching storm.  Some think he might have forced his way through the banditti, but he was too prudent a General to expend his Majesty's powder and shot on such a ragged crew.
     We have the pleasure of assuring the publick that the disputes respecting the arrangement of The Royal African Regiment are now at an end, his Excellency having determined that arrangement in the following manner:
     Quaco, Colonel
     Sambo, Lieutenant-Colonel
     Cuffey, Major
     Toney, Captain
     Cudjoe, Captain
The contest for pre-eminence between Quaco and Sambo was long and obstinant: it is evident that Sambo had the thickest lips and the whitest teeth, but his Excellency's partiality is in favour of Quaco, as he has honoured him with his company; and at the entertainment lately given by the officers of the Royal African Regiment, his Excellency opened the ball with Colonel Quaco's Lady, and danced very gracefully to the music of a full orchestra of banjoes and hurdy-gurdies. - How far the superior beauty of Colonel Quaco's Lady may have contributed to his promotion, is uncertain.

As I said, incredibly offensive. What can be gleaned from the passage is the probable presence of the HG the British colonies and the societal association of the HG with the lower classes society. A few American travel narratives include references to banjos being played at country dances, typically by the lower sorts or the enslaved.

The next reference is from Boston in 1785 and paints the picture of a rather interesting scene on the streets of the city. Although America did not have the likes of Hogarth or Collett to paint the goings on of the lower sorts in society satire, this is about as close as you're going to get. I would love to see what a satirical artist could do with this passage. Again, the persons involved with the hurdy gurdy appear to be of the lower sorts.

The final passage I've seen found thus far is related to an assault and murder that occurred in Charleston, SC on July 4, 1785. In this case, three men were heading to Yammacraw, which appears to be a market in Charleston, to hear the HG women play. On their way, they investigated a disturbance in a house at which point one of the men was stabbed in the chin with a bayonet as he descended the stairs to enter the home, and another was shot in the back from a second story window. The newspaper speculates that the reason for the attack was personal in nature based on one of the attacked men slighting the residents of the house from which the attack originated.

A secondary article that was published later, gives the account from the victims and provides more speculation for the cause of the attack. The article again mentions the HG. Although no HG was physically present in this story, I cannot help but find humor in the instrument in this case being related to crime.

That is what I have managed to collect thus far that is solely related to the Americas. I'm told from another historian that there is a HG that was made in 1775 with an American provenance based on a patriotic eagle engraved on it, but I have yet to locate the item in digital collections. I have some additional English information that I will share in a later post, but my main focus right now will be searching colonial news papers for any HG references in runaway ads, sales notices, or bulletins. Based on the association with the lowers sorts, I assume that I'm not going to find any mentions in merchant listings of goods for sale or instrument makers, but you never know. 

Trunk 2.0: Moo Cow Edition

Carry all your crap to events is always a blast when you're doing anything other than campaigning. I do enjoy the simplicity of putting everything in a knapsack and that being all that I carry, but occasionally I need to carry more stuff than that. On two occasions now, I have fit an entire tailor's shop into my vehicle. I try to keep all of my stuff in period appropriate containers as much as possible, and for that purpose I purchased a big wooden trunk that I found in an antique shop that needed some love. I did some simple alterations to it, gave it a fresh coat of paint, and effectively turned it into a simple wooden trunk. It looks great, stores stuff great, it's just huge and heavy.

I now present the plans for Trunk 2.0: Moo Cow Edition. These plans copy the dimensions of an 18th century trunk in the collection of the CW Foundation. I will keep my final product pretty true to the original. I plan to use the same dimensions, shape, hardware, and cow hide cover. The only thing that I do plan on changing is the tack design to include my initials, and perhaps the lining paper.

Based on the museum write-up for this piece and from my own building experience building, I believe that the pine wood used to make the box is 3/4 inches thick. I will most likely use solid boards for all of the pieces, but I may cheat and use some stain quality plywood on the side pieces that will not be seen. 

The bottom piece of the box and the two base strips will be done in solid boards  as they are exposed in originals. The small pieces to make the arched top will also be solid as well because bending plywood is stupid and probably more trouble than it's worth for something that will never be seen.

Creating an arched top is essentially making a partial barrel. My next step will be to calculate the angle used on the sides of the staves to create the arch. I will use some geometry to calculate the radius of the circle of which the arch is part. I will then use that measurement to determine the stave angle. It's some fairly simple geometry, but it's complicated enough to warrant a separate post. So with that, I end this one. 

F&I Goodness

Here's an impression that I've been trying to complete for a while now. I had grand plans to get this done back in April, but finally finished the kit in August. +2 points for at least getting it done in an A-month right? Behold, my 1750s Frederick County Maryland militiaman impression.

First and foremost, my goal for this impression was to make it visually as obnoxious as possible, and I think I did a pretty decent job with the clashing patterns, crazy colors, styles etc. Everything in this kit, is based on first person garments that are described in runway ads from the Maryland Gazette during the 1750s.

Numerous references are made to "check cotton trousers" or "check linen trowzers" being worn by landsmen and indentured farms that I simply had to make a pair. Not only do they look awesome  but they are hella comfortable in the summer.

The coat is taken from an exact runaway ad that describes a man wearing a "blue double breasted coat with large white metal buttons." I repurposed wool from an unfinished project that had already been cut to make the coat, which resulted in some fun piecing. Since most people associate double-breasted 18th century coats with military, I tried to remove as much military connotations from the coat when drafting the pattern. I used simple scalloped pieces for pocket flaps and cuffs to give it a fairly non-military look.

The waistcoat is the only thing not specifically taken from the Maryland Gazette. It's made in a Kersey that's described a Goose Turd color, which is just the obnoxious color that I was going for when completing this ensemble. I love it so much.

I debuted the whole thing at Fort Frederick's French and Indian War muster, from which these pictures are taken. In the picture of us with the wagon, in which myself,  Jacob (black coat and breeches), and Josh (tall guy in the blue breeches hauling the cart) we have some mad swagger going on as we head off to the engagement for the day.

That picture gives me a particular sense of pride as my work and tutelage is fully on display. First, I made all my own clothes (obviously), but I also made Jacob and Josh's breeches. More rewarding though, I taught Jacob the process of hat making, which allowed him to make the hat that he is wearing.

Most rewarding though, I drafted the pattern for Jacob's coat, gave him instructions on how to cut and assemble it, and then left him to his own devices. In a little over a month, he had the functional and well constructed coat that he's wearing. It's much better than my first article of clothing that I constructed not only in fit but also construction. He did an amazing job. The real pride and reward is teaching someone else this trade and watching them succeed.

One final note on the F&I Muster. People always think that re-enactor food must be terrible and consist only of stews and other single pot meals. Not true. To prove that point false I provide our dinner. A standing rib roast that we cooked on a tin reflector oven with a side of collard greens. Yes, that's right, we ate prime rib for dinner at a reenactment. You can't have swagger like us and expect to eat watery stew. It's just not gonna happen.

Stepping Back

Nothing history related in this post. This one is for me. It's been a rough summer for our family. After about four years of fighting, my father died of cancer at the end of July. I did not have the greatest of relationships with my father for most of my life, but we tried to fix it in the end and I think that's what really matters. A few days after he died, my daughter asked if she could go see Pop. If anything, she will have good memories of him.

Three weeks after my dad passed, our dog, Sadie, was given a death sentence of degenerative myelopathy, a nerve disease that I can only equate to canine ALS in its symptoms, severity, and rapid progression. Within three weeks, we had to put her to sleep.

It is almost unfathomable to think that a dog, who in June was so smart and agile as to move multiple barriers that I'd set in place in a hotel room to open the door with her nose and escape into the hallway, would not make it to the end of August. I wouldn't believe it, if I hadn't lived it.

A day after Sadie, another friend lost her fight with cancer.

Through all of it, trying to parent to a tiny human who really doesn't understand fully what is going on has been the trickiest thing. We told her that they were very sick, and they had to go over the rainbow but they would be better. It still breaks my heart that she simply wants to kiss the boo-boo and make it better. She may not be able to heal physical wounds, but no mental wounds are too big for her heart.

She has been the best healing power through all of it. When we came home from the vet, she was so happy and cheered because "Sadie is all better now. She went over the rainbow." She misses her deeply, but that initial reaction will stay with me for the rest of my life.

It's been a tough journey for all of us. In addition to all of the physical loss, a surprising number of people who we thought were our friends showed their true colors, and simply turned their back on us. It is beyond disappointing to find that people you for years have shared memories with, given your generosity and love, devoted your time and life to, would abandon you in such a time of need. Death is the leveler; it shows people for who they truly--both the deceased and the living.

Others have shown us the best that they truly are. The amazing amount of support that we have received from our neighbors, fellow reenactors, and colleagues has been unexpected and humbling. If you're reading this, you may be one of those people: thank you. We may put on the mask of the stiff upper lip, but we do hurt too and we do appreciate it, and you, more than you will ever know.