Knowledge can be Dangerous, or...Bustling through Time

A book on the way people dressed from 1780-1830 in Rural Post Colonial America arrived and was read within a couple of hours. It wasn't a long book, but very well written, well referenced, and probably someone's doctoral thesis originally.
I benefitted from the brain of the writer, but once I had finished, I realized two things: there were a lot of, admittedly subtle, details about smaller changes of fashion that I hadn't known before. And, I needed to get busy at the auctions and on the internet if I wanted to round out the Period Clothing Collection at The Oldest House.
I did exactly that and was fortunate to acquire most of what I wanted, and most of it in authentic pieces. I did have to resort to good reproductions for a couple of things, notably a Colonial man's chemise--it's not what you think. But I'll keep looking, and eventually I may be able to find authentic historical garments to replace these lovely reproductions.
It was a very dull day here in Northeastern PA, once again, but for inspiration, Ovation TV was running a Pride and Prejudice marathon--hooray! So the acquisition phase went apace and is now ended, with some truly wonderful things that will be on display this Spring and Summer at the House!
My plan is to do the moving around of small pieces of furniture and such in January, and to take down the current Winter Period Clothing Exhibit at that time. These items will be hung and bagged for transport back to my house where they 'live' in a dark, humidity controlled armoire, safe and sound.
The mannequins and dress forms will be moved to each location upstairs although as things actually get done with the new exhibit some mannequins might move, as they did this year! Then my plan is to bring over everything for the new Spring Summer exhibit and hang everything so the wrinkles can fall out naturally.
Come April, my friend Nancy and I will selectively steam and iron each outfit so it looks its best, and dress the mannequins and place the other clothing. Not everything is on a mannequin, we do not have the space, so some items are hung against the walls or on screens. 
I've begun writing the 'narrative' for the Exhibit, too: posters in each room that describe each ensemble in rather a bit of detail. The reason for this is that although I do try to do a lot of the tours for the House in the Spring and Summer, obviously I am unable to be there all our open hours. Therefore, if another docent does the tour, all s/he has to do is usher visitors into each area of the exhibit, and they can read the posters for themselves.
I am thinking of doing a digital narrative and leaving a small tape recorder at the House, so other docents could play my narrative as the tours move through the Exhibit. This would save visitors from having to read the posters, which can be difficult if they are not in bright light, etc.
Any opinions on that?
As I was typing up this narrative, I realized something I've been trying to encapsulate for a couple of years now: the way in which the padding in women's clothing shifts through the decades. 
I call this little essay 'Bustling Through Time' and here's an advance copy! Paper copies will be available at the House this year, too.

Bustling Through Time

Padding Migration in Women’s Fashion

Bustles, bum rolls, panniers: they have all been part of women’s clothing down through the centuries. Over time, the padding migrates, however.

First, in the 17th and 18th centuries, side padding achieved with either material or wire cages created the ‘pannier’ effect.

During the Regency Era, these shrunk and moved to the back of the wearer, directly under the Empire waist of the dress, and achieved the rear bouffant silhouette popular then.

In the Early Victorian and Civil War period, the panniers morphed into fuller and fuller petticoats and skirts, eventually becoming the hoop skirts with which we are all familiar.

In the Late Victorian period, the hoop collapsed and concentrated itself in the back of the silhouette again, becoming the well known bustle.

The Edwardian Era did not sport any particularly padded areas, unlike its cousin the Regency Era. Although both take major styling from the Neoclassical influence, the two periods are very different in design as well as fabric. Most notably, while the Regency Era fashions sought to show off and accentuate a woman’s bosom, Edwardian fashions did this to a much lesser extent, especially in day wear.

With the advent of WW I, brassieres and girdles replaced corsets, garter belts replaced garters, and padding retreated to bras. Padding of the lower body was not done until the early 21st century, when ‘bum enhancers’ made a brief re-appearance in some fashion circles.

There's a bag on the bed with two muffs and a bustle in it...

     Only mounting a period clothing exhibit would one hear the words of the title of this entry! This morning, my friend and fellow Oldest House volunteer, Nancy Hunsinger, helped me take down the Summer 2014 Period Clothing Exhibit (PCE) at the House, and put up the Winter 2014-2015 PCE. Because cleaning of the top floor is going on thanks to Tony and Jeannie DeRemer, and Nancy, once we had all the mannequins dressed in their winter finery, Nancy and I moved 'everyone' into two bed chambers, leaving the rest of the top floor relatively empty for cleaning.
     (I just recently learned on my trip to New England, where my friend Carroll and I toured the John Adams National Historic Park, that the proper term is 'bed chamber' for what we would call a 'bedroom' today. Back in the 18th and most of the 19th centuries, a 'bedroom' was a room that normally had another use, such as a library or sitting room, but which was being used as a 'bed room' because of illness or some other situation that necessitated a bed being moved into the room.)
     Anyway, Nancy and I successfully got all the outfits assembled correctly on all the mannequins, even if we did have to remove and then re-install the arms on one mannequin! Once the cleaning is finished, we will move the mannequins back where they belong and straighten everything so it is pin-neat and perfect.
     This year, our theme for the Winer PCE is 'An Evening Out.' We have the same periods highlighted, i.e., High Victorian, Edwardian, Post-Colonial/Regency/Empire, and Civil War/Westward Expansion. The theme allows us to get a bit fancier with the clothing, which is quite fun. Let's face it: a plain prairie dress from the 1860's might be really interesting to a professional costumier or clothing historian. But fancier outfits featuring silk gowns and fur accessories, elaborate embroidery, beading, and feathers, are a lot more fun to look at!
     Highlights of the new displays this year are a man's top hat, white tie and tails, complete with evening cape; a leg o'mutton sleeve brown wool Victorian lady's coat; a black Edwardian coat with stunning button detail; a mink shawl from before 1916; and a stunning two piece black and red print silk ball gown from just after the close of the Civil War. Other pieces like jackets, muffs and even a wonderful pair of blue kid beaded evening slippers are more treats in store for those who stop by to see the Winter PCE at the Oldest House.
     Speaking of which, it has occurred to me that given the effort we all put in to mounting the PCE for the Winter, it seems a shame that the only time it is really on view is at the Oldest House Christmas Tea (December 5, 6, & 7 this year) and again during the May opening event, A Simpler Thyme (usually the third weekend in May, 2015). After that, the Summer PCE goes up, and as we are open for tours all summer at the weekends, plenty of people have a chance to see the Summer outfits and ensembles. But the winter ones are so gorgeous, it seems a shame that they don't get much exposure.
     I am contemplating a Mid Winter Tea Party, specifically to view the PCE and have a little talk about the changing fashions during the years our PCE covers (1781-1914). Once the Christmas decorations are down (usually in January), the main floor of the House will be relatively bare, which would allow for tables and chairs for those coming to the Tea, and space for musicians, should we decide to feature some.
     Perhaps China tea, Indian tea and a pleasant herbal tea would be a good selection, along with cookies and little sandwiches? I'd like to get a couple of those fancy tiered serving trays, ideally one for each table. We have plenty of china and cups at the House. We could limit the event to, say 20 people, and half could tour the PCE and then have tea, while the other half would have tea and then tour the PCE. That way their arrival time would be staggered and the House itself wouldn't be too crowded.
     I would ask a couple of other volunteers to help out, and we would all be in costume--I've got a stunning Edwardian ensemble I'd just love to show off, and whipping up a 'Victorian' outfit isn't too hard. Plus, I would loan my outfits to those helping.
     I wonder if this would 'fly?' What do you all think? Admission would be $10 per person, and the money would all go to the House, of course. Visitors would get a full House Tour as well as an expanded PCE tour and talk, and they'd be able to purchase memberships and gift shop items too.
     The weather is just about the only thing that might not cooperate, especially in early March, which is my target date.
     Well, let me know what you think: email me at DLC18thcentury@gmail.com!

Upcoming Events!

Hello everyone!
There are a couple of events coming up I'd like to draw your attention to. At both of these, I'll be wearing (and discussing, if you so desire!) authentic period replica gowns from the 18th and 19th centuries.
First up is the annual Fancy Fair at The Oldest House in Laceyville. This is the antiques and collectibles sale unlike any other, and is one of the major fundraisers for the House. I'll be there both days, October 17 and 18, a Friday and Saturday, handling the 'cashier station!' I will have copies of BOTH my books, A RIVER IN TIME, and the brand new TREACHERY IN TIME, published just last week, for sale, and I'll be happy to sign them for you also. Don't forget, royalties from the books go to the House, not to me, so come and get your copies--they make good holiday gifts, too!
On Friday, I plan to wear a Victorian Riding Habit, complete with jacket and top hat but I may not have the top hat on indoors. We shall see. Where the cashier desk is situated in The Oldest House I do get the breeze from the front door opening and shutting as people arrive and leave, so it can be chilly.
This Riding Habit has an extremely full skirt (and I'll have a bustle, LOL), a plaid vest and white blouse, as well as the jacket and hat.
On Saturday I will probably wear the teal and gold 1781 gown that is typical of fancy gowns from that era, complete with panniers. I haven't worn this one in a while, as it was the very first period gown I bought and I've tended to wear newer outfits as the years have gone by. So I'll be happy to dust this baby off!
I am not sure about the outfits for the Christmas Tea just yet. I may wear a new Edwardian Ensemble for Friday evening, complete with huge hat! Then on Saturday and Sunday I'll probably wear a couple of the other 1781 gowns I have, including the Sack Back Gown I didn't have a chance to wear at the Rendezvous last weekend, due to the inclement weather.
So if you are in the area or can be in the area (there are two hotels now in Tunkhannock, a 25 minute drive from the House) do try to stop in to any or all of these events. Be sure to introduce yourself to me, too: I love meeting readers!
The Oldest House is in Laceyville, PA, right on Old Route Six, Main Street, about a half mile east of the center of the village.
Hope to see you there!

Autumnal Musings...and some Period Dressing Tidbits!

A joyous Autumn season to you all!
Next weekend, October 4 & 5, will see the return of the popular Endless Mountains Muzzleloaders' Rendezvous at the American Legion Black Walnut Post 510 in Laceyville, or more properly, Skinner's Eddy. Actually, even MORE properly, Black Walnut Bottom, as it was once called. We have eliminated the 'Bottom' part, but the term arose because the land there was and still is very low. Its proximity to the River Susquehanna has also meant that historically the region floods frequently.
In modern times, we can build houses on stilts and tall foundations and such, but back when this area was first settled, and still part of Luzerne County (which was huge back then, encompassing four or five modern day Pennsylvania counties!), that was not done, and people's homes flooded.
Hence the move from 'Black Walnut Bottom' to Skinner's Eddy (which also flooded, as it was the confluence of the River and Tuscarora Creek), and eventually to 'higher ground' in what was to become Laceyville.
Doctor William Hooker Smith was very smart to site The Oldest House on this 'higher ground' back in 1781, as it still exists to this day.
But, I digress.
One of the heralds of Autumn around these parts, besides the changing leaves, is the Rendezvous. Money from the $3 admission at the gate (good for both days) as well as sales from our Raffle Tickets (wonderful prizes) go to support The Oldest House.
I will be there, of course,  and I have promised to wear my new 'sack back' gown, or Robe à la Française. This was a style of dress that was very much in vogue in the 1700's, although in the early part of the century it was informal dress. The sack back gown is called that because across the shoulders at the back there is an extra panel of pleated fabric that swoops out behind the wearer, like a train. It's quite nifty. By mid century, it had become extremely formal, and Marie Antoinette and other women of the French Court made it popular.
I had such a gown made for me this past winter, and intended to wear it this spring or summer at a House event, but first a sprained ankle, and then a twisted knee complete with fluid build up meant that I was out of commission for most of the summer.
I'm happy to report that although I'm not 100% yet, I'm sufficiently recovered (after a long, boring, no fun summer!) to re-commence most of my normal activities, carefully.
As I do before I wear each new gown or dress or ensemble 'out' to an Event, I took some time this morning to try the sack back gown on, make sure it fit, and that everything 'worked' with it. As I dress myself, I do employ slender elastic lacing, which is not traditional, on my corsets and the bodices of fitted gowns. I'm quite limber, but there is no way I could tighten the laces properly if they were not elasticized.
However, it's still quite a challenge to get into (and out of) period clothing secured in this manner because, well, it's all together. It's not like stepping into a dress and zipping it up--you have to wriggle your way into and out of it without unfastening it. Hence the elasticized lacing.
People who visit the House when I'm on duty and in garb often ask me how I dress myself and what I have on under the dress or suit or gown. I let them in on this secret, but am happy to explain not only the layers I'm wearing, but the order in which they are most efficiently put on (not what you might think).
It took me a half hour this morning to first lace the dress (that only took 5 minutes) and then put on my 'stays' or corset (but it really is a set of stays, laced up), which only took a minute, and then clamber into the sack back gown.
The actual tunneling in from the hem, popping my head and arms through and then tugging it down to its proper place only took maybe another five minutes. But then the real fun began!
Fortunately, the 'stomacher' or front part of the torso of this dress is attached. Some dresses had interchangeable stomachers women could attach at the underarms and at the waist; I'm quite happy mine is permanently (and sturdily, since I did a fair amount of tugging) affixed. It's complicated enough as is!
So, with overskirt and bodice on, I stepped into the underskirt. So far so good! But the silhouette of the sack back is not bell like, as it would become in later decades: it has a distinct side to side appearance, making the skirt extremely wide, but only on the sides.
I have a new set of panniers, which are the cage like things that hang on either side of the waist and make the dress stick out properly. They are appropriate for this type of gown and I bought them to wear with it. These I secured around my waist under the underskirt.
Then I stepped into my crinoline petticoat (no hoops) and pulled that up under the panniers. (Yes, before crinoline, stiffened material was used, and also more than one petticoat, to give the right effect, but we must take advantage of textile advancements when we can!)
This concluded the getting into the dress portion of the try-on; given the machinations I had to go through, I'll dress first and do my hair and makeup while gowned. Normally I do it the other way around, but not with this gown, I won't be able to. I will be sure to sling a towel around my neck and shoulders to prevent any spills or stains.
So, layer by layer I was (and will be) wearing: chemise, stays, crinoline, panniers, underskirt, bodice and overskirt. But, you note, I didn't put them on in that order. I learned early on that it is much easier when dressing yourself to put the top bit on first, and then attach the under skirts and so forth in layers, as you go.
Stockings that rise to the thigh and are held on with garter type things will also be worn when I dress for an event, along with shoes, fan, reticule, jewelry, a hair piece to emulate the style of hair-do popular then, etc.
You can see why I pray for cool weather next weekend!
I will say the gown is lovely. It's a pretty authentic looking leaf block print pattern in tones of beige, olive and chocolate and the underskirt I've chosen (not the one that came with it, which was beige) is a light cream. I could get an olive underskirt for variety, but I shall try to resist! The material at the back is pleated and falls beautifully. The neckline and sleeves are trimmed in ruffles of material and under the elbow length sleeves are separate lace frills called engageants. Luckily, these are also attached although in the 1700's ladies could change out these lace bits when they became soiled, or if they just wanted something fancier, or plainer (I cannot imagine that!).
The panniers didn't seem to me to be wide enough, although they are authentic;  fortunately I have a set of 'hip pillows' that were also worn sometimes to accentuate that side silhouette. So I may possibly ADD those atop the panniers and see if I like the effect more.
It ought to be really amusing getting in to and out of my car in this getup. I'm used to the wide skirts, but I've never driven with panniers so I'm grateful that I don't have far to go to get to the Rendezvous.
Getting out of the gown was not, as you might think, a lot easier: I reversed the donning of the panniers, underskirt, crinoline, etc. but had to do a lot of tugging and wiggling to pull the gown up enough to get one arm out. I may use elasticized lacing, but it's still really tight! Then the rest came easily, but the effect when I was de-gowned was of someone who has survived a journey underground. Or at least I felt that way.
So, if you will be in or near Northeastern PA next weekend, and have some time, do stop by the Rendezvous. On the Sat Nav or GPS just search for '304 Old Route 6, Laceyville, PA'. The Legion is right off new Route 6, visible from the roadway, about 3.5 miles east of Laceyville.
I look forward to seeing you there: find me at The Oldest House booth with a few goodies from our Gift Shop, copies of A RIVER IN TIME, and also brand new hot off the press copies of TREACHERY IN TIME, the sequel. I'll happily sign copies for you, too!

Odd, Strange and Weird Accessories of the Past

Good day, all!
Before I begin today's push to finish the first draft of TREACHERY IN TIME (due out October of this year) I'd like to take a few moments to regale you with some unusual items from the past.
Thanks to Dr. Lucy Worsley for the idea: her post on FB this morning inspired me to recall, and research (of course) other peculiar items, particularly those associated with clothing and dress, from our collective past.
When you've read this blog post, do comment, and do let me know if you have any particular favorite oddities from past centuries. You can email me, too, at DLC18thcentury@gmail.com.

When I, as an historical costumier/interpreter dress in my re-created period clothes, I often do not realize that, authentic as the dresses and accessories may be, they still benefit from modern technology. My side button boots, for example, have elastic loops that stretch easily around the corresponding button. My dresses usually have invisible zips up the back; those that lace generally employ lightly elasticized lacing, because since I dress myself 99% of the time, I need to be able to get in and out of the dress independently, yet still have it 'snap to' the required proper shape when I'm finished.
So some of the items found in the proverbial 'great granny's closet' may prove dauntingly unidentifiable, at least at first.
Let's begin with this item:

Anyone know what this is? It's a great example, thanks to LangAntiques.com (check out their stuff, it's great!) of a Victorian Châtelaine--the accessory, not the person.

Ah yes, my past as a Mediaeval Linguist rears its head now, and I'll tell you that a Châtelaine, a French term, used to refer to the Lady of the Castle--you can see the Old French word for Castle, Chastel, in Châtelaine; it is from this same root word that we have the modern French word, Château.

(By the way, the little circumflex over the 'a' indicates that in Old French the 'a' was followed by an 's' which was pronounced. This 's' along with its corresponding sibilance, disappeared over time, but in writing, the 's' became a circumflex, placed over the preceding vowel. Fascinating, huh? This is the kind of stuff that I adore.)

Ok, back to the Victorian Châtelaine. The Lady of the House in Victorian times, or in grand homes, the Housekeeper, would routinely clip a Châtelaine to her belt. From it hung numerous items the woman might need during the course of the day: a measuring tape, a magnifying glass, a small pair of scissors, and various keys would be typical. Back in the Middle Ages, the Châtelaine had its start as a humble key ring, on which all the keys for the gates, doors and stores of the Castle were hung. By Victorian times, although the Housekeeper or Lady of the House would have certainly carried a few keys on her Châtelaine (like those for the wine cellar, the silver chest and possibly the stores cupboard), she also carried other items.

The items on a Lady's Châtelaine indicated the woman's status and position. Titled Ladies with maids had no need to wear Châtelaines, although some undoubtedly did so to affect a need and purposeful place in the household. The Châtelaine above would have been worn by someone of quite high status: on it, left to right, are a magnifying glass (useful when reading or possibly sewing); a perfume bottle (for touching up one's scent during the day or should a guest arrive for a visit); a button hook (for doing up boot buttons); a multi purpose, genteel version of a Swiss Army Knife with a small blade and a pair of scissors (for numerous little jobs); and finally, a mirror/compact (for checking ones appearance).

Aside from the button hook and the knife/scissors, these items are purely luxury or convenience tools a lady of leisure would wish to have handy. Unlike the Queen of England, women in Victorian times did not carry around a handbag with a few essential things inside.

Which brings me to another question: did Queen Victoria, perhaps, wear a Châtelaine? I'll have to check.

The button hook and the knife/scissors would more likely be on a Lady's Maid's or Housekeeper's Châtelaine: their presence here may just be accidental, or it could indicate a Lady of the House who was of a somewhat lower station and thus more involved with mundane tasks like buttoning shoes and clipping thread or ribbon.

Our next oddity from the past is the 'poissarde.' Anyone know what that might be? The root of the word is from 'poisson' which is French for 'fish.' And a 'poissarde' means a 'fishwife.' The term came to be used in the later 18th century for a style of earring we today call 'fish hook,' although to my eye, the 18th century versions were much more elaborate.

French fishermen's wives began wearing this style of earring, fashioned in the style of fish hooks, during the French Revolution. The look caught on even outside of France and became a symbol of support for the Revolution, even though many women who wore this type of earring possibly were unaware of that.

Although well-bred women generally did not wear earrings except for dressy or formal occasions, or when they were at Court, the popularity of the poissarde opened the fashion door, as it were, for the drop earring styles, of all sizes and in a variety of metals and gemstones, of the 19th century and beyond.

Ok, one final oddity:

Anyone know what this is?

Again, my thanks to Dr. Worsley for bringing this item (although not this specific example) to my attention. This was used in Victorian times, and is directly related to the style of dress of that period as well as to the activities in which women had begun to engage in that time.

It is a skirt lifter, or dress lifter, and was used when ladies' trained dresses could get in the way of an activity: dancing, certainly, but even cycling or playing a sport like badminton or croquet. 

I cannot recall seeing anyone ever use a skirt lifter in any period drama I've ever watched. Some have excellent historic costume research teams and generally get the look spot on, so it is curious that this item has never made an appearance, at least that I can recall.

The skirt lifter was attached by a ribbon through the ring to the wearer's waist, I have learned, and the bottom clips, which were padded, grabbed and held onto the train of the dress, or the side of the skirt, to raise it to a height where it would be less cumbersome. Having lifted my own trained and skirted period costume dresses with my hands, I am well aware of how heavy some gathered material can be: the accessory above does not appear, to me, to be able to handle the weight. Similarly, putting a ribbon around one's waist and threading it through the ring seems a peculiar way to hold onto the skirt lifter.

Modern wedding dresses often have a loop sewn at the back underside of the train or skirt, which can then be slipped over the bride's wrist when she dances, to avoid tripping on the length of fabric. This seems more logical to me, but if the skirt lifter had been fitted to the wearer's wrist rather than her waist, it might have rendered that wrist/hand/arm somewhat un-useable (what with the big fishtail of fabric flopping around with its every move).

I also wonder if skirt lifters perhaps didn't effectively hold heavier skirts and trains, or perhaps tore more delicate ones.

So while I applaud the ingenuity in designing the Victorian skirt lifter (and it is a later Victorian item, because that was the period, say 1885 to around 1914 when women's activities became more varied and athletic), I don't wonder that it had a relatively short success. 

Perhaps because of the clash between Victorian trained gowns and women's increasing desire for mobility, the skirt lifter arrived, met with lukewarm success, and was replaced by fashion eliminating the train (and then the bustle), and shortening the skirt.

So there you have three examples of odd things from our historical clothing past. Life centuries ago was very different in many tiny and discrete ways, ways that are constantly surprising and teaching me as I continue to research those long ago centuries.

I hope you've enjoyed this peek into the past. 

And now--I must get on with TREACHERY IN TIME.

Surprise character in A RIVER IN TIME Sequel

I've just cracked 21,000 words on TREACHERY IN TIME, the sequel to A RIVER IN TIME. Set once again at The Oldest House in Braintrim, Pennsylvania, the book picks up in June of 1796. I cannot reveal too much more, because anyone reading this who hasn't read A RIVER IN TIME shouldn't have the ending of that book spoiled for them.
At any rate, TT deals with a suicide which is quite quickly determined to be a murder, back in 1796, at a fictional farm neighboring the Sturdevents' farm and The Oldest House. Elizabeth and Samuel Sturdevant are back, as is Joshua, and without giving any more away I will tell you there is an historical figure whose presence at the House and in the book will be a surprise: Thomas Jefferson.
 I hope his presence in TT will also be intriguing. Of course, we have no historical documentation that this person ever visited the House. However, since it existed, and he existed, in that time, he could have. And since in RIT I decided to make him Joshua's mentor and friend while the young Sturdevant was in law school at William and Mary, his presence in TT isn't out of context.
Historical research states that leading up to the Presidential Election of 1796, neither Jefferson nor his chief opponent John Adams campaigned, at least, not as we know it today. So with Jefferson having retired from his overseas post to Monticello, and in the absence of historical documentation to the contrary, it is quite logical that Jefferson could have made the journey north to visit his protégé.
You'll have to read the book to find out why!

In other Oldest House news, the Wedding Dress Exhibit is now down, with thanks to all who helped and especially to those who loaned us dresses from their treasured family cedar chests. We had a good response and several people who visited the House came specifically to see the Exhibit. I hope they were not disappointed.
The Summer Period Clothing Exhibit is now on display, until the end of, well, summer. I expect I will change it out sometime in September or October so that the Winter Period Clothing Exhibit can be on view for the Christmas Tea.
I've spent a bit of time, though not as much as last year, when I was building the base collection, adding a few things here and there, so the Winter PCE will be quite different from last year's. I have managed to snag a couple of really nice pieces and I hope everyone will come out and see it.
Before that, though, do come and visit the House: Friday, Saturday and Sunday, 1-4 p.m. and check out the summer Exhibit. I think you'll be quite pleased with the lighter clothing on display, and I'll be those who wore such things in past summers were pleased as well.
Also this summer, we have a new Susquehanna River exhibit, a lovely display of antique quilts and an amazing group of antiques in the front room, done in the style of a 1930's kitchen. I bet when you visit, you'll say, 'my grandmother had one like that!' because so many of these kitchen items are almost iconic.

Also this summer, I plan to get to the Pottsgrove Manor's period clothing exhibit, for comparison and also to continue to educate myself. I had planned to go tomorrow, but it will be much too warm to endure that so I'll opt for a cooler day in the coming weeks. I hope.

Meanwhile, TREACHERY IN TIME should be ready by the Fancy Fair at the Oldest House, held in October...dates to be announced. So, back to writing...

Summer 2014 Period Clothing Exhibit/The Oldest House, Laceyville

Well, here it is, finally. The Period Clothing Exhibit from this Summer, 2014, including the Bridal Dress Exhibit.
I will tell you that I was unable to do a narrative, really, on the video: just an intro, and then a quick view of the clothing. This is because the way I upload the vid to the blog is to email it to myself, download it to my laptop, then upload it to the blog.
I'm sure there is an easier way, but that's how I do it, and I can't do everything expertly, though I do try.
At any rate, the limitations on the size of the file I can email determine the length, and with me nattering on about the clothes, well, it was just TOO LONG! So I shut up (a rare occurrence) and just did the video part.
The Bridal Dress Exhibit is coming down at the end of June. Then, addition summer clothing will go up in place of the bridal dresses. So hurry in to The Oldest House in Laceyville to catch the Bridal Dress Exhibit, and then be sure to come back some time this summer to see the rest of the clothing exhibit.
The vid starts with the high Victorian era at the top of the stairs, and the business man's outfit. There are also showcased here two examples of 'Lingerie Dresses' which were of light cotton or lawn, and embellished with lace, and worn in the summer to keep the ladies cool. These were not wedding dresses, but were worn as such in the 1970's and later, when girls discovered them in their grandmothers' attics!
Next, the Edwardian Room, with a blue linen dress from 1912 with peplum and much lace and bone buttons and a coordinating hat; a two piece black and white striped silk organza w peplum and green satin sash from 1911; and a late Edwardian wedding dress with gloves and hose, from 1916. This last one is almost a 'flapper' style, but not quite.
Next, the room I call 'Izzy's Room,' from A RIVER IN TIME. We have the blue and white 1781 reproduction dress as before, and the man's work outfit from the late 18th century-early 19th century. The gem in this room is a Regency style dress (think Jane Austen, 1790-ish to about 1835) which is authentic, although some repairs have been done to collar and cuffs later in the century, on a sewing machine. This isn't necessarily a wedding dress, but I've displayed it as such, and put the veil over the bonnet over the cap, which is the way veils were worn until about the middle of the 19th century, when they began to be purpose-made as wedding head gear. Up until then, it was just a piece of lace, fastened on a bonnet and the bonnet would have been spruced up with fabric and ribbon as well.
Following this, we come to the major Bridal Dress area. First up is the jewel of the Oldest House period clothing collection, the 1851 silk plaid wedding dress. So this dress would be about 20 years after the Regency dress in Izzy's Room. Next we have, 20 years onward from the mid 1870's, another wedding gown, with veil and little cap: stunning embroidery here: the skirt is more narrow than the hooped Civil War gown (1851) and there would have been a bustle at the back.
Following this is a bridal gown from 1889, in a sumptuous chocolate brown silk, finished with embroidery work. This has been loaned to us by Gail James; it was her great grandmother's dress and Gail was kind enough to include copies of photos of the lady and her husband, as well as the original wedding notice from the newspaper.
Finally in this room we have an Edwardian Era wedding dress from about 1911. It's from the Dymond family and I was lucky enough to find it at auction! More beautiful embroidery all hand done by the bride's mother. I've paired it with an amazing hat from that period, complete with appliqué  work and long trailing veil. Another Edwardian two piece wedding ensemble hangs on the wall next to this dress: I ran out of mannequins! (And out of room. This is the largest space upstairs, and it's still small).
Funny story about the Bridal Dresses. I was in the UK in May, and finished up with a couple of days in London. I stay across the street from the V&A so I always check to see what's on there and lo and behold, what did they have on offer? An exhibit on 'Wedding Dresses 1750-2014.' Well, my, my, great minds, LOL.
So of course I went! They had THREE gowns from 1780 and before. I cried, nearly, because wouldn't I just love to have ONE??? Well, anyway, it was a very good exhibit, with the bulk of it late Victorian and early 20th century, some gorgeous stuff. I bought the book, and it's up in the main Bridal Dress room at the Oldest House, open to a page that shows a 1755 dress.

So do try and come for a visit to see the Bridal Dresses, and then to see the rest of the Summer Period Clothing Exhibit, much of which will be new!
The Oldest House is open Fridays, Saturdays, and Sundays, 1-4, and if we are holding a special event, additional hours as well. Tours include the PCE. There is no cost to tour the House, but donations are gratefully accepted. And needed!
Thanks!

Are You Going to Write a Sequel?

Winter's over and The Oldest House is once again open for the summer season! I missed the first weekend, as I was away in the UK for a writers' conference and also a bit of a holiday. However, we are now open Friday, Saturday and Sunday, 1-4 each week for tours, and each month we have special events scheduled. Be sure to check out The Rocket Courier for ads about upcoming events, and 'friend' The Oldest House group on Facebook to keep up with the latest.
Winter and early spring this year found me collecting MORE period clothing pieces for our ongoing exhibit at the House, and also getting the bright idea of showcasing our jewel, the 1853 Swackhammer wedding dress, by mounting a display of bridal gowns from 1853 through 1914, which is the year our PCE ends. I was quite lucky at the auctions, and snagged some beautiful dresses and gowns and a couple of stunning veils.
Did you know that wedding veils didn't really get fashionable until about 1835? Up until then, women wore bonnets with their wedding gowns, albeit elaborate ones, and had veils attached front and back to the bonnets' brims.
The special Bridal Exhibit, titled, 'I do! I do!' also features a couple of gowns from area residents' treasure chests, so do try and come and see it. I DO I DO will only be open for this month, June; in July, the wedding gowns come down (with the exception of the 1853 Swackhammer dress, which is a permanent part of the PCE) and authentic pieces of light, summery clothing from 1835-1914 will be on display, along with a couple of 1781 era replicas.
It is extremely difficult to locate clothing from before 1800, particularly clothing that is in any kind of decent condition, and if you are lucky enough to find an authentic example, it is generally extremely expensive. We are fortunate to have one dress dated to 1835-6 which is authentic, but the 1781 dress and the 1775-85 man's trousers are faithful reproductions.
On that note, I might tell you that while I was finishing my holiday in the UK with a couple of days in London, I checked to see what was on offer at the Victoria and Albert Museum. To my delight (and some humor, I will admit) I read that they had a display of Wedding Dresses! Theirs, of course, went from 1775-2014, and occupied an entire wing. However, given the space we have and the budget we have, I do think The Oldest House's display stands up creditably.
However, I nearly cried when I saw that the V&A had not one, not two, but THREE wedding dresses from 1775, 1778 and 1780, all in really good condition. Ah well. I've had the book on the V&A exhibit shipped, and I hope it will be here in time for me to have it on display upstairs at the House, along with the rest of our Bridal Exhibit.

Now, to get to the title of this blog entry...since I wrote A RIVER IN TIME two years ago, people who've read it have asked me if I were going to write a sequel. For a long time, my answer was, 'no,' adding that RIVER should stand alone, I thought.
Then my friend Nancy Sharp, herself an artist and one who always sees outside the lines of convention, for which I treasure her, said casually, 'well you could always do a murder mystery and set it back in 1781, couldn't you?'
Ah...yeah. I didn't immediately jump at the idea but in April, just before I left for the UK, I did, indeed, begin a new book. It is a sequel to RIVER, and features the historical inhabitants of The Oldest House, the Sturdevant family, just like RIVER does. It also features my female protagonist, Izzy Richard and I guess I've now given the answer to the 'will she or won't she' question in RIVER. Izzy decides to stay in 1795, the year she time travelled to in RIVER from her own modern day life. In the new book, tentatively called TREACHERY IN TIME (but I think that may change) she is at The Oldest House once again, along with Elizabeth and Samuel, Jr., and Joshua, when a neighbor girl is found, hung in the family's barn. People assume it is a tragic suicide, but Izzy, who still sees the world through her 21st century eyes, is certain it's a murder.
Not only does she have the challenge of proving her theory to local authorities and residents, she must negotiate the tricky position of being a woman in the late 18th century, with virtually no voice in matters like criminal investigation. The fact that there is no such thing as forensics back then is another hurdle, and then, of course, Izzy has to figure out who murdered the girl, and why.
Like my modern day 'Reporting is Murder!'© series, there are several potential killers, long buried secrets, and a host of vibrant personalities that I hope will make the new sequel as popular (or more so) as RIVER was. Not only will it appeal to local residents who know and love The Oldest House, it should intrigue lovers of historical fiction, and it should attract murder mystery readers as well.
With luck and discipline, it will be ready for this autumn's Fancy Fair...usually in October...more on that to come.
Thanks for reading, and if you can, do visit The Oldest House this season. I'd be so very pleased to see you!