Why Vintage? Why now?

Hello Everyone!

The holidays have brought quite a delightful procession of teas,
dances and other events, all of which have seen me garbed in a range of period clothing. Although I do wear historic costuming much of the year while I'm giving tours at The Oldest House, or for certain book/author events, the concentration of festive occasions coupled with period garb, culminating in three days straight this past weekend wearing 1750's, 1775, and then 1915 clothing, has prompted me to meditate upon the phenomenon of modern women choosing to wear historic and vintage clothing--not as part of a job, but as an avocation. A pastime. A hobby, if you will. 

I came to it gradually, starting with a couple of Georgian/Post Revolutionary dresses to wear volunteering at The Oldest House. But as I learned more about period clothing, I began to sample outfits from other eras. While I have only half a (large) closet devoted to my historically inspired garb, I will admit to having an outfit or two for nearly every period from 1740 through to about 1915. And of course, the head gear to match. And gloves. And fans. And 'stays.' And reticules...

You see?

But I am not alone in my fondness for period dress. Many enjoy wearing the fashions of bygone days, some with great attention to authenticity and some with none at all, and with a complete range in between. For a few, it is enough to have one great hat, and make do for the 'look' with a long skirt and a high necked blouse. For others, entire closets or rooms have been converted into storage for their ever burgeoning collection of period togs.

The wild popularity of programs such as The Artful Detective, Downton Abbey, The Forsyte Saga, Upstairs Downstairs and their ilk have made these fashions accessible. Traveling displays of costumes used, in particular, by Downton Abbey, have fanned the allure of the clothing that the programs sparked. Many have created events and entire clubs and societies where wearing period garb is what it's all about. (I myself am a member of two such groups, one Victorian/Edwardian and one Colonial. I also study English Country Dance and wear Regency Dress for lessons and balls.) In every town and city there will be at least one historic house that either holds specific parties for historically garbed attendees, or where people dressed in vintage and period clothing are welcomed, or even highlighted. 

But--why? And why now? What are the reasons behind this phenomenon?Certainly to some extent this is all prompted by a wish to keep history alive, to pay homage to our ancestors by living and working, at least for a few hours or days, as they did. 
However, a generation ago the popularity of wearing historically-inspired clothing was not at the level it is today or accepted in the way it is today. In fact, people who did this kind of thing were generally considered a bit 'out there' thirty or so years ago. Tell someone in 1980 you were in the SCA or part of a Re-Enactors' Society and people would smile politely and roll their eyes. But today, it is almost mainstream, so much so that appearing at a family wedding or party in vintage or historical garb hardly raises an eyebrow and in fact engenders a lot of interest and questions--and admiration.

Both the time periods we dress in and the clothes we willingly source, invest in and put on our bodies are far more restricted and restrictive than our 21st century garb. Why do we eschew the comfort of trousers, jeans and jackets for trains, taffeta petticoats and touring hats? (I speak here mostly about women, because as a woman, it is the wearing of female vintage and period clothing with which I am familiar. However, I do believe that many of the points I make may also be applied to men.)

The first reason that comes to mind is the fact that returning to modern dress after wearing period clothing gives one--or at least, it gives me--a fresh appreciation of how convenient and comfortable our contemporary clothes truly are. (Try driving with pannier cages strapped to your hips! )

Yet, it is more than wanting to be satisfied with our modern fashions that makes us happily plan our next period outfit and willingly spend at least twice the amount of time getting ready as we do when we dress in our 21st century clothing.

What epitomizes period garb? And how does wearing it make one feel? Perhaps the answers to these questions will give a clue as to why we dress in historic costuming and why the trend has become so popular at this point in history.

When I think of period garb, the first thing that comes to mind is the elaborate quality of the trims, patterns and fabrics. Clothing from previous centuries and decades was not mass produced: off the rack clothing really didn't become commonplace until after World War One. This meant that most people had only a few outfits: a middle to upper class woman might have five or six dresses and gowns. And the less well off the person was, the fewer outfits that person had. Women in service or in menial jobs had a uniform, one day dress for casual wear on days off and possibly one other outfit for 'best.' Poor women wore the same outfit day in and day out. Even the very wealthy probably only had a dozen or so outfits at any one time: each season, last year's outmoded fashions were jettisoned (or re-fashioned, but that's the subject of another meditation) and new ones acquired.

Therefore, each outfit, whether it be dress or gown or petticoat, skirt, short gown, or coat, was hand made (until the mid 19th century, when the sewing machine was in common use) and took time to make, and required the personal touch of a seamstress or tailor: no machines here! There was time to embellish with trim to the level desired and which the wearer could afford. Tassels, braiding, lace, soutache, padded lace, pleating, cummerbunds, engageants, collars, beading, contrasting fabric inserts, ribbons, bows, ruching, all of this and more made each dress or gown a real creation. And, it made each one unique. Even the simplest day frock from the 1820's reveals amazing attention to detail: lace trim, contrasting insets, double ruffled hems, French seams, contrast stitching, all beautifully made because a dress, even a simple cotton day dress, was a piece of wearable art.

So donning outfits from previous centuries, or authentically made in those styles, feeds ones appreciation for beauty, ones innate creativity and ones artistic soul.

You will not find that in today's mass market, off the rack outfits. 

This is period or vintage clothing's chief draw: wearing things fashioned this way, on which so much attention has been lavished, makes us feel worthy and cherished. That is a feeling which, once experienced, most people try to recapture. The fact that it may be relatively easily achieved by putting on a piece of period or vintage clothing has spread the 'gospel of vintage' like wildfire.

The second thing that comes to mind when I think of period or vintage clothing is the sound it makes when one wears it. The swish of taffeta along the floor. The rustle of a crinoline. The delicate, almost muted, susurration of a lace sleeve or hem. The soft clack of jet or pearls, like prayer beads. These are sounds absent from today's clothing and, largely, from today's world. And yet they are seductive, despite their gentleness. Creating these sounds when wearing period clothing makes the wearer instinctively carry herself differently: she feels uplifted, ennobled, quite special to be the source of these surprising and beautiful harmonies.

These sounds becomes part of the wearer, and part of the way she interacts with the world around her. She is perceived as unusual, extraordinary and therefore someone to be treasured. This adds to the wearer's own feelings that are engendered by the sounds she makes in the clothing, and compounds her sense of worth and beauty. 

Again, who would not want to feel this way?

The final aspect of period or vintage clothing that comes to mind is the way it feels: natural fibers feel much, much better than synthetic ones. Real silk dances through ones fingers and does not lie cloyingly on the skin like polyester. Genuine velvet envelops ones limbs and is not hot, as are 'velvets' of man made fibers. Hand tatted or crocheted lace caresses ones throat and is never scratchy or harsh. Braiding and soutache delight and intrigue the touch with texture, and are never clunky. Even plain cotton or muslin lies gently against ones skin and does not chafe. All of these sensations make the wearer feel cherished, and adds to her positive sense of self.

Yes, 'stays' or 'bodies' or 'corsets' can be a challenge, both to put on and wear. So can crinolines, panniers and hoops. But once fitted properly, a good corset is actually comfortable and gives the dresses and gowns the correct silhouette, as do crinolines and the various types of hoops and bustles. Certainly, laying out all the pieces required for an authentic outfit from chemise to hose to shoes to fan to gloves to jewelry to head gear to corset to petticoats to bustles/panniers/crinolines to overskirt to bodice...that is all much more time consuming than jumping into a pair of jeans, flats and a t- shirt and jacket. 

And yet, the effort required when one wears the 'full regalia' of period garb also goes to the wearer's sense of self worth. We very often spend more time grooming and coordinating even our modern appearance and clothing if our self esteem is high; when it takes a bashing, we find ourselves throwing on any old thing, combing our hair with our fingers and 'not bothering' with makeup.

So...why the sudden uptick in the popularity of wearing vintage and period clothing, and why now?
Vintage and period clothing is beautiful. And it makes us, in turn, feel, if not beautiful, then at least attractive and unique. It bolsters our self worth. And that, in turn, makes us feel more positive and cheerful.
In these first decades of the 21st century we have in the United States certainly, but all over the world, experienced an alarming rise in violence and terrorism that strikes without warning and without provocation. It is impossible to guard against or make oneself safe against such attacks.

That lack of control, of not being able to really protect oneself because one never knows when or where or how or why the next attack may come, and whether or not it might involve you or those dear to you, is very frightening and depressing. It makes us insecure and unhappy and fearful.

The urge to correct that unhappiness, to reverse that insecurity, to bolster our confidence against the fear is what drives our fascination with and our eagerness to wear period and vintage clothing. The yearning to participate, somehow, in times that we perceive as more elegant and decorous is rooted, in part, in a desire to feel better about ourselves.

I am not saying that putting on a robe a la francaise will make all your fears vanish and any insecurities you may have a thing of the past. But wearing period garb in which we feel more important, more confident and worthy, and as though we matter, will almost effortlessly make the wearer feel more positive about herself.

And that is never a bad thing.

The Oldest House's 'Fancy Fair'--THIS WEEKEND!

Hi everyone!
This Friday and Saturday (NOT Sunday!!!) if you're in the area or want a nice drive through the scenic mountains of northeastern PA in high foliage color, stop in at The Oldest House's 2015 Fancy Fair. This event, featuring treasures and trinkets from area estates, storerooms and attics, is the main fundraiser for the House. As you know, we are saving towards much needed repairs to the foundation, which has begun to bow and warp dramatically. Although we do have some grant money to cover the cost of the repairs, we are responsible for a portion of the cost as well, and fundraisers like the Fancy Fair help us earn the money to pay our share.
I say 'earn' because, although every person who is associated with the House is a volunteer, we work very hard to put on events like the Fancy Fair, and to decorate the House, give tours, and curate exhibits and displays.
So, what is the Fancy Fair, you wonder? It's more or less an up market Antiques & Collectibles sale. Everything is donated, and all proceeds go to the House. And YES, I will have copies of ALL THREE of my Oldest House Series books--A RIVER IN TIME, TREACHERY IN TIME & the new one, A CHRISTMAS IN TIMER, available for purchase at the Fancy Fair! (I'll even sign and personalize them for you--they make great gifts!). You know I give my royalties on these books to the House, so not only is it a neat way to get a unique gift for yourself or someone else, it's an automatic contribution to the House! At the Fancy Fair, we also will have a bake sale, and be offering yummy lunch selections like soups, chili and sandwiches--all home made--as well; again, everything is donated, and all proceeds go to the House.
The Fancy Fair has traditionally been held in mid October every year, in line with historical fairs and harvest celebrations. Every autumn throughout time, people all over the world have celebrated the conclusion of a good harvest by holding festivals and fairs, beginning at the end of summer and carrying on through the first hard frosts. It has always been a time to re-stock and prepare for the coming Winter.
In this tradition, our Fancy Fair gives visitors a chance to purchase some truly lovely and unique items for their homes or as gifts, celebrating the joy of 'Harvest Home' and perhaps acquiring items that will brighten the darker months ahead.
This year I have had a chance to help unpack and set out some of the things we'll have on sale, and I'll tell you, we have got some very cool stuff! Figurines, musical sculptures, jewelry, glassware and crystal, dried flower arrangements, casseroles and baking dishes, crockery, ornamental china and an entire room devoted to Christmas decorations. And that's just some of the things: there are many more. You'll just have to come and see for yourself!
There are no tours offered during the Fancy Fair, although you will be able to see the main floor of the House, because that is where the items for sale are located, and where lunch will be served. But don't despair! Coming up in just a few weeks, the first weekend of December, is our Christmas Tea, when the entire House--ground floor, main floor and top floor--will be open for tours and decorated for Christmas. But more on that later...
Do come to the Fancy Fair this Friday, 9-5, and Saturday, 9-5. I will be there both days, and I truly hope to see you!!!

Winter 2015 Period Clothing Exhibit

Well, it's 98% finished. Our Edwardian gentleman needs his white bow tie--I know I had one, but it's gone missing so until I find it...And I have to find the head dress for his partner, the Edwardian lady.
But other than that, I will say the Exhibit is finished. And I will say it is stunning.

Several new acquisitions will be débuted, including a Post Colonial 'indienne' printed cotton dress from the 1770's, an adorable young lady's first ball gown in beige silk with a vibrant purple stripe, an amazing beaded and pleated brown silk Victorian visiting suit, and the collection of jaw-droppingly lovely beaded gowns in our Edwardian Room.

I hope the videos work...that was the Post Colonial/Regency section, now at the top of the stairs as you arrive on the highest floor of The Oldest House.
Here is the video clip of the Early Victorian/Civil War Room...

Next is the Late Victorian Room...

And finally, the Edwardian Room. I won't tell you the way that the female mannequin in the blue beaded gown mis-behaved this morning, as I was trying to slide a pair of beaded blue kid dancing slippers from that era onto her little feet! (Her leg fell off. But I put it back on after practically undressing her and removing her torso!) It was worth it, though.

So for those of you unable to come to the east coast, and to Laceyville, PA and The Oldest House to see this wonderful exhibit, at least now you have an idea of what it's like. Believe me, it's much, much better in person. So do try and visit us if you are able.

The Period Clothing Exhibit for Winter, 2015 will be open ONLY during The Christmas Tea, December 4, 4-8 p.m.; December 5, 9-5 p.m.; December 6, noon-5 p.m.
I would be delighted to welcome you!

Me and My Bustle...Who Knew?

Hello readers!
This was meant to be just an amusing post about my success in driving my little silver sports car while in garb and wearing a bustle--something I'd not yet tried before last week's Tea at the Sophia Coxe Mansion. However, while I was wandering around the Internet looking for bustle information I learned yet more amazing things about bustles.
So, this will be an amusing (I hope?) and educational post.
First, last week's Tea, and my drive with the bustle. Let me explain that it is about an hour and a half drive from my house to the venue for the Tea. I was wearing a two piece mid to late Victorian Polonaise ensemble with a hat that I finally got right only after I got home LOL! And the skirt of the slightly trained ensemble allowed for a bustle. So--of COURSE I wore one!
I was gratified to see that my ensemble engendered gasps of 'ooooh, a bustle!' From the others at the Tea as well as random people i met there.
My bustle is a modern one, just a pouffy pad, no wire, no cage. Having said this, I think you'll understand the reason that driving thus encumbered was really no big deal at all. The extra lumbar support actually was nice! Even though my car's seat's lumbar support is adjustable...
The bustle ties around the waist and also--weirdly--around the thighs. You have to be careful when donning the bustle that you don't tie this last too tightly or it will interfere with the crinoline and also with walking and sitting! I believe this lower strap is designed to keep the bustle from migrating from the center of one's body, where it belongs, so it's a good thing. However, should I wish to wear a bustle with a hoop I would have to figure out another way to secure the lower strap.

So, driving with a bustle? No problem!
The only thing I have yet to conquer is driving with a six bone hoop. I might have the guts to try that during The Oldest House's Christmas Tea--we shall see.

Those of you who are regular readers will possibly recall a piece I did a while back about the way in which skirt shapes and padding moved over the centuries, from the side panniers to the full skirt to the bustle, etc. This was somewhat simplified, because in each era there were smaller and more subtle changes that took place over a few years, not a few decades. But it was a start, and it introduced many, I think, to the idea that padding could move to create the 'look' of a particular silhouette.

So here is a more detailed description of bustles and skirt shapes. I've added details about sleeves and hats where I can: these changed, too, to balance the look of the skirt. So did bodices. But each of these items could itself be an object of study, and the subject of another entry, so I'm concentrating today on the skirt shape and how that was achieved.

After the Regency period, which had narrow skirts  offered that odd tubular pad just below the BACK of the Empire waist, and which, if one were not careful, made the wearer look hunchbacked, we have the Romantic Period. This is post Regency and pre-Civil War in the U.S. from about 1830-1860. Some consider this part of the 'Early Victorian'. However, I prefer to keep 'Victorian' more closely to the period during which Queen Victoria was on the throne of England(1837-1901). Hence my dates.
The Romantic Period offered a slowly lowering waist line and 'gigot' sleeves. The waistline reached its natural spot, and then continued into a V shaped point below the waist, reminiscent of earlier fashions. Women were slow to return to the natural waist look, regardless of fashion dictates--probably because the Empire waist was so comfortable and flattering! The gigot sleeve, or leg o' mutton sleeve, which is very full at the top and then tapers to the wrist, was popular until about 1840, when slender sleeves came back and the armscyes lowered. (that was a new word for me this year, and i think it's pronounced ARMZ-eyes!) Think about that: tighter sleeves set in lower armscyes restricted the wearer's movement--and voilà we have the beginning of the small, demure gestures we associate with Victorian Womanhood.
Oh, and by the way, the leg o' mutton sleeve itself undergoes various permutations between 1825 to about 1840-45, with the fullness getting bigger and bigger and then moving down from the upper arm to the elbow and then the wrist and then finally just getting slimmer overall.
To complicate the sleeve picture during the Romantic Period, 'pelerines' became fashionable, which is a type of cape that spans the shoulders and the front and back for a few inches, and adds to the squared off top of the inverted triangle that was the Romantic torso shape.
Skirts in the Romantic period were bigger than they were in the Regency period--the tube became wider, often by the addition of panels, and the skirts were stiffened, generally with horsehair pieces sewn into the bottom part of the skirt.(Ehew!) Flounces, quilting and other things also served to move the skirt dimensions out. The hemlines inched up a little, too, possibly because it was just too hard to maneuver in all that ruffling and quilting and horsehair stuff and handle a train and a long dress front, too! By 1835 skirts were round and almost the bell shape we think of when we think of the Civil War era in the U.S.
So we have Colonial side panniers moving to the Regency tube shape just below the high waist in the back, then by the Romantic Era moving to a rounder skirt. Now in the Early Victorian Period that roundness will explode into bigger and bigger skirts held out by stiffened petticoats, numerous petticoats and finally bone-hooped and even metal cage contraptions below the skirts.
By 1860 the U.S. Civil War had begun and skirts were almost at their zenith for ridiculous roundness.  But something had taken place in fashion history that would dramatically influence the silhouette, and the skirt, of ensembles in this period, and in the future. The sewing machine had been invented in the first half of the century, which meant garments could be altered and sewn with much greater ease.
By the end of the 1860's, the full, round skirts were beginning to have overskirts that were pinned up at the back, and the front of the silhouette became less rounded and more flattened. This was the harbinger of the Mid Victorian bustle, but in these early days, women still wore hooped skirts with drapes and frills and decoration in the back. These gave way to bustles or 'tournures,' and then the overskirt took off--the Polonaise I wore last Sunday was from this period.  That ensemble had a very small train, just about six inches, but longer trains were fashionable in the mid 1870's, adding to the fripperies decorating the rear of a gown or dress: trains were often tiered, draped with bunting like pieces that themselves had tassels, bows and the like, and had extra frills wherever they could be added. The sewing machine is almost completely to blame for this craze of adding embellishments on every square inch of a gown or dress.
In architecture, this trend was mirrored by the Victorian style that added carved curlicues, dentelled pediments, arches, trellises, balustrades, towers, balconies and anything else one might imagine one could have on a house.
Ornamentation ruled!
The Late or High Victorian Period saw the silhouette change again. Not surprising, because dragging around a skirt and a half plus a train could not have been very handy or convenient. It's no wonder then that the back bustle and drapery disappeared by the 1880's and just the train was left. What bustles there were, were small pads that helped the train fall well. The silhouette was long and elegant and quite slim, not unlike the Regency look, except that the waistline now extended DOWN below the natural waist, nearly to the hips! This bodice was called a cuirasse bodice, and although it was lovely, only the really slender woman could wear it well. Therefore, by 1885 the bustle was back with a vengeance, as was the corset!
The Late/High Victorian Period now had very little drapery but a metal cage created a hard almost shelf-like protrusion at the back of the gown or dress, and the front of the skirt was flattened again.
Meanwhile, the sleeves, which had remained quite slender and fitted through all of this period, now began to blow up again, as the leg o'mutton style reared its head once more. These larger sleeves led to more accented shoulders, and a tailored and almost military style came into vogue. Not coincidentally, the glimmerings of Women's Emancipation were happening at this time, although more than two decades would pass in the U.S. before women were given the right to vote.
By the 1890's, the cage and shelf look deflated and softened. Women's skirts had folds and pleats and only a very small pad as a bustle by the middle of this decade; trains were still in vogue.
This ushered in La Belle Époque, which lasted until World War One.
During this period, the leg o'mutton sleeves remained and the skirt was wide at the base to balance the silhouette; corsets brought waistlines in more and more tightly, creating a true hourglass shape. In this period, the tailored look continued and even though today's women would undoubtedly find the large puffy sleeves and the flared skirts distinctly un-tailored, in the later 1890's military inspired trims and gored skirts provided a distinctly sharp look to the style. The Gibson Girl had her day in this period, with the ruffled and embroidered shirtwaist (blouse) paired with a full gored skirt.  We still only used the small padded bustle, and that would continue until bustles completely fell out of fashion after the start of World War One.
The Edwardians would see the rise of the waistline again and the development of a 'soft corset' and then no corset at all. Before that, however, perhaps as a 'swan song' (pun intended) the corset enjoyed a last 'pouter pigeon' style in the first decade of the 20th century. In this time, a small bustle and long, full, trained skirt shaped like a trumpet was offset by blouses or dress tops with full puffy sleeves, and highlighted by a tiny waist. The waist was cinched so tightly that the hips were thrust back and the torso went forward. The corset of the day, the infamous S shaped corset, brought everything together in a rounded pendulous shape reminiscent of the breast of the pouter pigeon. Huge hats balanced this look, which thankfully only lasted a few years.
By 1910, the waistline was rising, skirts were slimming, and bustles were finally disappearing, giving way to the elegant, Classical line of Edwardian clothing.

The new Oldest House book!

Hello readers!
Thank you for making time to check out this blog entry. We're all busy. I'll try to make it worth your while.
I am still taken aback when people tell me they enjoy reading my musings about writing and about the 18th and early 19th century in general. Why should what I have to say be so interesting? Still, I'm honored by your allegiance.

Having said that, I'll tell you here, in case you don't already know, that the next book in The Oldest House series, the third one, called A CHRISTMAS IN TIME, should be out...soon. I hope to have copies available at the Fancy Fair in mid October at the House. Also, by then, it should be available online at Amazon in paperback and Kindle.
The Fancy Fair is on October 16 and 17.
On October 3, I'm doing an all day book signing in Tunkhannock, PA, at Monzie's in conjunction with the Airing of the Quilts. If all goes well, I should/might have preview copies of the new book available that day as well! Although my emphasis that day will be on my murder mystery series which I write as Eugenie D. West.

So...what's this latest Oldest House book about, you ask? Well, the title give a clue: it takes place at Christmas time. The subtitle is 'Christmas, 1799' so there's the year. Those of you who have read Izzy's story from the beginning will realize that in 1799 she and Josh would have been married for three years. And this book opens as they are on their way back to The Oldest House to celebrate Christmas with their family. They haven't seen them for three years because they now live in Charlottesville, VA, and both Josh and Izzy have been very busy settling into their new home in Charlottesville. Josh is a practicing attorney and works very closely with Thomas Jefferson, who is the country's Vice President, having lost to John Adams in the 1796 election.
Izzy has been busy on the home front and also with becoming established in Charlottesville society, and among the wives of government leaders.
They are very excited to be back in Braintrim: a lot of changes have come to the area they are anxious to see, and more are coming!

This book differs somewhat from the previous two in that it refers more to the goings on of the wider world and the ways in which the people who lived at The Oldest House in 1799 might have felt about them. Local, national and international events are introduced and explored through the eyes of the men and women of Braintrim. This was quite a challenge, as I had to imagine myself a post-Revolutionary entrepreneur in rural Pennsylvania, or an aging matron brought up in the strict Georgian world who finds herself faced with frightening changes brought on by the Revolution and its after effects. Some of the topics discussed and debated in the book include the XYZ Affair between the U.S. and France, the slave revolt in the Caribbean and the ethics of slavery in general, regional newspapers being shut down by the Alien and Sedition Acts, Federalist values vs. Democratic-Republican tenets, and a local church schism. While I tried to be expository so that my readers might understand each issue and thus better comprehend my characters' reactions, I hope I dipped only delicately into didacticism.
The book also introduces more of the Sturdevant family and their acquaintances--actual, real people who existed. Alas, virtually nothing is known of these people's personalities so I had to invent them!  This was one of the most fun aspects of writing the book: finding new people who really lived in 1799 in this area, and turning them from names in a dry primary source like a census record into living breathing people.
I hope their descendants will be forgiving if I portrayed an ancestor or two in a different way from that which has been imagined by others.
A CHRISTMAS IN TIME is, after all, a work of fiction.
There are even more details in this book about the finer points of home life, food, fashion and manners in general. The more I research the more I learn and I hope I've got it (mostly) right although I know there is always more to learn! Luckily, primary sources exist for most of these topics, so the way things might have been done with regard to Christmas dinner and traditions may be extrapolated from the general and applied to the specifics of The Oldest House and Braintrim, PA.
In general, A CHRISTMAS IN TIME will give readers a sense of the way in which Braintrim was growing and maturing along with its residents during this interesting period: it's not a settlement of a couple of isolated homes any more but a bustling, thriving village, with a burgeoning population. And as we all know, more people means more interest but can also mean more disagreement and strife.

To whet your appetites (and remember, the royalties from sales of all my Oldest House books go to the House!) here is an excerpt from A CHRISTMAS IN TIME.

        Elizabeth fixed her husband with a pointed look. “Don’t you think there was something, well, something else Josh was doing over in France?” she asked in a whisper. The very man they spoke of, and his wife, were just in the next bedchamber, themselves readying for dinner. Elizabeth did not wish to be overheard speculating on things she had not been made privy to.

“Something else?” Sam parroted, frowning. “Like what?” But his voice was a whisper, too.

Elizabeth shrugged. “I know he was Mr. Marshall’s aide,” she began slowly. “And he told us about how handy it was that he speaks French. But I wonder why Josh would have wanted to go? I mean, he was just a secretary, really, and on a trip that was unsuccessful in many respects. Why would he go? And why would Mr. Jefferson let him go? I thought Josh worked very closely with Mr. Jefferson, so I cannot understand why he would want one of his key people gone for weeks and months?” She tipped her head to one side and looked at her husband.

Sam nodded. “’Tis true, since Mr. Marshall is one of Mr. Jefferson’s chief opponents, it could not have been easy to get Josh included in the delegation.” His twin had not confided any more specifics to him than what Elizabeth had just spoken of. But he, too, had wondered, because he knew his twin, and the gambit just hadn’t seemed like something he would want to do. Plus, whenever he spoke of the Marshall delegation to France, Josh’s tone and manner became strained: Sam thought there was something more, something his twin wasn’t revealing. “Perhaps Mr. Jefferson wanted Josh to go with Marshall,” Sam suggested now.

Elizabeth thought for a moment. “Izzy says that Mr. Jefferson trusts Joshua completely. And he is very close to her, as well,” she added with a confirming nod. “Apparently, Mr. Jefferson thinks of Izzy like a niece and of Josh rather like a son.”

“Mmmmm…” Sam thought for a moment as he changed his neck cloth and ran a cool piece of toweling over his face. Then he took his hair out of its tie lacing, combed it, and re-tied it. Here in Braintrim Village, few people wore wigs, except the Judge when he was on his bench. But they still followed the older Colonial fashion of small pony tails for men although cropped hair such as Josh sported was beginning to catch on as a fashion.

“It was, as I said, not a very successful mission,” Elizabeth repeated. “And the way President Adams dealt with making the dispatches public, after first trying to keep them a secret…I wonder who gave him that idea? Or the idea to redact the French envoys’ names?” she mused, shaking her head.

A Weekend Back in Time

Gentle Readers:
The experience of a lifetime! And fortunately, one I may indulge in again, when time permits. I am speaking, of course, of the Jane Austen Weekend at The Governor's House in Hyde Park! www.onehundredmain.com

From Friday evening through noon on Sunday, guests at the exceptionally gracious and elegant House may experience life as though they were IN a Jane Austen novel. Yes, Gentle Readers, I said IN the novel! You are encouraged, although not mandated, to dress in period correct clothing, and activities planned for the weekend are those that might have occupied and indeed did occupy people in not only Austen's books, but in actual early 19th century life.  The only modern conveniences are things like electricity and running water--something this guest found very easy to overlook in the pursuit of suspended disbelief.

The House offers numerous Austen Weekends throughout the year, featuring period correct food and libations (sherry, anyone?), card games like Whist, board games such as Shut the Box, archery instruction, horse riding and lessons (although not, alas, side saddle, so ladies need to be wild women and ride astride--and be suitably dressed for that), carriage rides, lavender bottle creation, quill pen and ink letter writing, shadow profile drawing, English Country Dance and sewing. Surprisingly, these endeavors are by no means dull, boring or readily accomplished. On the contrary, they are fascinating challenges largely because they are new to those of us who live in the 21st century. Even repeat guests at the Austen Weekends who may routinely sew or indulge in other pastimes that were popular 200 years ago discover new and untried, and thus deeply intriguing, aspects to their avocations during these weekends. This all makes for a feeling of exploration, a sense of achievement and best of all, a great deal of lively wit and conversation.

This particular Weekend was a Character Weekend: thus, I was slated to play Emma Woodhouse, the flirty, matchmaking heroine of the eponymous novel. Fortunately, one did not have to remain in character constantly, so it was relatively easy, as one was allowed to revert to oneself for various conversations, as the spirit moved.

There was a gathering of perhaps a dozen ladies--no gentlemen deigned to grace us with their manly presence, as they were possibly mustering in a nearby town! Most were experienced 'Janites' and had visited the Governor's House and experienced an Austen Weekend before. I was vastly impressed with their broad and deep knowledge of Austen's catalogue of work as well as their sense of fun and camaraderie.

Friday evening after the guests had grabbed dinner somewhere on their own, and downed their last 21st century food for a couple of days, we all assembled in the well appointed and cozy library for various libations and nibbles,  introductions and to discover our Characters for the weekend. This was a great opportunity to meet my fellow Janites and to show off the only long-sleeved Regency dress I own, a purple and black paisley print, accented with white fan, gloves (not pictured) and hair bandeau:

After a great night's sleep in a gorgeous four poster bed in my spacious and beautifully appointed bedchamber, I met up again with my comrades for an early 19th century typical home-cooked breakfast (fruit, baked eggs, porridge, tea or coffee). Then the day's activities began.
For Saturday's activities, I wore my most basic Regency dress, a brown and ivory print, with a flower hair bandeau in ivory.
Although I had reserved a riding lesson, I hadn't realized it would not be side saddle. So I did not partake since the garb I had brought would not have allowed me to ride astride, and I did not wish to revert to modern clothing, even for a little while. My advice here is to bring a very full skirted dress (or full skirt) to wear for the riding lesson, even if it is not quite period correct: I'll bring along my Victorian riding ensemble next time, which has an absolutely huge skirt which does allow one to ride astride. Additionally, it might be that in future, side saddle lessons will be offered at the stables: it is a thing devoutly to be wished!
After breakfast, I took a walk around the grounds and the area of the village where the Governor's House is situated, enjoying the lovely view of the mountains and the garden, then I returned for a sewing workshop. Here is the bonnet I wore for my walk. As it is an original poke bonnet from 1825 which I have renovated and embellished, it's quite fragile, and only comes out for genteel activities and events. With it I wore a fichu from 1825 as well and a shawl from 1830. After the walk, these items were returned lovingly to their little storage cases to await their next outings.

In the workshop, held in the bright and very feminine drawing room, we were guided on making the fashionable Regency turbans for ourselves or a friend. It was an absolute delight, and rather a surprise for me, since my sewing skills are limited to sewing on buttons! Quill pen letter writing was available as well, as were 'lavender bottle' making and later in the day, archery instruction. There was ample time to sit on the lovely veranda too, and read, pursue our own sewing or other projects, and indulge in conversation.
Conversations ranged from Austen's books (pretty much a given) and her characters, to 19th century clothing (including the mysteries of corsetry), to history of the time, to our own individual passions and interests, so there was always something interesting to listen to, learn, and talk about!

Because 'lunch' as such had not yet become a convention (we are in the early 19th century, remember!), our hostess, the incomparable Suzanne Boden who owns the Governor's House, set out an array of fruit, crackers, biscuits and cheese for us to snack on.
Here's me, having a go at archery. (I'm pretty terrible, actually!)

At 2:30 there was a lovely tea with finger sandwiches and cakes and scones and of course, tea! I must tell you, we all fell upon the food and drink like starving women! Suzanne gave a short talk on various points of Regency manners and customs while we indulged. Of course, after the exertion of archery, I freshened up and changed my dress and accessories. Here is the black and white print dress with coordinating white gloves, fan (not pictured) and hair bandeau shaped like leaves that I wore to tea:

After tea, we had a few minutes to enjoy some music of the period, graciously performed for us by Donna, at the pianoforte. Then, it was time to go for our carriage ride. Unfortunately, we did have to drive a modern car a short distance to the carriage ride location, but myself and two of my companions (two of us in Regency bonnets and garb!) were quite the spectacle en route, so all was not lost. I donned a black cotton spencer and yet another bonnet for the carriage ride...

And then it was time to get ready for the Regency Dinner Party and evening of English Country Dancing. The gown (photo does not do it justice) is a deep teal silk with black trim. With it, I wore a parure of teal gemstones, black gloves (I like to defy convention, and the white ones had already been worn), black fan, a diamanté hair band and two antique hair jewels with teal stones.

I should mention here that I had coordinating reticules for each outfit, and fan and gloves as well as wraps or fichus as needed, and that, for a woman who went around the world for a month with two carry-ons, this two night weekend saw me packing a suitcase, a full size full length suiter, and two hat boxes!

Here is the gown:

Dinner was wonderful: delicious period correct food, prepared once again by that whiz in the kitchen, Suzanne. We feasted on game pie, curry chicken, peas, beets, broccoli with sauce, green salad leaves, macaroni and cheese, rolls and sorbet all accompanied by wine! (We enjoyed abusing the Regency custom of not taking a sip of ones drink until one has made a toast or at least caught another's eye. The toasts began reverently but quickly degenerated into the silly...)

Then it was time to work off dinner with a couple hours of English Country Dancing. An engaging and expert caller and her partner led us through about six traditional dances ranging from the easy to the more complex. Please do not be angry with me that I can recall none of them. But I will tell you it was great fun, and quite refreshing to indulge in a vigorous pastime which somehow manages to be stately and genteel at the same time. After a refreshment break, during which the impending birthday of one of our company was celebrated with cake, we returned for several more dances.

Sunday morning everyone gathered for a delicious brunch, and had packed up and returned to their 21st century clothes. With brunch, a Jane Austen Quiz was played, testing in a very fun manner everyone's knowledge of our heroine.

Not every Jane Austen Weekend is a Character Weekend: most of them concentrate on a particular Austen work and discussions are held, as well as talks on the book in question, in addition to the activities and workshops. All weekends invite but do not demand that guests dress in period garb, and that is part of the fun (although admittedly perhaps less fun for men, whose 19th century garb was shoes, knee socks, knee breeches, a shirt, vest, cravat and jacket and didn't vary much at all except perhaps to change the jacket and/or vest for fancier events).

Anyone who is a Jane Austen fan, or who, like me, just enjoys the clothing (both original and historically accurate reproduction) from that period, is encouraged, nay, exhorted, to visit www.onehundredmain.com and see the beautiful Governor's House, and check out the upcoming Austen Weekends. 

I understand they will be doing a Downton Abbey weekend very soon, as well, and perhaps more of these will be scheduled in the upcoming months.

If so, expect another entry here at Lacing Up a Modern Woman on my attendance at that event!

BIG NEWS-another sequel to A RIVER IN TIME!

hello all!
I am pleased to tell you that I have begun the THIRD book in The Oldest House series! The working title is 'Christmas at The Oldest House,' and while it isn't terribly imaginative, it will probably be the published title as well.
Why?
Because the books IS about Christmas at The Oldest House--back in 1799. The characters that you, gracious readers, enjoyed in A RIVER IN TIME, and TREACHERY IN TIME are back, with even more friends and relatives to amuse, inform and delight you.
Nearly all of them are real, historical people who lived at The Oldest House or in the surrounding areas of Braintrim, PA and Tunkhannock. A few have been created, but these are usually developed to fit in with the story as well as with actual historical events.
At any rate, the other reason I shall likely keep this title is, it is a metaphor for life, and for the book as a whole. Sure, it's about the Christmas celebrations in 1799 at The Oldest House as I IMAGINE they might have been, given the fact that I have created a fictional twin for Samuel, Jr and imported Izzy from the 21st century! But it is also about the wider events of the area, and even of the world, at that time. And that is just like life, isn't it? We all have our intimate, absorbing concerns, but meanwhile there are all sorts of other things going on that, sooner or later, impact us on a personal level.
I was doing some research today and learned that in 1798 and continuing for several years, there was a land grant issue among two members of the actual real Braintrim Baptist Church. (Even though there was no church building per se at that time, I did create a fictional one for my fictional Braintrim Village, but historically, when I speak of the 'church' I mean the congregation, which really IS the church anyway...)
I digress.
So, two families apparently had a very very serious disagreement for many years about land. And that is ALL I have been able to find out. No names are recorded, and no details. This fascinates me, and of course it is an issue to which I shall refer in the book, as it takes place in December, 1799. I have continued to do research, and I have come up with some interesting historical details about that time that **might** be what this land dispute was all about. We do not know, and it is unlikely we ever will for certain.  So meanwhile, since I write fiction, I believe I shall weave the actual facts in with the mysterious occurrence, and solve the mystery that way.
In any case, the actual dispute caused a very 'dark and troubling time' for the church, and I am positive Rev. Samuel Sturdevant was extremely worried and upset by that.
Another larger story is the US involvement in a pseudo war with France at this time. It has to do with the Jay Treaty between the US and England, and the fact that the French didn't like that much, and the scandal surrounding Adams' presidency with the XYZ Affair, and Thomas Jefferson's desire to stand for President against the incumbent, Adams (to whom he had lost in 1796).
If this all sounds like boring, vaguely remembered stuff from History Class, don't worry: I promise to make it interesting! Josh, you see, is involved in the XYZ Affair, but not in the way you might expect, and there is that whole element, as well as his and Izzy's life in Charlottesville, to entertain the reader.
And finally, of course, there is Christmas--how would it have been celebrated back then? Of course, I take some liberties, but if I add some things that probably were not part of the festivities, I try to stay faithful to the spirit of the times, and to be as historically accurate as possible.
We may not have first hand written records of what was done, but we can make what I like to call 'informed imaginings' about it all.
So stay tuned. I have just begun writing this. Will it be ready in time for the Fancy Fair at the House in  mid October? I am not sure. Perhaps. That would be ideal, of course.
Either way,watch this space for updates!!

The Season is Upon Us!

Hello everyone!
The phrase, 'The Season is Upon Us,' used to mean that THE Season, as in the London  Social Season, was imminent. Centuries ago, The Season began in April, usually around the time Parliament returned from its winter break and was once again in session. It ran through late July. During this time, members of the elite (nobility, gentry, etc.) would 'go up to London' to their town house (literally), and attend any number of social events, including theatre evenings, balls and dances, dinner parties and large charity events. At the conclusion of the Season in mid August ('the glorious twelfth') the elite would return to their country estates and the hunting/shooting seasons would begin.
The Season was convenient, because the MPs and their families were in town while Parliament 'sat,' (although as they do today, they did their fair share of jumping up and yelling at each other). It was also handy for young unmarried members of the upper classes to be 'launched' into Society. For women this meant presentation at Court, to the reigning monarch.
The Season began as a custom in the 1600's, and carried on through the 1800's, only losing steam after World War I, when social mores and priorities shifted. Additionally, economics during the period just prior to the War caused many noble families to drastically downsize or lose altogether their family estates in the country. This meant they no longer had the wherewithal to maintain two homes and settled on either one or the other. Fancy events started to be held in large restaurants and other public spaces, too, and after the Second World War, in 1958, Queen Elizabeth II abolished the official presentation of debutantes to the reigning monarch.
While elements of The Season remain today, the much more democratic society means that it has changed quite a bit from the formal, rule-governed season of past centuries. Today, significant Season 'events' include many things that anyone with a ticket may attend, including the Proms concert, theatre in the West End (equivalent to NYC's Broadway), the horse races at Ascot, the Chelsea Flower Show, the Derby, the Henley Regatta, Wimbledon, and various other sports matches.
In the 18th and 19th century, the Season was a really, really important time for young women in particular. In that period, marriage--and a 'good' marriage--was the goal of most single women, as well as the goal of their families. A daughter who married well could mean the difference between subsistence living for her siblings and parents, and a comfortable life. Equally, a son who married a girl with a good dowry or some money or property or both, would bring credit (as well as cash) to his family. In some cases, this was also the difference between near poverty and a good life.
Although it's fair to say that women's opportunities in the 18th and 19th centuries were far more restricted than men's, men had their own share of rules and regulations they had to live by. Because most estates were 'entailed,' the eldest son inherited everything. The second son usually went into the army and perhaps eventually into politics, although the seat in the House of Lords would go to the eldest son along with the estate. A third son usually went into the Church, and was given a 'living' or a parish church and house, either on his family's estate or on the estate of a relative. Any other younger sons made their way as best they could: you can see why marrying well was quite important for men, as well as for women!
The importance of marrying well was, of course, a pivotal motivation in many 18th and 19th century novels, particularly Jane Austen's. Austen takes rather a jaundiced view of the whole matter: while acknowledging its importance in the society at the time, she also indicates an understanding that society could and should perhaps change so that women's opportunities would be broadened. Additionally, Austen searingly portrays families--especially mothers--whose entire mind is completely obsessed with making a good marriage for their children.
However, given the society at the time, The Season played a key role in accomplishing good matches, and the excitement and preparation for it should not be misunderstood or made light of by the perhaps more enlightened society we have today.

So, what does this have to do with The Oldest House or the Period Clothing Exhibit there? Did the Smiths or the Sturdevants or any of the later tenants of The House have any kind of social Season here in rural northeastern PA?
Probably not formally, no. Although in my historical novel A River in Time, I have a scene where a Harvest Dance is held at a local social hall behind a tavern, I have no way of knowing if this would have been done. But I do know that people in 1781, just like people today, liked to get together socially from time to time and visit, chat, and perhaps eat, drink and dance. Therefore, even if there was no formal 'Season' here in the wilds of northeastern PA, people likely took advantage of the better weather and had a series of social gatherings in the spring and summer months.
However, it was probably a different story in the bigger cities. Remnants of The Season, which was still extremely popular and in full swing in 1781 when The Oldest House was built, no doubt made their way across the ocean and to the East coast of the U.S. Cities like Boston, Philadelphia and New York had their own 'elite' such as Boston's Brahmins, the residents of Philadelphia's Society Hill and Rittenhouse Square, and New York's '400.' They also had their own versions of The Season, and it is not completely unthinkable that people who lived in the Wyoming Valley--who had, after all, come from New England and/or Philadelphia and New York City originally--had some kind of series of dances and parties during the fine weather.
Dr. William Hooker Smith, who had The Oldest House built for his son's family, was a leading figure in the Wyoming Valley, with several interests in mining and other lucrative endeavors. He and his second wife, Margery, may well have been among the social elite at that time. Although we have no primary source documents that delineate Dr. Smith's, or Mrs. Smith's, lives and personalities, we do have a rather telling artifact of the Smiths' social status: the House, itself.
To us, The Oldest House is a small, rustic just-above-a-log-cabin type dwelling. However, consider what it must have been at the time it was built.
There were very few other houses out here in rural Braintrim, which was still part of Luzerne County. The Oldest House was built partially into the side of a small hill, and was built to face the Susquehanna River, which was the main 'highway' back then. As such, its three storeys would have been immediately visible to visitors and travelers, unlike today, when people arrive at the back of the House and see only two stories.
In 1781, then, the approach to the House was far more impressive. Additionally, the size of the House is quite remarkable for its time, and the 'lean-ter' added about 1791 made the dwelling even larger. Although by today's standards the House is not large, back in 1781 it was very likely considered to be so. Apocryphal stories of the House being used for a time as an Inn of sorts--whether officially or unofficially--support this theory.
But it is the fact that at the minimum, two separate bed chambers were built on the upper floor that indicates the grandeur of The Oldest House for its time. In 1781, it was not customary (regardless of what is portrayed in Hollywood films) to have separate bed chambers: a family would usually all sleep together on an upper floor in a dormitory style arrangement.  The fact that the top floor of the House had both a dormitory style space as well as two separate bedrooms makes it remarkable.
So, back to The Season. As you walk through The Oldest House during our open hours this spring and summer, try to look at it with 18th century eyes. Try to imagine how grand it must have seemed to river boat travelers. Try to envision the 'River Room,' where we have our genealogy research area and small gift shop, cleared for a dance, perhaps, or a party like Izzy and Josh's wedding reception in my second historical novel, Treachery in Time. Try to think about the Master and Mistress of the House getting ready for a party or a dance, or perhaps something quite important in a nearby village like Tunkhannock, or even one of the larger towns in the Wyoming Valley. When you walk through the upstairs, try to recall the significance of the separate bed chambers. And as you tour the Period Clothing Exhibit, remember that the people who lived in The Oldest House probably wore clothes very similar to these: the gowns might have been worn to dances and parties, and the day dresses for visiting or for doing work at home--there are even two authentic early 19th century aprons in the display this year that were certainly worn for whatever house work Mrs. Smith or later, Mrs. Sturdevant, might have engaged in.
So we welcome you to The Oldest House during our 'Season!' We open May 15, and should be open every Friday, Saturday and Sunday, 1-4, throughout the summer.
See you during the Season!

I See My Mother in Me!

Hello all!
For a while now, I have begun realizing that some of the ways in which my Mother interacted with the world when I was growing up (and still interacts with the world today) have 'rubbed off' on me. I don't think it's genetic, I think that it is a learned behavior which, over time, I have incorporated and made my own.
The trait that has to do with Period Clothing and Fashion History is the fact that my mother has always, always been interested, even passionate, about clothes. In her case, it was a dedication to being au courant: when she was younger, she would sew or alter items of clothing to make them more like the couture pieces she would see on television and in print media. The results, I have to say, were pretty spiffy.
My taste in clothing has always been diametrically opposed to my mother's: no ruffles, muted colors, and classics that I can swap and dress up or down, and which stay in my closet for years--sometimes decades. But her love of fashion nonetheless imprinted itself on me, became incorporated with my own personality, and emerged as a real fascination with the history of clothing.
Hence the Period Clothing Exhibit at The Oldest House.
Seeing a need at the House which could be filled, I have, over the past three years, developed the Exhibit, starting with the half dozen authentic items we owned at the House. But it's more than that: I am not content just to collect the clothing and hang it all up. I have--and this is the part where I put my own geeky stamp on things--researched how people actually dressed in the centuries when and since the House was built (1781). There is a LOT of misinformation out there and I have had to unlearn several things in my search for an honest representation of how clothing worked in centuries past.
I've read, of course--more about that in a moment. I've gone to other museums and historic homes to see how they display any period clothing they might have. I've watched films and programs set in any and all time periods covered by the Exhibit at the House and paid attention to the clothing and costume; some, I am happy to say, are quite authentic. Others, not so much! But it gives me a real sense of having learned something when I can look at an ensemble an actor is wearing on screen and know that a particular type of trim, or collar, or hat, was actually not used in the year being reenacted, but came into fashion a couple years later.
As a result of all this research, I have observed several patterns, a couple of which really intrigued me. In true geek fashion, I thought (hoped?) others might be intrigued, too, so I wrote up little essays on each: 'Bustling Through Time' is one, and the other is 'The Rise of the Reticule.' Both of these are available at the House.
Taking my cue from other museums and historic homes, I've written commentary for each period represented in the Exhibit, and given provenance and ownership details of the clothing and accessories on display. This information is printed, framed and mounted in the appropriate sections. Because only a fraction of those touring the Exhibit really want to read everything in the commentary, each item in the Exhibit is also labelled with a short description such as, 'Civil War Ladies' Ensemble, 1859-1863,' which gives the date range for all the items in a particular outfit on display. This way, visitors can glean as much or as little information from the Exhibit as they choose.
At home, I have now got a new bookshelf with more than a dozen books on clothing, costume and fashion from the mid 1700's through to WW I (I told you I read!) I even have a couple on clothing in the 16th and 17th centuries so I can study the fashions that came before the ones I chiefly concentrate on, and understand their development. And, of course, I've spent hours reading, annotating, and compiling information.
The thing is, the more I learn, the more there is to learn! From a scholarly perspective, though, I  am not yet expert in fashion history. There is a level of knowledge and information that I have only begun to explore: for example, I understand what a triangular gusset is, and I know its purpose, and I can even spot one in a garment. But real fashion historians have taken their scholarship down to the way the gusset is stitched during various periods of time, and have noted other subtleties of clothing and costume (how cravats became stocks, and why a jabot isn't the same as a cravat, for example) which I have not yet learned.
Part of my rationale for eschewing minutiae in large part is that the majority of people touring the Exhibit will not care about gussets and stitching and cravats: they want to see the whole picture, they want to be delighted with well thought out, attractive displays and items they might remember their grandmothers using, and they want to be educated, just a little bit. My main purpose with the Exhibit is to achieve this: the lovely panoply of clothing and style relevant to the centuries The Oldest House has been standing.
However, learning (or at least reading about) those tiny details like stitching, and when and how gussets, for example, were used, has also allowed me to verify the authenticity of items I collect for the Exhibit. I wrote last year in this Blog about the way in which some 'authentic' historical items are listed for auctions, and I have learned that one cannot rely on the seller or auctioneer to always know what they have. Caveat emptor is especially important when collecting period clothing, and I am extremely glad to say that in an Exhibit that spans nearly two and a half centuries (1775-1915) and has more than 100 pieces on display at the House, only fourteen (14) are reproductions, and these are concentrated in the earliest years of the Exhibit.
That is a real achievement for any collection, especially one in a small, rurally located historic home/museum without access to endowments, and without a big name to attract donations (The Oldest House is not Winterthur, or the Sonnenberg Mansion.)
So, thank you, Mother, for being so fascinated by fashion, and by passing that fascination on to me.

The Period Clothing Exhibit, Spring 2015, will open on May 15 at 10 a.m. at The Oldest House in Laceyville, PA. If you're interested in coming, please see the contact information below, and let me know if you have any questions.
Bear in mind that THIS YEAR, parts of the Exhibit, chiefly the Edwardian Room, will change for the Summer, and then the entire Exhibit again for Winter/Holiday.

Dressing Mr. Darcy

Update:
It's true what they say about putting things out into the Universe. Below, as you will read, I wrote that I had had to make do with two reproduction vests for my Regency and Civil War men, Mr. Darcy and Ashley Wilkes, respectively, as I had not yet found original vests/waistcoats from that period for the collection.
That was yesterday.
Today, I found--wait for it--both. A stunning figured velvet Regency vest/waistcoat with a shawl collar (not the stand up kind, but I'll survive) AND an equally beautiful embroidered Civil War 1860-1865 vest/waistcoat!!! And both were, well, not cheap, but quite reasonable.
So...I'll relegate the repros to the small rack of 'garb' that our historical interpreters may borrow, if they choose, while giving tours and staffing events.
Awesome!

Hello all
     I figured that title would get your attention, ha ha.
     I was, literally, dressing Mr. Darcy yesterday. But let me explain.
     At The Oldest House, as you probably know if you read this blog regularly, we have a Period Clothing Exhibit. It began at Christmas, 2013, and has continued with changing clothes and exhibits to suit the seasons.
     I am fortunate enough to curate the Exhibit, and I acquire most of the clothing we display; the House itself owns a few pieces that were given to us in decades past. I began what is now a full fledged and if I do say so myself quite impressive Exhibit by adding a few vintage and antique pieces I had to round out the original display of these few pieces. At that time, there were about six items, and they hung on a large folding screen.
     Anyway...each year I change the clothing for the Spring-Summer opening hours, and then again for the Christmas Tea in December. I'm assisted in this endeavor by another insane...erm...I mean creative person on the Oldest House team, Nancy! She's helped me undress, re-dress and position mannequins and forms, and is a whiz at making all those pesky little buttons and hooks close.
     So, as it's January, it is once again time to start working on the new exhibit for this Spring-Summer. Nancy, alas for me, is somewhere warm, so I will be tackling at least the major outlines of this year's display on my own. When Nancy's back, in April, she will help me put the finishing touches on, and suggest a bunch of great ideas I haven't thought of!
     Some of the items in this year's Exhibit have been on display before. Some are new: when I see something wonderful at an auction or online, if the price is right, it's very hard to resist. Our collection is so good by now, though, that I can skip stuff if it isn't right, if it's exorbitant, or if we already have something similar.
     I have been able to concentrate this year a little more on the details, since I've acquired most of the big pieces: some period correct jewelry and accessories, for example, fans and shoes and brooches.
     One thing that's been a challenge to source has been antique men's clothes. I have been very fortunate to have recently found some dandy items, however, and am pleased to say that each period in the Exhibit now has a male mannequin dressed in the correct clothing for that time. Almost every single piece is antique and authentic; I have had to resort to reproductions for a couple of items, but my plan is to replace these with authentic pieces as I find them.
     And this brings me to Mr. Darcy. Yesterday I was working on the 'Revolutionary War-Regency Era' clothing, which this year will be at the top of the stairs as you come to the third floor of the House. (I'm changing where the various eras are now, too, and moving furniture accordingly, which involves rather a lot of removal and re-hanging, and re-placing.) I have an authentic 1820 man's coat, as well as an authentic Regency man's linen shirt. They're both hand sewn, and absolutely breathtaking. I was very, very lucky to find them, and to find them at reasonable prices! However, the sizes are a bit off: when you find gorgeous antique clothing you don't quibble about size too much, or at least, I never do. It's not as though someone has to actually wear it: it's going on a form, or a mannequin.
    Anyway, I also have an authentic pair of men's Regency knee breeches, aka 'knickers,' and a period correct reproduction high collared waistcoat. I have not yet found a Regency neck-cloth, the frothy decorative bit that was the precursor to modern ties. But I did manage to secure a length of early 19th century material that works as a neck-cloth, though I'd like to acquire a longer, fancier one.
     At any rate, all of these items make up my 'Mr. Darcy.' I even have a Regency era top hat for him!
Yesterday afternoon, one of my tasks was to assemble this ensemble (say that three times fast!). This particular mannequin is actually a hanging form; it is backless, which makes adjusting for varying sizes quite a bit easier. So I began with the shirt, which went on easily. I buttoned it up and then brought the knee breeches up to fit over the form's hips and tie at the waist, over the shirt.
     It sounds easy, doesn't it? Well, consider the fact that this particular shirt, while beautiful, is a large size, probably a 40 regular. And, as all shirts from that era and earlier had, this shirt has extremely long 'tails.' At least to our modern eyes they are extremely long: they reach below mid-thigh. I doubt if any man had an issue with the bottom of his shirt coming out of the waist of his trousers or breeches back then! So I had to hold the knee breeches up with one hand, while shimmying my hand down the legs of the breeches to pull the shirt tails down and smooth them. Regency knee breeches or knickers were very form fitting. Even though my form doesn't have anything below the upper thigh, I wanted the breeches to look right.
     After some fiddling and pulling and yes, giggling, those two pieces looked the way I wanted them to. Then I slipped on the reproduction waistcoat, what in the U.S. is called a 'vest.' It, too, was large, but the adjuster in the back took care of that. Then I fastened the neck cloth around the form's neck and tied it in two sort of decorative knots. I had hoped to have something that I could tie and which would hang prettily down the front of the shirt, but the pieces of material I have are too short for this. However, it looked good.
     I turned the high collar up on the vest,  and stepped back: quite attractive looking! (Even without a head or arms and legs!)
     Next came the jacket. It's a good thing they made things strong and sturdy back in 1820 because this was a pip to fit. Once again, these jackets, like the knee breeches, were intended to be form fitting. But the tailor of this particular one used a series of small darts all over the jacket so that the thing fits--literally--like a glove. All well and good, but the jacket is a medium. And, well, the shirt and waistcoat, and the mannequin itself, are not. (The mannequin is a 38 I believe, but being backless, can accommodate smaller sizes).
     All the while I was working on the form, of course, it was dangling in front of me from the ceiling hook and chain. Since I only have two hands and could not hold it steady while I dressed it, the thing kept swiveling around as I tried to work on it, and the chain kept clanking against it, so much so that I felt like the form was talking to me, rebuking me for the rather personal manner in which I was touching it. Him. Whatever.
     A judicious tugging here and there, and an almost wedging motion that just sort of came to me (maybe I was a costumier in a former life?) to get the shoulders to seat properly brought the jacket more or less where it should be. It will button, but I have left it open, at least for now, so people can see the pretty vest underneath.

     I've learned in my research that, largely because men's clothing was somewhat predictable at this time, and didn't change much with the years, men used to express their personalities with their waistcoats. This was true in Colonial, Revolutionary and Regency times.
     Who knew?
     But that explains the elaborate, often heavily ornate waistcoats that men wore, even for every day. It also explains why they are generally priced accordingly: sky high! But I can understand that if your coat choices were black, dark brown, grey and navy, and your knee breeches could be cream, beige, ecru, pale grey, off white...you get the picture...(sure, some men wore darker breeches, but the usual was a light shade), you sought to express your personal taste, and perhaps even your likes, dislikes, hobbies and political affiliations through your waistcoat's material.
     My Mr. Darcy's waistcoat is a yummy chocolate brown with a little diamond jacquard pattern.
     By the mid 1800's and the American Civil War, men were beginning to be livelier dressers, sometimes a development to regret. Although most men probably did all right, the trend in the mid 1800's was to wear trousers and jacket of two different colors: the 'matchy-matchy' concept of the suit was still in the future. So men would wear sometimes blue with brown. Or beige with black. Or green with navy. And their vests could be a totally different color, too: red, for example. Or yellow! Or a vibrant print! Although the shirts usually stayed white/ivory and the 'stock' or neck cloth stayed white/ivory or black, a man could, and often did, wear three different colors: far different and more ebullient plumage than the Regency man.
     When you visit the House this open season (end of May through September) you will notice this development as you greet 'Mr. Darcy' on the upstairs landing, and then move through the Exhibit into the Civil War Era room. Here we have a male form I laughingly call 'Ashley' after Mr. Wilkes of Gone with the Wind fame. He is clad in authentic robin's egg blue trousers, an authentic cream shirt, a reproduction gold waist coat, and an authentic deep brown velvet jacket. The look is tied together by an authentic blue cravat I was fortunate enough to find: the blue doesn't quite match that of the trousers, but it's close enough.
     Ashley is standing next to a plaid wedding dress from 1853, which is owned by the House and was given to us decades ago by the Swackhammer family of the area. The dress has blue, black and gold as its color scheme and 'Scarlett' coordinates beautifully with Ashley!
     Mr. Darcy also has a partner: Elizabeth Bennett is next to him on the upstairs landing, wearing a long sleeved muslin gown from 1828, a double ruffled cap from that same period, and a silk shawl from that same time period.
     This is the first time we have been able to have couples as a display element, and I'm quite happy about it. Because the High Victorian room is extremely small I won't have room to utilize a male mannequin there. However, fashions for the men were--you guessed it!--pretty boring during this era as well as during the Edwardian era that immediately followed, and pretty much the same. In the Edwardian Era room, I will have my Edwardian man, complete with authentic coat, shirt, and cravat. And I've just snagged some stunning Edwardian dresses. So I'm thinking...Lord and Lady Grantham? Perhaps.
    You'll just have to come to The Oldest House during this open season, and find out!