If I Had My Own Blue Box:

My favorites from this year’s Ag. Fair…. Let me first say I was both pleased and saddened by this year’s entries. There was some absolutely amazing work, I mean AMAZING. But, at the same time, there were far, far fewer entries. I remember when I was little that the meeting center and tents were filled, really filled. Then I remember when it was the whole meeting center, all three rooms. This year, barely two rooms were filled. This made me so sad.

Cheese has always been one of my favorite entries to see. I think it comes down to the cheese Grandma used to bring home at the end of the season. My favorite was the less than authentic peppercorn filled cheese. To this day, one of my comfort foods is simply pasta with a good hard cheese grated on.

This is one of the children’s entries. I thought this young person’s work really was nice. It happens to remind me of my Grandma Worden, who used to do this kind of needlework.

Each of the hooked rugs entered this year were beautifully done. There was just something about this one though. I think Grandma would have loved it. It is playful, pleasing and just the right balance of colors. Love it.

There were a pair of pockets that made me really glad I did not enter a pocket this year. (I had been thinking about doing a doll’s pocket.) One was a lovely patchwork. The other a stunning embroidery. Both in beautiful shades of blue that I am rather partial to.

All of the needlework embroidery entries were amazing, stunning and so very well done. I have long thought this section needs to be reworked to reflect the needlework styles of the nineteenth century. This set of entries exemplifies why. Each one is an excellent example of a different type of needlework. Anneliese made the beautiful flame stitch pincushion, Allison worked the white work handkerchief and the punch work is by Judy (who I think I remember.) At least two other entries in other categories could easily also be considered for their needlework, the pocket above and the cap below.

This cap, wow. I don’t know what to say beside ‘wow’. This is also made by Anneliese. I hope you can see all the detail including those worked dots. (I’m sure they have a name. Fingers cross she’ll comment below about them.)

This best example of wooden ware made me “oooo” so loud I had  a response back from the other room. I can not imagine the amount of carving that went into these. I’m hoping we will get to see what they produce in the future.

This quilt was quite pleasing. The colors work so well together. I have this style applique on my ‘wish to do sometime’ list. I hope I can pull one off this nice.

Lastly, we have my mobile favorite. I got myself some goat lovin’. This goat was such a sweetie. While I was petting this one, a smaller one was nibbling on my wool coat and dress just below. No marks, best I can tell. Eventually, one of the bigger goats started knocking the one I was petting out of the way. When it got aggressive, It was time to go. The little one bleated away at me through the gate while the one I was petting just starred. 😦

Make sure you see the Ag Fair part 2 post for mom’s other entries. 

I knew mom was planning to bring a few things to the fair for the horticulture tent. I had no idea….

This is the time of year that I have Ag. Fair on the brain. The Genesee Country Village & Museum’s Agricultural Society Fair is coming up in a few days.

I find the premium lists and premium books to be quite fun to look at. These lists of entry catagories tell us the type of things people grew in an area and what they made on the domestic and manufacturing levels. They give us an idea of what they prized. Some even tell us what they collected.

One of the most interesting entry categories I’ve seen comes from the 1873, Deseret Agricultural & Manufacturing Society Premium book for Salt Lake City. This List of Premiums includes: “Best collection of gold fish, in an aquarium”, Okay, the entire section on paints and oils from that premium book, I find interesting. Btw, in 1839, a set of artificial teeth were entered in the Second Annual Fair of the Ohio Mechanics’ Institute.

from the 1866 California State Fair’s Premium book:

The moon was lovely. As the eclipse reached its peak, the line of clouds embraced it. I was off to sleep. Apparently…. not enough sleep.

Oh, for the love of tea…..

Okay, so the images aren’t tea. But, if it were, oh, how this is what I need.

Coffee stall, from Charles Knight’s London, vol.4, 1843

Breakfasting Out, 1859, by Robert Dowling,

I am hesitant to recommend this book because it is 1872 and I don’t want those interpreting the 1850s or 1860s to rely on it too heavily. At the same time, I would be remiss if I did not share the book because it is so useful.

This book gives an view of dry goods for the consumer as it was written for that audience. In addition to the over view of fibers and colors, it breaks down the materials and goods available in sections divided for dress goods, household goods and misc.. It ends with a listing of where many of the goods are manufactured.

I find it to be a nice introduction, if advanced in years for some, and general overview of what was available in the United States for dry goods.

Scissors and Yardstick; or, All About Dry Goods, by C.M. Brown and C.L. Gates (Hartford, Conn. 1872)

There is an earlier publication in a similar format covering dress goods and related items. This in a British publication rather than an American one. So, some of the items may be different. This book’s Haberdashery section will be of interest to those who sew or wish to know some of the details of what goes into their garments.

A Treatise on Haberdashery & Hosiery by E.E. Perkins (London: 1845.)

In the mid-19th century, we know

dupioni silk = slubs = bad

When “is this silk okay” or “can I use dupioni” questions come up in forums and discussion groups, the go-to explanation is about the slubs. In the mid-nineteenth century slubby* silk was considered inferior.

This is true. But, there are a couple more layers to it than that.

There is the dupioni part of it and there is the inferior fabric part of it. Let’s look at the dupioni part first.

A sample of dupioni. Notice the slubs in the weft threads. When frayed, see the difference between the finer warp threads and the uneven, thicker weft threads.

Dupioni is a plain weave silk. It uses two different types of thread though. In the warp, the threads that go up and down on a loom, the threads are fine with a tight twist. In the weft, the threads that go back and forth on a loom, the threads are loose, not tightly twisted. This weft thread is irregular, uneven and contains the cocoons of the silk caterpillars. Those cocoons are what make a dupioni fabric slubby. Beyond those slubs, those weft threads are also soft and fuzzy. The weave of a dupioni silk unravels much easier than that of a taffeta. The unraveling is a fuzzy one, rather than a dangling long, fine thread of silk.

Why is this important?

Three silk samples, two taffetas on the left and one dupioni on the right. See the thread comparison below.

Because, most modern interpreters are shooting for a taffeta, one of the most common silks used in the mid-nineteenth century for women’s clothing. Silk taffeta is also a plain weave fabric. It uses fine, tightly twisted silk threads for both the warp and the weft. Taffeta (that meant for clothing) has a full drape but retains an airiness because it is light weight. Taffeta will also crease sharply when asked and retain shaping. When we compare the two fabrics, dupioni is heavier, it drapes fully but with a bit of cave due to the weight, it also tends to be thicker due to the weft threads being uneven. Dupioni will not hold a crease or particular shaping like taffeta.

In the end, even if a dupioni has little to no slubs, it still retains the unruly weft threads.

Now, on to the inferior silks part.

Inferior silks did exist in the mid-nineteenth century. We wouldn’t hear about them otherwise. So, the questions are – What were inferior silks? and What were actually done with them?

To get a full understanding of inferior silks, there is plenty to read in Google Books.

To stick with the basics… Inferior silk can start with the fiber itself as it comes out of the cocoon. Inferior silk can be so at the spinning stage as well. Shorter fibers and uneven fibers in a strand or in a thread make for an inferior silk since the ideal was fine, even and smooth.  Many manufactures used those inferior fibers and threads for the tram, the filling or thicker cords that make the ribs in ribbed fabrics and ribbons (think grosgrain, bengaline and faile.) Some inferior threads were used for knitting stockings.

In terms of the silk fabrics themselves, textile dictionaries refer to specific fabrics as coarse or rough. While these fabrics did in some cases become materials of fashion late in the century, during the mid-century they were not the ideal as they did not offer the drape and shaping needed for the style of the era. In some domestic guide books there are sections on how to select goods while shopping. I am trying to recall which one it is that goes into silk, discussing how to determine a silk’s quality. As soon as I remember which it is, I will include it. Until then, the existence of the passage tells us inferior, or at least lesser quality silk fabrics did make it into stores. It can be deduced that there was a manufacturing <> economic factor to all of this.

So, in end…. Dupioni is slubby. But, the un-desirableness to the fabric goes beyond the slubs.

————————————————————————

The dupioni threads are noticeably different, warp on the left, weft on the right

The taffeta threads are both find and spun.

Even though this silk, which is a shot silk, has two different color threads in two different thicknesses, all three thread (white, green and yellow) are even, fine and spun with a twist.

*btw – What we call “Slubs” were known as Slugs, Nubs, Nibs and Knots in the nineteenth century.

ADDING: Jessamyn mentioned the difference between between dupioni and shantung in a comment on FB. I thought I should add a link to this modern article on “How to tell the difference between silk dupioni and shantung.” If you have seen my plaid 50s dress with the big sleeves, that is shantung.

Warning, this may be the love me or hate me post.

This past weekend, my husband got to go to an event while I could not. This is new to me. As some of you know, I’ve been having issues with the sun and heat, more so the sun. (see the sucks post from July.) Thursday evening, I pulled out some of the things he would need from the sewing room. I sat on the floor pulling his whites out of the dresser. I sulked as I refolded my drawers and chemises back into the drawer and his drawers and shirts into little piles. Friday morning, I took a bit of an emotional whammy at work regarding not being able to go out for the students’ Homecoming Pep-Rally, something I think is important for the kids and something I enjoy. When I pulled in the driveway to see husband packing, the next wave of whammy hit. While he continued to pack, I pretty much ended up laying on the bed trying not to cry, with the occasional saber retrieval from the depths of the closet. After the nice “good-bye, have fun” kiss, I sulked and fell asleep on the couch. When I moved myself to sleep in bed, I was stuck on the “now what?” realization that I Have to figure out what I Am going to be able to do at events.

Shade and Sewing Circles – Shade is the absolute must.  Shade  I need to sit in the shade. I need to look into the shade.Venturing to scenarios, social gatherings, activities in the sun is pretty much out, even if fully veiled and with parasol in hand. I need to not have to venture far in the sun to the outhouse.(Please, don’t even go there with “what if you….”. Please.) Next season, when I give functionality a go again, I’ve decided at events I will do one of two things – Millinery or a sewing circle. That is it. (Actual indoor presentations are another story.) Sewing circles may be Soldiers’ Aide related, domestic sewing related, or even item specific – the ladies, sewing, shade stays the same.  Luckily, I have historic sites nearby with buildings. If I happen to brave a tent, I will be sitting, facing away from the sunny areas. (It is quite possible that by late winter/spring, I will have decided to completely switch eras for the lighter weight of the Regency.) I may still find I need to get my joy from the background stuff, ie gatherings, workshops and such.

Now, with that said…. What I really wanted to talk about….

I caught a discussion thread in one of the FB groups about young women in camp with colorfully dyed hair, one with purple, another with pink and blue. Given that later in the initial post the writer mentions children staying home, I get the impression these young women were teens. The threaded discussion rolls along with comments on inappropriateness, parent shaming and teen shaming. It also has comments on event coordinator standards and unit standards. (yes, I am skipping over how ever they were dressed.)

Something pushed a button.

For years, I’ve emphasized the importance of event standards and written civilian standards for groups. I have a set outlined in the PDF section that I know several, no many, groups have asked to be able to use. I enjoy helping women improve their impressions. I’ll nudge if they like. Yes, I have made women eat their nail polish off on Friday nights.

But, these are teenage girls. These are 21st century teenage girls. They have complex lives. Yes, actually, I do think their lives are far more complex then ours were at their age.

Hearing that they should “stay home” really pisses me off.

There. I said it.

What in the world does that accomplish??????????

Nothing.

You don’t know the situation. You don’t know if she grew up in a reenacting family, but really has other interests. You don’t know if she has a budding interest in history. You don’t know if she wants to learn new skills but didn’t know where to start. You just don’t know.

You won’t know by looking from a distance and getting all huffy about something you don’t like.

Guess what, the teen with the colorful hair may be the prequel to some amazing research.

But, you will never know.

Teens need guidance, information, mentors. Sometimes, they just need someone to talk with.

So, here it is.

You know how I mentioned that I will be doing sewing circles, sticking to the shade? You are welcome to come sit with me, even if you have brightly colored hair. You are Welcome. Come. Sit. Sew. Chat. Learn. Share. At times, we will talk in soft first person. At times, we’ll share our research. If you want help pinning up your hair, just ask.

No, this does not mean I happy to see inaccurate clothing, material culture, behaviour at events. This means, I believe we should take our time with each other, especially with teens, as we learn and grow. I believe we shouldn’t be mean to each other. I believe my research and my work is solid, but that does not put me above anyone else.

Oh, and by the way….. when I started doing living history, my hair was 13 shades of red and purple.