Something to listen to…
Audio Program “Glance at the Past: The Milliners”
There will be a box with a play button in the upper right. Click play.
A Box for Everything
Rolling thoughts….. We all know I love little sewing boxes. I love making them and I love using them.
But, some times you need a box for Everything. I rather like Lydia Jane’s nickname for this type of sewing box, the “mothership.” This is the sewing box that holds just about everything you might need, every tool, every thread, every “just incase”. For some, this might contain a small project or two. (Before going further, there are a couple must read pages from Miss Leslie I think would be nice to tuck into a sewing box for occasional reference for mind set. READ ME.)
The women of the mid-nineteenth century certainly had their “box for everything” sewing boxes, aka “Work-boxes”, “sewing chests”….
Some were downright Amazing such as this stunning inlaid box in England. This example is lined with red and white silk and velvet, inlaid with flowers, birds and butterflies, filled with silver tools for every need. Just beautiful. Just as costly then as it would be now. More my style of drool-worthy is this ca 1830s rosewood and bird’s eye maple chest with incredible flowers worked into the wood. It has delicate mother of pearl inlay and a blue velvet interior. This too would have been a sewing chest for a lady with a more comfortable position. (While the 1830s date would put many items out of the 50s-60s bracket for most, in my opinion a piece like this is a life-long piece that could have been acquired in one’s 20s.) She has long since lost her sewing tools. This prompts me to wonder how many such sewing chests which have lost or been stripped of their contents over the years have been dubbed jewelry boxes instead. If you have an impression for which such a sewing chest is suitable, I highly suggest reading up on furniture styles of the 1830s, 40s and 50s before making a selection. Keep in mind, these highly decorative boxes might not be the proper goal for every impression. (Pricing thoughts to ponder further- We can find them listed in exhibition catalogs (ex1851) along with other very high end goods. This gives a hint.)
If you particularly love the chest style box but have an impression more towards upper working class, a simpler box with simple decoration may suit. These examples fall on the upper end of what I am trying to describe. Example 1, Example 2, Example 3. The MOP inlay on example 1 and the interior decoration in example 2 are the parts I am iffy on in terms of where the pricing would have landed for some one. Example 2 is also post-war. That said, these are boxes that could be carefully mimicked sans inlay. Notice how the interior compartments are actually a separately constructed piece that sets inside the box itself? This could be done with velvet or silk covered pasteboard or covered wood. (Guess who has just realized she has given herself another project???)
I do need to look into how much imported sewing boxes, such as this one at the MFA, actually cost in the mid-century and who would, or would not, have owned them. This page makes me wonder even more since this shows two girls being gifted sewing boxes, un-described sewing boxes.
What about the sewing box an everyday, middle of the working class women?
In areas where Shaker goods could be purchased (paragraph 6), a Shaker sewing box is an option. Here are two examples of Shaker boxes made into sewing boxes from a show I was at a few years back. When properly made, these boxes are quite sturdy. They have nicely fitted lids usually. They range in size as well, giving you several options. (I thought way in the back of my head thinks there may be standard sizes.) In the examples to the right, the box is lined on the bottom and around the wall with pockets for items. Matching pieces such as pincushions, needle-book and scissors holder are often seen. If this type of box is what appeals, find a well made Shaker box. I suggest doing the lining by covering a pasteboard or cardstock paper with the fabric, pockets already set in. This, slid in snuggly, will allow you to use minimum adhesive while giving a clean edge. This also allows you to change the interior later. (note – This is what I know in this area growing up to be Shaker boxes. I’m anxious to hear what T.L. shares about the difference between the boxes Shakers had for themselves and those they sold.)
If you are interpreting at home, do not discount the sewing basket. We often see the sewing basket, cloth or projects draping out of it, in paintings. While these may not be the idea for mobile impression, they are practical and correct for stationary ones. Do keep in mind that baskets have holes while tools and needles are small. Plan to have smaller storage pieces, such as a sewing box, inside.
And, then there are sewing stands. In my opinion, a whole other subject that very few mobile impressions would need.
Possibly more to come….
Related reads:
Examples of which I am fond:
Things to look up:
- Imported sewing boxes, prices
- Find price lists of Shaker goods
Seaside, Gardening, Resort and Other Shape Straw Hats
Now that I’ve talked about Fashion Straw Hats, there will of course be people saying “but what about this one”. One word:
Context.
Yes, there were other shape hats…. They all have their place. It is very important to understand the context of these other shapes before you wear one.
Hat shapes are time sensitive, such as the promenade hats to the left from June of 1850, age sensitive, such as hats for youth, year sensitive, such as hats from late in the war, and situation sensitive.
Garden Hats:
longislandmuseum.pastperfect-online.com
William Sidney Mount’s Returning from the Orchard shows a good example of a garden hat. She wears a hat with a shallow crown and a round, full brim.
Lily Martin Spencer gives us a very nice look at a garden hat in her painting The Artist and Her Family at a Fourth of July Picnic, ca1864. On the right, you can see the hat held just behind the woman in pink. It is an almost circular hat, though still an oval crown, with a wide brim.
To give us even more perspective on the garden hat, take a look at this story snip-it:
Seaside and Resorts:
One of the first things you will notice when looking at seaside/resort images is that the range of millinery is in addition to rather than instead of. We see round, wide brim hats in addition to fashionable hats, in addition to bonnets. This 1859, Harper’s Weekly image demonstrates this.
Notice – Charles Wynne Nicolls paints several of his seaside women with hats that don’t fit the norm we see seaside. This is important to note because these pieces were painted on the other side of the pond in England. These were also painted late or just after our Civil War eras. A further detail of how important context is.
Reform Dress Hats:
The American ladies’ new costume. (1851)
Many 1840s – 1860s illustrations of reform dress show a wide brim, shallow crown hat as part of the attire. This shape of hat was seen a practical, shading the face and eyes from the sun.
More coming. I just wanted to get this much up….
The Shape of Straw Fashion Hats
I may be on a (cranky) roll. But, I’m sick of incorrect shapes when there are some very nice ones available.
First and far-most, 1850s and 60s fashionable straw hats were rarely circular. (This does not count seaside hats, garden hats, hats for the watercure and such. Those are not fashion hats.) Fashionable hats were ovular. Fashionable hats had curves. I can’t get any more simple that this: (That should say “The Basic Shape of CW Era Straw Hats”)
This is not new news. Take a look at this nice blog post from Crown Heads Millinery from 2013. Don’t miss her example either. We also took some time to look at shapes here back in 2009.
This hat that was up for auction some years ago is excellent for seeing the shape from above. Notice how the crown is oval as well as the brim. The front and back reach much further than the sides.
Here is a page from the September, 1857 Godey’s Lady’s Book. Notice the general shapes.
From http://www.thegracefullady.com (click link for full image)
The images to the right show ladies holding hats that obviously show the shape of the crown and brim.
his painting, Portrait of Mary French, 1862, shows how a shaped, fashionable hat sits on the head. Notice how the brim dips in front of her eyes and in the back. If her head was level, part of her vision was likely blocked.
Looking for a CW era straw fashion hat? The first place you should look is on Pam Robles site. She spent a very, very long time getting her woven straw shapes right. I will also hand make hats on occasion.
I strongly caution you to get a solid second opinion on any hat under $75. Take a close look at the type of straw, the sewing, the thread used and of course the shaping. Handsewing a straw plait hat will take at least 6 hours. They then need to be wired and blocked. Woven straws need extra special attention to the details of shaping in the blocking and wiring process taking time.
Coming soon in another post:
Now that I’ve talked about Fashion Straw Hats, there will of course be people saying “but what about this one”. One word:
Context.
Yes, there were other shape hats…. They all have their place. It is very important to understand the context of these other shapes before you wear one.
Why I am Not Sharing
I am quite convinced that certain issues come up in a cycle rotating almost every two years or so.
This post has to deal with one of those issues. I will try to get through it as nicely and politely as possible. 
Lately, there have been some issues with violating Intellectual Property Rights. As such, we will start there.
What is Intellectual Property?
“Intellectual property refers to creations of the mind: inventions; literary and artistic works; and symbols, names and images used in commerce.” (World Intellectual Property Organization.)
What are Intellectual Property Rights?
Intellectual property rights are the rights given to persons over the creations of their minds. They usually give the creator an exclusive right over the use of his/her creation for a certain period of time. (World Trade Organization)
and
Article 27. Section 2 “Everyone has the right to the protection of the moral and material interests resulting from any scientific, literary or artistic production of which he is the author.” (The Universal Declaration of Human Rights.)
Copying and distributing someone’s research without permission violates Intellectual Property Rights. Using someone’s photos from the internet without their written permission violates Intellectual Property Rights. Taking photos of someone’s slideshow and sharing them violates Intellectual Property Rights. This is as much a moral issue as it is a legal issue.
Now, I am not going to address other instances of late as those are other people’s business. I will address part of my end.
I feel I share quite generously that which I am happy to share. This past year, I shared transcribed primary information weekly for millinery and in a variety of series for other social and material culture topics. I have shared a number of how-tos and directions over the years. Besides my blog, I have shared a notable amount of research and information in printed publications.
Frankly, I put a great deal of my time, thought, energy and money into my research and writing. I know there is some delusion oou there that those of us who work in the public school system live a comfortable lifestyle. I assure you, this is not the case. I do not have oodles of extra time and extra cash laying around to toss at a fun little hobby. I take my research seriously and choose to cut other parts of my budget to get what I need to do my research.
I have been asked for particular pieces of research lately.
- I have been asked for up-close photos of the techniques I use in my winter millinery.
- I have been asked for step-by-step images of how I do my straw millinery.
- I have been asked for up-close images of originals in my collection.
- I have been asked for construction details from originals in my collection.
I want to be happy to share these. My gut reaction actually is to share. But, the reality is I have had my millinery work copied and sold. I have had my directions copied and distributed.
There is no way for me to tell if someone asking is doing so for honest reasons of personal enrichment, curiosity and improvement, or if they are looking for some pre-done research they can make a quick profit off of.
I acknowledge some people may not realize they have done this; they may not have malicious intent.
But, it happens.
And, frankly it sucks.
This said…. Yes, I am working on a couple projects. I have one pet one in particular. You will see some of the products resulting from some of the work during this project. You, meaning the general internet public, will not see the details of this project until I have decided the format and venue to properly introduce it.
Please, as take time to consider how you can protect Intellectual Property Rights whether your’s or someone else’s.
About Mourning Bonnets
The question of mourning bonnets came up twice this week. 
In the past couple years, I have been asked to make mourning bonnets for times of real mourning, for a family member who has just passed or who is expected to pass soon. The requests were each uniquely genuine and heartfelt in their own ways. I was honored to be asked to make such a meaningful piece for such a sorrowful occasion.
Making these pieces was very important to me. I did not know the deceased at all. Nor, did I know the wearers well at all. But, I have lost many beloved family members. I have mourned in both centuries. I know what it is like to put on the external symbols of mourning so prominent in the nineteenth century and so lacking in the twenty-first.
To me, these pieces are incredibly meaningful, personal and heavy.
I have decided not to make mourning millinery for faux mourning or mourning impressions. I feel, for me, this will lessen the importance of when I make real mourning pieces. I feel I need to be able to put the full importance each of those pieces.
I will consider making “light mourning” or “half mourning” pieces as those are notably under-interpreted and I think I can approach them from the artistic and historic directions.
Thank you for understanding,
Anna
For a view on interpreted mourning, please take a moment to read Beth Connolly’s blog post. She has very good insight on the weight of such an impression.
For additional information on mourning attire, please see Garments of Mourning.
(*Note about the image. I have discovered that a post is more likely to be read if there is an image attached.)
Today is the FanU “Red Swap” Sign-up Day
Today is the day to sign-up for the FanU The Red Swap!
For Red Swap, we will exchange Red color fabrics from the 19th century.
We will mail our fabrics on February 28th.
Please read all the details below.
To Sign-up, simply comment below with your email and mailing address. (I’ll erase those before approving your comment, so the whole world doesn’t have that info.)
What is a Swap?
This is a chance for to exchange fabric with a small group of people. Each group will have 8 people exchanging pieces of fabric. All you need is a half yard of fabric and envelopes along with your copy of Fanciful Utility.
To Participate:
1: Sign Up Day!
On sign-up day, groups will be assigned on a first-in basis; the first eight will be the first swap group, second eight in the second group, etc. **Please be certain you will be able to fully participate by mailing your fabrics on the Mail-Out Date.**
The Red Swap Sign-Up Day: February 20th
2: Mail-Out Day:
Place a 9×9″ piece of fabric suited to the mid-19th century in envelopes for each of the 7 other people in your swap group, stamp them (be sure to double check at the post office, but the small 9×9″ pieces should mail in a regular envelope with a normal stamp),8 and send them off no later than the Mail-Out Day.
The Red Swap Mailing Day: February 2th
3: Get Fanciful!
Use your Fanciful Utility templates and techniques to make a project from the book, or copy your own from 19th century sources. We’ll all look forward to seeing your projects! You don’t have to sew right away, but don’t keep us waiting forever to see all the fun things!
(If you need a copy of Fanciful Utility, you can purchase them from the publisher at www.thesewingacademy.com
Fabric Guidelines:
- For the cotton and silk categories, your fabric should be early to mid-nineteenth century appropriate. (If there is a want for an earlier or later group, we can do that.) Prints and motifs should reflect those available in the 1840s, 50s and 60s. Cotton should be 100% cotton. Silk should be 100% silk.
- To keep the swap and sewing possibilities interesting, please avoid solids as best we can.
- Fabrics that do not work well for sewing cases should not be swapped. These include sheers, gauzes, heavy, thick, easy-to-fray, slippery and stretch fabrics.
- For the “crazy swap” category, think crazy quilt in a sewing case. This could include satins, velvets, textured fabrics. Quality synthetic fabrics are invited.
Swapper Guidelines:
- Please be certain you can fully participate in the swap before you sign-up.
- If something arises after you sign-up that will effect the date you are mailing your fabrics, please email your group so everyone is aware.
- If you fail to fully participate in a swap, you will not be able to sign-up for future swaps. (We do understand medical and family emergencies. I need to be able to ensure swappers will receive fabrics when they send fabrics out.)
Q&A
Yes, you can participate in 1, 2 or 3 of the swaps.
Yes, if we end up with multiple groups, you can participate in more than one group to swap more fabric. If you participate in 2 groups, you should swap 2 fabrics.
Yes, you can swap large and small scale prints.
Yes, you can swap now and sew later.
Yes, we would love to see what you’ve made with the swapped fabric.
Yes, you can use your own fabric in your swapped project.
Regency Shape
I have long loved the shape of these bonnets. I have no idea why.
You’ll notice these two have similar shapes with two very different constructions. The one with the scallops has the brim shape develop from arcs coming off the crown. The one with the black ribbon gets its brim shape with arcs that circle the brim.
I tried the first method.
I am not entirely happy with how it turned out.
I tried and tried to get that transition from the crown to the brim right with that little flare up.
The straw was determined to go straight, flat, flareless. It is a bit more like this illustration. A bit.
As a result, the crown looks like it is sitting at an odd angle. It is very tempting to try to take that crown off and re-position it. On problem. Every single one of those rows is layered into the crown. Not going to happen.
So, half a hank of Italian plait later… here it is.
I think this is a Veil Finding – Not a Doll Shawl
This might be my favorite “not a…” yet.
It is currently over on Etsy.
If I Had My Own Blue Box: 
