Over the weekend, I got word of yet another incident where one costumer felt another costumer had slighted her. In retaliation, she got all her friends to shun the offending costumer.
 
This isn’t the first time I’ve seen or heard word of this kind of treatment. Word of these incidents are getting so common that it's gone to the point where I feel it’s time I can't be silent any more. I, who don't post frequently, felt I had to de-lurk to speak out on this subject.
 
In this incident, as with others, nobody bothered to permit the offending costumer a chance to defend herself—to find out if the slight was intentional—or if it even occurred. Instead, punishment was meted out with no explanation to the offender, who found herself inexplicably expelled from expected social interactions.
 
Geesh—how on earth did our hobby become such a club of mean girls?
 
Shunning is identified by psychologists as a form of bullying behavior and has been clinically connected with depression, PTSD and suicide. I’ve been shunned in the past and it was a mystifying and heartbreaking experience.
 
If you’ve done this, look objectively at the person you are shunning and decide if your hurt is really worth getting personally perceived as a mean-spirited bully. While some may follow you on your campaign of retaliation—word will spread, as it did to me this weekend. Believe me—when my friend shared word of this incident, my only perception of the incident was that the retribution was mean, petty and vindictive.
 
It only ended up hurting the bullying costumer's reputation, not the woman who may or may have not slighted her. I"m not going to shun this costumer, but I'm definitely going to be wary of her. Other friends of mine are taking care to completely avoid her.

Now of my friend list here--I honestly don't think anyone would act like this--but I think we have to get Zero-tollerant on this kind of behavior. Children are taught to fight shunning behavior in elementary schools--isn't it about time that we act better than 5th graders?

So, I'm writing this as a open post and hoping it's a subject we start talking about at events and here online. Maybe if more folks write about it in their own LJs and blogs, it might stop. We are the majority, not the bullies. It's time we stood up for civility.

Just back from another Burnley & Trowbridge workshop on making waistcoats led by the very talented tailor Neil Hurst. It was a lot of fun, productive--and as usual, eye-opening. 

The dynamic was a little different from other B&T workshops, however. The workshop was much more relaxed, since it was Level One, with concepts covered more slowly. Also, many folks had spouses or children as "customers" so there was a constant hub of socializing. My customer--Rick (aka, DH)--was mentally caught up in a novel he couldn't rip his eyes away from, so he wasn't into much socializing. So, when I had down time in the beginning (after I measured up my spouse and made my pattern), I sewed up half of a cap for myself! In an odd way, it kind of reminded me of what a real period shop environment might have been like...

It wasn't all work and no play, though! We shared an apartment rental over the weekend with another couple, the Dobyns--and had a wonderful time keeping company while doing homework, watching movies and dining with other workshop participants. 

The class featured a very detailed process of measuring, pattern drafting and fitting. Once I drafted my pattern, I cut it out of my lining fabric, test fit it on Rick and fussed over it. He picked (after considerable indecision over fabrics) a gorgeous light wool broadcloth fabric that handled like butter. Combine the right pattern with amazing fabric and correct tailoring techniques--the result was stunning, even in the partially sewn version I left with!

Afterwards, we all were remarking how distinct the period fit really is--maybe it's just the result of more trained eyes, but our hand sewn waistcoats look astonishingly better. Machine sewing using commercial patterns is far from the period methodology. Modern patterns seem to always reflect modern fit details and machine sewing leads to a garment that really does not hang correctly. 

As a bonus, I sat down with Angela Burnley and figured out all the things I was doing wrong with my gown construction from the workshop I took last summer. I am very glad I held off on sewing to ask her--I was headed in slightly wrong directions on a couple of small finishing points. Fortunately, not much more left to complete on that project (well, not counting trim)!

Additionally, I brought  along the child stays I'd made previously (in another B&T workshop). It done, except for binding--and I had promised to donate it to the Yorktown Battlefield museum. I brought it and showed it to the costume director and he was thrilled--that was gratifying.

A bit of homework remains, but it's been totally fun! Can't wait until the next workshop!

On the side, I've enjoyed photography for a long time--though my work in this hobby has largely been focused on events--mostly political appearances and a few weddings. Through sheer necessity (and work), I've learned to take informal portraits--to the point where I've been paid for some photos and my candids have been featured on major campaign websites. However, outside that box, I feel that I lack photographic skills. This year, I got a new camera--and I really wanted to broaden my capabilities. I started listening to podcasts and quickly found that my favorite was Photography Tips from the Top Floor by Chris Marquardt. Ironically, this podcast is mostly only in audio, but Chris' clear way of explaining the more complicated aspects of photography transcends the media: he breaks down complicated theory into understandable points. So, when I learned that he was going to run a workshop right here in Washington, DC--I jumped at the chance to learn from him first-hand. That's what I did this weekend.

( Read more... )

I've been plugging away at the purple silk Robe Anglaise that I started at the workshop set up by Burnley & Trowbridge. Last week, I spent at least 12 hours fussing over the skirt pleats. I'd made one of these gowns years ago and the memory of pleating had become delightfully forgotten. Those pleats were a true pain (and memory came back of the agony beforehand)! When I finally got something I could live with, I stitched the pleats together (though I have not sewn them in the gown yet).  I also finished most of the hemming.

Then there were the sleeves...

We draped the sleeves in class, but there was no really connection between the independent fitting efforts for the sleeves and the gown--so they needed to be refitted to match when setting them. Fortunately, joslinm  came over Saturday, we had a fun time with dinner & the guys and she fit one sleeve for me.

Sunday I worked at basting both in place--first, carefully marking where the fabric met, cutting it back and then replicating the fit on the other sleeve. There was a complicated bit about setting them differently on the top from the bottom, which I never realized when I made my last gown. I took my time, basted it in place and brought it to my sewing circle meeting last night.

My friend debbiedoodle  is one of the most knowledgeable people I know on the 18th century clothing--and she looked right at the sleeve and instantly realized I set the sleeves incorrectly--sliding them over (instead of under) at the top, and the opposite on the bottom. 

Ergh...

Well, at least it isn't the hardest thing in the world to fix. I'm pretty sure I reversed it somehow when I worked on it last Sunday.  I'll re-baste it, put in my final stitching and chalk it up to experience.

Debbie is making a gown for herself, so we had fun checking out the accessories she's got planned and discussing how to trim mine (my latest thought is that fairly simple is most period correct, which she said was right for mid 1780s). 

So, back to work! This weekend, however, I have a photography workshop--so I may not finish this one until next week. Then on to making another gown (my plan is to make another so I remember what I've done).

I made progress on my purple robe anglaise last night. I hemmed the front edges of the skirts and started stitching down pleats. I still have to backstitch them in the gown, but I think I'm going to steam them first, since I have really over handled the silk making pleats. All I have ahead is the bottom hem, sleeves and the back facing. However, doing the sleeves on my own will be interesting, since they aren't fully fit yet and should be fit on me live...

My plan after this is to hold off on trimming until I make another gown. I will also probably remount the petticoat, since it's longer than the gown and I want smaller pleats.

Right now, I want to get the thoughts of the workshop fully in my brain, so hence the notion of a new gown soon. I have some lovely camlet (wool with a little silk and linen) for one I can wear to events.

Meanwhile, Angela (of Burnley & Trowbridge) has posted pictures of the workshop I took for this gown on her Facebook page. I'm also loving checking out the photos from Costume College--so inspiring, yet so distracting!

As mentioned previously, I spent this weekend to Burnley and Trowbridge's Robe Francaise workshop. It was taught by the very talented Brooke Welborn, a journeyman mantua maker who graduated from the Williamsburg apprentice program at the milliner's shop. I travelled with my fitting partner, Melissa Jarrett and our respective spouses, Rick and Dave. 

After a very difficult start (getting bumped around by our accommodations, so we didn't get much sleep the first night), Rick and I went to Colonial Williamsburg for our one free morning...And at 9 am, it was already muggy and 105 degrees! So, we went quickly to the places with a/c, starting first at the Millinery Shop. We checked out the current project--a lovely robe anglaise with over the top trimmings...
( Piccies after the cut! )

I thought I'd post here, since it's been a while since I've posted anything--and a while since I've been sewing. Since work has stopped me from doing pretty much most events (the inevitable reality I've faced since I earn no vacation time), I've skipped pretty much everything this year. Add to that the extra 20 lbs I've gained over the past two years left me ill fit in most costumes. So, I've demurred from most events. Fortunately, I'm back on Weight Watchers and getting interviews for new jobs. Two weeks ago, at the urging of a friend, I went to the local sesquicentennial reenactment of the early civil war battle that occurred locally. It was a very big event and I felt darn good! It's nice to have costuming mojo back, though right now I don't have any events in mind (though I suppose there are always dances at Gadsby's tavern).

Which is a very good thing, since in three week's time, I'm going to Burnley and Trowbridge's Robe Anglaise workshop. I've made these kind of gowns, but I've never felt good about folding down the back pleats. So...hopefully this will do the trick. In preparation, I've finally bound a set of stays I made two years ago (what a pain) and I made the petticoat for the gown.

The class is for a hand sewn gown, so I made this by hand. The silk is pretty dark--but it's what I had on hand and after emailing shots of it to Angela, it was deemed okey dokey (I may post more about my fabric choice thoughts later).

So, earlier this week and yesterday, I got sewing. It's a basic apron tied petticoat (tworectangles of cloth sewn up the sides to 10" of the top, then pleated onto two lengths of twill tape like front and back facing apron strings).  I'd say working on it took five hours, including time I spent un-doing the back and reworking it to make it fit better over the bum roll (I added more fabric to accomodate that). 

I'm holding off trimming it--true Robe Anglaises were, from what I can see in period prints and portraits, generally sparsely trimmed, particularly in American portraits. I'm thinking I'll probably stick to just some pinked ruffles at the neckline and possibly the sleeves. Another consideration I've given is achieving a degree of period accuracy...I'm aiming to put this dress in the very early 1780s when there was a brief rage for things purple. The profile of period skirts was pretty full, but Robe Anglaises were not commonly worn with panniers, so far as I can see. I fit the skirt with a bum roll--got a nice full period back look, but that didn't give much side fullness. So, in an experiment, I put my corded petticoat on over the bum roll. That gave it a really nice full look. I don't know if corded petticoats were ever used--has anyone ever heard of this?

BTW--the jacket is an old one from the closet--I noticed the ribbon coordinated, so yay, I scored another outfit! This top is super light, so it might be just the thing to wear if we decide to dress out some night.

I can't say how much fun I've had getting back into hand sewing! However, today I'm going to tune up my featherweight. No, I'm not totally down on machine sewing!

BTW--I notice that almost nobody is posting on LJ of late. I've noticed some folk posting issues with DOS problems on Facebook last winter--is that the reason for the exodus? Is the community moving elsewhere? I've seen some folks reposting on Blogger. Is there any reason? I find reposting such a PITA--and I have found the Blogger interface a clunky substitute for Wordpress, without the community benefits of LJ. However, maybe there's some kind of new community feature there that I've missed? Anyone have any thoughts?

Not me, but I know some folk here who would love this...making your own perfume.

On Thursday, I got a double set of goodies! The first was a order of new embroidery flosses I'd been waiting on for a while--the items were back-ordered, so I had to wait, wondering just whether the colors would work well together. I'm pleased to say, they do!

Here is a shot of the full range of thread I plan to use. In the top row, I have spangles, gold thread, rolls of Gild Sylke Twist and one roll of Soie Gobelins. On the bottom row, it's all Soie Perlee, which will be my primary silk for color work.  Needless to say, I need to get more gold thread (my recent effort making a priest's ordination stole pretty much sucked up two rolls of the stuff). By the way, I'm still working with color choices for the blues and lavenders--I am going to draw from the colors I have, but I'm not sure I'm going to use all of them.

The threads variously came from Hedgehog Handworks, Needle in a Haystack (who also supplied me with the linen) and Thistle Threads. These are all outstanding embroidery suppliers--I recommend them highly.

There's a thing about my choice of threads. For the colorwork, I'm using Au Ver a Soie's line "Soie Perlee." This is the thread used in the Plimoth Plantation Jacket Project  (i.e., my inspiration) --and it's got a super shiny luster--and is tightly spun, rather like a thin pearl cotton thread. However, it isn't the most commonly used product Au Ver a Soie sells--it's got a limited color range--and color cards are not available. Moreover, the local needlework stores (unfortunately, slaves to cross stitch and needle point customers) don't stock it. But--on the other hand, the silk thread lines available locally weren't filament silk (cheaper silk threads are made from chopped up fibers, which are far less shiny) and they also didn't have that nice tightly spun quality which makes detached stitches far easier.

So I took a shot in the barrel and ordered Soie Perlee. I think I'm a good gambler! The colors work together--and resemble the colors of the period.

My other goodie is Jane Zimmerman's "The Art of the Elizabethan Embroiderer!" A needlework friend recommended it to me--and while it took a while to receive it (Jane self publishes this)--it's fantastic! Jane has been fortunate to inspect several Elizabethan jackets and scrutinize their stitches. In this slim volume, she's documented a bunch of different variation filling stitches besides the standard detached buttonhole stitch. Squee! New stitches! I was so excited, I brought it to work Friday and read it over my lunch!

This weekend has not witnessed much stitching. I am expecting the onslaught of a month of houseguests, starting with my friend Joanna, who returns on Monday to DC to do initial research for her dissertation. Tomorrow is graduation day for several in my EFM group. So, my focus has been cleaning. However,  I am finding it rather tough to avoid spending a little time stitching....I've got a new lamp on the project and it's working much better, though the new stitches are challenging my innate lack of direction!

A background on this project...About a year ago I spent a weekend stitching on the Plimoth Plantation jacket project. Since I came in at the end of the project, most of the embroidery was complete, so I split my time between sewing on spangles and stitching in tendrils with gold passing thread. However, in preparation, I'd worked on the sampler project required for participation. It seemed deceptively simple--little shapes in detatched buttonhole stitch. I managed to complete and submit my sampler, but I hadn't been happy with the results.

Since then, I've practiced in a desultory manner--but slowly my skills have improved. A week before going on vacation last month, I realized a kit project I'd ordered wasn't going to be ready before I left. So, I decided to take the plunge and come up with my own project.

Initially, I attempted to scale up a design of an original (child's sized) coif--but I discovered that the repeats weren't nearly as regular as I thought they were! When I tried to add on new repeats, the design became a mess, so I scrapped that idea.

Then I came up with the idea of designing my own, much as drafters had done so in the era. They  adapted desired elements out of common motifs, usually onto a circular vine pattern. So, I started taking out jam jars to trace out circular vines and played around with motifs.

My design is mostly based off motifs in the 1608 Trevelyon Miscellany at the Folger Shakespeare Library. It's an original pattern book of embroidery designs from the Tudor period--and many of the designs in it are commonly seen in Tudor embroidered objects, especially jackets, coifs and cushion covers.  I'd seen the original book on display a couple of years ago when we'd gone to see a play at the Folger, so I returned to study the designs out of a facsimile edition the Library kept for public reference. 

To be honest, this is a big challenge for me. Those motifs are small, but they sure take a lot of time to stitch (though when I do it, I barely notice the clock)! As you can see, I've got a lot of work to do. I'm hoping that by journalling this, I'll keep a record for my own reference--a record not just for recalling the decisions and challenges I faced, but also to pull myself back to working on it once other projects seem more appealing. I figure to make my posts public--maybe it will inspire others to try it, too (if you do, friend me so I can get inspired back!

One thing I'm learning--I stitch much better by natural light. So, I have my little setup put by the sliding glass doors to the deck--it may not be south facing, but it's the best light in the house. It's a nice thing to do before heading out to work.

I held off posting this for two days due to difficulty posting the photo...it took me that long to realize LJ doesnt like bitmaps.