If you make speciality or unique handmade artisan craft items, you should consider belonging to a cooperative gallery. These are galleries that are usually small and local and run by the artists themselves. Some are structured as full membership ownership meaning everyone has an equal share in the gallery. Others have a founder or small group of owners with all of the artists paying a monthly or annual fee. Cooperatives are usually very affordable and have a reasonable expectation of membership duties and responsibilities. They are a wonderful alternative than attempting to break into the more difficult high-end galleries.
As Stitchingbevy, Emily and I belong to the Dandelion Gallery, a cooperative space in Waukegan, Illinois that opened March 2011. To apply as a member, we had to submit our work for a portfolio review and interview. This is a quality you want to watch for to ensure that the gallery is indeed serious about advancing the artwork of their members and not just trying to pack the space with artists. The gallery also has expectations for members in terms of committee work and gallery sitting. Each month we sign up for 6 hours to come in and gallery sit. We also belong to the newsletter committee, which is a lot of fun. Members also chip in for wine and snacks for monthly openings and lend a hand where needed.
Emily and I share a membership as Stitching Bevy which has been a wonderful solution. I had to teach a class on Wednesdays, which is the night for membership meetings. So Emily attended the meetings and I did the gallery sitting hours. That way our husbands wouldn't complain about never seeing us!!
The gallery keeps 20% commission on everything sold, which is a wonderful rate. I also like how we present a united front by not lowering prices or negotiating with customers on the side. The gallery leadership supports its members on the issue of pricing, which adds to the quality of the work and reputation.
In terms of sales, we have sold one of our art quilts and several of our handmade smaller items in the artisan sale which we organized for November and December. At first the other artists weren't sure about the artisan sale concept, but now love the idea and want to repeat it for next year. We have more than made back our original yearly membership dues and gained visibility and publicity for our work to boot. We've also enjoyed getting to network with other artists, a group I've been out of touch with since my days in college.
So consider joining a cooperative gallery if you have the chance. Here are some tips:
1. Make sure that the gallery you are considering joining is a cooperative structure and not a vanity gallery. It should be clearly stated in all materials the structure and expectations. If something seems unclear, run!
2. Review all of the policies and expectations ahead of time so that you fully understand your end of the time commitment involved. Hold up part of the bargain so that others don't burn out.
3. Don't be afraid to ask questions about time commitment, insurance, number of new pieces you need to create each month, policies on lowering prices, and commission.
4. When possible, join committees where you can offer the most skills. These galleries are often in need of several skill sets like web design, marketing, fund raising, and publicity.
5. Learn about other artists' work so that if you are gallery sitting and customers ask about an artwork, you can answer questions effectively.
Reenacting involves so much gear that it can be hard to remember what to pack for an upcoming event. It's amazing how much stuff goes into creating a "primitive" or "authentic" impression! This is a checklist we use when gathering up our civilian equipment, enough for 2-6 people:
Shelter: Tent, fly, floor coverings/rugs, poles, box containing stakes, ropes, scissors, hammer, mallet, extra steel pins, hooks for hanging clothing. Nothing, but nothing gets removed from this box for any reason!
Bedding/furnishings: period cots, sleeping bags, quilts, pillows, tent buddy heater, propane, hose for heater
Clothing: For a weekend event, I bring two work dresses and one day dress, hoop, undergarments (corset, corset cover, drawers, chemise, petticoats, long stockings), ankle boots, slippers, nightgown, wrapper, bonnet, hats, hair dressing materials (falsies, bobby pins, nets, hair gel, comb/brush), accessories (shawls, collars/cuffs, brooches, purses, gloves, belts, apron). Hubby is more of a clothes horse than I am (usualy bring 3 suits, shirts, vests, brogans, drawers), plus he brings his own accessories (braces, cane, kerchief, hats, gloves, scarves, cravats, pocket watch) along with sleepwear (banion, cap, nightshirt, socks, slippers).
"Modern" toiletries: clean washcloth, toilet paper/wipes, toothbrush, toothpaste, regular face soap/moisturizer, meds, eyeglasses/contact lenses/solution, hand sanitizer, feminine products, and most important of all: chapstick!!
Kitchen/campfire: grill, shovel for digging pit, fire set, 2 coffee pots, two cast iron skillets, 2 basins, dutch oven, bellows, matches, kerosene, dishes, utensils/cooking utensils, mugs/cups, dish soap, scrubbers, lots of towels, oil for cooking, extra dry firewood, basket for storing essentials (cover with dishtowels). Food includes one cooler for things that absolutely need to keep cold. The rest is stored in boxes in back of our tent. Food varies depending on the type of event, but constants include water, cold drinks, ice, sandwich stuff, salt, pepper, oil, snacks.
Certain military impressions are a dime a dozen, which is to be expected at any reeanctment since the goal is partly to portray the regimentation of camp life. However, if you are getting bored with the "same ol, same ol," why not look into portraying border war or irregular confederate forces?
My husband Craig and I have been reenacting off and on for over 10 years. We used to live in Missouri about 5 miles from the Kansas border and the Civil War history in that part of the country was quite lively to say the least. You have Missouri State Guard, Bushwhackers, and Redlegs, or Jayhawkers. These were considrered independent militia members that would sometimes be under the command of Confederate or Union forces but usually moved of their own volition. Other states had their own border conflicts, but not to the degree of the Kansas/Missouri one. Part of this was due to Missouri being a key state in the debate to expand slavery and its inability to formally secede. As a result, irregular forces emerged.
The great thing about Missouri State Guard is that it incorporates civilian clothing, allowing the military reenactor to rationalize buying that cool vest at the sutlers. In fact, at first glance, a Guardsman looks like a regular civilian dressed for church, even down to frock coats and top hats, which they would wear to battle. A civilian reenactor who likes firearms could also expand into a military impression in a similar manner.
Here is a list of the basics you need to pull of different irregular impressions:
Missouri State Guard: civilian suit, shirt, vest, brogans- later on they were mustered into Confederate service so you would start to see issued gear. Any kind of hat will work. Weapons: anything handy since there was no state-issued weaponry- pistols, knives, squirrel rifles, shotguns, Mississipi, even pitchforks! Whatever gun a civilian would likely have in 1861 was used.
Bushwhacker: They would raid supply trains so a patchwork of uniform items would appear. Union sack coats were used as a form of disguise as part of guerilla tactics. It was very dangerous to wear such an item because you could be executed as a spy if caught wearing it. In additon to the sack coat, ordinary civilian pants were worn, along with civilian footwear/brogans. Headgear can include any kind of hat, but wheel hats were common. A distinctive shirt has become associated with the Bushwackers- it was usually a homespun checked fabric with black collar, cuffs, and double front pockets, worn belted like a tunic. The belt would have an upside down U.S. buckle to stand for "Confederate Nation." Weapons: pistols were dominant since they were small and could yield lots of shots, along with being hidden underneath the sack coat. Several were worn at once, along with knives. As with Missouri State Guard, any civilian gun would be used.
Redleg/Jayhawker: Resembles standard union uniform with kepi but with red leather tied around the legs. Weapons: Union-issued weapons for cavalry forces.
So if you have the flexibility in your unit or camp to try something new, why not go for it?
Photographing Clothing and Accessories for Websites
8/17/2011 4:50:48 PM
Of all the tasks that face the online seller, photographs are not only the
most critical, they are the most challenging! The good news is that you
do not have to be a professional photographer, nor do you have to have
fancy equipment. I do not have a background in photography, though I have taken a black and white classic darkroom course!
You do have to have patience and a willingness to take
a hard look at your existing photos. More importantly, you have to be ready
to re-do most of your photos as we have done.
We started Stitching Bevy, LLC January 2010. Since then we have re-shot our
items three, count 'em, three times! When we first started, the goal was to
simply list inventory on Etsy and our website. The background didn't matter to
us at the time, just as long as several views of the items were represented. Then we noticed limitations to our photos and with our existing display props. The following changes occurred since we started:
1. We invested in dress forms. Ebay has several excellent options for kids, women's and mens dress forms. We opted for the basic ivory cover with oak wooden bases. Not only do these forms look great in our photos, but they work well on the road when we do shows. Some sellers do use live models, which works for them. We don't want to hassle with making those arrangements, so dress forms it is. Clothes just don't look right on hangers or laid flat. For hats and smaller items, we use a wig head, along with two small stands that can be stacked depending on the height we need.
2. We photographed in natural light. At first we used the clapboard siding of my house as an outdoor background as pictured below:
The items did show up much better than our first round, but the background was still distracting. Now we photograph against a plain yellow wall in what will soon be my sewing room:
There is nothing in the background of this photo to distract from the item being featured. No light boxes or anything else was used. The room faces southwest, so the light is always excellent for taking pictures, even on cloudy days.
3. We used consistent views. All of our items have a main view, or a close-up that is deliberately positioned off center, to create a unique perspective. Then we photograph a front, full view along with side, back and extreme detail so customers can see the materials used. Both our website and Etsy shop have these same photographs.
For the camera setting, I use the web-ready. I've found that if I use the high pixel setting and then reduce during editing, the photos come out very blurry. By starting with a web-ready setting, the photos stay crisp and clear, while also maintaining a vintage, rustic vibe.
Don't be intimidated at the prospect of re-doing your photos. We decided to take a few at a time and update over several months, making the task far less daunting. You cannot overestimate the importance of compelling, clear, photographs.
I have learned so much after being online selling handmade for over a year now, especially in the areas of social networking and marketing in general. Most of us in this field have little of the following resources: time, a decent advertizing budget, or a clue as to how to use what little we have more effectively!! Free social networking sites appear to be the answer since it is very easy to get set up and reach a larger number of people in a short amount of time. This has led to some common crafter to crafter interaction patterns that have started to raise concern.
First, Facebook is awesome from a crafter networking perspective, no doubt about it. It's a great place to find some good groups to join where you can share ideas and marketing hard knocks. But keep in mind that if you are networking only to gain sales, you aren't going to make much progress marketing to other crafters. If you were a realtor, would you spend most of your time pitching to other real estate agents? Same is true for social networking. As a rule, crafters are used to making their own stuff. They don't tend to buy from other crafters in their own genre. Sorry, but we're a stingy DIY lot!
If you are on a Facebook or other site that explicitly requests no self-promotion, please respect the page admin's wishes. I know that I prefer a promo-free zone at least part of my time online. It's nice to have a break and real conversations that don't segue into such and such product. Again, marketing to other crafters is a dead end strategy, so use your interaction with them for other reasons, not for generating sales. The desperation comes across, no matter how you try to hide it.
Please don't expect other crafters to reciprocate Facebook "likes" or links, etc. They might have a good reason for not liking or visiting your Facebook page. Or maybe they haven't gotten around to it yet. I've encountered eager crafters who have liked a page only to post a question as to why no one was visiting her page in return. It had only been two hours!
Also, some crafters are not interested in participting in group giveaways or other pooled resource ideas. We are already struggling with making sales and getting off the ground that giving away free items is the last thing on our list. Some of us are in this for the long haul and don't want to participate in sales or other means of devaluing our work. We already have to compete with chain stores and other crafters who low ball prices.
Additionally, it is becoming more common to see promo emails and such. We crafters who are starting out do not get many sales as it is. The last thing we want to see is the excitement of an incoming email message, only to click on it and see the millionth coupon code or other self-promo tool. Again, you should be sending those to your niche market, not other crafters.
I think part of these crafter etiquette problems arise from us not knowing how to find our niche market. It is also hard to come to the realization that you have to spend time and money on advertizing, and that can be pretty intimidating. So it's easier to barrage other crafters with your marketing campaign since there are so many of us all in the same boat. But my advice is to cultivate relationships with crafters for reasons other than selling to them.
Even though the blogosphere promises great riches and fame by simply photographing and listing your items online, truth is if you are serious about selling your art and craft items and building a business, you have to do in-person shows. It's a form of paying your dues, so to speak! But it can be a lot of fun, too.
So what have we learned after one year of starting our li'l Stitching Bevy biz in the show department? Plenty! First, expect some shows to be a bust, meaning, not selling a darn thing! This happened to us last year at a street sale. We had eagerly purchased our new vendor tent and rustled up or inventory for the event. Though people were friendly and gave great feedback, their wallets remained firmly shut.
Part of this was due to the venue. Pay close attention to what the target audience is. If it's a street sale or general festival, you are talking about people with kids on a budget. If you sell lower priced items or kid-friendly things, you should do fine. However, be aware that these kinds of shows set you up next to booths filled with dollar store imports and bake sale items. The booth fee may be low, but so will your earnings!
Second, we learned to aim for art show events, not craft events. Since our items are one of a kind and uniquely made (OOAK), not resold or made with sweatshop or paid piecework labor, they fit in better with fine art markets. There are some smaller scale fine art events that have lower booth fees and they are well worth getting involved with. While you might not make a ton of money considering the labor and time involved, you will recover your booth rates with a lot left over to spare!
Third, don't over do it. One thing we learned is that we are not cut out to do a constant, weekly show schedule, even for a summer season. Last year were thought we could do a farmer's market, but we realized that it would drive us nuts to be tied to the show circut. So two events per month tops are our limit. We also stick close to home so we can find the time and energy it takes to do shows. Nothing is more discouraging than a long commute on top of set-up and high booth fees only to have low-yield show experiences.
Finally, keep abreast of the show circuit news, like joining Etsy or Facebook groups that talk about shows in your region. One thing I've noticed in reading show reviews is that even the larger, higher fee, juried events are experiencing a downturn in customer spending overall. Fine art and craft is the last priority in a tough economy. So be very selective in which shows you do, balancing out the booth fees with time and effort involved. If you are planning on breaking into the wholesale market, for example, you might need to eat the expenses of the higher priced events. But if you are OOAK in your target market, you could look at the fine arts venues that might not be as high-priced, such as booths at wine and art strolls.
We'd love to hear about your show experiences, indoors and out, so please post in the comments!
When you Google "Civil War Reenactor bonnet," you are likely to get several hundred results. How to know what is or isn't a good deal? It helps to understand how bonnets are constructed and some of the myths about their appearance.
Many people are surprised to learn that bonnets are not durable entities as they look so substantial when worn. One would assume that a bonnet is heavy, for example, or that trims are glued on tight. To the contrary, authentic bonnets were very lightweight and trims were meant to be tacked on lightly so that they could be changed according to styles, seasons, or whims. Wide ribbon sashes form the large bow. A secondary set of bonnet strings which are thin ribbons, are tied first underneath the bonnet strings.
When buying a reenacting bonnet from the 1850s to mid 1860s era, look for a rounded crown or a spoon shape. Spoon bonnets were high fashion and should rest just at the back of the head, over a bun. A well-fitting spoon bonnet will look like it's about to fall off the head- the bun holds it in place. The rounded crown shape was another option during the Victorian Civil War era. This should frame the face but like the spoon bonnet, fit slightly off the head.
Fabric bonnets are constructed with buckram, a stiff open weave fabric, wire, and thread. Across this foundation is stretched a silk for the primary color and any bias trims that cover the wire and edges of the bonnet. The fabric flap at the back of the bonnet's neckline is the curtain and is often made from matching fabric or can be made of lace. A silk lining goes in last. Summer bonnets were made of woven stips of straw that were coiled and sewn into place. Good summer repro bonnets can be difficult to find.
Trims can vary widely and include feathers of all colors, ribbons, lace, flowers, butterflies, fruit, bugs and other Victorian motifs. Don't assume that your bonnet has to match every outfit. Your impression will look more authentic if there is some variety of pattern and color. You don't really need a "starter" bonnet in a practical color, for example, though you can't go wrong with basic black or a dark brown.
When seeking to purchase a bonnet, make sure that no glue is used in its construction. Everything should be sewn. The seller should be clear in describing construction details, from the formation of the foundation to the final trim application. You might want to remove the trim and replace with your own choices later on, just like in the old days! Also look for bonnet strings and the large sashes. If the strings aren't on the bonnet, they can easily be tacked on. Look for a curtain at the neckline and the basic shape of either round or the spoon.
Faith and I were just discussing how busy and strange this fall has been for us. We'vehad a lot of fun and a lot of firsts for us.
In September we attended my first civil war reenactment and Craig and Faith's firstone in many years. We were ready and dressed to a "T." The sleeping cap Faith made for Craig was a big hit. Lots of compliments at camp.
I broke my elbow and got an ambulance ride to the emergency room. I did wear mycorset and hoop skirt to the emergency room. I’m sure I looked great! I wonder whenthe last time those docs saw a hoop skirt? Broken elbow = 1st surgery too.
We love Halloween. My daughter wanted to be a '50's girl. Great, because I can dothat with a broken elbow with a little help. So my son, by my decision, was a '50'sgreaser. I think I watched "Grease" 2 or 3 times the week leading up to Halloween. I'venever made a poodle skirt before or a pleather jacket.
A much brighter first for us was being published in "Altered Couture." You'll see somegirl’s leg warmers that I made. A very exciting moment for me. Faith had a jacketpublished last spring. We hope to have a few more items appear in the next issues.
We ran out first ad in the civil war reenactors’ magazine "The Citizen’s Companion."It looks great!
A local shop asked for us to put some items on consignment... New exposure, yaay!We also added a shop on the crafting website Art Fire which led to a nice big sale.
We approached a local coffee shop about holding a sewing group there monthly.... Itsbeen a slow start, but Faith and I enjoy it. We are still getting the word out, so if you arein the area come see us.
Not a lot of stitching getting done. Some of my projects have had to be put down. It ishard to sew when you can’t move your elbow. But I'm on the mend and those long buried projects aregetting some light.
It seems that life has given us some unexpected turns... Not all bad, but time
Here is a link to the first video in our Civil War work dress series for reenactors interested in reproduction historic clothing using period correct techniques: http://www.youtube.com/watch?v=oUZqbuRdhZk
This absolutely homemade video provides a 10 minute tour through looking at images of Civil War dresses, a brief discussion on style tips, an overview of fabric colors and designs, and finally three different cotton prints are discussed, along with basic materials.
The most important way to get started making a Civil War work dress is to understand the most common styles used. Most bodices are similar in style with few variations- most of those are provided by sleeve styles, trim, and occasionally the waist may be dropped in a V style. Otherwise, you can't go wrong with simple.
In terms of trim, notice in the video that most of the trim, if there is any at all, tends to be of the same fabric as the dress itself, or is a simple contrasting material. There isn't much lace other than trimming collars, cuffs, or undersleeves. Making your own trim, such as matching piping, is an easy way to give your outfit a historic look.
The fabric pictures presented in the video show a range of patterns and colors. Most of these defy our existing stereotypes about fabrics from the 1850s and 1860s. While colors might be muted, they often have vibrant designs. If you consult the books that are mentioned in the video, you can't go wrong. They are:
Blogger, I Can't Spare a Dime (or another free sample)
6/29/2010 3:31:31 PM
Being involved in historic and reproduction vintage sewing for over a decade, I have seen how technology has impacted our craft even in these past 10 years. We have more venues for selling our items than ever before, including eBay, Etsy, and via our own websites. There are open source pattern sites and lots of idea sharing to go around. If you get stuck on a technique, you can do a quick Google search and find several solutions in a matter of seconds. Or you can post on forums and provide help to those new to sewing. You can find like-minded people all over the world who love historic sewing, Civil War reenacting, Renaissance faires, and anything from the past.
Having gotten into e-commerce after a short hiatus from selling my work, I was quite shocked to hear about a common but not often talked about practice going on in the crafting community. Apparently there are numerous bloggers who put out the call for "free samples" in exchange for writing a review about a crafter's work. At first I assumed this was an anomaly that only happened to a few crafters. But if you spend any time on crafting forums, you'll find that this is a wisespread practice. In fact, there are books advising people how to profit from blogging, which isn't a problem, but when it comes to wanting freebees from crafters already on a budget, I say forget it! Most of the time exchanging free samples results in nothing fruitful except well-dressed and well-decorated bloggers.
Knowing how much work goes into quality handmade objects I was hard for me to imagine that other crafters would take advantage of their own kind. Most of these blogs are indeed by crafters, going by the reports of those who have been approached to send free items. It is understandable how one could be tempted to give in to such requests. E-commerce is time-consuming and it takes patience to build visibility on the Web. Crafters hope that if they send out a sample, they will get nocied in the blogisphere. But there are better ways to do this (including starting your own blog to create great content- but more on that later). All I can advise is if you make and sell handmade items, do the following:
1. Only send your items to blogs or publications that have a return policy where you pay the postage for shipping your items there and back. Reputable blogs and magazines will have this policy. They only need your item so they can professionally photograph it. Most smaller blogs should be content with you sending photographs of your item.
2. There are some reputable blogs that do request free samples, but those have a huge readership. In this case, it might not be a bad idea to part with a sample. Approach carefully, making sure the blog meets your target market.
3. If the blog has only a few followers and wants a free sample, don't send it. It won't result in anything. Too many people have been burnt this way.
4. If you get a request for a free sample, ask if the blogger would consider you sending the item on loan with return postage. If you get no reply or a hostile response, you know your answer- steer clear!
5. A good standby polite response if you get approached for free samples is to say: "I'm sorry, but right now our inventory and budget doesn't allow sending samples." You don't have to be shy, just honest and professional.
6. There is one good way to exchange work for something else- bartering! This might be a sound business practice if you are short on cash. Just be sure that the item/service you are bartering for is of equal value. There are excellent sites that oversee bartering and there's always good ol' Craigslist!
7. Save free samples for loyal customers. Building word of mouth and solid references is a far better investment than sending free stuff to a fly by night blog.
8. If you have a smaller blog and want to review items that fit into your design aesthetic, that's a fantastic way to help others and yourself build Web visibility. But don't ask for free samples. Instead, request phtographs, or better yet, offer to do a keyword link to the artist's site accompanied by enthusiastic praise for the item.
Hopefully our crafting community will come to support emerging artisans with advice on marketing, pricing, and valuing their work so that the next time some blogger comes a knocking wanting deep discounts or free stuff, these artisans will know how to respond!
If you are into sewing, you have probaby heard the terms "upcycling" or "repurposed" to refer to clothing that is remodeled into a different look. For example, a large, baggy, man's t-shirt is revamped into a stylish tunic with dropped waist and vintage embellishments or a button down shirt is transformed into a cute, sleeveless top with high waist while retaining the menswear appeal. Upcycling is great for the pocketbook and the environment, plus the challenge of turning often discarded and ubiquitous clothing into something really cool is too fun to resist!
What many people don't realize is that historically speaking, clothing has always been upcycled. Only in recent decades with the advent of deep discount big box stores have we thrown out clothes with a lot of wear left in them or given them to the thrift store only to make room in our closests for new stuff!
During the Renaissance, clothing was so valuable that wills would feature descriptions of garments as being bequeathed to family members. The manufacture of cloth and tailoring was a labor-intensive process often performed by a number of people. Construction methods were different in the ways that bodices or doublets were pieced together. Practices such as fabric being jigsawed to form one piece was common in order to be thrifty. If you look at surviving garments, you'll often see a trail of revamping as garments were resized and updated to meet the latest styles or handed down to a younger member of the family.
Pioneer clothing was all about upcycling, from the constant alteration of garments to making coats out of trade blankets (the ones with the large primary colored stripes), leatherwork with moccasins, breeches, and vets from pelts, kids clothing pieced from adult clothing, and scraps into quilts and dolls.
Dresses were constantly upcycled during the Victorian era. Even with the advent of manufactured cloth, people were thrifty in the ways that they preserved clothing for re-use later on. Instead of smooth seam linings, edges were left alone to allow dresses to be let out and taken in during and after pregnancies. There are even surviving examples of Civil War era dresses that were re-made from 1840s ones! Sleeves were taken in, fabric added to bodices, and skirts embellished to update older styles. Bonnets were commonly upcycled and trim repurposed. Instead of sewing trims firmly to the bonnet frame, women would lightly tack trims in place with an eye toward remodeling their bonnets time and again. Flowers, feathers, braid, lace, and ties were changed around from season to season. Bonnets didn't have to match one's dress so that allowed for freedom in embellishments.
When you think about it, upcycling has a lot to do with thrift. I'm thinking in particular of how the flour and feed industry got on board during the 1930s-1950s and began bagging their product in colorful fabric sacks. They were not only able to attractively package their products to make them stand out, they did double marketing to men whose wives would take the fabric and make it into clothing- the ultimate in upcycling! Today you can find lots of wonderful repro feedsack prints but there's a sense of irony in purchasing them by the yard when in the past you would automatically reuse the feed sack back then.
So when you are repurposing garments today or partaking in such handmade items, you are continuing a long and honorable tradition of thrift and imagination. Yet not all upcycling is created equal- like our historical forebears, quality of handwork is key. Even in our disposable-minded society, quality still counts.
Understanding common stereotypes of historical eras can go a long way toward making an informed decision about what to wear as a reenactor, or even a vintage enthusiast. As time passes, people tend to fuse together fads into an image of what people wore. Even eras as recent as the 1980s are subject to misinterpretation.
When you look at any time period, just like today, there are those who adopt the latest fashions and others who are more conservative in their dress. For example, during the Civil War era, photographs of older women would usually show them dressed in 1840s style clothing or wearing elements of 1840s- fashions from when they were younger. People were also quite thrifty due to necessity and a general mindset of hanging onto clothing which was costly as a rule. So styles, while they did change, were not as quickly adopted full-scale, especially before the advent of ready-to-wear clothing. At the same time, people would try to be as fashionable as possible using the budget they had available. So one woman might buy a new bonnet in the latest style while another might trim last year's bonnet in a newer fabric or flowers to mimic the trends. Rich girls in the 1980s would buy the "thrift store look" while working class girls would go to the thrift store and find vintage garments.
Here are some common cliche's that are often seen when it comes to historical eras. Correct styles are listed in parentheses:
Renaissance Cliche's: front lacing corset-vests with huge grommets, stretch tights for men, plunging necklines with a push-up bra effect. (grommets were not used during this era look for handmade eyelets instead; men's doublets had detachable sleeves, it is the jerkin that often gives the impression of a vest when it was worn over the doublet; hook and eye closure; men's leggings were cut on the bias of wool and pieced together with a seam in the back; some period necklines reveal cleavage, but most are higher necked).
Civil War Cliche's: ballgowns worn as daywear with cake topper trim, off the shoulder dresses worn during the daytime like Scarlett O'Hara, women wearing their hair down with bows. (correct ballgowns should just fit around the shoulder in a deep v neck, never with severe cleaveage and never revealing the shoulder during the day, after adulthood, women would wear their hair up with a single center part and low bun or series of braids; trim was extravagant only on upper class garments- most typical Civil War era dress is quite conservative with higher jewel necklines, long sleeves, and minimal accessories or trim).
Late Victorian Cliche's: pastel colors and lace, all bustle era, large floral fabrics. (Victorian color palettes were more intense and bold with interiors, exteriors and fabrics using mustards, burgundies, rich blues, bright greens, and acid shades; the first emergence of the bustle is the early to mid 1870s, then clothing enters a natural form era with narrow skirts and bodices, followed by a second, more extreme bustle era in the 1880s, afterward skirts take on an A-line appearance with various sleeve treatments into the extreme sleeve sizes of the 1890s; fabrics were bold plaids and stripes, but in general floral prints were smaller as smaller prints were more thrifty when it came to cutting out patterns and matching seams). With the Victorian eras, we often confuse them with the 1920s Victorian Revival fad with its pastel shades and lace motifs.
1920s Cliche's: headbands with feathers, fringed flapper mini dresses. (1920s dresses were longer than this cliche' with a wider range of fabrics and prints than often portrayed, dresses had longer waists and a square shape, but also used ruffles, uneven hems, and trim styles influenced by Egyptian and other motifs; hats and headbands were more intricate and diverse than a single band with a feather).
1950s Cliches: poodle skirt, rolled up blue jeans with white shirts for women, rolled t-shirts with cigarettes tucked in for men, greased back hair. (the poodle skirt was a short-lived fad and not worn by the majority of women or girls; blue jeans were strictly at-home wear with a few exceptions and girls did not wear pants to school; the blue jean/white shirt image was from advertising so it sticks in our mind; unless one was in full rebellion mode, men did not sport the greaser look as a rule!). Correct 1950s clothing is more conservative in appearance and the concept of sportswear and mix and match was taking hold as post WWII factories geared up for production. Ready to wear was now fully a part of the American landscape. These garments tend to be less flashy.
1960s Cliche's: Mod or hippy. (Mod clothing was more subtle and complex than often portrayed and would incorporate some 1950s elements such as beatnick looks or leather jackets for men; hippies were thrift store shoppers back in the day when thrift stores carried Victorian and 1920s clothing for dirt cheap so the true hippy look was a highly varied combination of old and new- some affluent people would buy the hippie look off the runway while others were true thrift store shoppers). People often lump the 1960s together as "hippy" or "mod" when there were distinct eras. The early 1960s resembled the late 1950s to a large degree, then skirt shapes changed, became shorter, with bigger hairstyles for women and longer hair for men. Starting in the 1950s, the emergence of teen consumer culture made rock stars style icons, so many of the clothing trends were reflected in musicians of the time. The mid 1960s began to take on mod elements, finally blending into the hippy eclectic styles which lasted into the mid 1970s. Blue jeans and pants were becoming wardrobe staples and no longer forbidden for women to wear in public.
1970s Cliche's: urban funky bell bottoms with platform shoes, or disco. (Again, like the 1960s, people tend to lump the entire decade into these two cliche's. Certainly the early 1970s were loud and proud with brightly colored synthetic fabrics and prints for both men and women while the later 1970s disco brought European influences into fashion. But unless you are talking high-profile disco settings like Studio 54, most disco dancers wore basic street clothes with a 1940s revival). By now, blue jeans are in everyone's wardrobe- waistlines are higher than today's. T.V. shows like Soul Train and American Bandstand showed teenagers and early 20 somethings wearing the latest styles, yet not too much out of reach for their audiences.
1980s Cliche's: Yes, enough time has passed to become officially cliche'd. Common cliche's include scrunchies, neon colors, ruffled skirts, the "Madonna" look, and leg warmers. (Again, an entire decade is being lumped together in one amalgamated look. The early 1980s had several trends, including New Wave, prairie, Michael Jackson, work out (thus the leg warmers), preppy, and even urban cowboy. There was an often overlooked reggae influence in fashions of the early 1980s with natural fibers, baggy pants, large t-shirts, and overalls a la Boy George. Mid 1980s saw a 1950s revival, cropped pants, men's oversized shirts and blazers, plastic jewelry, jellies, and conservative styles. The acid wash trend was a late 1980s into early 1990s phenomenon, as were hair bands, New Kids on the Block, spiral perms, big hair, etc. Leg warmers were not really worn in the late 1980s.
The best way to find authentic representations of trends is to get hold of yearbooks, catalogues or magazines from that particular era. For Victorian eras, look at photographs of ordinary people. Eras prior to photography are more challenging as we can only rely on works of art, which represented more affuent people.
Whenever people think vintage or historic clothing, lace comes to mind. However, until the early 20th century, lace was quite expensive due to it being hand made and labor intensive. To add authenticity to your impression, or to add some knowledge to your vintage clothing information bank, hopefully this discussion about lace will be helpful.
During the Renaissance, lace, when it was applied, was used sparingly on collars, ruffs, cuffs, and handkercheifs, even if one was rather wealthy. Males and females of the upper classes enjoyed displaying costly lace in this manner, as they did their jewelry, which was often sewn directly onto their garments! Renaissance-era lace was more geometric in its appearance, usually white or made of gold or black thread.
Victorian-era lace was almost exclusively white and in the pre-machine era, was made either by crocheting, knitting, or bobbin lace methods. A common mis-reading of this era is to use Battenberg or tape laces- those weren't used for garments until much later, so hold off on buying a Battenberg parasol. That type of lace was used on table linens and the like. Another common misconception is that lace back then was tea-dyed. That is a modern interpretation based on old lace found in flea markets or thrift stores that have colored with age rather than being that color to begin with. However, tea dyed lace looks great on vintage styled garments for fun wear!
A lot of the trims on Civil War era garments were made from the same fabric as the garment itself- known as self trimming. What appears lacy at first glance is actually ruffled, pleated, or pinked fabric to match the dress. This was due to trim being quite extravagant in price- so creative dressmakers used remnants to fancy things up. More upper class impressions can use supplemental trim but even these dresses feature self trim in greater proportion. As with the Renaissance, if you want to add authentic touches using lace, opt for lace trimmed undersleeves, collars, fichus, period dickeys, handkerchiefs, parasols, and the like rather than going all out with lace on a dress. Use self trim for the bodice and skirt instead. Mourning impressions can use black lace and ribbon trims on these accessories.
Lace really comes into its own during the Edwardian period, where lightweight white batiste dresses were elaborately inserted with panels of delicate lace. In the 1920s, you begin to see colored and off white lace trimming camiosoles and other undergarments, often popular in modern eras when worn with jeans as part of the underwear as outerwear trend. In the 1930s and 40s, more tailored lines only featured lace sparingly, even when ruffles were used. The 1950s experienced a lace revival with full skirts and access to machine-made eyelet laces encouraged wide expanses of trim to appear. When we think of 1950s lace, we often think of prom and formal dresses in pastels with wide bands of lace edging. Many girls today are turning to these vintage looks for their own proms.
In the mid to late 1960s, Mod and hippie looks would utilize lace to hearken back to earlier periods or exaggerate its features to match the lines of the garments. Every color, size, and shape of lace appeared on dresses, pants, angel tops, bell bottoms, though often used as an accent rather than the main attraction. The late 1970s saw a lace revivial as prairie and Victorian looks dominated the runways, bringing a more refined appearance than the early to mid 1970s use of bright calicos and eyelet lace which are cute in their own right. The 1980s was the decade of acrylic lace done up in ruffles, neons, pastels, and made into mitts, overshirts, tights, leggings, body suits, corsets, hair accessories, and miniskirts. It seems like lace faded into the background until recently, when we've begun to see wonderful tunic tops, 1920s fabrics and lines, and even exciting 80s revivals in clothing. Everything old is new again!
There is truth to the old adage: "you get what you pay for." Yet many are not aware of the critical differences between fabric quality, other than what they can touch in person or after learning the hard way when something is laundered and falls apart.
When it comes to textiles, a lot goes into a price difference. 100% cotton fabrics can vary enormously in quality, due to the length of the cotton fibers and how finely they can be spun- think of bed sheets and how there can be as much as $50.00 between low and high thread counts. Just like sheets, cotton fabric that isn't 100% natural won't breathe as well, though it might be wrinkle free. For reenacting, you want natural fibers whenever possible.
45 inch wide 100% cotton fabrics can cost as much as $7.00-$10.00 per yard for the finest weaves. This fabric has a wonderful feel and is substantial. Quilters use the finest fabrics since their work is built to last. If you hold the nice cottons up to the light, you won't see much separation between the threads. A reproduction Civil War dress uses roughly 5-6 yards of fabric, so doing the math, you can see that even a simple work dress has @ $60.00 worth of basic fabric in it, if the artist is using high quality materials. Cheaper cotton fabrics have a larger space between the woven threads and the threads are made of shorter length cotton fibers. This means that the fabric tends to pucker, fade, and pull/unravel more easily. Less expensive cottons are great for linings, however, provided they are pre-washed and ironed before being used in the garment. Cheaper cottons run anywhere from $3.00-$5.00 per yard. Stitching Bevy only uses the finest cottons, which is obvious upon inspection.
100% silk is quite costly. Plain patterns typically run @ $15.00-25.00 per yard with higher prices for fancy damask weaves. The less expensive slubbed silks are not appropriate for historic garments. We only use them if the pattern is really nice and if the slubbing is minimal. Bonnets should use the smoothest silk taffetas with no slubs at all. Again, if you are talking Victorian dresses, most take 5-6 yards depending on the width of the fabrics. More is needed for pattern matching and self trim. Imitation silks are about $5.00-9.00 per yard, but are not suitable for regular wear since it doesn't breathe well in any kind of weather. These fabrics are also heavier than real silk which folds down nicely and is super light to pack.
100% wool comes in a variety of weights, most in the $15.00-30.00 per yard range depending on the kind of animal fiber (cashmere is much more expensive, for example). But nothing beats real wool fabric for coats, vests, shawls, and pants. Wool also comes in light weight weaves, which is wonderful for Renaissance and Victorian dresses. Wool blends are much cheaper- @$7.00-12.00 per yard, but should be avoided since they do not allow for breathing.
When it comes to yarns, this is where you are likely to see the largest difference for your buck. Real wool yarns cannot be beat. Yes, they require careful laundering, but it's worth it. Acrylic yarns, though washable and available in a nice array of colors and hands, tend to run @$2.50-4.00 per skein. Wool blends are a bit better- retaining the feel of wool with the washability of acrylics- and run @$5.00-6.00 per skein. Real wool yarn can range from $6.00-15.00 per skein, depending on if it is hand made/dyed or not.
Hopefully this gives you an idea of some of the differences in price and description between 100% natural fibers and the blends.
For some reason, people expect handmade items to be super-cheap. Maybe it's because the legacy of craft calls to mind nice old ladies at church rummage sales putting out a few crocheted items made with acrylic yarn to sell. They are doing it for fun and certainly not for business, so the thinking goes. Definitely the connection has to do with women being the primary producers and consumers of craft. There's an expectation of low prices that goes along with the feminine. Also people like to save money and that's understandable. Many people don't care about what goes into setting a price, just that the price is low to begin with.
The reason that lots of cute things are affordable at the big box stores is that the labor involved is operating at a sweatshop rate. The bulk of the profit goes to the store owners, not the designers and certainly not the people who make the items. Many contemporary crafters are not interested in continuing this tradition. Instead, today's crafters are interested in building an informed customer base who cares about doing things differently. Part of this might be a dedicated use of environmental materials and fair labor charges.
For example, we at Stitching Bevy each make our own items for sale. We do not pay piecework or outsource any labor. All the items you see on our site have been made by hand from natural fabrics and/or upcycled materials.
What goes into a price?
*materials- including fabric per yard, trims, buttons, snaps, thread, hooks and eyes, yarns- the good stuff costs more than the flimsy or cheap materials. Price often reflects the use of quality materials which is essential for Civil War reenacting and heavy use by kids!
*time- the labor to produce a quality item often measures days, let alone weeks. Since the artists on this site have other lives outside of crafting, we do not work exclusively on our items, but incorporate their production into our days, which takes more time in the long run.
*concept- this involves thinking of ideas, sketching, planning, comparing materials in our stash with which to make items, and alterations to patterns, along with website design (done by the artists and not outsourced) and updates to website, blogging, and general marketing
*maintainance- sewing machines and tools wear out, computers have to be upgraded eventually
*business maintainance- office supplies, website costs, online payment fees, gas to and from home to run errands, legal fees, bookkeeping
We don't often think of a price reflecting these factors and quite frankly prefer not to think about them because it gets us thinking about fair wages and the like. Otherwise we have to ask ourselves what a cheap price means? If you see a super low price on a hand made item, you have to assume that the person is either undercutting the expenses I listed above, or the materials and construction are below quality.
It takes a long time to build an e-commerce presence via handmade goods and it can be tempting for crafters to undercut prices to build a following to speed up this process. This is not a good message to send which is why we always price our items to communicate quality, time, care, and sustainability.
In particular, Civil War and Renaissance reenactors have to be very selective about items they purchase online. Many are made with synthetic fibers which are uncomfortable in warm outdoor settings. Or they feature period incorrect short cuts because authentic construction is more time consuming and costly. For example, you are likely to see several affordable Civil War outfits that consist of a tuck-in blouse and a skirt for under $100.00- even under $75.00! Yet women's tuck in blouses were not used during this era. Instead, they were bodices made to resemble a gathered blouse. It takes a lot longer to shape a bodice and attach it to a skirt properly, including cartridge pleating, than to make two separate pieces. In a quest to keep prices low, crafters are making these items because they "look" correct at first glance and can be made easily from cheap fabrics, like poly-cotton blends. They may not also be familiar with historical documentation and research.
In a future blog post, I'll run down a comparison of different fabric and material prices per yard so you can see for yourself what quality costs and make an informed decision.
No one can deny the beauty and awe-inspiring qualitites of historically correct garments. When the materials are natural, authentic, and appropriate, the visual experience just comes together. However, if you haven't worn histocially correct garments before, you might be surprised at how different it can feel. A correctly sewn garment has the following qualities:
1. Glove-like fit. The garment should be precisely tailored to your body. This is not the same as buying a size too small. It means that in the past, people hung onto their clothing and would alter it constantly as their bodies changed or as they handed garments from one person to the other in their families. If you look at older photographs, notice how the clothes look like they were literally made for a person- the folds, creases, and wrinkles around the buttons indicate precise fit. Even blousy looking garments have a glove-fitted lining with the outer portion gathered on top.
2. Smaller armsyces (armholes) and shoulder width. This is the most dramatic difference in fit that people often express between historic and modern clothing. For example, when you raise your elbows up from your side, you shouldn't be able to extend very far. The garment shouldn't rip, but you should feel a tight sensation. This is part of the shoulder sloping quality of garments up through the 1920s. Modern patterns have ease built into the shoulders and larger armholes. Older patterns don't. It takes a while to get used to this different fit and feel, but once the clothes conform to your body, you begin to forget you're wearing something different.
3. Appropriate undergarmnets are essential. This is true for modern clothes today, such as finding the right bra. But for historical garments, women have to wear the correct corsetry and petticoats because the outer garments are built to fit only when these items are worn. For example, if you buy a historic Civil War work dress but don't account for the corset, you won't be able to button the bodice. The corset lifts and flattens the bust, giving the desired columnar torso. This is also important for Renaissance and Elizabethan era garments. For males, the vest serves as an external corset and provides correct lines for Victorian frock coats. Another reason to have the correct undergarments is to preserve the outer ones. Underwear was designed to collect sweat and body odors to protect the more difficult to wash dresses and coats.
4. Waistlines are often different. For Civil War, the waistlines were higher for both men or women. Men often express shock at how the pants resemble 70s Sansabelt slacks worn by retirees at the golf course! Some historical eras feature pointed or longer waists, such as 1840s or early 1600s.
5. Wilder patterend fabrics. For some reason we think that historical clothing was somber and mostly in shades of black and gray. But if you look at extant garments from the past, you'll see a dizzying array of patterns and colors. Certainly solid colors were popular in a variety of fibers. But give the plaids, florals, geometrics, and figuratives a chance. A good source are fabric swatch books that illustrate what stores were carrying in the past. You will want to make sure that the patterns are appropriate for the era in which you are portraying. Oldenthreads will do this work for you but it's fun to learn on your own!
So this is just a sampling of the major ways that historical clothing feels and fits compared to modern garb!
Being involved in historic and reproduction vintage sewing for over a decade, I have seen how technology has impacted our craft even in these past 10 years. We have more venues for selling our items than ever before, including eBay, Etsy, and via our own websites. There are open source pattern sites and lots of idea sharing to go around. If you get stuck on a technique, you can do a quick Google search and find several solutions in a matter of seconds. Or you can post on forums and provide help to those new to sewing. You can find like-minded people all over the world who love historic sewing, Civil War reenacting, Renaissance faires, and anything from the past. 
Understanding common stereotypes of historical eras can go a long way toward making an informed decision about what to wear as a reenactor, or even a vintage enthusiast. As time passes, people tend to fuse together fads into an image of what people wore. Even eras as recent as the 1980s are subject to misinterpretation. 
Whenever people think vintage or historic clothing, lace comes to mind. However, until the early 20th century, lace was quite expensive due to it being hand made and labor intensive. To add authenticity to your impression, or to add some knowledge to your vintage clothing information bank, hopefully this discussion about lace will be helpful.
