Attached is a wonderful conversation between Tony Pinkney of Lancaster University and the Reader as to why anyone should bother with a Utopian book from the 1890s. The book is free to read on the site, the William Morris Archive.
News From Nowhere Introduction
It begins thus:
Reader: Why should I be expected to read a description of an ideal
society dating from the 1890s? What can that possibly have to do with
us today in the early twenty-first century?
TP: Well, do you think you already live in an ideal society,
then, so that you don’t need any help or ideas from the past? With a
global economic crisis battering us all from 2008 onwards, with
proliferating nuclear weaponry and dangerous international tensions,
with the democratic hopefulness of the Arab Spring running into the
sands, with international terrorism and the ‘war on terror’ mutually
reinforcing each other, and with the environmental problems of climate
change, energy depletion, habitat destruction and species extinction
accelerating rather than slowing down, I’m inclined to think we need
all the help we can get from the models of an ideal society that we
inherit from the past! We don’t have to swallow them hook, line and
sinker, but there might be helpful suggestions and inspiration towards
improvement there.
R: Well alright, things aren’t so good at the moment, I’ll concede that. But if, like Morris in News from Nowhere,
you have got a scheme for a good or even perfect society, why not set
it out as a series of clear-cut propositions that we can debate
straightforwardly? Why present it in literary form instead? Why turn
it into a story?
TP: As it happens, Morris did set out clear-cut propositions for
change in his political lectures of the 1880s. When you’ve got time,
take a look at ‘The Society of the Future’, which he first delivered
in November 1887. If you put your scheme into a story, though, you
give greater concreteness to your abstract system; you can give a
firsthand feel for how it works, you put flesh on its bare
bones. Instead of saying, as a sociology textbook might, the economy
is organised in such and such a fashion, you can actually show people
working together under the new social relations, show them in the very
process of learning how to become new kinds of people (cooperative
rather than competitive, say). We as readers experientially
participate in such new relationships, we feel them on our pulses,
rather than just learning about them intellectually, as theoretical
possibilities.
20 December 2014
19 December 2014
DIY Hairpieces for the Lady Re-enactor, Part One
Some time ago, I purchased a cheap child's Rapunzel wig at Party City, as an alternative to more expensive hairpieces at Sally's or online. This was done for two reasons: ease of acquisition, and the fact that my natural haircolour is now a variegated sandy ginger blonde, which is very difficult to match.
The original wig was closer than anything else found, including the Sandy Blonde wefts at Sally's.
The first necessity was to tone down the unnatural blonde a bit. Into a pot with several dark Irish tea bags went the wig, soaking overnight. Then into a similar pot of dilute Manic Panic Atomic Turquoise conditioner, which is what I use to tone my hair around here. Easy, non-chemical, vegan. This was the resulting colour:
When the wig was dry, I combed it out with a shower comb and began to cut apart the wefts from the wig cap:
Don't be dismayed if you accidentally cut the weft, especially around the front edge.
When all the bottom wefts were off, I arranged then according to size:
The very top, I left whole as the basis for a fall of curls, as my primary hairstyle for Pre-Raphaelitism is 1870s:
The small wefts were then sewn together in pairs. they will be used for side curls, braids, and back curls, depending on need:
These will all go woven into my own hair, which, although hip length, still is not enough to make up the hairstyles of the 1820s-1900 to my satisfaction. Some of this volume in the latter period may be created with pads and frizzing, but not the mass of curls of the earlier periods.
The switches were then braided loosely so as to avoid tangling, ready for the next part of the adventure, curl-papers and rags:
As every reader of Victoriana knows, curling rags were used in the period, as an alternative to curling tongs (irons), which did not damage the hair. Some used curl papers instead, including Lord Byron and Beau Brummel.
More on which anon!
The original wig was closer than anything else found, including the Sandy Blonde wefts at Sally's.
The first necessity was to tone down the unnatural blonde a bit. Into a pot with several dark Irish tea bags went the wig, soaking overnight. Then into a similar pot of dilute Manic Panic Atomic Turquoise conditioner, which is what I use to tone my hair around here. Easy, non-chemical, vegan. This was the resulting colour:
When the wig was dry, I combed it out with a shower comb and began to cut apart the wefts from the wig cap:
Don't be dismayed if you accidentally cut the weft, especially around the front edge.
When all the bottom wefts were off, I arranged then according to size:
The very top, I left whole as the basis for a fall of curls, as my primary hairstyle for Pre-Raphaelitism is 1870s:
The small wefts were then sewn together in pairs. they will be used for side curls, braids, and back curls, depending on need:
These will all go woven into my own hair, which, although hip length, still is not enough to make up the hairstyles of the 1820s-1900 to my satisfaction. Some of this volume in the latter period may be created with pads and frizzing, but not the mass of curls of the earlier periods.
The switches were then braided loosely so as to avoid tangling, ready for the next part of the adventure, curl-papers and rags:
As every reader of Victoriana knows, curling rags were used in the period, as an alternative to curling tongs (irons), which did not damage the hair. Some used curl papers instead, including Lord Byron and Beau Brummel.
More on which anon!
04 December 2014
The Arts and Crafts Ethic as a Template for the Future
We are embarking on a long-term project which significantly promotes the Arts and Crafts.
This project will delineate the origins of the ethic of the Arts and Crafts Movement of the late 19th and early 20th Centuries in America, the British Isles and selected countries in Europe. It will explicate the manner in which the ethic was lived by members of the movement, famous and obscure. It will trace the revivals of this ethic into modern times, including the Wandervogel in pre-World War II Germany and the Back to Nature movement of the 1970s. It will show the strong underpinning of this Movement in various contemporary social and artistic movements across the world.
For the contemporary research, the project will include a website featuring surveys, a blog, and forum for discussion in community.
The result will be a published book on the findings, inspiring and leading people into a new, sane, sustainable future.
This project will delineate the origins of the ethic of the Arts and Crafts Movement of the late 19th and early 20th Centuries in America, the British Isles and selected countries in Europe. It will explicate the manner in which the ethic was lived by members of the movement, famous and obscure. It will trace the revivals of this ethic into modern times, including the Wandervogel in pre-World War II Germany and the Back to Nature movement of the 1970s. It will show the strong underpinning of this Movement in various contemporary social and artistic movements across the world.
For the contemporary research, the project will include a website featuring surveys, a blog, and forum for discussion in community.
The result will be a published book on the findings, inspiring and leading people into a new, sane, sustainable future.
02 December 2014
Blue to the Elbow with Topsy
An idea becomes a search, which leads us back to our roots:
In thinking about some of the finer gauge items for ladies and children - lovely spencers and caracoes and other such jackets that don't want to be of a woolly pully weight as with Fair Isle - a possibility crept into my mind: lace-weight yarn (such as we use for Shetland shawls) in Fair Isle patterns!
I suspected that the result would be an entirely different animal than regular Fair Isle, and I was right - it is very dainty.
But how to achieve our colours in a reasonable price-point for people (Rowan yarns having a nice range of lace-weight colours but not extensive and at $13 a hank, makes the finished products very spendy.) Well, clearly, taking an ivory yarn and dyeing it. Just as Morris did to achieve his soft colours back in the day. Going back to our roots here of concocting plant-based dyes.
There are two options for the wool, a washing wool with nylon added, and pure merino. The two will dye similarly, but the washing wool will survive normal laundering at a warm temperature.
As for the dyes, there is still the old option of bark, roots, leaves and berries, with the addition of mordants of alum, tin, copper and soon to achieve different shades.
But there are also now pre-mixed natural powder dyes in 48 beautiful colours, waiting to be blended. Mix water and powder, bring to a boil, add wool. No mordanting required.
I still do, however, think of Topsy at an important meeting, his arms blue to the elbow from an indigo dye vat.
In thinking about some of the finer gauge items for ladies and children - lovely spencers and caracoes and other such jackets that don't want to be of a woolly pully weight as with Fair Isle - a possibility crept into my mind: lace-weight yarn (such as we use for Shetland shawls) in Fair Isle patterns!
I suspected that the result would be an entirely different animal than regular Fair Isle, and I was right - it is very dainty.
But how to achieve our colours in a reasonable price-point for people (Rowan yarns having a nice range of lace-weight colours but not extensive and at $13 a hank, makes the finished products very spendy.) Well, clearly, taking an ivory yarn and dyeing it. Just as Morris did to achieve his soft colours back in the day. Going back to our roots here of concocting plant-based dyes.
There are two options for the wool, a washing wool with nylon added, and pure merino. The two will dye similarly, but the washing wool will survive normal laundering at a warm temperature.
As for the dyes, there is still the old option of bark, roots, leaves and berries, with the addition of mordants of alum, tin, copper and soon to achieve different shades.
But there are also now pre-mixed natural powder dyes in 48 beautiful colours, waiting to be blended. Mix water and powder, bring to a boil, add wool. No mordanting required.
I still do, however, think of Topsy at an important meeting, his arms blue to the elbow from an indigo dye vat.
25 November 2014
Artist's Tuesday- November
Locally, the first Tuesday of the month is free at all the museums in San Francisco. This is not the first Tuesday, but to inaugurate our Artist's Study Day, we went today to the Palace of the Legion of Honour to see the exhibit on Houghton Hall, built by Horace Walpole in the 1720s and handed down through the family to the present Marquess of Cholmondeley. It is one of the few stately homes in Britain still in use as a private home.
The highlights of the exhibit include the Salon
the Library
several paintings by Hogarth, among which
and the gorgeous Chinese bed furnishings (hangings, coverlet and back drape) in the Cabinet
to which I stood nose to nose to examine the stitching, which was every bit as lovely as can be imagined. (Alas, no flash photography was permitted.)
There was a special surprise in seeing Burne-Jones' The Briar Wood live and up close.
I do break the rules and get close enough to the paintings to examine the technique, but I never ever touch objects in museums, no matter how much I might wish.
Withal, it was a very inspiring day!
The highlights of the exhibit include the Salon
the Library
several paintings by Hogarth, among which
and the gorgeous Chinese bed furnishings (hangings, coverlet and back drape) in the Cabinet
There was a special surprise in seeing Burne-Jones' The Briar Wood live and up close.
I do break the rules and get close enough to the paintings to examine the technique, but I never ever touch objects in museums, no matter how much I might wish.
Withal, it was a very inspiring day!
02 November 2014
Commission Frock Coat- 12th Doctor Who
We are in the midst of making a toile for a commissioned 12th Doctor Who coat, for next year's ComiCon.
I was very pleased to find the perfect matches for the wool and lining
This is the pattern I am using, from Laughing Moon, Number 109, with some variations per the customer:
The changes are to the shoulder seam (he wants a modern one, rather than the period slanted one) and to the back vent (narrowed). For us it is a chance to have some fun doing men's tailoring at a couture level.
More photos upcoming as we move along in the process.
I was very pleased to find the perfect matches for the wool and lining
More photos upcoming as we move along in the process.
18 October 2014
Readying for Winter
At this time of year in the Northern Hemisphere, the weather can be changeable, with 'Indian Summer' - warm days and cold nights, hot one day and cold the next, snow, rain, or humidity all in one week in some areas. However, this is a perfect time to get one's house and wardrobe - and that of the family - ready for winter.
Mrs. Beeton, in her Book of Household Management says, 'In September and October it will be necessary to prepare for the cold weather, and get ready the winter clothing for the various members of the family. The white summer curtains will now be carefully put away, the fire-places, grates, and chimneys looked to, and the house put in a thorough state of repair.'
For our purposes, this is the time to rotate the linens, from summer cottons and coverlets to winter flannels and quilts. The former will want a wash, and the latter an airing, before being laid away in herbs to protect the beautiful starching from vermin, or to be laid upon the beds. Carefully examine the household linen, with a view to its being repaired, if necessary, before cleaning or airing.
Woolens likewise can be freshened, being well shaken and brushed, after being taken out of their pinning upon paper or linen, and camphor (to keep them from moths.) This is true for knitwear as well as cloth.
If your find that you are in need of knitwear or fashionable winter Artistic dress now is the time to make them, or seeing to having items made, so to be ready for the first really cold days.
Sprucing up a pair of boots:
A lovely quilted winter bonnet:
Stylish Knitwear:
Mrs. Beeton, in her Book of Household Management says, 'In September and October it will be necessary to prepare for the cold weather, and get ready the winter clothing for the various members of the family. The white summer curtains will now be carefully put away, the fire-places, grates, and chimneys looked to, and the house put in a thorough state of repair.'
For our purposes, this is the time to rotate the linens, from summer cottons and coverlets to winter flannels and quilts. The former will want a wash, and the latter an airing, before being laid away in herbs to protect the beautiful starching from vermin, or to be laid upon the beds. Carefully examine the household linen, with a view to its being repaired, if necessary, before cleaning or airing.
If your find that you are in need of knitwear or fashionable winter Artistic dress now is the time to make them, or seeing to having items made, so to be ready for the first really cold days.
Sprucing up a pair of boots:
Stylish Knitwear:
07 September 2014
Patterns and Pattern-Making
This is a very new thing for us, being used to the old method of sizing up patterns by the pivot and slide method, which is used in the pattern industry, and in which we were trained.
It may seem odd to be embracing new technology for such work, but even our dear Topsy had a jaquard loom for his designs, which enabled one man to do work which would have taken weeks in days; the loom was manually operated, thus did not violate the ethic of individual work.
Aside from enabling us to get to the fun work of making garments sooner, it also means that we can offer our lovely items as a line of sewing patterns for those interested in creating their own versions, with their own handmade embellishments.
Look in future for our patterns here and on Etsy!
29 August 2014
Handkerchiefs
One of our projects for the Harvest Fair is broderie perse handkerchiefs, with nice antique hemstitched edges and Venetian crochet lace.
Hemstitching in this manner is an old technique, using either pulled work or drawn thread work. It can be plain or fancy.
Broderie perse as a decorative technique arose with the importation in the 17th Cenutry of expensive India cottons to Europe and the American Colonies. It is a style of appliqué
embroidery which uses printed elements to create a scene on the
background fabric. Originally, it was worked with Chintz which has clearly defined, separated motifs, and was cut out and invisibly applied onto the ground fabric. The
typical intention was to create a scene from the motifs, but the
decoration could also be random. The resulting fabric was often made
into bedspreads, either unlined for summer or quilted for winter. They
were often used for special occasions, such as guest beds.
Handkerchiefs as tokens of affection and regard became very popular in the 16th Century, both on the Continent and in England. Italy was the center from which the highest quality embroideries and laces were sought, it also became the center from which the best handkerchiefs were sought. In the sixteenth century Venice needle lace became one of the most popular and sought-after trims, from across the Continent. Our handkerchiefs have crocheted Venetian lace trim.
A custom began in England where girls gave small handkerchiefs with tassels as a token of their love. These handkerchiefs were often only three or four inches in diameter, and decorated with tassels at the corners, in the French fashion. They cost anywhere from six to sixteen pence, and the girls who bought them would often embroider them with love knots and name; men who were given these tokens would wear them on their person, often tucked into their hatband.
Hemstitching in this manner is an old technique, using either pulled work or drawn thread work. It can be plain or fancy.
Handkerchiefs as tokens of affection and regard became very popular in the 16th Century, both on the Continent and in England. Italy was the center from which the highest quality embroideries and laces were sought, it also became the center from which the best handkerchiefs were sought. In the sixteenth century Venice needle lace became one of the most popular and sought-after trims, from across the Continent. Our handkerchiefs have crocheted Venetian lace trim.
-
27 August 2014
Harvest Fairs
We at Brother Rabbit are going the the San Mateo Harvest Arts & Crafts Fair in November, selling such small items as pincushions and handkerchieves, watch fobs, ribbon garters and hair jewellery, such as would have been purveyed at a traditional Hiring Fair in old days, when it was expected that one would bring a small oddment home for the children or one's sweetheart.
Hiring fairs were held twice a year, as the term of contracts ran six months; in the spring and in the autumn. Any sort of labour could be hired for: house servants, farm labourers, ostlers, drivers, even ladies' maids, if one was in need of such.
As today with Harvest festivals - in lieu of Samhain (Hallowe'en) - in addition to games and sweeties for the children, there was often a raucous party atmosphere at these gatherings, with free flowing drink, flirting and dancing, wrestling and contests of strength. Sometimes the outcomes were happy and sometimes a mixed blessing, as in the songs below:
I went down to the hiring fair for to sell my labour,
And I noticed a maid in the very next row and I hoped
She'd be my neighbour.
Imagine then my delight when the farmer picked us both.
I spoke not a word in the cart to the farm, but my
Heart beat in my throat.
- The Hiring Fair, Trad.
As I went out by Huntley town one evening for to fee
With Bogie O' Cairnie and with him I did agree
To mind his two best horses or cart or harrow or plow
Or anything about farmwork that I very well should know
With Bogie O' Cairnie and with him I did agree
To mind his two best horses or cart or harrow or plow
Or anything about farmwork that I very well should know
Old Bogie had a daughter, her name was Isabelle
She's the lily of the valley and the primrose of the dell
And when she went out walking she took me for her guide
Down by the burn of Cairnie for to watch the small fish glide
She's the lily of the valley and the primrose of the dell
And when she went out walking she took me for her guide
Down by the burn of Cairnie for to watch the small fish glide
- Bogie's Bonny Belle, Trad.
We shall merely be sitting a pretty booth with our gentle wares, and not engaging in any wresting or caber-tossing; 'twould spoil my frock....
24 August 2014
Compendium and classes!
For those of you who make your own items, you will be delighted as I was to find The Sharpe Compendium Shops - which lists shops that cater to the re-enactor, LARP, or cosplay communties. There are some familiar names among them, Wm. Booth, Draper, Nehelenia Patterns,
Smoke and Fire Company, Alter Years, Jas. Townsend and Son, Inc., The Staymaker ... It's a feast for the bluestocking in one!
For those of you who do not yet make your own items, but would wish to do so, we are offering courses in Historical Fine Hand-Sewing and Embroidery. The Handsewing Course is $150; the Embroidery Course is $300.
The Handsewing Course consists of Three PDF Lesson packages with materials (muslin, needles, thread) and instructions. The First Lesson consists of basic stitches (running, backstitch, whip, pin stitch) and seams (plain, felled, and whipped) and seam finishes, as well as historical commentary on the use of such methods
The Second Lesson involves the construction of pleats, ruffles, gauging and cartridge pleating, and tucks, as well as working with and finishing curved seams, French seams, and plain hemming. It concludes with historical commentary on the use of such methods, and study resources.
The Third Lesson progresses to fancy hems, faggoted seams, buttonholes of various sorts and the making of buttons. Period techniques such as simple needlelace, Dorset buttons, covered buttons and round buttons are included. Methods of attaching linings, piping and cording are an optional bonus.
Historical commentary on the use of such methods, and study resources accompany this final section.
Self tests are enclosed with the packets, and I am available to answer questions via email or the Workshops Page here.
At the end of the course, you can expect to have an artisan-level skill that, with practise, you can use for pleasure and profit.
By comparison, to get such a course from the Embroiderers' Guild, one would have to
* Be a Member - $60
* Pay for each Lesson - $150
* Purchase the materials - $20
The Embroidery Course consists of five PDF Lessons with materials (linen, hoop, needles, embroidery cotton, wool, beads and spangles) and instructions. The First Lesson consists of basic stitches (cross stitches, double running, algerian eye, Queen stitch, Irish stitch) as well as historical commentary on the use of such methods. It results in a working band sampler of the 17th Century mode for your future reference.
The Second Lesson progresses to surface stitches for both silk (or cotton) and wool (crewel). It includes advice on choosing colourways and methods of shading. It concludes with historical commentary on the use of such methods, and study resources. It results in a working spot sampler of the 17th Century mode for your future reference.
The Third Lesson encompasses whitework, including cutwork (reticella, broderie anglaise), drawn work, pulled work, Ayshire sprigging, casalguidi, and needlelace. It concludes with historical commentary on the use of such methods, and study resources. It results in working spot samplers of the 17th Century mode for your future reference.
The Fourth Lesson consists of quilting methods; flat quilting, patchwork, cording, trapunto, whole cloth and subdued crazy patch. Included is historical commentary on the use of such methods, and study resources. It results in quilt samples of the 18th and 19th Century modes for your future reference.
The Fifth Lesson has two options:
1) padded work ('stumpwork') and the use of gold, beads, and spangles. This was the piece de resistance of a young lady's 17th Century needlework education. Stitches used are surface embroidery, trapunto, needlelace, cutwork and pulled work. Historical commentary on the use of such methods and study resources are included. It results in a decorative piece which may be used in the traditional manner to cover a box lid, or framed.
2) painted surface embroidery picture. This was the pride of an early 19th Century young lady's needlework education. It consists of a memorial or sentimental scene, drawn with painted elements - such as the sky, with the details of the picture needle-painted with finely detailed and shaded surface stitching. Historical commentary on the use of such methods and study resources are included. It results in a decorative piece which may be framed and given as a gift, in the traditional manner.
Self tests are enclosed with the packets, and I am available to answer questions via email or the Workshops Page here.
At the end of the course, you can expect to have an artisan-level skill that, with practise, you can use for pleasure and profit.
By comparison, to get such a course from the Embroiderers' Guild, one would have to
* Be a Member - $60
* Pay for each Lesson - $250
* Purchase the materials - $100
For those of you who do not yet make your own items, but would wish to do so, we are offering courses in Historical Fine Hand-Sewing and Embroidery. The Handsewing Course is $150; the Embroidery Course is $300.
The Handsewing Course consists of Three PDF Lesson packages with materials (muslin, needles, thread) and instructions. The First Lesson consists of basic stitches (running, backstitch, whip, pin stitch) and seams (plain, felled, and whipped) and seam finishes, as well as historical commentary on the use of such methods
The Second Lesson involves the construction of pleats, ruffles, gauging and cartridge pleating, and tucks, as well as working with and finishing curved seams, French seams, and plain hemming. It concludes with historical commentary on the use of such methods, and study resources.
The Third Lesson progresses to fancy hems, faggoted seams, buttonholes of various sorts and the making of buttons. Period techniques such as simple needlelace, Dorset buttons, covered buttons and round buttons are included. Methods of attaching linings, piping and cording are an optional bonus.
Historical commentary on the use of such methods, and study resources accompany this final section.
Self tests are enclosed with the packets, and I am available to answer questions via email or the Workshops Page here.
At the end of the course, you can expect to have an artisan-level skill that, with practise, you can use for pleasure and profit.
By comparison, to get such a course from the Embroiderers' Guild, one would have to
* Be a Member - $60
* Pay for each Lesson - $150
* Purchase the materials - $20
The Embroidery Course consists of five PDF Lessons with materials (linen, hoop, needles, embroidery cotton, wool, beads and spangles) and instructions. The First Lesson consists of basic stitches (cross stitches, double running, algerian eye, Queen stitch, Irish stitch) as well as historical commentary on the use of such methods. It results in a working band sampler of the 17th Century mode for your future reference.
The Second Lesson progresses to surface stitches for both silk (or cotton) and wool (crewel). It includes advice on choosing colourways and methods of shading. It concludes with historical commentary on the use of such methods, and study resources. It results in a working spot sampler of the 17th Century mode for your future reference.
The Third Lesson encompasses whitework, including cutwork (reticella, broderie anglaise), drawn work, pulled work, Ayshire sprigging, casalguidi, and needlelace. It concludes with historical commentary on the use of such methods, and study resources. It results in working spot samplers of the 17th Century mode for your future reference.
The Fourth Lesson consists of quilting methods; flat quilting, patchwork, cording, trapunto, whole cloth and subdued crazy patch. Included is historical commentary on the use of such methods, and study resources. It results in quilt samples of the 18th and 19th Century modes for your future reference.
The Fifth Lesson has two options:
1) padded work ('stumpwork') and the use of gold, beads, and spangles. This was the piece de resistance of a young lady's 17th Century needlework education. Stitches used are surface embroidery, trapunto, needlelace, cutwork and pulled work. Historical commentary on the use of such methods and study resources are included. It results in a decorative piece which may be used in the traditional manner to cover a box lid, or framed.
2) painted surface embroidery picture. This was the pride of an early 19th Century young lady's needlework education. It consists of a memorial or sentimental scene, drawn with painted elements - such as the sky, with the details of the picture needle-painted with finely detailed and shaded surface stitching. Historical commentary on the use of such methods and study resources are included. It results in a decorative piece which may be framed and given as a gift, in the traditional manner.
Self tests are enclosed with the packets, and I am available to answer questions via email or the Workshops Page here.
At the end of the course, you can expect to have an artisan-level skill that, with practise, you can use for pleasure and profit.
By comparison, to get such a course from the Embroiderers' Guild, one would have to
* Be a Member - $60
* Pay for each Lesson - $250
* Purchase the materials - $100
11 July 2014
Lace
Making lace lengths today for dress trimmings, neckline and sleeves. Matching sets in ecru and tan.
Like these
Like these
09 July 2014
Welcome to the New Blog!
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