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e of an off hand comment that a friend said to me about it my paternal grandmother tried to comfort me by telling me about her attempts to get a tan artificially and just turning orange it still didn t help my family often visited hawaii when i was growing up and while i felt most normal among the majority non white population there i still covered my skin in hats and rash guards at the beach because i didn t want to get any darker than i already was i wanted to be white and i m going to be completely honest here there are still times where i wish i was especially when it comes to living history and historical clothing i m always surprised when people assume i m white especially in historical clothing but deep down inside a tiny part of me is relieved my love of history and historical clothing has always been with me even when i was little i loved the period pieces my grandpa showed me such as the king and i but i wanted to be anna not lady thiang or tuptim as i learned more about historical clothing and began to make things for myself and go to events the micro aggressions began trickling in a reenacting friend asked me if i had ever considered portraying a chinese woman during the civil war there were incredibly few if any chinese women in america during the civil war by the way and i shouldn t have to justify my existence to take part in a hobby when i joined the queen s court at the renaissance faire another courtier bemoaned they re the asians taking over i was one of three asians in the cast at the time i could list a dozen other examples but that s not really the point and also it s painful to relive them these instances related to historical clothing and living history are only a small part of the regular microaggressions that mixed race people encounter on a daily basis i have come to understand that most of the microaggressive comments and questions white people say to mixed race people come from a place of curiosity or admiration not quite the word i m looking for but i can t come up with anything better and not from malice undoubtedly the most common one is what are you and you know what really hurts about this question think about the last time you saw a really cool looking dog out for a walk you ask the owner if you can give the good boy or girl some pats and then you ask what kind of dog is it well asking what are you feels like you re asking me what kind of dog am i that i m a mutt a mongrel and you want to know what purebred dogs make up this unique mix it s not a compliment it s not a conversation starter you ve made me feel like an animal this analogy also works for another common comment i ve received that mixed race people have better genes than purebred people my own health issues aside it s also not a compliment neither is it comforting to be told that since so many americans have multiple european nationalities in their heritage that it s somehow the same as having mixed non white ethnic heritage and we re all one big melting pot it completely ignores the often painful experiences of mixed race people and the centuries of racism that have shaped this country perhaps what is most frustrating for me is the notion that the gift of being exotic or having a unique look that comes from being mixed race somehow erases or makes up for the pain and confusion that also come from being mixed race it all comes down to what has been termed othering that is making a person or group of people feel like they don t belong that they re alien that they re not one of us i m here to tell you that whether you re a little kid or a grown adult being othered hurts especially when you already have no idea where you belong i know my friends and family love me regardless of my racial background i know that my skills have value regardless of my racial background but i still have to endure the microaggressions stereotypes and flat out racism that come with my asian ness and what s more i don t have any connection to my asian culture again would that be chinese or japanese in which to find comfort or identity it s not uncommon for mixed race people even those who aren t partially white and instead are from different non white cultures to feel like they aren t fully accepted into the cultures that make them up white people will never see me as white and they shouldn t i m not white but i m not culturally asian either so how can i identify as asian there is so much more i could say about this but i ve already said a lot if you ve made it this far thank you for taking the time to read this i m not looking for compliments or to be told race and ethnicity shouldn t or don t matter and i should just love myself for who i am the reality is that in our society today those things do matter and they do affect our identity my sincerest hope is that you dear reader will have learned something and will in the future stop to consider your words before you say or write them just because i ve experienced hurtful and thoughtless words doesn t mean i am perfect and always say the right thing because i don t and i m human just like everyone else what we need more than ever right now is to listen to each other to affirm that what that person is feeling is valid and to promise and endeavor to be better in the future posted by samantha at 9 25 pm 76 comments email this blogthis share to x share to facebook share to pinterest tuesday december 3 2019 not a pilgrim c 1620 gown i have been wanting to make a new early 17th century gown for some time one that would demonstrate more of what i ve learned in the past few years i also wanted a posher gown than the one i had made previously i also had recently done research into the 1620 24 entries of the ferrar papers which provided documentation for women s gowns being worn in virginia with that in mind i began looking for black worsted wool which would be a solidly nice fabric for a woman of comfortable means but by no means wealthy worsteds being lightweight and smooth became increasingly popular from the middle of the 16th century for better garments black was a color that showed sobriety but also fashion sense obtaining a true black not blue black or natural sheep s black was an costly process compared to other colors like red shades from madder or blue shades from woad so black garments also showed the money invested in the material for trim i found a vintage wool lace that i dyed black the last thing to source was the black glass buttons actually manufactured for teddy bear eyes but made in a similar way to glass buttons from this period that is a wire shank inserted into the glass studying period images led me to choose a high bodied gown a term used in original sources most likely to denote a gown with a bodice made high up to the neck with a color as opposed to a low rounded neckline you can see my pinterest board of images by clicking on the picture two gowns of this style are in patterns of fashion but there is very little construction information given none of the newer publications on 17th century dress have anything like them either i decided to base the construction of the gown on the information in patterns of fashion on the woman s doublet and on doublets examined in seventeenth century men s dress patterns since tailors we re making women s gowns during this time i feel it s safe to assume that women s gowns would have been made using similar techniques the bodice is interlined with two layers of linen canvas and boned with synthetic whalebone while boning in pairs of bodies and the bodices and sleeves of gowns had been the preserve of the elite at the end of the 16th century it had begun to trickle down the social scale by the first quarter of the 17th century a 1611 ordinance for the city of london actually forbade maid servants from having whalebone in their clothing which encourages me to believe enough of them had done it for it to be considered a problem the problem of course being dressing in a manner considered inappropriate for their station and since this gown is for a woman who would have employed servants it seemed reasonable to have boning in the bodice i used a similar layout for the boning that is seen in the woman s doublet in patterns of fashion the outer layer of worsted was put together with the interlining i whipped the seam allowances down to keep everything neat the center front edges of the bodice are faced with black silk taffeta as are the cuffs of the sleeves the buttonholes are worked in silk buttonhole twist the tabs that make up the wings were each made separately consisting of the worsted wool folded over a piece of linen canvas and trimmed with the wool lace the tabs are mounted onto a single piece of taffeta and then the tabs are bar tacked together to further keep them in place next the lining goes in first i laid in the back lining and then the fronts were laid on top and the seam allowances felled down at the side backs and shoulders the lining was also felled down along the facings finally the black silk taffeta collar lining went in again using a felling stitch to bulk up the skirt pleats just a bit i put a strip of wool coating along the top edge if the skirt and folded over the excess fabric the skirt is gauged cartridge pleated to the finished waist edge of the bodice a crisp white linen ruff cuffs and coif finish the outfit along with a black fur felt hat blocked by my husband while this looks like the stereotypical garb of a thanksgiving pilgrim it s something that could have been worn by any englishwoman of moderate means regardless of religious leanings back in october i used this gown to do an historical witch photoshoot which was incredibly fun posted by samantha at 11 07 pm 14 comments email this blogthis share to x share to facebook share to pinterest saturday may 11 2019 a lady of the knights of the blended rose 1778 part 2 construction and thoughts now on to the actual making of the gown i started with putting the petticoat together which is something i usually do first with most of my projects these days not only is it usually the easiest part of an outfit but i ve accepted after many years of not doing this that it really is best to do fittings on the upper body over as many of the under layers as possible which includes all of the petticoats you will be wearing it just saves frustration and time because you know exactly where your waist is and how the petticoats and other layers affect the way the bodice will sit at the waist once the petticoat was made and trimmed in the pink silk with fine silver lace it was time to move on to the polonaise i have no problem admitting this style of gown intimidates me even though i made one last year for the museum of the american revolution i also took a polonaise jacket workshop from janea whitacre back in 2014 so i wasn t going in to this completely unprepared and since brooke welborn and kendra vancleave published their article on the true polonais e other costumers have made beautiful polonaise gowns but i was anxious about how this style would look on me and if i would absolutely hate it after putting all that work into it there are a few variations within the polonaise style so bear in mind that what i chose to do is not the only way to do things although every choice was made based on a period example the back of my polonaise is cut similarly to an english gown with a pleat on either side of the center back seam this was done on a beautiful polonaise in the glasgow museums collection glasgow museums i cut the back of the polonaise first and stitched the pleats on either side of the center back seam then i cut the fronts of the polonaise which flow from neckline to hem without a waistseam there is extra fabric at the side back that is pleated to provide fullness to the skirts and draw the polonaise closer to the body allowing the fronts to fall away from the center point i chose to make an attached waistcoat or under bodice that is stitched at the side back seams and the arms other options are a completely separate waistcoat or a stomacher but i liked that an attached waistcoat would mean fewer moving pieces and it would provide a more fitted look again i was really concerned about not liking how a looser gown would look on me the waistcoat fronts are lined but the fronts of the polonaise are not a look at the inside of the gown here you can see the wrong side of one of the polonaise fronts including the two pleats that run along either side back the attached waistcoat is to the right once the waistcoat fronts are whipped in the interior looks similar to an english gown because this style of gown doesn t have robings or a separate shoulder strap i treated the polonaise and waistcoat fronts as one and backstitched the sleeve in all the way around here are a few views of the gown with the skirts left down wow i need much better photo taking equipment the outfit got to make its debut at the colonial williamsbur garden party and eliza came dressed in her costume for the ladies of the knights of the burning mountain i was sewing up to the very last minute so i ran out of time to make the turban and veil the way i wanted to and in a way that would better represent what the descriptions say i also didn t get to spangle the stockings but i am very much looking forward to wearing this outfit again with all of the accessories fully finished what would i change after talking to brooke welborn about my polonaise and getting her advice i m going to put a diagonal tuck in the polonaise fronts which will be hidden behind the trim which will eliminate the folds you see in the front and help the fronts cut away from the center of the body a bit more i need to re set the bottom of the sleeves to eliminate some excess fullness and i want to see if i can do anything to make the cape lay more nicely and not wrinkle so much but i m also an incurable perfectionist i really did love wearing and making this outfit and hope to find another event to which i can wear it posted by samantha at 6 19 pm 30 comments email this blogthis share to x share to facebook share to pinterest friday may 10 2019 a lady of the knights of the blended rose 1778 part 1 research and design last september i had the opportunity to portray the daughter of a prominent philadelphia family peggy chew at the occupied philadelphia event organized by the museum of the american revolution also in philadelphia it was incredibly enjoyable to explore and share the experiences of such a young woman as her family was neither wholly loyalist nor wholly patriot rebel but instead walked a fine line that many wealthy established families did it s all too easy to want to divide the participants of the american revolution into either camp but the reality was much more ambiguous indeed the event centered around the mixed feelings of philadelphia residents and their new occupiers or liberators depending on who you asked peggy and three of her close friends ...
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