Hundreds of thousands of people all over the world are involved in reenacting and living history. They interpret the lifestyles of over 900 years and the clothing and activity thereof. The sensory perception of reliving another time adds a new perspective in social history. It is exciting to do, and done well, it is even more exciting to watch.
The historic site interpreter goes about his day's work dressed in the results of someone else's research, but reenactors are pretty much on their own. They conceive and produce garments and accessories, and develop their own persona. They also pay the bill. Most have acquired at least three sets of clothing, and some a great deal more. This is a major investment in time and cash.
The costume historian has the background knowledge to make sound judgments, the amateur often relies on what looks good by 20th century standards and aesthetics. Frequent mistakes are made in interpreting research. The 18th century must be approached with an 18th century mind set.
Before and during the bicentennial a lack of patterns and clothing information was frustrating, and the aberrations conceived by the commercial pattern companies are still here, twenty-one years later, haunting us at musters, parades and reenactments and in the dress of hostesses and docents in historic houses. It makes you wonder - Is There Life After Simplicity?
To understand and to portray the lives of people in another time, the reenactor learns many skills and disciplines. But the first impression is achieved through costume. Placement of seaming, shaping of pattern pieces and sewing techniques are very important. You cannot improve on the original methods. Side seams are generally toward the back rather than under the arm; the shoulder seam is also toward the back instead of on top of the shoulder. Top stitched seams, whipstitching, narrow hems and narrow seams are all correct and influence the look and wearability of the garment. There is sometimes a great difference in the appearance of hand and machine sewn clothing.
In her book "Dress in 18th Century England", Ann Buck selected "The Sharp Family's Musical Party on the Thames" to illustrate the variety of dress worn on the same occasion within one family among both the men and the women. The year is 1779 and among the women is seen a quilted petticoat, a young girl's dress of white sashed in pink, day dresses, a bodice worn over a zone, and two riding habits. Portraits and genre paintings are interpretive references as well as costuming references for the reenactor.
Original clothing too is an incredibly revealing source, but with a caveat to be sure to note possible style changes over the years. As we constantly refer to extant garments, we also seek original source information for availability of goods in a particular area. In the late 1700's Priscilla Abbot imported and sold a general assortment of European and India goods at her shop on Main Street in Salem, Massachusetts. Some of these are itemized and described and are quite different from their 20th century namesakes.
It is necessary to adopt some guidelines when deciding on wardrobe components. The reenactor must keep in mind role, class, occupation and location. What is extracted from diary sources, letters, newspapers, history, should be consistent for the lifestyle of the individual interpretation.
In taking a brief look at costume in all its phases, clothing, hairstyle, accessories, cosmetics, posture, activity, it is rewarding to see the results of ongoing research and "a love of the game". Unlike with theatrical costuming the reenactor cannot take advantage of the barrier zone afforded by the proscenium arch, each one meets the audience face to face, toe to toe.
The goal of the reenactor and historical interpreter is to convince others that they are talking to real, living men and women of the eighteenth century.
Arnold, Janet. Patterns of Fashion I .
Drama Book Specialists/Publishers, New York 1975.
Bradfield, Nancy. Costume in Detail. Plays, Inc., Boston,
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Buck, Anne. Dress In Eighteenth Century England. Holmes
& Meier, 1979.
Davenport, Milia. The Book of Costume. Crown Publishers,
1948.
Delorey, Barbara. Circle of the Rose. Compiled, 1995.
Montgomery, Florence. Textiles in America. W.W. Norton
& Co., Winterthur/Barra.
Ribeiro, Aileen. A Visual History of Costume The Eighteenth
Century. Drama Book Publishers, NY, 1986.
Rothstein, Natalie. A Lady of Fashion: Barbara Johnsons Album.
Thames & Hudson, 1987.
Waugh, Norah. The Cut of Women's Clothes. Theatre Arts
Books, New York, NY, 1978.
Waugh, Norah. The Cut of Men's Clothes. Theatre Arts
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