militaria - siw costumers · military uniforms have always held a special fascination for...

The Virtual Costumer Volume 9, Issue 2 -1- May 2011Copyright © 2011 Silicon Web Costumers’ Guild ISSN 2153-9022

The Virtual Costumerthe costuming magazine of the

Silicon Web Costumers’ GuildSilicon Web Costumers’ Guild

Militaria

http://www.siwcostumers.org/


http://creativecommons.org/licenses/by-nc-nd/3.0/

Table of ContentsSilicon Web Costumers' Guild

President’s Message 3From the Editor 3

Spotlight ReviewsDressed to Kill 5

A book on British naval uniforms also covers masculinity & fashionsFeature Articles

Military Costumes Inspired by Role Playing Games 6A fantasy and RPG illustrator discusses military costumes

King's Man 8Recreating Rohan armor with advice from a surprising source

Vorkosigan Militaria 16This eldest son's costume is inspired by book jacket illustrations

Japanese War Fans 20The Samurai were never far from a weapon with this accessory

Sullivan Ballou's Farewell 23Documenting the costume of a civil war wife from a photo

An Able Seaman 32A Titanic era naval seaman reports again for duty

WWII U.S. Army Officers' Uniforms 37Learn what a well-dress U.S. Army officer wore from the skin out

Event ReportsLadies & Gentlemen of the 1860's Conference 47

A visit to a conference on Civil War era clothing and societyVirtual Soapbox

Buttons: Small Markers of History and Fashion 50Button collecting is a fascinating way to literally touch history

Short SubjectsFull Metal Corset 52

The History Channel highlights women Civil War soldiersThe GreenShows Fashions 52

An eco-friendly fashion show features recycled materialsCostume Drawings by David Hunter Strother 52

Drawings by a famous Civil War era artist are available on-lineRoyal Military Uniforms 53

Royal pageants are a good place to study ceremonial uniformsParting Shot 53

A photo links two authors and their articles in this issueUpcoming

Calendar of Events 54

Ongoing Events 55

The Virtual Costumer (ISSN 2153-9022) is a publication of the Silicon Web Costumers’ Guild (SiW), a non-profit, volunteer-run chapter of the International Costumers' Guild (ICG)

Copyright © 2011 Silicon Web Costumers’ Guild. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License. Images, and

material related to novels, movies, exhibits, or otherwise owned by others, remain the property of their respective copyright holders.

* beside an author's name indicates a Silicon Web Costumers' Guild member


About the CoverThis 2005 image by J. Corey Butler, showing plastic toy soldiers of the

American Civil War, produced by A Call to Arms, Accurate, and Italieri, is from the Wikipedia “Toy Soldier” article.The image is in the public domain.

Dr. Butler, a Professor of Psychology at Southwest Minnesota State University, is a self-described “intermittent Wikipedian.” He has a number of Wikipedia articles to his credit, on various topics related to his area of study. He received the first Wikipedia Barnstar award for his contributions.


http://creativecommons.org/licenses/by-nc-nd/3.0/us/



http://en.wikipedia.org/wiki/Wikipedia:Barnstars

http://en.wikipedia.org/wiki/User:Jcbutler

http://en.wikipedia.org/wiki/Toy_soldier


Silicon Web Costumers' GuildSilicon Web StaffPresident: Richard ManVice-President: Kevin Roche Treasurer: Bruce MacDermottSecretary: Deb SalisburyWeb Site Editor: Kathe GustVirtual Costumer Editor Philip Gust

President’s MessageRichard Man*

As I step down as SiW President, we can celebrate many positive changes that have occurred in our chapter since 2006. Several of our members have been honored with the ICG Lifetime Achievement Award for their contributions to our craft, and many of our members have won numerous awards in regional and international costuming competitions. However, more important than the awards is our common interest in costuming that defines us as members of the SiliconWeb. We are all passionate about the craft in our own ways, and I hope it will continue to bring you much joy.

A recent major accomplishment for the ICG is the filing of the 501 (c)(3) umbrella non-profit status for participating chapters

and our members. SiW Treasurer Bruce MacDermott was instrumental in getting that done. I'd like to see this kind of positive change continue for our chapter and for the ICG.

In that light, I am also happy to see that our chapter magazine, The Virtual Costumer, has a good amount of contributions from sources outside of the chapter. The ICG is all about "big tent" and cooperation, and I'd like to think that ours is a model chapter in that sense.

My only regret in leading this organization is that we have not achieved a critical mass of members who get involved in serving the chapter: we "lost" a few prospective candidates because they are members of executive staff of the ICG and we have people that are already over-committed and cannot contribute in that capacity. Nevertheless, I hope that some of you will rise to the challenge and participate in the next election. We have good people in our group. Let's see if we can engage each other more.

And that is all I have to say. So long, and thanks for all the fish!

From the EditorPhilip Gust*

Before moving on the issue at hand, I'd like to

thank Richard Man for serving as President of SiW, and wish him well in whatever he takes on next.

What some of you may not realize is that Richard has been president twice. He first took office in June 2006, succeeding our first president, Dana MacDermott, and served until June 2008 when Aurora Celeste became president. At the end of Aurora's term in June 2009, Richard once again agreed to serve, and has remained president until now.

In Richard's very first “President's Message” (see VC volume 4 issue 3), he talked about SiW being a place where talented costumers gather, not because they have no local chapter, but because they find value in joining. During Richard's terms, SiW has gone from 40 members in 15 states to 67 members in 21 states. He also talked about members becoming involved in the chapter as volunteers. His final message to us in this issue is the same.

I've enjoyed working with Richard, and have looked forward to being the first one to read his column in each issue. Thanks, Richard, and good luck!


http://www.siwcostumers.org/vc_contents.html#v4_i3

mailto:[email protected]








Military uniforms have always held a special fascination for costumers. Whether the uniform is historical, or one from sci-fi or fantasy, costumers continue to study and recreate them. This issue is devoted to the theme of militaria and military themed uniforms.

There are so many countries and times, and so many genre of fiction, that no single issue can cover every aspect of the topic. However, this issue does provide a fascinating glimpse into a variety of military themed costumes and accessories that are of special interest to our authors.

Christofer Bertani offers a glimpse into British naval uniforms in the golden age between 1747 and 1857 in his review of a book on the subject, which also discusses masculinity and contemporary fashions.

He returns later in the issue to tell us how he recreated the military uniform of one of his favorite fantasy characters, Miles Vorkosigan, using only book jacket illustrations and the sparsest of descriptions provided by the author.

Next, well-known fantasy and game illustrator Larry Dixon continues his discussion on how the artist interprets literature by encouraging us to consider using illustrations from Role Playing Games (RPGs) like Dungeons and Dragons as a source of inspiration for many unusual military style costumes.

Kathe Gust provides a detailed narrative on how she recreated the Rohan

armor of King Theoden's lieutenant, Gamling from the Lord of the Rings movies, which she wore in the Costume-Con 26 sci-fi/fantasy masquerade. She also reveals how she received some expert advice from a surprising source.

I introduce a bit of Japanese militaria that I did not realize even existed until I attended the opening of the Hand Fan Museum recently, and learned from a fan collector there that the most secret weapon of a Samurai was his war fan.

Lisa Ashton provides a look at the clothing worn by Sarah Ballou, whose husband Sullivan's moving letter was immortalized in Ken Burns' documentary “The Civil War.” Lisa shares her extensive historical research and the reproduction of an outfit that Sara Ballou might have worn, which she exhibited in the Costume-Con 29 historical masquerade.

Lisa also offers an event report on a conference of 1860s Civil War era costumers that she attended recently near Gettysburg, Pennsylvania. Her first-person account will whet the appetite of Civil War era costuming enthusiasts to attend next year's event.

With a fascinating look back at what an able seaman wore in 1912, at the time of the Titanic, Kevin Roche describes the historic photo he discovered, and the subsequent research he did to create the period accurate reproduction that he exhibited in the Costume-Con 28 historical masquerade.

Byron Connell's article on what WWII US Army officers wore, from the skin out, provides a wealth of information and vintage photos that will enable historical costumers to create an authentic look, whether buying vintage pieces or creating reproductions form scratch.

Finally, historic button expert Sadie Jackman explains why costumers should take an interest in collecting vintage buttons, and why holding one is like holding a bit of history in the palm of your hand.

Here is a quick preview of what is upcoming in VC. The August 2011 issue will have the theme “East Meets West,” about Eastern influences on Western clothing, and how Western styles influenced Eastern clothing. The November 2011 issue will have the theme “Heroes and Villains.” As “clothes make the man,” they certainly also define the heros and villains of history, literature, and our own imaginations.

I'm pleased to announce that the February 2012 issue of VC will have the theme “Americana,” covering elements of costuming, accessories, and related culture that are quintessentially American, from native Americans, to iconic historical costumes, to classic and contemporary American clothing styles that will influence costumers in the years to come.

See the Upcoming Issues page of the SiW web site for details. Now is a great time to start writing for VC, and share what you know and love with your fellow costumers.

The Virtual Costumer Volume 9, Issue 2 -4- May 2011

http://www.siwcostumers.org/vc_upcoming-issue.html

Spotlight ReviewDressed to KillChristofer Bertani*

“Dressed to Kill:British Naval Uniform, Masculinity and

Contemporary Fashions 1748-1857” by Amy Miller. National Maritime Museum. ISBN: 978-0948065743.

In Dressed to Kill, Amy Miller, Curator of Decorative Arts and Material Culture at the National Maritime Museum, discusses the parallel evolution of men's clothing and the changing morality that

turned the Georgians into Victorians. Since this review is for a costuming publication, I'll write about the parts that apply to costuming.

Roughly half the book is given over to gorgeous color photographs of navaluniforms in the National Maritime Museum's collection. Most garments areshown front and back, and usually include a close-up of some detail, too. The garments

include both dress and undress coats, waistcoats, breeches, and even a couple of cloaks and a pair of stockings. Several epaulettes are shown close-up, including pictures of the undersides

showing the fastenings.

The "patterns" discussed in the Amazon.com description of this book areactually line drawings of a number of the garments lying flat, which are useful for seeing the true shapes of lapels, or some of the seam lines of the interior of the tails.

Along with the text are also a number of pictures of portraits and prints, good source material showing contemporary views of naval officers. I did notice a few

minor errors in the picture captions, usually where the rank of the uniform was wrong, but I would still highly recommend this book to anyone interested in naval uniforms, and particularly to costumers wanting to recreate one. The inside views of coat tails, and the disassembled sketch of Nelson's breeches have already answered a number of questions I was wondering about.

Christofer Bertani is interested in historical costume re-creation centered around the English Regency/Napoleonic era, particularly uniforms, with a sideline in SF costuming from written sources. An earlier version of this review appeared on the Regency Society of America community board. His article, “Vorkosigan Militaria,” also appears in this issue.


Detail: Things as they were. 1783 and Things as they are. 1823. Charles Joseph Hullmandel (artist) This detail Illustrates the effeminised dandy midshipman.

Dress waistcoat, captain with over three years seniority (1748)

http://regencysa.proboards.com/

http://regencysa.proboards.com/

http://www.amazon.com/Dressed-Kill-Masculinity-Contemporary-1748-1857/dp/0948065745/ref=sr_1_1?ie=UTF8&s=books&qid=1284308899&sr=8-1#reader_0948065745



FeatureMilitary Costumes Inspired by Role Playing GamesLarry Dixon

In an earlier article, a well-known artist described his work as a fantasy illustrator. Now he discusses military themed costumes inspired by illustrations for role-playing games (RPGs)

I've been working on RPG illustrations for a number of years, and I really enjoy the challenge of coming up with costumes for characters that fit in to all these worlds. Since many of these games are quests of one kind or another, it's not surprising that many of the illustrations I do include characters in armor and military themed costumes. The range and number of costumes I've done seems pretty incredible to me when I look back on them.

To give you just a taste of what RPG costumes are like, I'll talk about two illustrations I did for one called “Dungeons and Dragons” or D&D as most people refer to it. D&D is a fantasy RPG originally published in 1974 that was designed by Gary Gygax and Dave Anderson. It's the

grand-daddy of all RPGs, and the franchise has just kept going ever since.

Each player takes on a specific character, and the characters embark on imaginary adventures within a fantasy setting. A Dungeon Master serves as the game's referee and storyteller, while maintaining the setting in which the adventures occur.

A hallmark of D&D is the rule books and magazines. Things started out with just a simple rule book, but a whole range of publications has grown up around the game. Full-length articles often appear now, with detailed

illustrations of characters and story settings. The two illustrations I'll talk about come from these.

The first illustration is called “The 4 Paladins.” It's a digital painting that I did for an article in D&D v. 3.5, featuring four new prestige classes. I really had a good time with the detail work in this one.

When I thought about the types of costumes for this story, I wanted to have a different style for each species that appears in the illustration. I also didn't want it to look like it was lifted directly from a Medieval museum, or from Lord of the Rings for that matter, so I mixed it up a lot.

The Virtual Costumer Volume 8, Issue 2 -6- May 2010Copyright © 2010 Silicon Web Costumers' Guild ISSN 2153-9022

“The 4 Paladins” digital image created for D&D v. 3.5.

Detail of the armored characters from "The 4 Paladins".



One of the characters, for example, had more heavy plate, but with a lacquer finish that you'd never find on the real thing. Another had lots and lots of overlapping plates. I tried to think about the characters as real people in a real world, and kept it to where you could see their stuff in a fight, rather than being dress armor. It's very articulated.

There's an interesting story about this one. Dragon magazine paid me for a two-page, center spread feature they were going to do, and then they never used it. A game designer friend of mine back then even offered to write them an article to match it. Then the magazine went away. As far as I know, they still have the rights to use it. I'm happy to have the chance to share it now.

The second illustration is a very different kind of warrior that I did for the D&D Epic Level Handbook, of the character Soveliss the Ranger at 20+ level. It always feels like a privilege to paint one of the D&D Archetype characters.

This is one of maybe four depictions of a happy character in the entire core rule book set. Everybody else is intense and dark, and Soveliss is like, “Hi, I have a bow!”

Since this is an Epic Level, I figured that by this point, the only thing someone is going to care about is their magic items.

They will be getting into so much on a daily basis, that nothing they have will last. That's why I went with something incredibly simple, the D&D equivalent of blue jeans and a t-shirt. When you have ioun stones, and rings of protection, and boots of flying, why bother with anything fancy that's just

going to be sucked up into the next drek pit you're dropped into by your Game Master?

So that's it, two very different visions of characters that appear in RPGs. The first is a more traditional band of armored fighters, while the other is a lone warrior who travels light and fends for himself. I've enjoyed sharing two of my favorite RPG illustrations with you.

Now, let me encourage you to explore the amazing world of RPGs. Even if you aren't into playing games like D&D, you just might get your next costume idea from the wide range of military style costume illustrations, from a whole new generation of talented young artists, that appear in today's RPG rule books and magazines.

Larry Dixon has been an uncredited co-plotter or co-writer for many popular properties, bringing jovial and energetic approaches to collaborations. His cover- credited novels include the ever-popular Gryphon series, the Winds, Storms, SERRAted Edge, and Owl books with the mighty Mercedes (Misty) Lackey. Born to Run has been hailed as a "romp with a conscience," and The Black Gryphon has been critically referred to as "A modern classic," and is in its nineteenth printing. Larry is a sports car enthusiast, a storm spotter and a volunteer firefighter He can often be found rushing to the scene of any disaster where people need help. He married fantasy author Mercedes Lackey in 1992.


Soveliss the Ranger from the D&D Epic Level Handbook.

FeatureKing's ManKathe Gust*

A Passion for “The Lord of the Rings” and a

chance meeting with Bruce Hopkins lead to the re-creation of a famous Rohan warrior.

Re-creating two sets of Rohirric armor from Peter Jackson’s Lord of the Rings: The Two Towers was a five-month effort, nights and weekends included. While my husband and I were not the first to try and replicate some of the armor from that film, we did choose two of the more complicated outfits.

We already had several costumes copied from those in the films, and in particular some court costumes from Rohan.

I suppose it was only natural for a guy who revels in the nickname “Phil-o-den” to lust after Theoden's battle armor. It was also natural for me to tell him that the King of Rohan really should have a sidekick instead of a niece. I bought a mustache and beard.

I have been fortunate enough meet Bruce Hopkins, who portrayed Theoden's lieutenant “Gamling” in the films, on several occasions. When he learned that we were making the armor and I was going to try and fill his shoes, he was gracious enough to tell me some of the major themes he bears in mind, and what emotions colored his portrayal, when he was on the set. I guess


Kathe with Tolkien's grandson Royd (left) and actor Bruce Hopkins, who portrayed “Gamling” (right)

Kathe channels Bruce Hopkins at the One Ring Celebration in 2006. Photo by Matt Beals.

Bruce Hopkins as "Gamling". Photo from New Line Cinema.

Editors NoteKathe Gust received the Best in Show

Workmanship award together with her husband Philip as King Theoden in the Costume-Con 26 Sci-Fi / Fantasy Masquerade.



his coaching must have worked. The first time I wore the armor on stage at the One Ring Celebration 2006 in Pasadena, several people later told me they thought I really was Bruce, making one of his usual unannounced special appearances.

I don’t propose to discuss Theoden’s armor in this article; it had some rather complicated sections, but many of the techniques used for Gamling are the same for both. I also don’t plan to discuss the creation of the cloth undergarments or cloaks either, except to say that finding a photo of what Gamling wore under his armor was tough. Bruce came through again with a photo on his web site showing Gamling without his armor in two scenes cut from the film.

From a discussion with Daniel Falconer, a Weta designer who worked on the armor, we discovered that the film armor is rather heavy. It doesn’t weigh as much as metal armor, but must be substantial enough to hold up under film abuse. We thought we

would try to go as lightweight as possible with ours, since we did not plan to actually fight in it.

I knew that Weta used PVC pipe for their chain mail, so we decided to look at using some type of plastic for the armor plates. We finally selected black ABS sheet plastic for all parts of the armor that would normally have been made of metal.

Scale ConstructionScale sizes were estimated by making a

paper mock-up of Theoden's mail skirt. Gamling's scales were then estimated to be near the same size based on counting the scales in the costume and comparing to the Theoden mock-up.

The basic scalloped shape of the scales is cut in long strips from the plastic. I used a pair of Cutco brand kitchen shears (they can cut through a penny!). Wear gloves to pad your hand, and don’t do them all at once. When your hand starts to go numb, you have been at it too long! Holes were punched along the top edge of the strip with a GBC

comb binder punch. The scale strips are then painted on the glossy side of the plastic with Krylon hammered metal paint. We used silver. Do not paint on the textured side of the plastic, as the texturing will defeat the hammered appearance of the paint. When the silver dries, break your heart by grubbing up the nice shiny scales. Dry-brush with black and/or rust paint so they look used.

When dry, the scales were bent on the edge of the kitchen counter by hand. After


Image cut from "Two Towers" showing Gamling's undertunic. Photo from New Line Cinema.

http://brucehopkins.co.nz/photos/lotr.html

that, they are partially cut through and again you must pace yourself. Too much heavy cutting can lead to nerve irritation in your hands.

Leave about 1/4 inch at the top that is not cut. This was cut through after the scales were sewn on to the base garment made of denim. The scale strips were stitched by hand onto the prepared base, and clipped through wherever needed for ease of motion. I finally wound up clipping all the scales, but it was easier to sew them on as strips than as single pieces.

HauberkThe hauberk is a hand-sewn garment of

plastic scales over denim. It also has an

embossed leather yoke that attaches to the basic denim garment with 8 Chicago screws. There are grommets in the base garment where the screws pass through it, and there are brass washers to reinforce both the leather and the denim garment so the heads will not pull through. An additional set of 4 rivets were added to the design to keep the leather aligned to the neckline opening of the inner denim layer. The rivets and Chicago screws I used on both sets of armor have a Sunstar of Rohan design and are a discontinued pattern from Tandy leather.

The mail coats in the film open up the back like hospital gowns. The attached cloaks of the royal guards hide this opening, but that would not actually be practical for a fighter. I elected to make my coat open only at the neck. It has slits for and aft for riding (and sitting). It pulls on and off like a chain mail hauberk.

Pauldrons, etc.To see the actual process of figuring

out the basic construction of a pauldron I suggest reading the tutorial at The Jedi Elf Queen's web site. Those we made are a slightly different shape, but her method is how we derived them.

After testing our models in poster board, I cut the final pattern in ABS plastic and used gloves and clamps of various kinds to bend the pieces into shape over the burner of the electric stove. Gloves are a MUST. The plastic has a very limited range of workability. It gets soft fast and hardens fast also, but can be re-softened more than once. When the curves are correct, glue them in place with ABS glue. Do not be stingy with it. You want the bond to be strong.

All rough places are smoothed with the grinding wheel of a Dremel tool and then the whole is painted. Again, the painting is on the smooth side, not the textured one. Bear


http://www.jedielfqueen.com/lotr/costumes/eomer/pauldrons.htm

this in mind as you bend and glue. Keep the glossy side out. It is probably also wise to mention here that you can make a positive impact on the final appearance of the pauldrons by trying to insure that the overlapping "seams" where you glue fall as much as possible beneath areas that will be covered later by trim.

Final Assembly Glue in the lining. My lining is maroon

vinyl stripped of its fiber backing and glued to the textured side of each piece. The trim consists of latigo leather cut outs in various horse motifs (which are hand embossed). Brown vinyl piping, which I made, goes around the edge of each piece.

Everything is glued on with contact cement. This seems to be variable in the strength of its bond. You may want to experiment with other adhesives. We began to re-glue pieces of trim with E-6000 (very toxic stuff) as they fall off, based on recommendations from other armor builders.

The last step is to attach the hand embossed straps that hold the pauldrons closed under the arms, and attach them to the mail coat. Matching antiqued brass sandal buckles are riveted to the armor. Another section later gives further details about the leatherworking.

The greaves and vambraces for the armor followed much the same process as the pauldrons, so I will not detail it again here. The main difference is how the bent shape is achieved. These pieces were tightly wrapped around appropriately sized mailing tubes. Then heavily wrapped with 4-6 layers of newspaper held in place with rubber bands. Bake in a 250 degree oven for 15 minutes and let cool. This process does not smell much either, so while I don’t suggest

you stand around and inhale the possible fumes, you will not make your home uninhabitable or your oven unusable. Best done in warm weather with the windows open for safety.

GorgetGamling has a very beautiful and

elaborate gorget of silver and gold. The pattern was worked out after hours of staring at photos by our metal embossing specialist, and consists of the ever-present horse head motifs and botanical designs, with the addition of triskelions like those on the leather yoke.

The gorget is constructed on a base of 6 pieces of ABS plastic. The pattern was embossed on appropriately colored


Gorget front (left) and back (right) with embossed Rohirric designs.

Pauldron front (left) and back (right) with straps.

embossing metals by hand. Embossing metals are very thin soft metal sheets, or heavy foils, which can have designs traced into them with a stylus or other tools, and will retain the shape of the designs. These were glued to the plastic sections and the ABS sections then glued to each other. The edges of the various sections were trimmed with cromed ball chain and airplane cable. Embossed leather straps and buckles were added to each side.

This photo shows Gamling's finished gear, with part of the scale mail coat at the bottom of the photo.

LeatherworkAt this point I want to devote some

space to the leather and metalworking. Before taking on this project we had never done metal embossing, ABS plastic construction or leatherworking. We were very fortunate to find kind and experienced people who took an interest in what we were doing and gave us excellent advice. If you are embossing leather, you must use either latigo or vegetable tanned leather. If you use commercial dyed upholstery leather, the embossing may not last. Vegetable tanned leather accepts both dyes and special paints if you need a specific color.

Gamling's belt was my first assignment. The belt is embossed vegetable tanned leather. The design was taken from photos of the Rohan royal guard belts on display at various events. It was embossed into dampened leather with a small ball-headed stylus. The vegetable tanned leather was sewn by hand onto a latigo leather base, which was also embossed, then trimmed and punched after the scale mail coat had been completed, to insure

correct placement of the fastening holes. I needed to be sure the belt would be long enough to go over both the mail coat and the

padded belt I wear around my waist to make my figure more cylindrical.

The design on the belt is colored with a brown fabric dye pen. This is like a felt marker. The pen gave me much better control of where the color went on the leather than a brush would have done. The edges of the belt leather were burnished (I used a scrap of the leftover silk from the shirt) and the latigo parts of the belt were dyed on the edges.

The belt buckles are just regular antique brass, but the clip that holds the two rings together had to be constructed. This is made from a section of brass colored door threshold metal that has had an inlay of embossing copper folded into it.


The whole thing is held in place with a rather cunning brass screw that I found in the scrap bin in the garage. The most difficult pieces to locate were the big rings for the scabbard to hang from. It turned out they are a part of horse tack (what else!) called collar rings.

The majority of the leatherworking on the project consisted of cutting, embossing, and edge dying the many, many pieces of leather trim on both sets of armor. We purchased latigo leather hides for this, trying to get them as thin and flexible as possible.

Many of the patterns appear at first glance to be the same, but they are actually different variations, and sizes (the Rohirric horse head, for example). It was rare to discover that a particular pattern could be reused in the same size for more than one location. Luckily all the straps are similar and could be made in long sections.

ScabbardSince there is no replica sword for the

Gamling character, I use a sword made for Eowyn with that costume. It didn’t come with a scabbard.

To make a scabbard the sword is placed on a large sheet of stiff paper and traced. The tracing is taped to the blade and any extra additions to the scabbard are added to make it fit the shape of the hilt.

The scabbard is sized up by adding at least 1/4 inch to all the edges that will cover the blade, but not to any of the other parts of the scabbard blank. The final blank is cut from ABS plastic.

Tape the two sections with fiber reinforced tape around the sword and check the fit. It will be tight! You may want to leave the very top un-taped at this stage

so you can get the sword back out.

Pull out the sword, add some more tape so that all the edges are covered by at least one layer and push a good sized dowel into the scabbard in place of the sword. You can hand bend the plastic by pushing against the dowel. This will make the scabbard loose enough to pull and replace the sword. Keep at it until it works properly.


Cut out two pieces of covering material. I used vinyl. One piece should be large enough to wrap around the edges of the scabbard and overhang the far side. The other should be slightly smaller than the size of the original paper pattern.

Fold up the edges of the first section around the scabbard smoothly and glue them into place with contact cement, smoothing them over the edges and up onto the top side. Let dry thoroughly and check for attachment.

The other section of the cover is centered on the scabbard and glued down covering the raw edges of the first section, but it does not extend out to the edge of the scabbard. That would make it subject to

snagging and being pulled off. Leave it about 1/4 inch from the edge all around. I wear this part of the scabbard against my body, and the other side toward the viewer.

The final addition to the scabbard is the chape (metal tip) and other hardware. The Chape (above) was made of heavy embossed brass, folded into the shape of the tip of the scabbard and attached with contact cement.

For the other hardware, I traced the original hardware designs on paper adjusting them to fit the scabbard by wrapping around the underside and extending far enough beyond the scabbard to allow for the insertion of metal rings for attaching the scabbard to my belt. The design was built up in layers of ABS. I bent the bottommost layer by hand to fit around the scabbard and punched the holes for the chain. I then flattened it out again, built up the layers of additional design, and sprayed it all with metallic paint. When it was dry I completed the assembly.

HelmGamling’s helm is standard royal guard

issue, and is built over a base made from a used batting helmet which had the entire


Helm parts: modified and painted batting helmet, cheek plates, and various embossed metal parts.

brim removed. The protective chain mail for the neck was woven of aluminum rings given to me by a friend who had some left over from a previous project. It attaches to the edge of the helmet through holes bored in the back edge.

The cheekplates and eyeguard are ABS with an overlay of embossing metal in the appropriate colors and design. The other metal inlay trims are also embossing metal attached to the painted batting helmet in the appropriate patterns.

The crest, above at right, was created by making a sandwich from laminated balsa with ABS layers on the outside. It was then covered in embossed brass, and painted in the recessed areas.

A black horsetail plume for the crest was purchased on e-bay. They sell them for horse shows, to braid into the horse’s regular tail and make it look fuller. Since the batting helmet is not as oval in height as the helm in the film, the crest was adjusted slightly to create a greater impression of height on the finished helm. The crest is attached using a bolt that goes through the top of the helmet from the inside and screws into a molly in the bottom of the crest.

The finished helm with the crest in place, together with all the other elements is shown below at left.

Starting on any project of this magnitude has to be a labor of love. If you don't want it badly enough, you'll end up hating it before you're done. In this case, it definitely was something I wanted to do.

I had assistance from instructors at Tandy Leather, from others who had made Rohan armor before me, from armor web sites. I also had encouragement from several people who worked on the film. Their enthusiasm went a long way toward keeping me invested in the project when things began to look grim. As a result I've worn the armor at least a half a dozen times, and continue to enjoy portraying Gamling, the King's Man.

Kathe Gust enjoys creating clothing for many historical periods, and for various sci-fi and fantasy genre. Visit her web site to read articles and see photos for some of her costuming projects.


Test fitting parts to the modified and painted helmet. Bag of chain mail links to right of helm.

http://celefinniel.webhop.net/

FeatureVorkosigan MilitariaChristofer Bertani*

A historical costumer with an interest in sci-fi literature tackles the uniform of a book character by an author who is notorious for her lack of costume descriptions.

Science-Fiction author Lois McMaster Bujold has been the bane of costumers. She writes fantastic books set in amazing worlds, but until recently, was very vague about what the people in her books wore.

I have for a long time been an avid fan of her Miles Vorkosigan books. Besides being excellent stories, her protagonist is short, and as I'm only 5'4", a character close to my size, let alone a hero, is rare. Miles Vorkosigan is the eldest son of a nobleman of the planet Barrayar, a planet that until a couple of generations ago had been isolated for centuries, and had during that time regressed into "barbarism", at least relative

to the rest of humanity. The original colonists were of Russian, Greek, French, and British extraction. Each of the noble houses, the Counts, has a distinctive livery in a particular set of colors.

Sometime in 2001 or early 2002, I decided I wanted to make a suit of Vorkosigan House livery. I'd previously done a Barrayaran uniform: the undress greens that Miles wore during his military career, and a less successful attempt at a Miles-esque grey civilian suit appropriate for Miles to wear in his later career as Imperial Auditor, so I was clearly going to need to make Miles' house livery: the suit for the eldest son of the Count Vorkosigan.

While the Vorkosigan house livery is mentioned many times in the books, the actual description in the text can be reduced to this: the uniform is brown and silver; it is the same uniform for family and retainers, differing only in the quantity of decoration; the collar and sleeves bear the Vorkosigan badge; it is worn with brown riding boots.

Since the heir's house livery is one of several uniforms on a spectrum from the count to the lowliest retainer, I needed to figure out (roughly) what the other uniforms would look like. Miles, as the heir, wears the penultimately decorated uniform; only the Count's would be fancier. Also, there would probably be another uniform for younger


Editors NoteIllustrator Larry Dixon discussed working

with Lois McMaster Bujold, and how he got her to describe Miles Vorkosigan, in the February 2011 issue (“Costuming by the Book: The Fantasy Writers' Perspective”, VC Vol 9 Issue 1, see page 45)




sons, and of course, for several grades of retainer.

To design the uniform, I turned to history, because the Vor were traditionally cavalrymen with a very old-world feel (In my mind Vorbarr Sultana, the capital city, looks like something out of the Austro-Hungarian Empire of a century ago) and also because hussar regiments had egregious braiding raised to a high art form.

After perusing pictures of World War I German uniforms (particularly kaisersbunker.com and derrittmeister.com; both include detailed close-ups, often of the lining and such details) as well as books such as the British Army Dress Regulations of the Army, 1900.

I decided on a tunic with a high collar, that closed up the front with hooks and eyes (so I could run braid down the front, like a WWI German koller tunic, worn by a branch of the cavalry), and riding breeches of a sort of rounded Cossack shape, rather than the more angular German breeches to give it a more Russian appearance. The hook-and-eye closure also let me dispense with buttons, something I wanted to do to give the uniform a little bit more of a science-fiction feel.

The suit is made of suit-weight wool, lightly interfaced with hair cloth, and lined in silk of a matching brown shade. Flat, half-inch wide silver braid was used for the main parts of the braiding, which was itself decorated with quarter-inch soutache cord (russia braid).

The epaulettes and aiguillette are formerly of the East German Volksarmee, which went out of business in 1991 and sold off their entire supply at very low prices. Unfortunately, as the supply has dried up, it has become harder to find things like this, and the prices have also gone up. It would have been a lot more expensive to make this costume today than it was ten years ago. The epaulettes were originally for a major of the transport services. They were carefully taken apart and the blue felt backing replaced by the same brown wool as I used for the suit.

The uniform heavily features the Vorkosigan badge, and I wanted to integrate


Front of coat.

The breeches button at the cuffs to fit in the boots. The rounded Cossack-style shape is clearly seen.

http://www.derrittmeister.com/

http://www.kaisersbunker.com/

the badge (three mountains, a maple leaf) into the uniform, rather than have it represented by patches sewn on at the last step, as they would be had I embroidered separate badges. The back of the jacket features the Vorkosigan maple leaf motif in a very hussar-style decoration, with the curved braiding following the seams on the back.

Inspiration here came from the Dress Regulations of the Army, 1900, as all twelve British hussar regiments had different variations of this same style. Each section of curved braid has a maple leaf outlined in soutache cord at the top, part of the

Vorkosigan insignia. These two, plus the two identical maple leaves on the sleeves of the jacket, were the most difficult part of the decoration to execute.

Each leaf has nineteen sharp angles that the cord has to fit, and needed to be sewn down by hand. The system that finally worked for me was to first chalk the outline of the leaf on the fabric, using a paper template to get all four leaves identical. I then had to mark the outline with thread, as

the original chalk didn't survive the handling of the fabric while the braid was being sewed down.

Next, I placed the soutache cord on the fabric, pinning it down through the fabric onto a cardboard backing. This used most of the pins in our house. (Each curve, no matter how short, required at least a pin at each end and one half way along the arc.) With a curved upholstery needle, and more high-contrast (pink) thread, I basted the soutache cord to the fabric, removing the pins as I went, and trying to poke my fingers on the pins as seldom as possible.

Finally I was able to remove the fabric from the cardboard, letting me hand sew the soutache to the fabric using the final silver thread.

After the body of the coat was assembled, I decided it did not have nearly enough silver braid on it! I looked for blank spaces on the front, and added more braid. I outlined the pocket openings with soutache cord. The hardest part here was hiding the ends of the cord.


The maple leaves on the back are marked out in chalk and basting stitches.

The maple leaves on the back are basted in place with high-contrast thread.

Detail of the braid at the pockets.

Back of coat.

I also needed some more decoration in the upper chest area, where Cossack coats have loops to hold rifle cartridges. This also gave the uniform more of a Russian look.

The sleeves were heavily braided too. If I ever were to redo this costume, I would add two smaller points on either side of the main point on the wide silver braid on the sleeve - to echo the three mountains of the Vorkosigan badge.

The braiding I designed would be for the oldest Vorkosigan son, of course. Count Vorkosigan should have something even fancier; I would probably add another row of braid, or put the second row in a zig-zag

pattern (as in the insignia of Polish generals). For younger sons, just one row of wide braid, and for retainers varying rows of soutache cord.

The collar has a very stylized three mountains on it, made from the wide silver braid. I experimented with a number different ideas here, but this one seemed to read the best. It was also one of the last things that got done, when time started to become pressing.

There was not enough space to fit a maple leaf on the collar. I eventually found a pair of silver maple leaf pinback earrings, that I intended to add to the collar, but they don't match the integrated look of the rest of the uniform, so they remain unused.

There are two outside and four inside pockets on the jacket. Unfortunately, doing up the hooks and eyes is so troublesome that the inside pockets are nearly useless. Finally, I was never able to find the right riding boots so I have always worn the livery with black boots. The perfect boots, in my mind, would be World War I style English officer's boots, the kind with laces at the ankle, only in chocolate brown.

There are enough details to give it the Russian-influenced look that I was striving for, and the complexity and symmetry of the decoration forced me to learn or invent a number of new techniques. Overall though, I am very pleased with how the uniform turned out. Despite being based on a very minimal description, it has proved easily recognizable by a variety of science fiction fans.

Although I will probably not be doing any more costumes from the Vorkosigan universe, this project has made me consider other from-the-book costumes. Particularly, given my interest in the English Regency/Napoleonic Wars period, I have been taking note of costuming details while reading Naomi Novik's Temeraire series.

Christofer Bertani is interested in historical costume re-creation centered around the English Regency/Napoleonic era, particularly uniforms, with a sideline in SF costuming from written sources. His review of a book on military costumes appears in this issue


Detail of the Cossack-style cartridge loops on the upper chest.

Detail of the sleeve braid, the soutache cord forms a maple leaf and outlines the wider braid.

Detail of the collar. The wide braid forms three stylized mountains. The loop in the soutache cord at the front serves to conceal the end of the cord.

FeatureJapanese War FansPhilip Gust*

A little-known weapon of the Japanese Samurai provides many opportunities for historical, as well as, anime costumers.

Samurai were skilled in the use of a range of weapons, including bows and arrows, knives, spears and guns. Their most famous weapon, and the symbol that represented the honor of the Samurai, was the sword. The word “Samurai” finds its root in “samorau” (or “saburau”), a verb in Japanese that means "to serve".

These traditional weapons have become so associated with the Samurai, thanks to countless romantic representations in movies and literature, that most people would be surprised to learn of another weapon that was equally indispensable to them: the war fan.

I first learned about this surprising accessory while attending an event put on by the Fan Association of North America (FANA) at the Hand Fan Museum in Healdsburg California last year (see VC volume 8 issue 4 (2010), pp 46-48). I already knew that the fan was an indispensable accessory in Japanese culture,

but I had not appreciated just how pervasive it was.

For those who are planning on creating costumes based on the Samurai warrior, or even for those involved in Anime costuming, a war fan not only adds a note of authenticity, but also provides an opportunity to incorporate one in interesting ways into

your presentation.

The purpose of this article is to provide an introduction to the types and uses of Japanese war fans that can serve as a launching point for your own costume research.

The Fans of WarThe fan was customarily carried in the

hand or tucked in the obi (belt), especially in ceremonial dress. The folding fan also

played a significant role in Japanese etiquette, especially on formal occasions, and was rarely ever out of a samurai's possession.

Given the prevalence of fans in Japanese society and their use for ceremonial communications, it's not surprising to learn that fans were also used as signaling devices on the battle field. The use of sound to signal in battle has always been unreliable. Horns and drums carry a certain distance, but their sound can be blocked or misdirected by physical obstacles. Colorfully painted fans, on the other hand, can be seen at great distances wherever there is a direct line of site, and their messages can be relayed from one signaler to another to cover greater distances. Three primary types of war fans were employed for different purposes.

Gunbei-uchiwa. The earliest type of war fan adapted the ceremonial fan for use on the battlefield as both as a signaling device and as a defensive weapon. The Gunbei-uchiwa was a large, open fan made of solid iron, metal with a wooden core, or solid wood. They were usually carried by high-ranking officers to signal their troops on the battlefield. The gunbei can also be used defensively. Because they were made of hard materials, the solid construction could deflect, or ward off, arrows or sword blows.


Samurai general in armor with Dansen uchiwa (war fan).





Gunbei were difficult to carry because they were rigid and often made of heavier materials, so there were fewer choices about where they could be hung without interfering with the use of other weapons.

Gunsen. Another type of war fan was an improvement over the gunbei in terms of portability and utility. The gunsen, or folding war fan, was made of wood, bronze, brass or a similar metal for the inner spokes, and often used thin iron or other metals for the outer spokes or cover, making them lightweight but strong.

Gunsen were frequently carried by Bushi in armor and used as a weapon of both attack and defense. They were hung from a variety of places, including the belt or breastplate, though such placement often made it more difficult to use a sword or a bow.

As a signaling device, the gunsen served the same role as the gunbei. They were often highly decorated to make them more visible, and because they were not solid and could fold, they could also be made in larger sizes to make them more visible.

As a defensive weapon, the gunsen could also be used to deflect arrows or sword blows using the the metal outer spokes in a folded configuration. The construction made the fan solid without incurring the weight of the solid gunbei.

The gunsen could also be used offensively as a striking weapon. Due to the more solid construction of the spokes, a folded Gunsen could be used at close quarters, when other weapons were not available, to inflict serious injury to unprotected areas of an opponent.

Tessen. A third type of fan succeeded both the gunbei and the gunsen on the battle field. The tessen, literally "iron fan," was a

folding fan with metal ribs. They were designed to look like normal, harmless folding fans, which Samurai could take to places where swords or other overt weapons were not allowed. Another type of tessen was a non-folding solid club shaped to look like a closed fan.

Like its predecessors, the tessen could be used for signaling on the battlefield. It could also be used both defensively and offensively. The versatile tessen could fend off arrows and darts, be used as a throwing or impact weapon, and aid in swimming. Some swordsmanship schools included training in the use of the tessen as a weapon.


Non-folding, club tessen were used as defensive and offensive weapons. Photo by Samurai Antique World.

Bronze folding tessen war fan, Edo period, 18th

century. Photo by The Mandala, Fukuoka Japan.

Edo period “gunsen” fan with wood ribs and an iron outer cover. Photo by Samurai Antique World.

Solid iron signal fan "gunbai or gumpai". Photo by Samurai Antique World.

http://www.trocadero.com/mandala

http://commons.wikimedia.org/wiki/User:Samuraiantiqueworld



War Fans At Home and in BattleWhen performing domestic chores, at

leisure, or meeting with superiors the samurai was often disarmed. A warrior was also generally required to leave one or both swords with an attendant if visiting another's home. Armed with a tessen in his obi, though, the samurai was never completely unarmed. He could easily defend himself in an emergency with what appeared to be a common, everyday object.

It was considered unseemly to use a sword against a lower ranking rival. On the other hand, tessen-jutsu was considered sophisticated, especially among the higher ranking samurai, and many actually preferred to defend themselves with a tessen.

There are many legends regarding combat about the use of an iron fan. The hero of many Japanese sagas, Yoshitsune allegedly learned swordsmanship and tessen-jutsu secrets from the Tengu, mythical beings who were supposed to be expert martial artists.

As kendo instructors to the Tokugawa shoguns, the Yagyu ryu were also famous for their iron fan defensive techniques. Many examples of duels were said to be won using iron fans against naked swords, and even deaths caused by blows from a tessen. A famous 16th century swordsman, Ganryu, armed only with his tessen, defeated several armed opponents in one incident.

The versatility of these fans is illustrated by a famous story from various sources. Araki Murashige was an important figure of the late Warring States period. Summoned to appear before Oda Nobunaga, the first of the three great unifiers of Japan, Murashige knew that his life hung in the balance and that only his tessen stood between him and an unpleasant demise. A method of Nobunaga's retainers for disposing of enemies was to snap their neck between the heavy wooden door panels that separated the antechamber from the reception hall when the visitor performed the ritual bow greeting across the threshold.

When he bowed, Murashige placed his tessen in the groove in which the door panels slid, and there was a loud bang as the doors suddenly bounced against the steel rods of the fan, but no blood flowed. Murashige acted as if nothing had happened, and his composure was acknowledged by Nobunaga with reconciliation and favors.

The legend may or may not be true, but it demonstrates the respect that war fans had among the feudal samurai of Japan.

Uses of War Fans in CosPlayWar fans provide new scope for

historical costumers, but they are also ideal as accessories for action-packed skits by anime cosplayers. There are many examples. Takeda Shingen in the video game series

Samurai Warriors wields a dansen uchiwa in the first game, and in SW2, Ishida Mitsunari also wields a tessen. Female ninja video game character Mai Shiranui also uses war fans, and a pair of sharp metal fans are used in the Mortal Kombat series and films.

War fans could be incorporated into the choreography of a combat skit, with combatants using war fans to vary the pace, or adding a surprise ending by having a disarmed warrior defeat an opponent using a war fan hidden in his or her costume.

ReferencesBlog, “The Japanese War Fan,”

http://toshogu.blogspot.com/2009/05/japanese-war-fan.html, May 12, 2009.

Cunningham, Don, “Defensive Weapons of the Japanese Samurai,” http://www.e-budokai.com/articles/weapons.htm, 2010.

Deal, William E., Handbook to Life in Medieval and Early Modern Japan. Facts on File, 2005.

Ratti, Oscar, Secrets of the Samurai: A Survey of the Martial Arts of Feudal Japan. Tuttle Publishing, 1991.

Wikipedia, “Japanese War Fans,” http://en.wikipedia.org/wiki/Japanese_war_fan

Philip Gust enjoys sci-fi and fantasy costuming, and has particular interests in props, special effects, and prosthetic makeup. He also costumes in historical periods, including Regency, Victorian, and early 20th C.


http://en.wikipedia.org/wiki/Japanese_war_fan

http://www.e-budokai.com/articles/weapons.htm

http://toshogu.blogspot.com/2009/05/japanese-war-fan.html

http://toshogu.blogspot.com/2009/05/japanese-war-fan.html

http://en.wikipedia.org/wiki/Mortal_Kombat_(series)

http://en.wikipedia.org/wiki/Mai_Shiranui

http://en.wikipedia.org/wiki/Ishida_Mitsunari

http://en.wikipedia.org/wiki/Samurai_Warriors_2

http://en.wikipedia.org/wiki/Samurai_Warriors

FeatureSullivan Ballou's FarewellLisa A. Ashton

The documentation for a historical masquerade

entry shows how critical background research is to accurately recreating a little-known historical character.

“With the War begun, we are practicing some economies…”

Thus begins our journey into the culture and dress of the mid-19th century, researching how Sara Ballou, a middle-class New England young wife and mother might have dressed, as her husband went to war.

The inspiration for this dress was a real person from history—Sarah Ballou, wife of Sullivan Ballou, an up-and-coming Rhode Island lawyer at the outset of the Civil War, whose final letter to his wife, written from his military encampment just a week before

his death in battle, captured our national imagination at the end of the first episode of Ken Burns’ remarkable documentary, The Civil War. The documentary gave rise to a book based on Sullivan and Sarah Ballou and their heritage, called For Love & Liberty by Robin Young (Thunders Mouth Press, NY: 2006).

No extant photos of the couple together exist, and only one of Sarah as a much older woman; thus I researched clothing of the Civil War era itself. My inquiries followed parallel pathways: references of Providence and New England, dress styles and sewing techniques of the time, sources regarding technology and the Industrial Revolution, authentic vintage photos and garments, lectures and conferences.

Sullivan Ballou in uniform, early 1861, and (probably) Sarah Ballou, likely late 1880s. She never remarried, and died in 1915.

A critical choice, once the dress style was decided, was of fabric; what was most authentic? I wanted dark blue as the background color, for Union and liberty. And a small print was desirable, possibly with a tiny flash of color. Small prints were popular for women’s dresses, as it was easier


Editors NoteThis article shows highlights of Lisa

Ashton's documentation for her Costume-Con 29 Historical Masquerade entry, “The Letter” with Sandy Swank as Sullivan Ballou. Lisa received a Best in Open Division award for her 50+ page portfolio. The editor is grateful to Lisa for providing access to this material as she created it in the weeks before the convention.

Sandy Swank as Sullivan Ballou and Lisa Ashton as his wife, Sarah Ballou. Photo by Ken Warren.



to repair worn areas or rework the dress, since the repairs would “disappear” into a small pattern. Frugality, already a way of life, became more so for a population in wartime.

I loved the bit of green in the print as a lovely contrast; and by making green piping (although contrasting piping was less common), the dress became more striking, although there is little other decoration. For the socio-economic class to which Sullivan and Sarah belonged,

middle-class but not starting their adult lives in luxury, good sturdy clothing with few frills seemed likely.

The South historically exported its raw cotton to England and Europe to weave into cloth; but there were cotton mills close by in Lowell, Massachusetts, which produced roller print designs on wool and cotton fabrics.

The sections of the documentation examine the Bodice, Skirt, Undergarments, Accessories-- including jewelry, hairstyles, Chatelaines, aprons, collars and cuffs, hose, and the overall portrait of a 1861 lady, Sarah Ballou. Following the text for each section are examples illustrating and explaining that element of dress.

The BodiceThe corset completed, work on the

bodice began. It was critical to achieve the snug fit demanded by vintage photographs, and the “dropped” sleeve is one of the absolute details of the period. I was drawn to the “bishop” or “coat” sleeve, which has gathered fullness at the armscye, is wide at the elbow and then very fitted at the wrist. These design elements, in addition to the very snugly fitted torso, provide the quintessential “look” we associate with the early Civil War era. Horizontal lines—in the form of sleeve and hem embellishments-- were emphasized to make one look wider, with the effect of making the waistline smaller. Both “bishop” or “pagoda” sleeves accomplish this.

My first try, after a muslin mock-up, was a light grey wool blend. I was still learning the “self-piping” required for the neck, hem and armscyes. This is difficult to do neatly at first. Dresses were made this way to increase their durability, especially at tension points such as underarm seams. Most piping was 1/8 inch to ¼ inch in diameter (or smaller). Although the piping

was normally the same fabric as the bodice, contrasting piping was known.

The bodice is boned at the front fitting darts and the side seams (with a boned corset, as well). The center front closure can lap either way, which- ever is easiest for the woman dressing herself. I chose traditional, buttons on the left.

A center front closure was by far the most common; the skirt could have a center front or side closure, depending on whether the dress was one piece (skirt basted into waistband) or two-piece. Having a two-piece dress meant the bodice (and skirt) could provide more than one “style”. A skirt could also be used with a

Garibaldi blouse (usually white) and a “Swiss belt” (a wide “waist-cincher” with a diamond shaped front that covered the waistband) for another “style”. These were


Small geometric prints were most economical since little fabric is wasted matching the pattern.

Fitted body back: a) shoulder seam, b) side seam, c) side back seam

Fitted bodice front: a) armseye, b) center-front opening

called “convertibles” or “transformers” rather than “separates” (as we know them).

This bodice style does not require an undersleeve, as does a “pagoda” sleeve, but white cuffs and collars were mostly worn. They were of cotton, to withstand hard laundering

(with lye soap), and women normally had many sets of them, as they were exposed to the parts of the dress most likely to become soiled. They were basted inside, and then the collar could stand up or be folded over.

A black collar and cuffs could be exchanged in the event of mourning, so that one needed no new clothes. Crocheted collars and cuffs were also worn, and might not even be basted, just sitting on the neckline.

A note on linings of garments: linings are often divided up by area, and whatever

fabric was available was used, with no worry about whether the sleeve lining matched the body lining or the skirt lining. Women below the wealthy were pragmatic—especially about parts that were not seen. I used a Victorian-looking cotton, which was also that used for the apron, and all the way to the selvage edge.

The SkirtDresses were made in two pieces, a

bodice and a skirt; and were sometimes attached in the inside bodice, and sometimes left separate. Skirts were almost always made with the full width of yardage, from selvage to selvage (which also decreased fraying seams), and seam allowances were usually ¼ inch, to conserve fabric. Seam allowances were usually pressed to one side; if not selvage edges, they are often overcast together to prevent fraying. Fabric widths were narrower then as well; in

the 1860’s fabrics were commonly 18 to 36 inches wide.

There was no “hem” as we know it, the fabric being folded under; rather, the bottom of the skirt would be lined or have a wide facing (6 inches or more), and would be bound together with a “hem protector” of twill tape (usually cotton or wool, depending on the dress fabric). The extra 3 inch to 6 inch skirt length would be “folded over” at the waist (before pleating). This left the excess fabric easily accessible inside the skirt. Waistbands were most often heavy grosgrain or strong fabric just sewn onto the skirt top. Waistbands were never seen, and could be tacked into the bodice, for a one-piece dress.

The most common waist treatments were symmetric knife pleats or cartridge pleats (right). Box pleats and double-box pleats were also seen, often in “dressier” dresses. These are laid out after the waist fabric is folded together. It means working with multiple layers of fabric, and I found that it was best sewed to the waistband by hand. The skirt does NOT touch the floor, but is most commonly 2 to 3 inches above it.


Two sets of plain "collar and cuffs" made by re-enactor Debi Barlow. Exchanged for black for mourning.

Truly Victorian (TV 443) 1861 Dress Bodice pattern.

Simple repeated horizontal skirt decoration. Note symmetric knife pleats and horizontal hem decorations. Skirt does not touch ground.Typical collar, cuffs, and bishop sleeves.

My skirt has a sewn-in pocket on the left side (with the skirt closure on the right). A sewn-in pocket was common in the 1860’s, rather than the tied-on pockets of preceding centuries. I “staggered” the various closures: hoops, petticoats, skirt, so they do not lie atop one another, creating a bulge. Tiny watch pockets also exist, usually at the waist in a dress with a straight waist.

UndergarmentsThe Madame Foy “skirt-supporting”

corset is constructed differently than any of my previous corsets; the instructions direct one to sew the lining and outside together in one seam, then the layers of the outside are folded over, and the process

repeated for the next section. However, the same principles of precise cutting and sewing apply, as for all corset construction.

I modified the pattern a bit, added an interlining for durability and more boning for shaping and support. I made my own matching bias binding. The cane reed in a channel in the lower back of the corset lifts the hoops and swings them more to the rear, giving the proper silhouette. Elastic was available in 1861, and the straps incorporate

elastic strips for adjustment, as well as buckles.

“A real lady would rather have run down the street without

shoes and stockings than not worn her hoops!” according to a costume historian at the 1860’s Conference in March 2011 (see related article in this issue). With steel for hoops

easily obtained, hoopskirts or a cage crinoline were actually much more economical than many layers of petticoats (fabric was expensive), as well as more comfortable. Rather than the legs tangling in layers of heavy fabric, one is able to move more freely, and even personal necessity becomes more convenient.

Hoops worn during the day were usually somewhat narrower than ballgown hoops. With a little practice, everyday activities are easily accomplished wearing hoops.

Although I tried various patterns for a chemise, a recurring problem was the armscyes being too small and tight at the underarm. After viewing many extant

chemises, I eventually drew my own pattern for a yoke, added some whitework embroidery to it, and a gathered dress. None of the original chemises I saw had horizontal tucks on the skirt, so I didn’t use them; although the petticoat has them, and the drawers.

Interestingly, while today black stockings are considered better for dressy attire, in the Civil War era it was the reverse: black stockings were more for everyday use and white were considered dressier. So I have both black and white stockings. The blue knit garters were knitted for me by a friend, using a traditional pattern, from that era.

AccessoriesOf all Civil War era images, very few

women are photographed wearing aprons. Certainly, at home when engaged in work such as cleaning, cooking, caring for children or the ill, an apron would have been worn. Sarah’s household was not wealthy,


Yoked chemise of typical design, gathered at the top.

Civil War period Parisian illustration of undergarments typically worn in the 19th c.

and even with a servant in the home, she would have done housework and cared for her young sons.

In photos of women wearing aprons, they are a darker color or a print, but not white. An apron may have been a recycled dress, though that was more likely for poor or working women. Of course an apron would not be worn to greet guests or outside the house.

My brooch is an authentic Victorian hair brooch, which I bought at a flea market. It was dated as being from the late 1850’s. Brooches were most commonly worn at the center neckline, sometimes to fasten the collar ends.

Most jewelry made with hair was NOT mourning jewelry (if it were, it would have a tiny black band or ribbon). Jewelry was also made from miniature photographs. Pierced ears were common (there were no “clip-on” earrings at that time) and earrings frequently worn. Also popular were watch fobs, or chains for pocket watches, which attached to a button or buttonhole. A charm or pendant could hang from the middle. Some

watch chains, whether gold or made of hair work, hung from the neck, with the watch fitting into a tiny pocket. Bracelets were popular, and often matching sets were worn on both wrists.

The Chatelaine was a sort of decorative tied-on belt that had various sewing tools tied to it with silk ribbon. It was made by weaving silk ribbon with 5/8” brass rings, then making the small pin cushions and

needle pillows, and tying them on. My chatelaine is a faithful replica of a vintage chatelaine at left.

Hairstyles for early 1860’s ladies show that the hair was mostly parted straight in the middle, and then the hair was braided or put up, in a more or less decorative way. Many women wore a hair net or snood both at home and out; it could be open-woven

ribbons or lacework. The hairbands I have made have decorative ribbonwork sewed on to them, with the hair net at the back to confine the hair.

Portrait of a Lady

Sarah Ballou was in many ways a typical New England housewife of the Civil War era, and her mode of dress would no doubt have reflected those cultural mores. Cotton fabric from the Lowell mills printed with a small print, snugly-fitted bodice with wide bishop sleeves and very flattering swallowtail waist treatment, full skirt with crisp knife pleating, neat white collar and


Work apron covered nearly entire skirt. Work aprons were sometimes made of small prints to conceal stains.

Sewing Chatelaine. I reproduced this one in a 1860s conference workshop. Collection of Kay Cogswell.

Hair jewlery, as all Victorian jewelry, had symbolic messages. Braided hair within brooch represents "binding together. Serpent twisted on itself means “fidelity.”

Examples of woven hair watch fobs from The Art of Hair Work.. The level of detail present in these pieces is incredible.

Hair net cap with ribbons, 1861.

cuffs, hair closely confined in a decorative net, her sentimental brooch at her neckline, a watch fob and sewing chatelaine at her waist, her cotton apron tied on, to us she epitomizes the style that, to our thinking, immediately brings to mind a picture of a lady of the early 1860’s.

The fact that this is the first era of the world so abundantly documented with authentic photographic images, binds me to a very high standard of reproducing garments of the period. I have attempted to utilize many primary sources to justify my choices and construction. The pages that follow offer further images of the complete “portrait” that I have tried to achieve.

AfterwordThe inclusion of some authentic

photos, from my own collection, was deliberate. Please view them as closely as you are able—you are holding true history. Also deliberate is my bringing an authentic 1860’s garment (a thin cotton petticoat with amazing tucks) to the pre-judging. I search for these photos relentlessly at Flea Markets, yard sales and antique markets.

I found my authentic Victorian hair jewelry that way—and many times, these treasures come with stories of their own. The petticoat was a gift to me by one of my favorite Flea Market vendors, from an estate he was cleaning out. He initially planned to throw it away—but he knew I would be there the following weekend.

My hope is that, by handling actual artifacts, we create a truly Victorian atmosphere—a portal to our past. Even if but for a fleeting moment, we may all take this journey back in time together, emerging at the end, having increased interest, knowledge, and connection to our history.

• Notes to Historical Judges: To try to be more authentic to the period, I cut everything with a scissors rather than a rotary cutter.

• As it ended up, the only patterns I used were for the Madame Foy corset, the Bishop-sleeve bodice, and the drawers.

For the chemise, skirts and the apron, I just went by photographs and made my own patterns; with the skirt, I just used the full width of fabric to the selvage.

• I continue to find more wonderful images in photos I find at Flea Markets. Just at the end of assembling the documentation, I found one of the best photographs I used.

Bibliography

Books 1. Abraham, Donna J., The Way They

Were: Dressed in 1860-1865, A Photographic Reference, Abraham’s Lady LLC Publ.: Gettysburg, PA, 2008. Essentially no text, just photos from the author’s personal collection. I totally understand wanting to collect these photos now that I have been collecting them for over two years. And in this book, I found one or two photos that could have been me wearing one of my dresses.

2. Americana Review, The Country Kitchen 1850, Americana Review: Scotia, NY, 1965. Not a fashion magazine, this small volume is an exact reprint of mid-19th century lady’s magazines, “Housekeeper’s Friends”, recipes and advertisements. Its ads for patent Wash Tubs, cookstoves and various household necessities definitely put me in a Victorian mood.


I thought this lady from Abraham's The Way They Were had stepped out of time wearing my dress!

3. Blum, Stella, Fashions and Costumes from Godey’s Lady’s Book 1837-1869, Dover Publ.: New York, 1985. Alongside Peterson’s Magazine, Godey’s Lady’s Book was the icon of stylish dress in the 19th century. This was an era in which most ladies sewed their own dresses, or re-made their own dresses, or embellished their own dresses, and Godey’s made it possible to be fashionable.

4. Bohleke, Dr.Karin, Garibaldis, Engageantes & Cages: American Fashions of the Civil War Era 1840-1870, Shippensburg Univ. Printing: Shippensburg, PA, 2008. A small book with photos of CDV’s and also photos of extant period garments, including close-ups of insides and linings.

5. Campbell, Mark, The Art of Hair Work, Hair Braiding and Jewelry of Sentiment, Lacis Publ.: Berkeley, CA, 1989. Essentially a reprint of the original 1875 “self-instructor” work by the listed author, with some supplements from Godey’s Lady’s Book, as well as explanations of the symbolism. The diagrams of how to do it are wonderful and quite easy to understand. Unfortunately I ran out of time to make my own pieces; it is a very labor-intensive and time-consuming art, which may explain its value to Victorian ladies.

6. Darrah, William C., Cartes De Visite in Nineteenth Century Photography, WC Darrah Publ: Gettysburg, PA,

1981. A museum quality book about the very beginning of photography and photographers, from the first daguerrotypes in the late 1830’s onward. It explains the variety of available photographic processes, and the evolution of the CDV, as well as much of the symbolism present in various poses, clothing, and objects in photos.

7. Dalrymple, Priscilla Harris, American Victorian Costume in Early Photographs, Dover Publ. Inc.: New York, 1991. Another source with many photo reproductions of good quality, by decade. Her chapter on the 1860’s addresses the new idea of “separates” (then called “transformers” or “convertibles”) to give garments greater utility and considered as “fashionable and economical” (Peterson’s Jan. 1862).

8. Harris, Kristina, Victorian Fashion in America, 264 Vintage Photographs, Dover Publ.: Mineola, NY, 2002. A brief but informative overview of the types of photo processes and photographs, then a selection of photos by decade, although rather heavily weighted toward the latter part of the Victorian era, so less useful for Civil War era.

9. Johnston, Lucy, V & A, Nineteenth Century Fashion in Detail, V & A Publ.: London, 2009 Edition. A wonderful book in color, for the detail it provides of workmanship throughout

the 19th century. The garments photographed in the book were far grander than what I envisioned for myself, or what a middle class American lady would have worn, but the workmanship! Oh my! The photos show detail down to the individual stitches.

10. Leisch, Juanita, An Introduction to Civil War Civilians, Thomas Publ.: Gettysburg, PA 1994. Many vintage photographs, and chapters on cultural mores of the time, family life, social life and society, and the effects of war on civilian life and economics.

11. Leisch, Juanita, Who Wore What? Women’s Wear 1861-1865, Thomas Publ.: Gettysburg, PA, 1995. Considered The Bible of Civil War era Victorian dress in the United States. Ms. Leisch statistically inventories the many clothing variations of the era, using photographs and primary sources (i.e. actual garments). She makes it clear that younger women and older women dressed quite differently, and this was cogent to my own research. Her analyses include “head to toe” minutely categorized common elements of each article of clothing of the time.

12. Setnik, Linda, Victorian Costume for Ladies 1860-1900, Schiffer Publ. Co.: Atglen, PA, 2000. Almost all photographs of Cartes-de-visite, with explanations of styles divided by decade, and how various style elements


evolved. It also includes undergarments, hairstyles, and even how laundry was done!

13. Severa, Joan, Dressed for the Photographer: Ordinary Americans & Fashion 1840-1900, Kent State University Press: Kent, OH, 1995. Although I do not own this book, thanks to Gypsy Ames for helping me find the time period I was looking for. These photographs of a wide spectrum of Americans in daily life provide a fascinating glimpse into the era’s less “fashionable” citizens, in their daily activities.

14. Shep, R.L., Civil War Ladies: Fashions and Needle-Arts of the Early 1860’s, Primary Source Material from Peterson’s Magazine 1861 and 1864, RL Shep Publications: Ft. Bragg, CA 1987. Exactly as the title claims: reprints from Peterson’s Magazine, with drawings, instructions and fashion advice, jewelry, hairstyles, actual patterns to be enlarged, designs for decoration and many drawings and patterns for hair jewelry. Peterson’s Magazine was one of the mainstays of the period for fashion.

15. Wolff, Colette, The Art of Manipulating Fabric, Chilton Publ.: Radnor, PA, 1996. To learn about cartridge pleating (p. 106-108), other pleating, and tucks (p. 149-155), and other fabric techniques that would have been common to the period (ruching, gathering, box pleating, etc.).

16. Young, Robin, For Love and Liberty: The Untold Civil War Story of Major Sullivan Ballou and His Famous Love Letter, Basic Books Publ.: 2005. Gives interesting biographical and genealogical history for Sullivan and Sarah Ballou, and puts Sullivan’s famous letter into its historical context.

Patterns 1. Ladies Victorian Underwear,

Laughing Moon Mercantile: 1998 (Laughing Moon 100) -- I tried the chemise, and wasn’t thrilled with it—the armscyes were just too tight, no matter what adjustments I made. I have made the corset patterns many times, and they work well with this clothing too.

2. Net for the Hair, L.R. Miller: Lancaster, PA 1990 (Miller’s Millinery Portfolio Patterns: 9001).

3. Madame Foy Skirt Supporting Corset, Past Patterns: 1995 (Past Patterns 720): originals stamped with patent dates beginning 1862. On my second version, I interlined the corset with twill for durability, made my own lacings by hand with a lucet, and used self-made bias binding for it, also modifying the pattern a bit to use more boning for better structure. It is quite comfortable, and more adjustable, because it laces up two sides instead of just the back; in addition, the skirt- supporting rear cane helps tilt the

hoops correctly, to create a more elliptical shape.

4. Skirt, Past Patterns: 1985 (Past Patterns 700 – 1850-1863): I started with this but ended up just using my fabric from selvage to selvage, since I was not doing fancy decorations. The pleating technique I learned out of The Art of Fabric Manipulation, listed above.

5. Hoops and Petticoat, Martha McCain: 2001 (Simplicity Fashion Historian 9764): I started with this, but then figured out a way to make the hoops without a specific pattern. And probably this is something that ladies of that time knew how to do.

6. Chemise and Drawers, Martha McCain: 2001 (Simplicity Fashion Historian 9769): I used this pattern for the drawers, with a little modification, but not the chemise. I didn’t like the very low neckline, it seemed like it would “pull” at the shoulders.

7. Dress Bodice, 2004 (Truly Victorian TV443 – 1861): This is a bodice which has the two points in front and the “swallowtail” back with three points (very challenging to trim with piping). I loved the “bishop” or “coat” sleeve of this bodice and knew from the start it was what I wanted, as being a quintessential style of that time. The entire bodice is lined with cotton that I had in my stash. I used it to the selvage, which is authentic to the period. The main body is also


interlined and boned for structure (the sleeves are only lined, not interlined). This pattern was relatively easy to adjust for bust size and waist length to be correct. To make the beige-brown print dress, I modified the bodice pattern for a straight waist, and made a belt for it in a contrasting color, to play up the bit of red in the print. I spaced the button front closure differently.

Miscellaneous 1. Ribbonwork workshop at a remote

Costume Con, for which I produced a “sampler” of techniques, and which became a hanging on my wall—until I used the techniques of folded ribbon to make the hairband-net.

2. “Ladies and Gentlemen of the 1860’s”: Clothing and Culture of the 1860’s”: Conference sponsored by Genteel Arts LLC March 3-6, 2011 in Camp Hill, PA, Carolann Schmitt, Chair. Special Thanks to Maggie Halberg for the workshop on “Perfecting Your Patterns”, and to Kay Cogswell for the workshop on “Ribbons and Rings: A Sewing Chatelaine”, in which we exactly reproduced from scratch a sewing chatelaine of the period. Also great thanks to Marge Harding for the workshop on “Identifying Victorian Jewelry” and being allowed to photograph and even handle (!) much of her own collection of jewelry—and finding out that my flea market finds

from 2010 were indeed authentic pieces of hair jewelry from the 1850’s and 1860’s. Special thanks are due to Carolann Schmitt for her talk titled “Steel Mills and Steel. Petticoats: How the Industrial Revolution Changed the Way America Dressed”, and its time line and bibliography. This lecture, which described the evolution of machine woven and machine printed textiles, and commercially sewn clothes, greatly enhanced my understanding of Civil War era clothing. Displays of extant clothing and artifacts brought by attendees from their personal collections were changed daily, and photography permitted. The novel aspect was seeing a lot of the insides of garments, to understand their construction. This conference was an incredible learning experience, populated by extremely knowledgeable people with a real passion for the Civil War era.

3. Personal direct or email conversations with: Debbie Barlow of Laurel, MD, a Costume Historian, and my thanks for her graciously allowing me to handle and photograph her historic dresses of the 1860’s; Michelle Nordtrop-Madson of the H-Costume List, Fran of Lavolta Press, Costume Historian on the H-Costume List, Elizabeth S. Clark of the H-Costume List, Sunshine Buchler of the H-Costume List. They all had informed and pertinent comments that I

incorporated into the costume itself and the further Civil War era dresses I made, as well as suggestions for other resources.

4. My own collection of Victorian photographs: bought over the past 3 years at yard sales, flea markets, antique and junk shops. Although I have fewer photos of the 1860’s as opposed to later Victorian decades, these photos have enabled me to be able to discern style differences that date the dresses to a certain decade or part of a decade. The people in the photos speak their own language through the years that have passed.

Lisa A. Ashton is a Science Fiction & Fantasy and historical costumer who started costuming after attending Noreascon in 1989. Over 20 years later, she is still trying to design and build that perfect costume that will make people gasp in wonder. Other passions include beading, hunting, stamp collecting, gardening and canning, and collecting authentic Victorian photographs to study fashion history. As a Physician Assistant in Emergency Medicine for the last 25 years, she has had many opportunities to hone her sewing skills on her patients. Lisa is Program Director for Costume-Cons 29 and 30. Visit her web site (still under construction). Her event report, “Ladies and Gentlemen of the 1860sConference,” appears in this issue.


http://www.costumelantern.mysite.com/

FeatureAn Able SeamanKevin Roche*

A themed costume party and a chance discovery of a rare photo inspired an award-winning historic masquerade entry.

This is the uniform ca. 1912 for an able seaman posted on a White Star Line passenger liner, more specifically the RMS Titanic. The project was started as a costume to wear to a Titanic-themed party I was helping to host in February 2010. I had seen reproduction White Star Line sailor’s caps for sale, and thought that a seaman’s uniform would be fun to wear as a host.

I discovered that, while many photos of officers (and documentation of designs for officers) confirm the resemblance of their uniforms to that of the Royal Navy, there are far fewer photos of uniformed crew.

Eventually I found this photo of a seaman on deck taken by Fr. Frank Browne during the first leg of the Titanic’s maiden voyage, so I felt more confident in my belief that uniformed merchant navy seamen’s uniforms were also based on the Royal Navy uniforms of the time, in this case the Class II “square rig” ratings uniform. This photo also

confirmed that they were wearing the blue (winter) uniform.

I chose to simply build a Royal Navy Class II uniform sans ratings or other markings; my reference photos are actually of extant vintage Royal Canadian Navy uniform pieces available at the Canadian Military Police Virtual Museum (CMPVM).


Editors Note“White Star Line Able Seaman's Uniform,”

created by Kevin Roche, won Best in Master Division for documentation and was honored for excellence in tailoring at the Costume-Con 28 Historical Masquerade. This article is based on the award-winning documentation that Kevin submitted to support his entry. A RCNVR seaman. He is wearing a white cover

on his cap.

Seaman on deck of the Titanic

White Star able seaman's Uniform. Photo by Andy Trembley

http://mpmuseum.org/




The uniform comprises:

• Flat cloth cap with embroidered tally

• Jumper with square collar• Bellbottom trousers

• Blue denim collar with three stripes

• Black silk handkerchief• White wool flannel (undershirt) with

denim collar edge

• Black Leather half-boots

In a strictly accurate rendition, the cap, jumper, trousers and flannel would all have been made of wool (“blue wool serge” for the jumper and trousers). As I am allergic to wool, I used a navy blue cotton blend twill for the cap, jumper and trousers, and a fine woven cotton for the undershirt.

My trousers are actually based on the US Navy 13-button fall front trousers; I was able to obtain a custom-graded pattern for them from Tamara Schirrmacher. These required only minor fitting and modification

(notably in button placement) to look like the 1912 British trousers. Seams in my trousers are either flat-felled or finished on a serger.

The pattern for my cap was drafted from scratch based on photos of both vintage garments and reproductions, and constructed based on examination of an RAF billed cap that I own. The stiffening in the edge of the cap is achieved by the simple expedient of French seaming two layers of twill, two layers of hair interfacing and two layers of lining.

I later found photos of the inside of period Royal Navy caps and discovered minor differences in the lining construction. The White Star Lines tally was machine embroidered for me by Judith Richardson; I have tied it to resemble bows in use by seamen of the period.

The square-collared jumper was patterned from scratch based on photos of extant vintage garments at the Canadian Military Police Virtual Museum. Note that

the pre WWI jumper is a very different pattern from the WWII style middies commonly found in surplus stores, with a three-piece front.

I used the armscye and sleeve from Simplicity Pattern 1234 to speed patterning, but the rest of the pattern was deduced by examining the construction details visible in the photos and from descriptions of vintage garments,including the drill interior pocket and cuff linings. The twill tape in the center front of the jumper is for securing a bight of the silk handkerchief at the proper position (a distinct difference between US and British uniforms).

Based on the detail photos on the CMPVM site, (and the construction of some vintage uniform pieces I own), it appeared that the seams the jumper are either flat- felled or French-seamed. I constructed my jumper accordingly.


Vintage blue serge jumper

Detail of vintage naval fall‐front trousers

An RCN rating’s cap

http://www.linkedin.com/pub/tamara-schirrmacher/20/717/a9b

Details of the vintage jumper front (above), back and collar (below)

Note the extra stitching line on the right side of the photo (the left breast of the jumper). That is where an inner pocket made of cotton drill is attached. The sleeve cuffs are also lined with drill.

The separate denim seaman’s collar was patterned from scratch based on photos of extant vintage garments at the CMPVM, with the size deduced from the width of the square collar on the jumper. While the RN was apparently using wavy braid at this time, the crewman in Fr. Browne’s photo

appeared to have straight braid on his collar, so I did the same.

I patterned the square-necklined flannel (undershirt) from scratch based on the photos and descriptions on the CMPVM website.

The neckline is edged with a 1/2 inch wide folded denim band. As with the jumper, all the shirt seams were flat-felled.

The “flannel” is described as being snug-fitting, which was a bit of a challenge in a woven fabric. The CMPVM site also mentions the sides were sometimes slit, which provided the solution in my pattern to achieve a snug fit in the chest and shoulders while having a shirt that could be put on and worn without tearing the seams.

The black silk handkerchief is a 12 inch by 50 inch oblong, folded and pressed as suggested by a photo of a vintage piece.


Vintage stripe‐trimmed denim collar

Vintage square-necklined wool flannel (undershirt).My fitted undershirt

Detail of the denim edging on vintage undershirt.

When worn, the ends of the silk are tied or pinned together behind the neck under the collar so a 2” bight is left below the neck opening, to be secured with the twill tape coming from the jumper. The tape would be tied in either a bow or a sailor’s knot.. (In contrast, a USN sailor would roll his silk on the diagonal, and the two ends would be brought around front and tied together in a square knot)

Finding photos of ratings' ”half boots” was particularly challenging. In addition to Fr. Browne’s photo of a Titanic crew member, an 1897 photo of a boxing match aboard the USS Oregon offers a number of hints, especially the shoe visible on one of the seated boxers. I used assorted glimpses there to inform my choice of the “lacers” I purchased to complete my uniform.

ReferencesCanadian Military Police Virtual Museum (CMPVM)http://mpmuseum.org/

Royal Canadian Navy: 1910-1945 http://mpmuseum.org/rcn1918dregs.html

Introduction (includes description of kit issued to naval seaman) Ratings' Uniforms 1910 - 1945 Class II Uniform "Square Rig"

http://mpmuseum.org/rcn_uniform_ratings1.html

(source of most the photos of extant vintage garments in this documentation. A complete copy of this webpage is attached in the Additional Information)

British Royal Navy: The History of Rating Uniforms http://www.royalnavy.mod.uk/training-and-people/rn-life/uniforms-and-badges-of-rank/the-history-of-rating-uniforms/

Encyclopedia Brittanica: White Star Line Officer's Uniform ca. 1912 http://www.encyclopedia-titanica.org/white-star-line-uniform-1912.html

While this describes the officers uniforms, it makes it clear that WSL uniforms (as were most merchant navy uniforms) were closely

based on British Royal Navy uniforms

The Royal Navy, 1939-45 by Ian Sumner, pp 47-49 http://books.google.com/books?id=lnr7MkZLGz4C&pg=PA48&lpg=PA48&dq=royal+navy+seaman+silk&source=bl&ots=oZQbtfA2qZ&sig=Z7PCaqMunR7yEKtpvHUkdTqkZaw&hl=en&ei=vJ2AS968AovusgP3mNTvAw&sa=X&oi=book_result&ct=result&resnum=7&ved=0CCQQ6AEwBjgK#v=onepage&q&f=false

While this is for WWII era uniforms, Mr Sumner makes it clear that the rating square rig uniform underwent only minor changes from its turn-of-the-century version. It is from here that I found dimensions for the silk handkerchief, which on examination matched the apparent dimensions of the 1912 vintage silk in the CMPVM collection photos.

Titanic images - photographs of the titanic taken by Father Frank Browne http://www.titanicphotographs.com/

In particular, this photograph shows a member of the crew in the distinctive square rig uniform (his shoes are also partly visible):

http://www.titanicphotographs.com/galleryB.asp?GalleryID=3&ID=224

Fight Night: 1897 http://www.shorpy.com/node/8059?size=_original

A boxing match between seamen on the deck of the USS Oregon. While this depict US Navy sailors in a slightly earlier period, lots of different shoes are visible, which informed my boot shopping.


A period sailor's silk handkerchief

Detail of one combatant's boot from "Fight Night: 1897"

http://www.shorpy.com/node/8059?size=_original



http://www.titanicphotographs.com/

http://books.google.com/books?id=lnr7MkZLGz4C&pg=PA48&lpg=PA48&dq=royal+navy+seaman+silk&source=bl&ots=oZQbtfA2qZ&sig=Z7PCaqMunR7yEKtpvHUkdTqkZaw&hl=en&ei=vJ2AS968AovusgP3mNTvAw&sa=X&oi=book_result&ct=result&resnum=7&ved=0CCQQ6AEwBjgK#v=onepage&q&f=false



http://www.encyclopedia-titanica.org/white-star-line-uniform-1912.html

http://www.encyclopedia-titanica.org/white-star-line-uniform-1912.html

http://www.royalnavy.mod.uk/training-and-people/rn-life/uniforms-and-badges-of-rank/the-history-of-rating-uniforms/



http://mpmuseum.org/rcn_uniform_ratings1.html

http://mpmuseum.org/rcn1918dregs.html


Additional Photos of CostumeWhen historical judges consider an

entry, they have access to the costume. Here are some photos to give you some idea what the judges had a chance to see.

Photos far left by Andy Trembley. Other photos on this page by the author.

Kevin Roche is a sci-fi fantasy costumer with extensive experience entering, judging, and running masquerades. He was the Chair of CostumeCon 26, is currently VP of SiW, and received the International Costumers’ Guild 2007 Lifetime Achievement Award.


Front and 3/4 rear view showing the collar, shirt, and hat.

Finished cap.

Cap under construction; crown from top.

Under construction; crown from front.

Fall-front unbuttoned to show facing.

Trousers completely unbuttoned to show facing.

http://www.costume.org/lifetime/roche.html

FeatureWWII U.S. Army Officers' UniformsByron Connell

U.S. Army officers' uniforms during World War II had a tremendous range of variations, a serious challenge for historical costumers. Here is what you need to know to assemble one from purchased parts or make your own.

During the Second World War, the U.S. Army wore uniforms that had been introduced in 1926 and that continued to be worn, with some modifications, until 1961, when they were replaced by “Army Green” uniforms -- a total of 35 years. This article describe a male officer’s uniforms between 1941 and 1945, with some reference to earlier and post-war changes.

On June 20, 1941, the U.S. Army was divided between the Army and the Army Air Force, which had its own chief of staff. The Army consisted of eight Arms: Armored Force, Coast Artillery, Field Artillery, Cavalry, Engineers, Infantry, Signal Corps, and Tank Destroyer Force. The Army

Air Force did not have separate branches. In addition, there were 18 Services that served both the Army Air Force and the rest of the Army.

Unlike the British Army and other Allied or Axis armies, the U.S. Army did not have only one uniform for its enlisted men and officers. In 1941, it had nine, in an effort to provide appropriate dress for different climates, conditions, and duties:

1. Wool service uniform with “coat” (i.e., jacket) (known as the “Class A” uniform)

2. Wool service uniform with olive-drab shirt and without coat (Class B)

3. Cotton service uniform with cotton or wool olive-drab shirt (Class C)

4. Fatigue uniform of olive-drab herringbone twill

5. Full dress uniform

6. Blue dress uniform

7. White dress uniform

8. Blue mess uniform

9. White mess uniform

With the U.S. entry into the war, the dress and mess uniforms were discontinued for the duration. This article will not deal with them or the fatigue uniform.

Every officer was expected to have the Class A uniform. Owning the others depended on station and duty. Uniforms were modified for use in the field.

Generally similar in design and cut, uniforms for officers and enlisted men differed markedly in color as well as decoration. The Army described everything simply as “olive-drab” until 1944, when it assigned numbers to the different olive-drab shades. However, the shades varied widely,

leaving officers with greener jackets and trousers than enlisted men, or with “light drab” trousers commonly called “pinks” that varied from pinkish tan through mauve to light gray in privately purchased uniforms.

(Cards with the precise colors, including dye information, are available from The Color Association of the


U.S. Army Uniforms, 1941 (not related to the list above).



United States, 24 East 38th Street, New York, NY 10016, USA.)

The most often depicted Class A uniform combined the olive drab (“dark” i.e., green) coat with the pink drab trousers in a style called “pinks and greens.”

We will look at an officer’s uniform “from the skin out.”

UnderwearSources tend to be reticent about

officers’ underwear. That prescribed for enlisted men, however, was:

With Class A or Class B uniform:• olive drab wool T-shirt (long-sleeved

for winter wear)

• olive drab wool underpants (boxers)

• olive drab light wool socks

With Class C uniform:• white cotton short-sleeved T-shirt

• white cotton underpants (boxers)

• khaki (i.e., tan) cotton socks

I presume that officers’ underwear was similar.

ShirtAn officer had a choice of three shirts.

1. White cotton, until 1938. Beginning in 1938, a khaki (i. e., light tan) (#1 after March 30, 1944) cotton shirt. Buttoned up rather than the earlier pullover placket-style shirt, it had an attached collar, six or seven buttons (according to length), single buttons at the cuffs,

shoulder straps let in at the shoulder seam and buttoned at the collar end, and two breast patch pockets with buttoned flap. The flaps were straight across with the bottom corners clipped at 45 degree angles.

The shoulder strap was about 2 inches at the shoulder, drawn to a 1¼ inch rounded point at the collar end. The shoulder end was cross-stitched to the shoulder for two inches. All buttons were khaki, in a shade slightly darker than the fabric. Initially, the shirts were made of 8.2 ounce cotton; however, 6-ounce was introduced in 1941 and 5-ounce in early 1945.

This shirt would be worn with either Class A or Class C uniforms. (Stateside in 1941, some officers could be seen still wearing the old white shirt.)

2. Worsted wool, identical in style to the khaki cotton shirt, dark olive drab (#51 after March 30, 1944), the same shade as the coat, drab (light) (#54) (pink), or khaki (#1), worn with either the Class A or Class C uniform.

When worn with the trousers of a class A uniform but without the jacket, this was the Class B uniform.

3. Flannel, olive drab (dark) (#50), identical in style to the wool shirt but made of a 40 percent wool and 60 percent cotton blend.

When worn with the trousers of a Class A uniform but without the jacket, this also was the Class B uniform.

In 1949, the wartime khaki shirt was replaced by a khaki (#1) shirt in 4-ounce cotton broadcloth or a cotton/Dacron blend without shoulder straps and with only one breast pocket, on the left. It was developed specifically to be worn under the service dress uniform coat. It continued in use until Army Green replaced olive drab uniforms.

TrousersOfficers were required to possess dark

olive drab (#51) wool trousers. These were worn with Class A and Class B uniform and were required to be worn in the field. On other occasions, they could wear drab (#54) (pink) wool trousers. Either was of 18 ounce wool serge. In addition to wool serge, privately purchased trousers could be made of worsted barathea, elastique, or whipcord, with fabric weights varying from 14½ to 26


Two officers of the 86th Regiment, 10th Mountain Division, 8 August 1945. “Pink” or chocolate OD shirt for winter and kaki shirt for summer.

ounce. Barathea is a hopsack twill weave that has a lightly ribbed or pebbled weave often used for men’s evening wear; elastique is similar to cavalry twill.

The trousers had plain, unpleated fronts and plain cuffs (without turn-ups), two rear hip pockets, two side slash pockets, a watch pocket to the front of the right hip, belt loops, and a buttoned fly. They were lined with white cotton duck. The March 30, 1944, amendment to regulations specified that the trousers had wide belt loops and that the hip pockets had buttoned flaps.

For summer, tropical, or garrison wear, an officer could wear khaki (#1) wool gabardine or cotton twill trousers otherwise identical to the olive drab or pink trousers (Class C).

Breeches. The March 1944 regulations also addressed breeches, which were worn by mounted officers in the cavalry or field artillery. They were to match the service coat in color (#51) and to be made of 14½ to 26 ounce wool serge, barathea, elastique, or whipcord. They were to be cut,

“snug at the waist, top about 2 inches above hip bone, full in the seat and loose in the thigh, with sufficient length from waist to knee to permit wearer to assume a squatting position without binding at the seat or knee, breeches to present an appearance of fullness when standing; cut tight for about 3 inches immediately below the knee and easy for the balance of the length so as not to bind the muscles of the calf. To have strapping of the same material or buckskin of similar color on the inside of the leg at the knee, extending to a little below the top of the boot and from 6 to 8 inches above the knee.”

Breeches also were made in light drab (#54) (pink).

Belt for Trousers or Breeches. The belt used with all trousers was made of khaki (#1) or olive drab (#51) webbing, 1¼ inches in width, with a brass tip and a detachable polished brass solid, plain rectangular buckle.

FootwearRusset (reddish) brown leather laced,

ankle high shoes were worn with all uniforms. Typically, they had seven rows of lacing eyelets. Stateside, the shoes were made smooth side out, with a toe cap and either a black rubber sole and heel or a leather sole and black rubber heel. Overseas, the shoes were made rough side out, lacked a toe cap, and had only the black rubber sole and heel that, for added strength, had thin white cords embedded.

Breeches called for russet brown tall boots (image far left).

NecktieUntil 1940, a plain black silk tie,

“without stripe or figure” according to regulations, was worn with Class A and Class B uniforms. In 1940, it was changed to black wool, in November 1941 to either black or khaki, and in September 1943, to khaki #5 cotton mohair. The khaki cotton tie was worn with Class C dress beginning in


Gen. Montgomery is bid farewell by Lt. Gen. George S. Patton, Jr. (28 Jul 43). Patton appears to be in Class B uniform with breeches and lace-up-the-front boots replacing trousers and shoes.

Laced U.S. Army service shoes, 1945.

1939. Older ties continued to be worn until stocks were exhausted, so officers could be seen wearing either black or khaki ties during the War.

In 1948, a dark olive drab (#51) cotton mohair tie replaced the khaki one for Class A and B uniforms. In turn, it was replaced in May 1957 by the return of plain black, in tropical worsted or similar woven fabric. All personnel wore the tie tucked into the shirt, between the third and fourth buttons.

CoatIn the 1920s, the Army Air Corps

advocated for replacing the World War I era uniform coat, which had a closed, standing collar, with a less restrictive coat with an open collar. It also sought to replace the leather “Sam Browne” waist- and cross-belt with a fabric waist-belt. These changes were

approved for Air Corps personnel in 1925. The following year, the open-collared coat was approved for the rest of the Army.

Body of the Coat. In the November 10, 1941, regulations, an officer’s Class A coat was identical in style and cut to that for enlisted men, with one exception (described below).

The coat was made from 18-ounce wool serge dark olive drab cloth (#51). It was single-breasted with a notched collar and lapel, cut “to fit easy over the chest and shoulder and to be fitted slightly at the waist to conform to the [wearer’s] figure so as to prevent wrinkling or rolling under the leather belt when worn,” according to the regulations. The back was to have two side pleats “not less than 3 inches in depth at shoulder and to extend from shoulder seam where it joins the armhole seam to waistline.” The coat was to be buttoned with four large regulation coat buttons (described below), equally spaced. The lapels were to cross “approximately 1¾ inches above the top button.” The sleeves had plain cuffs, without buttons.

The coat’s skirt was,

“to be full, with a slight flare, and to extend 1 to 2 inches below the crotch, according to the height of the wearer [i.e., about to the middle of the hand when the arm falls naturally to the side], with a slit in the back extending from the waistline to the bottom of the skirt, following the back seam with an underlap of approximately 2½ inches. The front overlapping left edge

of coat to be cut with a pronounced flare to the right from the bottom button to the bottom of the skirt, so as to appear straight from the lapel opening to the bottom of the coat and to remain overlapped not less than 4 inches when in a standing position, without the use of hooks and eyes, the fullness necessary to accomplish this result being over the hips.”

The lower pockets were slash pockets, “hung inside the body of the skirt” and “to be attached to the body of the skirt only at the mouth.” They were covered by straight flaps, the tops of which were to be slightly below the waistline, buttoned at the center with a small regulation button. This treatment of the lower pockets was the only design difference from the enlisted man’s coat, which had patch pockets on the skirt in place of the officer’s slit pockets.

Shoulder Straps. The coat had shoulder straps, of the same material as the body of


Generalissimo and Madame Chiang Kai-shek with Gen. l Stilwell. Stilwell is in Class A uniform with cloth belt on the service coat. He is wearing a dark tie.

Maj. Gen. George S. Patton, Jr., studying a map. Note the method of tucking the tie into the shirt.

the coat, “let in at the sleeve head seam and reaching to approximately ¾ inch beneath the collar, buttoning at the collar edge with a small regulation coat button.” The strap was to be about 2½ inches wide at the shoulder end, tapering to a rounded point about 1½ inches wide at the collar. At the shoulder the strap was cross-stitched down for a distance of about two inches.

Coat Belt. For all arms and services except the Army Air Force, the coat had a metal hook let in to each side seam at the waistline to support the officer’s leather “Sam Browne” belt. (A “Sam Browne” belt is a leather sword belt with a supporting cross strap.

Named for its inventor, a British general who had lost an arm, it enabled the wearer to draw a sword with only one hand.) The hook was to be of the same metal as the belt hardware. The belt was about two inches wide. It and the cross-belt were of russet leather. The belt closed with a brass rectangular buckle with two tongues. The cross belt was attached to the belt at the left front, crossed over the chest and right shoulder (beneath that shoulder strap) and fastened at the left rear of the belt. The cross-belt had a brass single-tongued buckle at about the center front of the coat to adjust its length (about at the coat’s top button).

Army Air Force officers’ coats replaced the leather belt and cross-belt with a cloth belt made of the same material as the coat, about two inches wide, sewn down along the waistline with the coat’s bottom button

slightly below the sewn-on belt. The belt closed in front with a smooth brass rectangular tongueless buckle.

In November 1942, the Air Force style cloth belt was authorized for officers of all arms and services. However, an officer could continue to wear the leather belt and cross-belt until June 1943, at which point the cloth belt became mandatory.

Commissioned Officer’s Braid. Commissioned officers wore a ½ inch wide band of drab (#53) braid on each sleeve, thee inches from the end of the sleeve on the service coat, “Ike jacket,” flight jacket, and

summer coat (see below). Warrant officers did not wear this braid. However, warrant officers who served in the First World War wore a similar band of forest green braid.

Buttons. Except for officers of the Corps of Engineers, buttons were brass, slightly convex, carrying the Army insignia of an eagle with spread wings, with a shield on its chest. The shield has a plain upper quarter; the lower three-quarters have 13 vertical stripes. The eagle holds four arrows in its left talon and a sprig of laurel in its right. The eagle’s head is turned to the right and in its beak it carries a banner that spreads above the wings. A 13-star glory surrounded by a round wreath of clouds is above the eagle’s head. The Engineers Corps had its own buttons, which are not described in this article.

1944 Modifications. The March 30, 1944, amendment removed the pleats from the back of the coat, which now was to be plain. It replaced the fourth (bottom) brass button on the front of the coat with a four-hole 36-ligne button of bone, plastic, or other suitable material of a color closely approximating that of the coat,” which was to be hidden by the belt.

It specified the belt as being 1¾ inches in width with a mitered end. The buckle continued to be a tongueless brass rectangle; however, its corners now were rounded and it had raised polished rims and “horizontally lined background of gold colored metal ¼ inch in width.”


Gen. Douglas McArthur (1935) wearing a white shirt and black tie (standard for Class A uniforms until 1938). His breast pockets are not pleated. Cross strap of Sam Browne belt is highly polished. Chevrons on sleeve are for service in the Great War.

The belt could be either fully detachable or “sewn down around the waistline to a point approximately 2½ inches from the front edge of the coat on each side.” With a detachable belt, two ¼ inch wide belt loops will be placed in the coat’s side seams:

“The belt will cover the horizontal seam at the waistline and the buckle will be centered over the bottom button of the coat [i.e., the 36-ligne one] when buttoned. The mitered end of the belt will pass through the buckle to the left, extend not more than 3 inches beyond the buckle, and may be held

in place by a cloth keeper 9/16-inch in width.”

Summer Coat. The September 4, 1942, amendment to regulations authorized a coat for summer use that was somewhat different in design and cut from the olive drab service coat. It would be worn with the khaki (#1) gabardine trousers. The summer coat was a “single-breasted semiform-fitting sack coat,” of khaki (#1) gabardine, “extending to the crotch, with no pronounced flare or waistline seams.”

Commissioned officers and qualified warrant officers wore the same braid as on the olive drab coat. The summer coat did not include a belt and the bottom button continued to be brass. Unlike the olive drab coat, all buttons were to be removable.

M1944 “Ike Jacket.” The year 1944 also saw introduction of a new waist-length coat. Known as the M1944, it was popularly called the “Eisenhower Jacket” or “Ike Jacket,” because General Dwight D. Eisenhower, the European Theater’s Supreme Allied Commander, admired the British Army’s battledress jacket and, in 1943, pressed for introduction of an improved version for both field and garrison

use. In practice the Ike jacket was largely reserved for garrison, dress, or walking-out.

HeadgearHeadgear included caps, hats, and

helmets. Some headgear could be worn by officers either overseas or stateside and either in the garrison or in the field. Other headgear could be worn only in the field, only stateside, or both.

Service Cap: Intended to be worn either overseas or stateside, primarily in garrison, the service cap was circular, with a band of dark olive drab (#51) braid, about 1 7/8 inches wide, around the entire cap.


In this post-war photo (note the black tie), Gen. Omar Bradley is wearing the dark olive drab service coat as modified by the 1944 regulations.

Gen Brehon Somervell wears the summer uniform in khaki gabardine. Note scalloped flaps and the pleats of the chest pockets and the black tie. Chevrons on sleeve denote World War I service.

Above that band was a dark olive drab wool serge or elastique crown of about 11¼ inches from front to back by 10½ inches from side to side for a size 7 1/8 cap. The cap had “two eyelets ½ inch from the welt seam and about ¾ inch on each side of side seam of quarters.” The front of the crown was stiffened with springs; the rear was without stiffening. The top was stiffened at its rim with a flat grommet, 3/16 inch wide, leaving the top “to be slack.”

The cap had a russet leather visor, about 2 3/16 inches deep, sloped about 55 degrees from the vertical. It was lined with “green hatters’ leather.” Above the peak was a ¾ inch wide russet leather chinstrap, 9½ inches long, fastened to the cap with small regulation cap buttons at the ends of the visor.

A khaki (#1) cap cover could be placed over the olive drab top for wear with the summer or Class C uniforms.

For officers in the Army Air Force, the “front spring stiffening may be omitted and the grommet may be removed.” The purpose was to permit air crew to wear radio or intercom headsets over the cap; however, the style became known as the “50-mission crush.” (An aircrew’s tour of duty was 25 missions, so a 50-mission crush looks like a cap worn by an officer at the end of a second, voluntary, tour. Statistically, a 25-mission tour was estimated as providing a 50 percent chance of survival.)

In 1951, this cap was replaced by a new service cap with a dark brown (#62) fur felt crown, a soft roll grommet, a light drab (#53) basket-weave braid, a russet visor slanted 45 degrees, and matching 5/8 inch wide russet leather chin strap (in front) and buckled head strap (to the rear). Other features of the cap remained unchanged. This cap remained in use until Army Green replaced olive drab.

Garrison or “Overseas” Cap. Reintroduced in 1925 for use by Army Air Corps pilots and for armored and mechanized cavalry units in 1933, by wartime, the garrison cap was authorized for wear by all officers. It was intended for use in the field (despite its name). The cap was a

flat fore-and-aft envelope with a crown with an indented fore-and-aft fold and a curtain with a diagonal flap on the left, without a visor. It was made in dark olive drab (#51) for use with the service uniform and in khaki (#1) cotton mohair for use with the summer or Class C uniforms.

The corners of the crown were rounded slightly. The folds of the curtain and flap were edged with piping, which was gold for general officers, gold and black intermixed for other commissioned officers, and silver and black intermixed for warrant officers.

Until August 25, 1942, the same regimental badge worn on the shoulder straps was worn on the left front curtain, except by officers in the Army Air Force, who wore a miniature version of the service


Captain E. H. Lowe (left) in Class A service coat (1943) Service cap has a head strap at the back as well as a chin strap at the front. Photo shows slight bulge in soft top of the cap and the angle of the peak.

Gen. Omar Bradley and parachute officers are in Class A uniforms with pink trousers and garrison caps instead of the service caps.

cap insignia there; on that date, these insignia were replaced by rank insignia.

Service Hat. Still in use in 1941 for use in the field, stateside only, was the Model 1911 campaign hat from the First World War uniform. It was a “Montana peak” hat (like Smoky the Bear’s), similar to those used today by male Army drill

instructors. The hat was of “beaver color” felt, with a crown 5¼ inches tall, for a size 7 1/8 hat, and a three-inch brim, with either three or five rows of stitching around the brim. The hat had the peaks facing directly fore-and-aft; each had a grommeted ventilation hole. An officer’s hat had a 5/8 inch russet leather chin strap attached by two grommeted holes toward the bottom of each side peak. Stateside, officers of armored and airborne units wore a garrison cap in the field, not the campaign hat.

OuterwearAn officer’s outerwear included an

overcoat, a short overcoat, and a raincoat.

Overcoat. The overcoat (greatcoat) was intended for either dress or field wear. In dark olive drab (#51) wool, it was a,

“double-breasted ulster with convertible style roll collar and notch lapel, lining of same color as ulster; buttoned down the front with a double row of large regulation

overcoat buttons [plain bone], three on each side below the roll of the lapel with the top buttons approximately 6½ to 7 inches apart; a button placed under the right collar and a buttonhole at the top of each lapel, one for use when the collar is converted [i.e., closed across] and the other for appearance; the lining slit and fastened to pocket openings to allow the hand to go through to pocket of breeches or trousers; slit closed with a small [plain bone] button and buttonhole. Back to be plaited [pleated] and to have back straps [i.e., cloth belt] let into the side seam at the waistline, fastened together with two large regulation buttons [i.e., like those on the front of the coat] and buttonholes. Skirt not longer than 10 inches or shorter than 3 inches below the knee; slit at the back extending from the bottom of the back strap [i.e., belt] to bottom of skirt and closing with small concealed buttons and buttonholes. The front corners [of the skirt] to be provided with buttons and buttonholes so that the corners may be turned back to facilitate marching [like in the French army].“

The long overcoat had two “outside welted pockets, one on each side, with vertical openings; the center of pocket about opposite lower button and placed on a line with front seam of sleeve.” It had shoulder straps identical in size and shape to those on the service coat, on which officers wore their rank insignia. Cuffs were plain and did not include the olive drab braid that appeared on the service coat to distinguish commissioned officers. However, general officers had a double row of black braid,

“the lower band to be 1¼ inches in width and about 2½ inches from the lower edge of the sleeve, the other to be ½ inch in width and 1½ inches above the lower band.” As noted above, officers wore their shoulder patch on the left shoulder of this overcoat.

The September 4, 1942, amendment to regulations added “a 36-ligne button placed inside the top left large regulation front button for use in holding right front fly in


Bazooka commander in a overcoat of wool with roll collar and brass buttons, 1945.

place.” In 1946, a new overcoat replaced the one worn during the War.

Use of the long overcoat in the field was unpopular because it became heavy when wet; the March 31, 1944, amendment supplied a long field coat to replace it in the field.

Short Overcoat. In dark olive drab (#51) wool, the short overcoat was a “double-breasted coat, lined or unlined, with a shawl roll collar approximately 5 inches in width, buttoned down the front with a double row of large regulation [plain bone] overcoat buttons, three on each side below the roll of collar with additional buttons or

loops so that the coat can be buttoned to the neck. A detachable belt of the same material as coat, held in place with loops sewed at side seams.” It had two plain bone buttons, side by side. The skirt extended to “6 inches

above the knee. Slit in the back extending about 15 inches from the bottom.”

The coat had two flapped outside patch pockets, one on each side, with the top of the flap about level with the lowest button. Shoulder straps were of the same shape as those on the service coat; rank insignia were worn on them. Like the overcoat, cuffs were plain. General officers wore the same braid as on the overcoat. Unlike the overcoat, shoulder patches were not worn on this coat.

The short overcoat was authorized for use either in garrison or in the field. However, officers could not wear it in formation with enlisted men wearing the (long) overcoat.

On April 3, 1943, the short overcoat was replaced by a new pattern. Very similar to the original, the new short overcoat had a notched collar and lacked a belt. Shoulder patches were authorized for wear with the April 1943 short overcoat.

Raincoat. Described merely as a “waterproof coat of commercial pattern, with shoulder loops [straps], as nearly as possible olive-drab color,” this actually was a belted trench coat that officers had to purchase privately. The March 31, 1944, amendment specified the color as olive drab (#7). Normally, the raincoat was double-breasted, with two rows of three or four buttons each and one just below the collar to close the coat top, and had slit side pockets and a single vent at the back of the skirt. Rank badges were worn on the shoulder straps. No other insignia were worn.

GlovesFor dress use, officers wore gloves of

light tan chamois leather or chamois color material or, for more formal occasions, white cotton or lisle gloves, buttoned at the wrist. For service use they wore light russet leather gloves, lined or unlined, with a snap or buckle fastener at the wrist, or olive drab knit wool gloves.

BibliographyCarman, W.Y., FRA, FRHistS. A

Dictionary of Military Uniform. New York: Charles Scribner’s Sons, 1977. ISBN: 0-684-15130-8.

Cline, Ray S. Washington Command Post: The Operations Division. United


LtGen. Omar Bradley and MGen J. Lawton Collins at Cherbourg, June 1944. Note goggles, and M1911 pistol in a shoulder holster worn outside the raincoat.

Maj. Thomas M. Williams, Cmdr. 2018th Prisoner of War Detachment, wearing Short Officer's M-1926 overcoat, an uncommon coat. Feb 1945.

States Army in World War II, The War Department, CMH Pub. 1-2. Washington, DC: U.S. Government Printing Office, 1990.

Elting, Col. John R. and Michael J. McAfee. Military Uniforms in America, Volume IV: The Modern Era from 1868. Novato, CA: Presidio Press for The Company of Military Historians, 1988. ISBN: 0-89141-292-1.

Katcher, Philip. The American Soldier: U.S. Armies in Uniform, 1755 to the Present. New York: Military Press, 1990. ISBN: 0-517-01481-5.

________. The U.S. Army, 1941-45. Osprey Men-at-Arms Series #70. London: Osprey Publishing Ltd., 1984. ISBN: 0-85045-522-7.

Mollo, Andrew. The Armed Forces of World War II: Uniforms, Insignia, and Organization. New York: Crown Publishers, Inc., 1981. ISBN: 0-517-54478-4.

________. Army Uniforms of World War 2. Blandford Colour Series. Poole, UK: Blandford Press, 1977. ISBN: 0-7137-0611-2.

________. Naval, Martine and Air Force Uniforms of World War 2. Macmillan Color Series. New York: Macmillan Publishing Company, Inc., 1976. ISBN: 0-02-579391-8.

Millet, John D. The Organization and Role of the Army Service Forces. United States Army, The Army Service Forces,

CMH Pub 3-1. Washington, DC: Center of Military Hiistory, United States Army, 1998.

Reynosa, Mark A. U.S. Combat Helmets of the 20th Century: Mass Production Helmets. A Schiffer Military History Book. Atglen, PA: Schiffer Publishing Ltd., 1997. ISBN: 0-7643-0357-0.

Rosignoli, Guido, Air Force Badges and Insignia of World War 2: Great Britain, Norway, Netherlands, U.S.S.R., Denmark, France, Belgium, Yugoslavia, U.S.A., Italy, China, Bulgaria, Germany, Czechoslovakia, Finland, Poland, Japan, Rumania, Hungary. Arco Color Series. New York: Arco Publishing Company, Inc., 1977. ISBN: 0-668-04252-4.

________. Army Badges and Insignia of World War 2: U.S., Great Britain, Poland, Belgium, Italy, U.S.S.R., Germany. Macmillan Color Series. New York: The Macmillan Company, 1972. No ISBN.

Rottman, Gordon. US Army Air Force: 2. Osprey Military Elite Series #51. London: Osprey Publishing Ltd., 1994. ISBN: 1-5532-339-7.

Stanton, Shelby. U.S. Army Uniforms of the Cold War, 1948-1973. Mechanicsburg, PA: Stackpole Books, 1994. ISBN: 0-8117-1821-2.

Stewart, Richard W., Ed. The United States Army in a Global Era, 1917-2003. Washington, DC: Center of Military History, United States Army, 2005.

United States Army Center of Military History. Dwight David Eisenhower: The Centennial. Washington, DC: United States Army, 1990.

________. Omar Nelson Bradley: The Centennial. Washington, DC: United States Army, 1992.

U.S. Army Center of Military History: www.history.army.mil/

Byron Connell a long-time SF fan, is a historian by training. He likes to help at masquerades rather than entering them – entering once a decade is about right! However, since being part of the Torcon best-in-show entry, when he does enter, he does so in the Master division. Byron has run masquerades at several Costume-Cons and Philcons, and directed the Anticipation masquerade. He is a member of the Sick Pups (the New Jersey-New York Costumers’ Guild), the SLUTs, (St. Louis Ubiquitous Tailoring Society), and the Armed Costumers’ Guild; that makes him an Armed SLUT Puppy! Byron is a past President of the International Costumers’ Guild, which honored him with its 1996 Lifetime Achievement Award. He likes hard SF, alternate history, alternate worlds, and fantasy (not necessarily in that order).


Editors NoteByron Connell will continue his coverage

of WWII U.S. Army officers' uniforms with articles in upcoming issues of VC on ranks and insignias, and on field uniforms and accessories.

http://www.costume.org/lifetime/connell.html

http://www.costume.org/lifetime/connell.html

http://www.history.army.mil/

Event ReportLadies and Gentlemen of the 1860s ConferenceLisa A. Ashton

Civil War era fashions were much in evidence at a recent conference on 1860's clothing. A costumer who specializes in the period shares some highlights.

I attended the 17th annual "Ladies & Gentlemen of the 1860's” conference in Camp Hill, PA (very near Harrisburg and Gettysburg). from March 3-6, 2011. The conference, sponsored by the Genteel Arts Academy, promotes learning about the clothing and cultures of the 1860s Civil War era.

I learned a lot in an intensely short time, some of it at the workshops/seminars, and some of it just from talking to other attendees and a few of the dealers. The instructors here really knew their topics, and were fabulous speakers and teachers.

Day 1 (Thursday) was devoted to pre-conference workshops. I went to a morning workshop about "Perfecting Your Patterns," where the leader actually had us learn to make a perfect paper pattern out of a messy muslin. I finally really learned and practiced

how to "true" and "walk" a pattern, and also learned how and why to use a french curve to make my patterns much easier to use.

This is going to change the way I make and store my patterns, since I mostly make my own these days. Actually practicing the techniques using a 1/3 scale 1860's bodice pattern (which is what I've been doing for months now) really engraved it into my memory.

The second workshop on Thursday afternoon was on “Making an Authentic 1860's sewing Chatelaine.” It taught the technique of weaving silk ribbon through 5/8" metal rings, and making the little accessories that go on it, just like the

several authentic ones the instructor had for display, and that we were actually allowed to touch. The kit for the workshop was only $16, and included everything except a needle and thread.

The ribbon and ring weaving procedure was easily learned in about 45 minutes (with a few false starts for everyone) making up the "belt" part of the chatelaine. Then we spent time making the strawberry shaped pincushion, and the square pillow shaped needle holder. I found a very cute little bird shaped sewing scissors at home, that I will also tie on to it, although a mini scissors was included in the kit. There are some other wonderful little accessories that I may be able to find, to add to my chatelaine. I am looking forward to actually wearing it as part of my costume. Since I now have a photo of the original ones, they will also be useful as documentation.

Both workshops were pretty concentrated, and the speakers were enthusiastic and extremely knowledgeable.

After wearing my newly-made day dress to the chatelaine workshop, I was happy just to wear street clothes to the welcome reception. People were quite friendly, and there were a few "ice-breaking" sorts of questionnaires being passed around. People were also really glad to see friends from prior conferences, of course.


1860's Chatelaine, a sewing tool notion that could be worn tied around the waist or around the shoulders.

http://www.genteelarts.com/ConfInfo083110.pdf

http://www.genteelarts.com/ConfInfo083110.pdf



Day 2 (Friday) was also devoted to pre-conference workshops. My first was "I Shall Endeavor to Write It Down--Researching the Civil War," and the speaker was amazing. His name is Wayne Motts and he is the Historian for the Local County historical Society at Gettysburg. I think he knows as much or more about Civil War as anyone.

Wayne talked about researching in a way that really made it personal. He went around the room (there were maybe 15 or 20 people attending this) and wrote down all of our names and what we were particularly interested in researching about the period. For me, of course, that was two fold: both about Sullivan and Sarah Ballou, and finding out more about my vintage photos and artifacts that I collect from flea markets. I never realized that doing historical research involved following up so many sources to uncover a primary source.

Friday afternoon was full of interest. First, their Marketplace opened, and I was able to talk to someone who does traditional forms of hair jewelry. She was very interested in a piece someone bought for me, and also in the two pieces that I acquired last summer at the flea market. They are even more precious to me now that I know how to outfit and wear the piece that someone bought for me. It's missing the fob or charm, but I have the perfect piece for it that I inherited from my mother's jewelry and never knew what it was (a gold weight with engraving on the bottom).

I bought some hard-to-find patterns for headpieces, another pair of stockings, and a decent historical pattern for the coat, or paletot, that is right for the period. I also bought a new chemise pattern that I like much better than the chemise I have, so that will look better-made too!

I found several inexpensive books, as well. One I bought as a pictorial overview of the fashions and accessories of the period, and another (all photos) because there was one of an 1862 woman in it, that looked exactly like the dress I made to portray Sarah Ballou. I mean, it could have been me, in that photo. Eerie.

My final workshop on Friday was called "Identifying Victorian Jewelry." The woman who spoke had an amazing knowledge of the subject, and she brought several hundred various pieces of jewelry that were laid out and we were allowed to pick up and examine!!! She had everything from earring with tiny photographs inside to patriotic brooches, to mosaic work, to "lava cameos" to fakes of the period and later.

I also found out, that the larger of my hair brooches (the ones with the missing part of the clasp) probably dates to as early as 1850 (which was fantastic), and the smaller one is clearly 1860's. It was informative and especially wonderful to be able to look at many pieces very closely, and really start to understand how to look at pieces when I am considering buying them so I'll know what and when they are.

That evening, the conference officially started with a talk about patriotism of the time, and how is manifested itself. I skipped another talk about "Living History and Reenacting" since I'm not so much into that, and I was very tired. It was a intense first two days.

Day 3 (Saturday) was the start of the more "academic" program.There were two parallel tracks of lectures. I chose the one that was more about culture and dress. There were also exhibits of actual original dresses and other clothing articles. I spent some time in there and we were actually allowed to photograph things!

The exhibit included chemises with lots of hand whitework (gorgeous), bonnets, and children's clothes. The authentic chemises of the period were astounding for the fine white-on-white needlework in the chemises--interesting, if there are tucks, they are vertical and on the yoke, not on the body or hem area of the garment, as we are so used to seeing for decorative elements.


Ballgown bodice from the 1860's, one of the displays brought by attendees. with handmade lace insertions

The first talk on Saturday was about "transforming" or "convertible" dresses--i.e. adding a fichu or pelerine or bertha, or even a second matching bodice, to make the outfit do double duty and be a different look. We all do this now, and they did it then too. The second talk was about the quilt collection at the Museum of the Confederacy. Being a quilter myself, it was quite fascinating. They have several quilts there that were actually made by the First Lady, wife of Jefferson Davis. Some of the quilts have a very interesting provenance.

For the most part, everyone wore regular clothes to attend the workshops and lectures. My wearing an 1860's day dress to a workshop was unusual, but fun. The opening of the main lectures was punctuated by a presentation where all the speakers and workshop leaders had been sent a package of fabric in advance with the instructions to, "Make a dress of the period.” It was interesting to see each speaker present their dress (the men are sent Vest fabric), and how different they were and what the similarities were as well.

While I was listening to the talks, I was making a collar and cuffs for the bodice I planned to wear that evening to the dinner and ball. I was able to get them done with the little bit of lace sewn into the seam, and I tacked them on when I went back to the room. I skipped the afternoon talks – I am never good at sitting through that stuff all day, even at a professional conference.

The new bodice (a red and grey plaid wool--very fine, light, and soft) is very tailored, with the points in the front and the "swallowtail" back. I'm really proud of the piping on it (piping all those points was challenging). It fit perfectly, and has some of my vintage glass buttons on it. It was a good choice, although very different from what else I saw. It has essentially no decoration to it. I wore it with the pale grey wool skirt. Everything fit and went together well.

The ball and dinner were quite nice. There was assigned table seating for the dinner, which is a Victorian custom, and it was really easy to talk to my table companions. The dinner itself was nothing special, but the reception!! Almost all the

women dressed in 1860's dress and oh my! what dresses they were--not all ball dresses, so I needn’t have been intimidated, but they were quite wonderful, colorful and feminine.

Day 4 (Sunday) had two talks. I stayed for the first talk about the Industrial Age, when they started to make crinolines and hoops and corset bones out of steel, and they first made machine printed fabrics. I found it both interesting and useful. The whole weekend had been really intense, so I decided to call it a day after that.

Next year, the conference will run from March 1-4 in Harrisburg Pennsylvania. See the Genteel Arts Academy web site for details. I'm already thinking about attending – that is, if I recover from this year's conference by then!

Lisa A. Ashton is a Science Fiction & Fantasy and historical costumer who started costuming after attending Noreascon in 1989. Over 20 years later, she is still trying to design and build that perfect costume that will make people gasp in wonder. Other passions include beading, hunting, stamp collecting, gardening and canning, and collecting authentic Victorian photographs to study fashion history. As a Physician Assistant in Emergency Medicine for the last 25 years, she has had many opportunities to hone her sewing skills on her patients. Lisa is Program Director for Costume-Cons 29 and 30. Visit her web site (still under construction). Her article, “Sullivan Ballou's Farewell,” appears in this issue.


http://www.costumelantern.mysite.com/

http://www.genteelarts.com/

Virtual SoapboxButtons: Small Markers of History and FashionSadie Jackman

Buttons are an important element of both military uniforms and civilian wear. A button collector explains why holding either type of vintage button is like holding history in the palm of your hand.

The origin of attaching the first button to clothing is lost to history but it is assumed that early man held his furs and cloaks together with fragments of bone or bark and a twist of vine or animal gut. Warmth and maybe modesty would have been the motivators of invention.

There are surviving records from a French button maker’s guild in 1250 AD that confirm buttons as an important commercial product with a high degree of artistry. The natural materials of bone, wood and shell were augmented with metals.

Royal decrees dictated the styles that could be worn by the under-classes. Only royalty and the very wealthy were allowed the fancy, finely crafted or jeweled buttons. As buttons became more important as ornaments, they were inevitably elevated to symbols of rank or affluence.

The merely wealthy copied the styles of the French court. King Francis I reigned from 1515–1547 and was considered the first Renaissance monarch. His patronage of grand art and fashion contributed to France’s being the center of the world’s button makers. He is reputed to have had a formal costume adorned with 13,600 buttons that would have resembled a mirrored ball under lights.

In the last half of the eighteenth century, Louis XIV was famous for a button buying habit which, along with four wars and the new palace at Versailles, ultimately cost France over five million dollars, thereby draining the national treasury. The court favored gold buttons embellished with precious stones.

Gentlemen also commissioned the most famous artists of the day to paint their mistresses’ portraits, as well as their horses or hunting dogs, on ivory under glass with diamond or paste borders.

The fashionable competed to sport the most costly and unique sets of buttons.

The most ornate and flamboyant buttons of this period were mainly worn by men, but women wore them too. Large diamond buttons (circa 1770s), previously owned by Catherine the Great of Russia, were offered at auction in London within the past decade.

Jewelers in Eastern Europe were also busily employed creating intricate buttons with pearls and jewels. The most ornate are today referred to as “Hungarian jewels.” Many examples of this 17th and 18th

century artistry survive to the delight of modern collectors.

Reminiscent of the artists and jewelers of the 18th century, Jean Schlumberger, famous for his jewelry creations for Tiffany, began his career as a button maker for French designer Elsa Schiaparelli. He came up with the concept of realistic shapes for buttons in the 1930s. The 18K gold trapeze artists for her silk circus print suits were an innovative example. This whimsical concept is credited as the inspiration for millions of cheaply manufactured, realistically shaped plastic buttons at the same time. These are sought by collectors today and referred to as “Goofies.” Finding complete sets can be


Hand-painted portrait on vegetable ivory under glass.

Austro-Hugarian 19th C. silver and vermeil button.



difficult because most were lost to the tip of a hot iron or wringer washing machine.

Some of the small buttons, markers of history that you can hold in your hand, are reminders of more serious events. During the 1940s, a shortage of metal forced the United States military to turn to plastic for the manufacture of its uniform buttons. This simple change freed tons of metal for use in weapons.

In Eastern Europe, their military faced the same problem, and their government turned to the glass makers of Bohemia. Uniform and military buttons are a large category of button collecting and the values vary from extremes of one dollar to thousands.

One of the most available sources for today’s collector is the button crazed Victorian era. Many dresses or jackets required twenty-four buttons or more for closure and many more used as trim or ornamentation. Hundreds of thousands of these examples survive in all price ranges.

Black glass is one of the most common materials, due to Queen Victorian’s extended mourning period. It is often referred to as

“jet” but only the color is the same. Real jet buttons or jewelry from that period are rare. Scarcity is the criteria of value for any collectible, so a beautiful, intricately molded glass button that is more than a hundred years old can still be worth less than a dollar. Many of the small pictorial metals buttons from the same time period also sell for small amounts.

These buttons are a special type, designated as “Victorian Jewels” or “Gay ‘90s” (circa 1890s). They are recognized by the large percentage of the surface design dominated by the faux jewel and the distinctive long sturdy shank on the back. They were normally used on heavy fabrics because of their weight and size. It’s easy to envision these on a lush velvet or brocade opera cape or fur coat.

Buttons of each era are as distinctive as the fabrics and silhouettes of the fashions.

Many designers and crafters favor vintage buttons for use in costume repair, jewelry and fashion design. Many quilters, knitters and wearable artists also seek out older buttons because the quality and craftsmanship are superior to modern ones.

Today, buttons are utilitarian items, protecting us from exposure or keeping the weather at bay. However, these small pieces of shape and color are one of the most collected items in the world. The hobby was officially organized in 1938 when clubs formed to share enthusiasm and information.

There are hundreds of groups defined as city, state, or national. Each state has one or two shows or conventions each year and the national society hosts an annual convention each August with vendors and shoppers from all states and several European countries. Visit the National Button Society web site for a club near you.

Costumers will enjoy reading the magazine that is included with membership in the National Button Society. It is a solid investment for the calendar of events alone, but each issue also has well researched, colorful articles on buttons and their history. There are also advertisements for books, auctions and buttons for sale.

Sadie Jackman is a button collector and President of the Texas State Button Society. For more information, you can contact her at [email protected].


Five different late WWII plastic military buttons, including two different Navy, a USMC, an Army, and a Army WAC.

Victorian Jewels buttons.

http://www.nationalbuttonsociety.com/

http://www.nationalbuttonsociety.com/

Short SubjectsFull Metal CorsetA History Chanel program highlights women who secretly served in the Civil War.

In “Full Metal Corset: Secret Soldiers of the Civil War” (2007) , The History Channel, tells the story of the hundreds of women who secretly fought in the Civil War. The program follows two female soldiers--Sarah Emma Edmonds, who fought for

the Union and and Loreta Janeta Velazquez, who fought for the confederacy.

The program uses numerous battle field reenactments, intercut with narrative and dramatization using two actresses to portray Edmonds and Velazquez. In the process, the program shows a number of types of Civil War uniforms, battle field scenes, and sequences of Edmonds and Velazquez transforming themselves into male soldiers. Edmonds wants to escape a forced marriage arranged by her domineering father, while Velazquez wants to follow after her officer husband and find adventure and freedom as a male in a male world.

Both women survived the war and later wrote memoirs of their experiences, and here is where things take a dubious turn.

Both memoirs appear to be highly exaggerated and fictitious, and the entire program seems to be based primarily on those "novels," while even admitting that they were suspect near the end of the program.

Despite this flaw, the program shows a number of Civil War uniforms, and provides an interesting glimpse into how easily the society of the time accepted the clothing the women wore as proof of their masculinity, despite indications that they were not what they seemed.

The GreenShows FashionsA “green” fashion show highlights ideas for recycling material into elegant attire.

Gloria Dawson of “The Daily Green” reports that The GreenShows models strutted their stuff for the second season this April, showing off the best in sustainable, recycled. The events were held at a new yet-to-be inhabited eco-friendly apartment building in New York City's East Village.

Newspapers and laundry bags rustled down the runway, along with old sweatshirts and baseball jackets repurposed into gowns as The GreenShows opened with a showcase of Gary Harvey's recycled clothing designs.

The collection was designed to challenge people's perception of secondhand clothing. Harvey was previously creative director of Levi Strauss and Dockers Europe. He believes too many garments end up in landfill

sites at the end of a season because they are deemed aesthetically redundant.

Can a new “green” masquerade category be far behind?

Costume Drawings by David Hunter StrotherWest Virginia Regional History Collection offers drawing by famous artist/ illustrator.

At the time of the Civil War, one of the nation's premier art journals described David Hunter Strother as "one of the best draughtsman this country possesses".


The GreenShows sponsor, natural beauty company Weleda and its Skin Food lotion, was honored in this creation made from product packaging. Photo: Gloria Dawson / The Daily Green.



Strother was a regular contributor to Harper's Monthly, where he illustrated travelogues on New England, the Dismal Swamp, and a winter season in the South.

After he passed away in 1888, his name and work might have faded with time, but instead, he lives on in the West Virginia Libraries' excellent on-line collection of his work.

The collection contains 730 illustrations and sketches created by Strother. Visitors will find revealing images of Americans from the late 1800's at work, play, and during the war among their number, a boon for costumers trying to locate authentic illustrations of children and "characters" as well as the usual portrait subjects.

Learn more about this fascinating collection of images at their web site:http://www.libraries.wvu.edu/wvconline/strother.htm.

Royal Military UniformsRoyal spectacles offer unprecedented

opportunities to study dress uniforms.

With the recent marriage of Prince William of Great Britain to Kate Middleton, with its pageantry and military parades, costumers will be reminded that royal ceremonial events are excellent sources to study

dress and royal military uniforms. Whether gathering material to recreate one of these spectacular uniforms, or just doing historical research, costumers will find a wealth of material in books, magazines, photo archives, newsreels, and video recordings made during both modern-day and historical events.

Although the United Kingdom is the best known and most studied monarchy in western countries, a number of governments throughout the world still have official connections to their royal families and observe ceremonial occasions like weddings, coronations and funerals that provide a wealth of images of military finery represented at these occasions.

Parting ShotA Military themed illustration links two authors and their articles in this issue.

In addition to his illustrations for Role Playing Games (RPGs), Larry Dixon also illustrates book covers for his wife, author Mercedes Lackey, and other fantasy authors. One of the authors that Larry described working with in an earlier article (see VC volume 8, issue 4, page 34) is Lois McMaster Bujold. Bujold is best know as the author of the Vorkosigan series of stories. Her protagonist is Miles Vorkosigan, the eldest son of a nobleman of the planet Barrayar in the series.

Costumer Christofer Bertani describes how he created a military costume for Miles Vorkosigan from a book illustration and the

sparse descriptions that Bujold is notorious for offering her readers, in his article “Vorkosigan Militaria,” which appears in this issue.

One of the most unusual illustrations that Larry Dixon did of the character is for the cover of the Young Miles omnibus for Baen Books. According to Larry, “Lois' manic-depressive space opera protagonist has two sides to him – on a good

day. It came to me that using a playing card theme would be a great way to reflect the Manic, enthusiastic and Depressive, somber sides of Miles.” (A bit of trivia is that the knife Miles is holding in the illustration used to be his grandfather's.)

Larry also worked with Lois on the GURPS RPG supplement based on her books, but had to give up the project due to illness and injury. According to Larry, “She's a neat lady.”


HRH Prince William of Great Britain at his wedding.

Miles Vorkosigan. Cover illustration for Young Miles omnibus by Larry Dixon. Image courtesy of Baen Books.



http://www.libraries.wvu.edu/wvconline/strother.htm

Upcoming EventsCalendar of EventsAnime North 2011May 27-29, 2011Toronto Congress CenterToronto, Ontario CAhttp://www.animenorth.com/

One of the 10 biggest anime conventions, includes anime/manga costuming events, plus both skit and costume Masquerades.

Phoenix Comic-Con 2011May 26-29, 2011Phoenix Convention Center and Hyatt RegencyPhoenix, Arizona USAhttp://www.phoenixcomiccon.com/

Guests include Stan Lee and Billy Dee Williams (Star Wars) Numerous panels on costuming, makeup, effects, and cosplay, a costume doll contest, hall costume contest, and a masquerade ball.

Baycon 2011May 27-30, 2011Hayatt Santa ClaraSanta Clara, California USAhttp://baycon.org/2011

The SF Bay Area’s largest sci-fi and fantasy convention, with 2,000+ members. Includes costume panels, and a Masquerade.

FanimeCon 2011May 27-30, 2011San Jose Convention CenterSan Jose, California USAhttp://www.fanime.com/

One of the10 biggest anime conventions, includes anime/manga costuming events, plus a costume Masquerade.

Philadelphia Comic-ConJune 17-19, 2011Philadelphia, Pennsylvania USAhttp://thecombatcon.com/

This convention features comic and other movie industry events. Features many costumed events including masquerade.

CombatConJune 24-26, 2011Las Vegas, Nevada USAhttp://thecombatcon.com/

This convention and training symposium for stage and screen martial artists and fight choreographers also features a costume contest and fashion show.

Westercon 65July 1-4, 2011Fairmont HotelSan Juse, California USAhttp://www.westercon64.org/

This venerable sci-fi convention features a full costume masquerade and numerous costuming-related panels and tracks.

Comic-Con International 2011July 21-24, 2011San Diego Convention CenterSan Diego, California USAhttp://www.comic-con.org/

World’s largest comic book convention with over 125,00 attendees. Masquerade attracted over 10,000 people, 43 entrants, and 150 costumes, with presentation, workmanship, and industry awards. If it isn’t sold out yet, get your tickets and hotel now!

Costume College 2011July 29-August 1, 2011Warner Center Marriott

Woodland Hills, California USAhttp://www.costumecollege.org/

Three-day educational conference on all costuming and clothing subjects, produced by Costumer's Guild West. Didn’t inherit tickets? Try anyway: you might get lucky!

Worldcon: RennovationAugust 17-21, 2011Reno-Sparks Convention CenterReno, Nevada USAhttp://www.renovationsf.org/

The catwalk style Masquerade is rivaled only by the Hugo Award Ceremony. This year's masquerade will be run by the dynamic duo of Kevin Roche and Andy Trembley.

CopperCon 31September 2-5, 2011Avondale, Arizona USAhttp://www.casfs.org/cucon/

This regional sci-fi/fantasy convention features vampires, werewolves and daemons. A costume parade on Saturday night features prizes, and includes a Gothic Masked Ball.

DragonConSeptember 2-5, 2011Atlanta, Georgia USAhttp://www.renovationsf.org/

Multi-media popular culture convention on sci-fi, fantasy, gaming, and comics. Features costuming track, and a plethora of costuming contests.

Archon 35September 30 – October 1, 2011Doubletree CollinsvilleSt. Louis, Missouri USAhttp://www.archonstl.org/35/


http://www.archonstl.org/35/

http://www.renovationsf.org/

http://www.casfs.org/cucon/

http://www.renovationsf.org/

http://www.costumecollege.org/

http://www.comic-con.org/

http://www.westercon64.org/

http://thecombatcon.com/

http://thecombatcon.com/

http://www.fanime.com/

http://baycon.org/2011

http://www.phoenixcomiccon.com/

http://www.animenorth.com/



This sci-fi and fantasy convention returns to Collinsville with a full costume masquerade and costume related panels.

SteamCon IIIOctober 14-16, 2011Hyatt Regency BellevueBellevue Washington USAhttp://www.steamcon.org/

A 20,000 Leagues Under the Sea themed event .celebration and exploration of the briny deep as seen through the imaginative eyes of Victorian science fiction features costume events and a costume parade.

AlbaConOctober 21-30, 2011Best Western Sovereign HotelAlbany New York USAhttp://www.albacon.org/

Weekend gathering of fans and creators of Fiction or Fantasy. Includes hall costuming and a fantasy dance and masquerade.

FaerieConNovember 4-6, 2011Baltimore Marriott Hunt Valley InnBaltimore Maryland USAhttp://www.faeriecon.com/

Celebrating the Magical Life, features the Good Faeries & Bad Faeries Masquerade Ball with a costume competition, hall costuming, and many faerie related costuming panels.

Anime USANovember 18-20, 2011Hyatt RegencyArlington Virginia USAhttp://www.animeusa.org/

Started by fans in 2004, this convention promotes Japanese arts and popular culture. Includes a Masquerade/cosplay competition, hall cosplay, and a hall cosplay contest

Philcon 2011November 18-20, 2011Crowne Plaza HotelCherry Hill, New Jersey USAhttp://2011.philcon.org/

Hosted by the Philadelphia Science Fiction Society, features author Cory Dockorow and artist Boris Vallejo, sci-fi costume panels, and a costume masquerade.

Ongoing EventsBay Area English Regency Society (BAERS)Various San Francisco Bay Area locationsNumerous dance parties – see their schedulehttp://www.baers.org/

Early 19th c. English Regency with dances from English Country tradition. Second-Friday dance parties, and fancy-dress balls throughout the year. Period dress admired but not required.

Gaskell Occasional Dance SocietyScottish Rite TempeOakland, California USAhttp://www.gaskellball.com/

Victorian Ballroom dances with live music, and a fancy Victorian dress ball. Semi-formal clothing required. Period formal dress of the 19th- 21st century admired but not required.

Greater Bay Area Costumers’ Guild (GBACG)Various San Francisco Bay LocationsMany themed events – see their schedulehttp://www.gbacg.org/

For recreational costumers in the SF Bay Area. Activities include workshops, costume salons, a costuming academy and many costumed events.

Peninsula Wearable Arts Guild (PenWAG)Campbell Community CenterCampbell, California USASecond Saturday of each monthhttp://www.penwag.org/

Members embellish garments with machine and hand appliqué, patchwork, fabric painting and dyeing, stenciling and stamping, machine and hand embroidery, beading, and more.

Period Events and Entertainment Society (PEERS)Masonic Lodge of San Mateo,San Mateo, California USAOngoing monthly period dance eventshttp://www.peers.org/

Sponsors events, classes, and living history performances. Activities include historic dance, drama, music, literature and costume. Period dress admired but not required

Tech Shop120 Independence DriveMenlo Park, CA, USAOngoing classes monthlyhttp://www.techshop.ws/

Classes on the shop’s computerized embroidery, industrial, and conventional sewing machines, and serger. Also molding, vaccuforming, cutting, and machining classes.


Editors NoteSend calendar or ongoing costume-related

events to [email protected]. Include event name, location, dates, URL, and brief description highlighting costume-related activities.


http://www.techshop.ws/

http://www.peers.org/

http://www.penwag.org/

http://www.gbacg.org/

http://www.gaskellball.com/

http://www.baers.org/

http://2011.philcon.org/

http://www.animeusa.org/

http://www.faeriecon.com/

http://www.albacon.org/

http://www.steamcon.org/

militaria - siw costumers · military uniforms have always held a special fascination for...

Documents