Making an 1860s Wrapper

“MORNING DRESS—The most suitable dress for breakfast, is a wrapper made to fit the figure loosely, and the material, excepting when the winter weather requires woolen goods, should be of chintz, gingham, brilliante, or muslin" - The Ladies' Book of Etiquette, and Manual of Politeness by Florence Hartley, 1860 

When I give a "Getting Dressed" presentation, I like to travel in style, comfort, and modesty, donning a wrapper to drive my horseless carriage to and from the locations.  (Since we are just meeting, showing up in only a chemise and stockings might be quite scandalous!)  I was in desperate need of a new 1860s wrapper, as this is probably my most popular and frequently booked decade, and this blog post will detail the project. 

I started designing and sewing the wrapper at the end of February, and finished by the beginning of March.  The first occasion I had to wear it was for a more recent "Getting Dressed in the 1860s" presentation in April for the Presbyterian Village at North Church, which is an independent senior living community.  They were a wonderful audience too, asking lots of questions and sharing some of their own fashion memories, especially from the 1950s and '60s.  Special connections like these are why I love doing fashion programs, and historical clothing is such an excellent tool to discuss all kinds of social history - like gender, identity, and self-expression - as well as economic, labor, political, and technological advancements.  I have a couple more 1860s programs lined up this summer, so the wrapper should get some more wear. 

Historical Inspiration

First a definition: what is a wrapper?  A wrapper (also called a morning dress/robe) is a semi-fitted or loose dressing gown that women would wear in the morning or evening, with or without their corset.  Wrappers tended to follow the lines of a fashionable dress, but were considered informal dress - i.e. best worn in the privacy of one's home for breakfast, chores and domestic duties, or lounging around, but not in front of company.  Some wrappers were fastened from the neck to the waist and stitched shut from the waist to the floor, while others were left open through the skirt to reveal a decorative, embroidered petticoat.  Due to their relaxed fit, many had drawstrings at the waist, or could be tied with a belt, making them perfect for maternity wear too. 

Here's another excerpt from The Ladies' Book of Etiquette, and Manual of Politeness by Florence Hartley, 1860, describing the (un)suitability of wrappers for receiving morning calls: 

DRESS FOR MORNING VISITS—A lady should never receive her morning callers in a wrapper, unless they call at an unusually early hour, or some unexpected demand upon her time makes it impossible to change her dress after breakfast…A wrapper made with handsome trimming, open over a pretty white skirt, may be worn with propriety; but the simple dress worn for breakfast, or in the exercise of domestic duties, is not suitable for the parlor when receiving visits of ceremony in the morning. 

The "simple dress" worn "in the exercise of domestic duties" could be made from a more serviceable calico, as opposed to finer wools and silks.  Printed cotton wrappers often featured bolder colors and busy patterns, which made them both easily launderable and helped to hide dirt and stains from household chores.  

When looking at extant examples, I was feeling particularly inspired by those with velvet accents, like collars, cuffs, and patch pockets, and will share a few below.  If you're looking for more examples or other styles, feel free to take a look through my 19th Century Wrappers Pinterest Board. 

This first example comes from a Pinterest upload, and I would love more information on the garment.  The caption provided only that it was displayed at the Antioch Historical Society, and I assume belongs to a private collection.  I just love the bold print, and the red silk collar and patch pockets, which appear to be trimmed with black ribbon (maybe silk or velvet?) and fringe. 

Display at the Antioch Historical Society
Image source: Pinterest, unidentified owner/collection 

The second example was originally an Ebay auction item, which the seller listed as an "1860s Civil War Era Dress," but it is actually an early-1870s wrapper.  Again, I was responding to the large striped print, with velvet accents, including collar, wide cuffs, patch pockets, buttons, and belt (which should be placed higher, in the gap between the buttons...)

Anyways, here's the description form the Ebay seller: "This elegant antique dress is sewn of the most exquisite wool fabric with paisley pattern fabric…Ever so soft deep chocolate brown silk velvet collar, pockets, sleeve cuffs, belt with matching silk velvet over wooden buttons. The lower dress skirt offers the typical fullness needed for hoop skirts and bustle."

Early 1870s Wrapper, originally an Ebay Listing

And finally, a third example from the MET, described as a "quintessential dressing gown of the period with military-style cuffs, cord belt and paisley pattern:"

Dressing Gown, ca.1875, MET Museum (accession number: 2009.300.124) 

For my own design, I wanted to complement the large striped print with equally bold, velvet cuffs and collar, as well as a wide skirt to accommodate a hoop (if desired).  

Construction Details

This was a stash-busting project, meaning that all of the materials came from the stash and that I did not have to buy anything for its making.  For the fashion fabric, I chose the most gorgeous reproduction cotton - called "Red Charlotte Serpentine" by Michelle Yeo (Pattern C8433) from the Penny Rose Designer Fabric Collection (I believe I had ~6 yards) - deep red cotton velvet for accents, and cotton muslin for lining.  I also used vintage gimp trim (passementerie) to mimic the serpentine print. 

For the design, I knew I wanted a fitted back with a full, gauged skirt; and a loosely-fitted, long front with a half lining and two double-pointed ("fisheye") darts on each side to provide gentle shaping.  For the pattern, I used a modified version of my bodice block and coat sleeves, and the front piece references the general shaping in Laughing Moon Pattern #118: Wrapper, Work Dress, or Morning Gown 1840-1860.  The cuffs were drafted off my coat sleeve, and I also patterned a wide collar off the neckline measurements.  I decided I'd leave the wrapper open to hem, in case I made a fancy petticoat; and to close/cinch the waist with a self-fabric belt. 

After patterning and cutting out all of the fashion and lining pieces, as well as the velvet pieces with their facings, I started with assembling the back pieces.  The back was flatlined with cotton muslin, and then I piped the waistline in preparation for the skirt.  The skirt is just two rectangular panels seamed together, gauged, and whipstitched to the back bodice. 

The skirt is made from two panels of fabric, seamed and gauged (cartridge pleated).
The fullness will accommodate a hoop, if desired. 

I also added a 1" twill tape casing for a drawstring, following extant examples I have seen, which will come in handy for keeping the wrapper sitting at the waist when worn over a hoop. 

The finished back, flatlined with muslin - notice the 1" twill tape casing for a drawstring.

Finished back from the outside - notice the piping at the waist.
I also squared the side seams so everything would be on the straight of grain.

With the back finished, I turned my attention to assembling the fronts.  Since my fabric was not wide enough to cut the full front pieces, I pieced two triangular gussets at the sides.  I serged the raw edges for a neat finish, seamed, and pressed them open to combine the two pieces into one.  I also hemmed the half-lining, and then flatlined it with the bodice:

Detail showing both the side piecing and the bottom edge of half-lining.

For some gentle shaping, I marked two double-pointed darts (also called "fisheye" darts) to help contour the fronts.  Double-pointed darts are often used on dresses and jackets that are nipped-in and fitted at the waist, while providing shaping for the bust and hips. 

View of the half-lining and marking the double-pointed or "fisheye" darts.

To ensure smoothly-stitched (no puckers) darts, these must be stitched from the middle to the top point; then, returning to the middle and overlapping the stitching, and sewing to the bottom point.  Avoid backstitching at the points, and instead, much like a standard or single dart, decrease the stitch-length about an inch from the top, and tie off the thread tails.  (Here's an simple, illustrated tutorial on Sewing Darts.)  I also smoothed the curve of my darts and clipped to the centers, so they would lay nicely when pressed over a tailor's ham to the side seams. 

I curved my double-darts to avoid a harsh line; and stitched them from the middle to each point.
Instead of backstitching, I decreased the stitch length at the tops and tied the thread tails.

Here are the double-darts clipped and pressed -
always press darts over a tailor's ham to support the curves and avoid puckers.

View of the darts from the outside - notice contouring for the bust and hips.

Next, I joined the sides, stitching the fronts to the back, and pressing the long seams open: 

Attaching the fronts to the back at the side seams.

Unfortunately, I seemed to stop taking in-progress pictures at this point - so I will just describe the next steps.  To finish the fronts, I folded under the facings and whipstitched them in place, since I intended to leave the front open (in case I want to display a petticoat).  I also tried the wrapper on, measuring and pinning up the hem, which was also finished by hand. 

For the coat sleeves, I lined them with muslin, and piped the armscyes of the bodice.  I added deep velvet cuffs, which were lined with the fashion fabric, and then trimmed with the gimp braid.  I made sure to edgestitch everything to keep the linings from rolling outwards.  Here are the finished coat sleeves, right before setting them into the wrapper: 

Coat sleeves with deep velvet cuffs, trimmed with vintage gimp braid.

To finish the neckline, I made a matching velvet collar, also lined with the fashion fabric, and trimmed with the vintage gimp braid.  I used self-fabric bias tape to enclose the seam and raw edges, and act as a narrow neckline facing.  Two metal hooks and thread eyes were added to fasten the wrapper at the collar, and a self-fabric belt was made to accent (and close) the waist.  The belt closes with two metal hooks and thread eyes as well. 

After adding a matching velvet collar and self-fabric belt, the wrapper was done!

Completed Project Pictures

I am still waiting for an occasion to take some nicer pictures in a historical location...but for now, pictures on a dressform will have to do.  I promise the wrapper fits better on me, and was worn over a chemise, drawers, and petticoat for my presentation.  It also fits over a hoop, if desired. 

Finished 1860s wrapper, front detail. 
There are two metal hooks and thread eyes to close at the collar, and a self-fabric belt to cinch the waist. 

1860s wrapper, full-length front views.

1860s wrapper, side views - notice the gores and piecing of the skirt.

1860s wrapper, back views - the skirt is very full at the back to accommodate a hoop.

1860s wrapper, back detail shot.

And that's a wrap to this wrapper post!  Our next sewing project will probably be an 1830s wrapper for another "Getting Dressed" presentation. 

As for the next blogging content, I'll be switching over to Patreon (many thanks to our loyal, patient patrons) to create a two-part series on the making on an 1860s "Bloomer Costume" or reform dress.  I recently completed and sported the look for a living history presentation on the Chinese participants in the American Civil War at the New-York Historical Society - which was the perfect kick-off to Asian American, Native Hawaiian, & Pacific Islander Heritage Month! 

Thank you for reading & special thanks to our generous patrons!

Like what you see here and want to support the creation of future content, historical costumes, and fashion history programming?  Consider joining us over on Patreon with pledges starting at $2/month, and you'll also unlock exclusive content like bonus blog posts and more!  Follow @youngsewphisticate on Facebook & Instagram for regular project updates.

Demystifying the Curved Tuck Detail

In this tutorial, I'll be sharing one of my favorite mid-19th century dressmaking tricks and demystifying the "curved tuck" detail as seen on many original and reproduction bodices.

Among Civil War reenactors and makers of historic clothing, there's some disagreement between whether the back of a dress' bodice should be cut with three pieces - including a center back with concave sides and two, convex-curved side back pieces - or in one piece.  You might be wondering why the debate, and while it's a matter of personal, sewing preference, it also serves practical and fashionable purposes.

A conventional three-piece back would be stitched together - concave to convex sides - forming a fitted "princess seam" which gave the illusion of a broader back and narrower waist (think hour-glass shaped!).  Even the slightest off-set of a pattern can make a big difference to the eyes, and when achieving the fashionable silhouette, every detail counts!

Here a few extant examples that illustrate this illusion: notice how the curved back seams give shape to this solid-colored taffeta dress, doesn't it help enhance the hour-glass silhouette?

Antebellum Dress of aubergine silk taffeta
(Image source: All The Pretty Dresses)

The effect works equally well with prints and plaids too.  It can be a noticeable design element, or a more subtle, almost undetectable break in the pattern, but nonetheless pleasing to the eye!  In this example, the curve is almost invisible thanks to the beautiful, careful pattern matching:

Day Bodice of an 1860s Ensemble
(Image source: All the Pretty Dresses)

And here, the more noticeable off-set to the pattern adds almost a lively, decorative design element: 

American Civil War Era Bodice of wool gauze with brown silk stripes
(Image source: All the Pretty Dresses)

Having the additional seams of the three-piece back also allows for more shaping ease, especially if the wearer has a bit more curve in their spine.  (However, ask anyone who sews and they'll probably agree that fitting is much easier on straight seams than on curves!  In draping classes, we were always taught to add 5/8" allowance on princess seams since they were less likely to be changed, and 1" on side seams as most costume alterations could be made there.)


On the other hand, as historical dressmakers discovered, by cutting the back bodice in one piece and mimicking the curved seam of a three-piece back through a tiny, top stitched "curved tuck," the same illusion is preserved.  Side seams were traditionally slightly angled, so with the little bit of bias stretch, fitting can easily happen there.

Here are a few extant examples using a tuck to create the curved effect:  In this first example which comes from Katherine's of The Fashionable Past blog, there's a single line of stitching on the lining indicating the false three-piece back, as well as the angled side seams which help with the overall illusion and fit of the bodice. 

Inside view of an 1860s bodice
(Image source: The Fashionable Past)

From the outside, that same bodice's false three-piece back and curved "seams" are indistinguishable from a true three-piece back:

Outside view of an 1860s bodice
(Image source: The Fashionable Past)

And for comparison, here's a true three-piece back:  Notice there's not much difference in the effect from the outside, aside from the actual color of the silk.

Mid-1860s day dress, originally of violet color but mostly faded to brown
(Image source: All the Pretty Dresses)

A view of the interior showing a true three-piece back with generous seam allowance
(Image source: All the Pretty Dresses)

It can be difficult to find images of the backs of dresses, and even more difficult to find pictures of the insides!  But here are two more one-piece backs with the same curved tuck technique: 

Bodice interior, dress of black silk
(Image source: Pinterest)

Bodice interior, dress of wool challis
(Image source: Pinterest)

Another time-saving variation to taking a tuck I've seen is applying narrow bias strips on the flat back piece, though these were on reproduction rather than original garments...So while the curved tuck technique might not work with every fabric, it's certainly a clever, period-correct sewing trick that can be used on cotton, wool, and silk dresses and avoids the hassle of dealing with those fiddly curved seams!


Recreating the Curved Tuck Detail

So we've discussed the three-piece versus one-piece bodice back, and now that you're familiar with the what and why of each style, let's jump into the how-to portion of this post:

Step One: Cut one back piece from both the lining (I used plain muslin, though polished cotton would work too) and fashion fabric, which for me is a striped, reproduction cotton.  For the fashion fabric, I recommend adding a little extra fabric at the side seams so when the tuck is added, the side seams will still line up.  But if they don't, no worries as it will all be hidden in the seam allowance!

Step Two:  Lay fashion fabric and lining together, (optional: baste at the shoulders and neckline to keep the layers from shifting), and using a curved ruler, mark a smooth curve beginning at the armscye (a couple inches off the shoulder) and ending at the waist.  Looking at original examples can help with visualizing the placement. 

Repeat the same curve on the other side.  Notice that each of the curves end about an inch away from the center back at the waist, creating a very narrow space between curves. 

Use a curved ruler to mark a smooth curve from the armscye to the waistline.

Step Three:  Baste the fashion fabric and lining together following the marked lines.  This will hold the pieces together as you create the tuck.

Baste along the curved lines as marked,
notice that I cut the fashion fabric slightly larger than the lining.

Step Four:  To create the tuck, slightly roll the fashion fabric up and over to cover the line of stitching created in step three.  Pin and press the crease in place.

Slightly roll the fabric over the basting line.  Pin and press the crease.

Step Five:  To secure the tuck, run a line of spaced backstitches along the edge of the crease.  These will be visible, so make sure to use a matching thread! 

Stitch along the edge of the crease to secure the tuck.

Repeat steps 3-5 for two curved tucks.  Press so that the back lays flat, and now the rest of the bodice can be assembled in the usual manner. 

If the fashion fabric and lining no longer meet, make sure to follow the lining edge when seaming the sides.  (Do not trim them to be even or your garment may not fit - again, the difference should be minimal and completely hidden in the seam allowance)

The finished back with curved tucks, outside.

Here's the back from the inside, notice there are two lines of stitching.
I like to base the sides seams, following the lining edge when joining the fronts and back together.

And that's all there is too it - it's a simple, yet effective and period correct method for creating the look and illusion of a three-piece back in one, without the hassle of stitching and clipping curved seams. 

Have you ever made a mid-19th century dress?  And if so, with a three-piece back or one-piece with curved tucks?  As always, thank you for reading & happy sewing! 

Greenfield Village's 2019 Civil War Remembrance Weekend

We were all looking forward to the 2020 Civil War Remembrance Weekend, which should have been this past weekend at The Henry Ford.  Under the present circumstances, the beloved, annual event had to be canceled, of course; however, the online outpouring of photographs and memories from weekends past by friends all over the reenacting community has helped keep spirits high (and only builds anticipation for the return in 2021!).

Weiser Railroad Train Station -
an operating steam-powered rail line
offering a scenic, 3-mile "ride" through the village!

For years I had only dreamed of visiting Greenfield Village, and a million times thanks to Kristen, my good friend, educator, and proprietress at the Victorian Needle, this top item on my life-bucket-list became reality last summer.  And still, hands down, this was probably the best trip of my life.  If I were to try and write about every detail that made the weekend so memorable, we would be here until the next year...so for the sake of fitting everything into one blog post, please enjoy my brief recap of the highlights from the 2019 Civil War Remembrance Weekend at Greenfield Village!  

Setting Up Shop 

The Victorian Needle -
Home for the weekend

Last summer, rather than staying in Kent, I went back home to Upstate New York, which meant a really long drive over to Michigan for set-up on Friday.  I think it took me at least 8 hours, and if you've ever driven through Ohio in one shot...next time I might try going through Canada.  

Anyways, I'd travel far greater distances to have the opportunity to spend time with Kristen (and to be her shop assistant) again!  Kristen planned and took care of just about everything - and me being a total newbie, out-of-state reenactor (working for a living history museum is an entirely different beast!), without her hosting and incredible generosity, none of the weekend would have been possible.  So thank you, thank you, thank you, Kristen!    

Kristen, my host for the weekend and proprietress at the Victorian Needle,
joined by dear friends, Kim and Jim of the Dressmaker's Shop

Many hands make light work, or so they say.  Kristen brought two tents - one for the shop, the other A-frame for our cots and personal belongs - canvas and hand-painted(!) floorcloths, tables, chairs, shelves, and all kinds of ways to display her painstakingly researched and faithfully reproduced, Civil War Era jewelry and ladies' accessories.  From exquisitely beaded bracelets, to earrings and necklace sets, cast brooches, combs, and delicate butterfly and dragonfly "tremblers" or fluttering accessories - Kristen makes it all!  (Shop at select events, or find her on Etsy at Victorian Needle)

Much to everyone's delight, the shop also carried some of Kim's (the Dressmaker's Shop) handsewn, straw bonnet forms, as well as all of the finishings and flowers.  They also brought their popular bonnet veil kits and several antique parasols (including the one I drooled over all weekend until I finally splurged at an event this year - but that's a whole other story that deserves it's own blog post).  All in all, it made for a one-stop-shop for the most fashionable of ladies (and gents, even if only to pay haha).  

Here's a little tour of the set-up:    

The outside shelf featuring hairnets and a straw bonnet form,
earring and necklace sets (which rotated all weekend),
as well as a few lengths of dress fabrics on the bottom

A view of the table to the right - featuring Kristen's prized family heirloom -
there is a story now about that mirror, the side of tent collapsing,
and an assistant going running...and that's all I'll say.

Hair combs, bracelets, earrings, net frills, and paper flowers for bonnets or the ball!

Notice the binder full of research to the left -
Kristen meticulously documents and pulls period sources for all of the pieces that she offers  

I'm obsessed with matching bracelet sets!
Also her loom-woven, beaded bracelets are amazing 😍

View of the table on the left -
more jewelry, bonnet forms and veil kits

Anything coral is my favorite!
(And I finally pierced my ears this January after only oh 20-something years...)

Beaded flower ornaments and Greek Key motif bracelets to the far right.
We also strung dozens of beaded butterflies and dragonflies on the poles throughout the shop.

As shop assistant, I had so much fun arranging and rearranging the tables, chatting with friends, both familiar and new, and so many lovely visitors - and most of all, assisting customers!  Be it with decisions or offering suggestions, "talking into" or showing off similar jewelry sets - seriously, I love to sell people things (it's shopping vicariously through their purchases)!

Thanks to Kristen's well-established presence at the event - I so pleased by how many returning visitors look for her shop every year - and the fact that she either knows every reenactor or they know her - we were busy all weekend.  (I swear Kristen must know every reenactor in the state of Michigan and beyond!)  And for someone who loves to chit-chat and meet new people, I couldn't have asked for a better time.  New introductions are made very convenient when: 1 - they come to you, 2 - your host already knows them, and 3 - all the shiny, pretty things 😉

And just in case you were wondering what the inside of an A-frame looks like:

Home for the weekend.

Meeting Our Neighbors

Well, "meeting" is a little misleading, as we already knew our neighbors!  To the left was Bob and Nancy of Sullivan Press: 

And to the right was...actually, funny story, a surprise at first!  There was to be a new "seamstress" and sutler shop with antiques, rumored to be from New York, my home state.  Immediately, I had a hunch, which was confirmed when my friends and co-workers at GCV, Allison and Stephen of Clara Jane, Seamstress and Supplies showed up!  I think they were just as surprised to see me, as I them, having no idea we'd all meet up in Michigan; but, through circumstances, it ended up making the trip (and the extended trip adventures, which I'll write more about later) all the more memorable and enjoyable: 

Allison and Stephen of Clara Jane, Seamstress and Supplies

Not to mention, Allison saved my hair all weekend with her magical hair-styling abilities, and I'll have to ask Stephen if he remembers the rainbow sprinkles story...We were all planning for a round two this year, but alas.  

The only "neighbor" we might not miss until next time is the Sir John Bennett's clock, which though impressive, was very loud at night:

Sir John Bennett Sweet Shop (left) & Carousel (right)
(Note to self: do NOT ride side saddle in hoops again, you will be yelled at)

Making New Friends

Oh my gosh, I met so, SO many new people - either for the first time ever, or at least for the first time in person (thanks to the internet, i.e. Facebook and Instagram).  There were also a good number of familiar friends, including Cheyney, Amanda, Katie, Jillian, Jennifer, the list goes on an on...It's really the people that make an event, and it seems like Greenfield Village is the place to be! 

One of the first people I ran into was Amanda at one of the "What We Wore" programs, presented by Felicia.  Kristen lent me matching bracelets for the fashion show (and I also had one of her butterflies pinned in my bonnet), because why not do a little advertising for the shop? ;)  

Amanda & Me

It was so nice to see Katie, Julie (who I think I met at GCV), and Gwendolyn for the first time!  All of them are fellow bloggers (from back when blogging was more popular) and Instagram costumers, which is how we all knew each other.  The internet has been incredibly kind to me for making historical costume connections, but there truly is nothing more special than meeting the real person from the online pictures.

Gwendolyn (painting) and Katie (modeling)

If a picture is worth a hundred words, a portrait must be a million?  I was so surprised and honored when Gwendolyn asked me to sit for a painting! 

Sharing this oil painting by Gwendolyn Grey @gwendolyngrey

The last new friend I'll mention was my date for the ball and wonderful guide to Greenfield Village!  His family are long-time reenactors, and it was pleasure to get to know them over the weekend.  Drew really went out of his way to make my first time at the event special, and I so appreciated getting to see the museum and village with someone who grew up there.  (Seriously, he knows all of the hidden treasures of the place!)  

Anyways, we ended up sitting for tintypes, which is a fascinating photography process, and makes for a neat (and very period appropriate) keepsake.  

 Robert Beech, wet-plate photographer, at Beech Photography

The image in "real" life, through a digital camera...

Drew, my guide to Greenfield Village, and me.

Isn't it interesting how a tintype or wet-plate image appears in reverse?  Also, look at the change in color values!

Photograph by Robert Beech, GFV 2019

Dancing at the Ball

Attend just about any Civil War reenactment, and there's usually an evening dance.  Those are not to be confused with the ball hosted at Lovett Hall...The chandeliers were enormous.

Posing in the beautiful ballroom!

Allison & me taking a last twirl across the floor

Obligatory evening hair photo - thanks Allison! 

Exploring The Henry Ford  

Where do I even start?  The sheer size and number of buildings in Greenfield Village alone was overwhelming, not to mention the special Remembrance Weekend events (like the Memorial Day Commemoration and the pavilion "museum" full of original, antique garments from private collections), as well as the exhibits over in the Henry Ford Museum.  This is not a one or two day affair - so if you ever visit, make sure to plan a few days!  

Here are a few favorites from around Greenfield Village: 

The Cohen Millinery Shop

This interpreter was very sweet -
Allison, Stephen and I had a wonderful chat with her on our post-event visit

Antique ribbons - loving the bold pink and black plaid
& cream stripe with green polka dot borders!

Noah Webster's private study
(and Robert Frost's House stands next door?!)

Print Shop - and the press was from New York!

If I had to choose only two, favorite collections items from the Museum of American Innovation:

The Lincoln Rocker - the chair that President Lincoln sat in at Ford's Theatre
when he was assassinated on April 14, 1865

The Rosa Parks Bus - sitting in the spot where history was made

The Adventures Continue or Taking on Detroit

As I hinted at above, the adventures continued into the week!  Originally, I had made arrangements just to spend the night and then drive back to New York on Tuesday.  But, thanks to a threatening rainstorm, Allison and Stephen ended up staying with me, which lead to an invitation to join them in Detroit.  Of course I jumped at the chance to do some more exploring with long-time friends, and extended my stay for two more nights.  

I've never stayed in a pink hotel before!
This was in Dearborn, MI and very comfortable (5/5 would choose again)

And, I'm so happy that I did - we ended going back to the Henry Ford for a day, explored the city (including the downtown library, John K. King Used & Rare Books, and a very unique, neighborhood art exhibit), and just had a lot of fun catching up.  (I hadn't seen them since the end of the last summer as I had returned to college in August.)  Taking on Detroit - by foot, Stephen's motorcycle, and the "people mover" - was a thrill!  Thank you so much, Allison and Stephen, for letting me explore the city with you!   

Taking on Detroit: by foot, Stephen's motorcycle, and the "people mover" -
so happy to be back in a big city again!

Hi, Canada!

I'll end with this final memory from our extra day at Greenfield Village: I had always heard that there was a working Jacquard loom in the Weaving Shop, and wow, the shop did not disappoint!  I could have spend an entire day just there, listening to the crafts-person and interpreter, who was incredibly generous with his time and knowledge.  Allison and Stephen were too obliging, while this textile student asked a million questions ;) 

The weaver and interpreter in the shop demonstrating a flying shuttle.
He was so generous with his time and knowledge, answering every question!

A working(!) hand-operated Jacquard loom!!

Explaining the loom mechanics in detail.
(At school we have digital Jacuard looms, so no need to punch cards haha!)

The shop had a variety of looms, including a dobby!
(Again, I've only ever woven with digital dobby, so this was neat!)

There were several, more familiar, counterbalance looms -
and this one was threaded to weave overshot!

And that's a wrap on the 2019 event recap - if you've made it all this way, high five!  Thanks for reading, and until next time, hopefully, at the 2021 Civil War Remembrance Weekend!