Archive for November, 2009

>Dressgasm of the Day: 1860s Purple Silk

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Today’s dressgasm is this lovely rich, deep purple dress from the early 1860s. I know very little about this dress or where it came from but I believe the fabric is silk moiré with deep burgundy trim looping around the shoulders and bust, and edging the simple pagoda sleeves. It appears that the bodice is hook and eye front closure. The cut and design of the dress is rather simple and universal among daytime clothing for women of the period, but it is the fabulous silk moiré that makes this piece outstanding.

The types of fabric available to people in the nineteenth century were much more limited than today. I generally divide the four major fabric groups into cotton, linen, silk and wool. These fabrics were often blended together for appearances, cost effectiveness or sturdiness.

Silk was the most expensive of these fabrics and there were several types such as moiré, watermark and taffeta. I see taffeta far more often than other types of silk. Silk in general was a sign of style and wealth, and every woman no matter her economic class aspired to own a “silk,” which was how they referred to these dresses. This dress, made of silk moiré, was most likely worn by a woman of decent wealth. My interpretation is she either had it designed in a simple style to let the fabric take center stage, or she had saved the money to buy her “silk” and couldn’t afford much embellishment. Victorians, by definition, decorated and embellished everything that would hold still within an inch of its life, so I find this dress fascinating in its simplicity. It speaks to me more because the woman who wore it didn’t overdo it. I imagine her to be unselfish, lacking vanity and being thankful for the life she led that allowed her to afford such a stunning piece of rich purple silk moiré.

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>Validation and Tommy the Ghost

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I tell people about themselves for a living. I use the term “spiritual intuitive” rather than “psychic” because the word psychic has such negative connotations that even I cringe when I hear people say, “I’m psychic!” An 800 number, I am not. I have had various abilities since I was a toddler but I was never able to accept what I am until my early 20s.

I used to get hurt when people would say I was a freak or a fraud or whatever but in recent years I have come to not care. People will say what they will. I could look at the most hard-nosed skeptic and tell him what color, brand and size his underwear is and he would still say I went through his dresser to pull the wool over his eyes. That’s just how skeptical people are wired. They don’t have any desire to be open-minded and very rarely are they open to admitting the possibility that they might be wrong. I can’t waste my time worrying about people like that because for every one skeptic, there are ten or twenty people that I have helped and who do understand what I do. Faith and skepticism is part of the balance in the universe. It’s the same for any job. We would all like to be recognized and appreciated for our work but not everybody is going to think we’re doing a good job. There are always critics no matter what we do.

Sometimes, though, a moment of validation comes that tells me in a loud, clear voice that I am doing good work and I am helping people. I know I am but the validation helps. A client came to me a few months ago looking for guidance about where she was supposed to live. There were several places and nobody was telling her anything, which was why she asked me what I thought. I told her the circumstances of my intuitive impressions and I told her that if she didn’t like the end result of what I saw, there were steps that she could take to change her future path, as we all can do. I sent her the reading and never heard much from her after that, which is fairly common when intuitives complete work for clients. Tonight she came to me out of the blue again and told me that what I had told her in her reading was just how it turned out. She told me that I was right in my predictions and thanked me for the help I gave her. Rarely do I second-guess the readings I give people but sometimes it’s nice to hear positive feedback that makes an impact on the course of people’s lives.

One soul I have not been able to help though. I live in Atlanta, which is one of the most actively haunted cities in the country. During the Civil War, almost every Confederate soldier passed through this city one way or another and there was a lot of fighting in this area as my ancestor, General Sherman, brought the war to the doorstep of the South. A lot of soldiers were killed around here and just about every block has some kind of legend or whispers among the residents about the “other” residents. It’s common. The history of Georgia still very much permeates the atmosphere here even if some choose to deny it, ignore it or label it with archaic terms like “demonic activity.”

The cul-de-sac where I live is on the edge of a wooded area and a creek runs behind my house just inside the treeline. We have a Confederate soldier who seems to occupy the area around the creek and sometimes wanders up into our cul-de-sac, in our houses, and so on. I have lived in this house on and off for three years and I have known about our resident soldier from day one. I keep wanting to call him Tommy, as did my friend when she was here, but I don’t know if that’s really his name or not. He wears a butternut frock coat (long tan coat to you non-reenactors) and he has an extremely empty, hollow, blank, shell-shocked expression on his face. He fades out from the knees down so the few times we do see him, we never see his feet.

Everybody in this house is aware of Tommy. My uncle and his partner are generally non-believers and my uncle is very phobic of death in general, so for him to admit that he knows we have the spirit of a soldier around here lends credibility to it. We have all seen Tommy at one point or another. My grandmother saw him walk by the bedroom window outside and she doesn’t understand the Civil War, so all she could tell me was, “like Sherlock Holmes.” I have seen Tommy from the living room as I was looking up at the third floor landing and he ducked from one room to the other.

Tommy knocks on doors and windows and when we look, nobody is there. Just the other night, he knocked on a wall while we were eating dinner and we all heard it. It wasn’t an interior sound like pipes banging inside the wall or animals. It was exterior, just like somebody was standing there going knock, knock, knock, knock, etc., on the wall. I live in the basement apartment and there have been several times when there is nobody home upstairs but the sound of a man walking around will happen so clear that my mother will go upstairs to see if anybody came home early. The other day we were all standing around talking about installing new windows and the television turned on by itself. You have to turn on the television and cable separately and they both came on as if someone had done it with the remote control. My uncle looked at the television and said, “I’m out of here,” and he went upstairs right away. The television doesn’t do that and the electricity has been checked in the last month because of the flood and there were no problems.

I can’t reach Tommy. I don’t know what’s holding him here or why he won’t acknowledge people in any way besides knocking, walking and manipulating electronics. Normally when I come across a soldier still stuck here, I can get him to let go and move on, but I’m going on four years here with Tommy and I haven’t made any direct contact. He’s lost. He probably doesn’t understand what happened to him or even what year it is. My heart hurts for him.

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>Dressgasm of the Day: 1868-69 French Ballgown

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Today this peach colored ballgown from the McCord Museum in Canada is the dressgasm of the day. It came from Maison Soinard, Paris in approximately 1868-1869, which would be after the American Civil War. The ballgown is made of silk taffeta with fringe and tulle accents. It is lined in cotton and has bone and metal to keep the bodice stiff and shaped properly, in addition to the corset the woman would have worn underneath. Constructing this ballgown was done by both machine and hand sewing, which sometimes confuses people, but the sewing machine has been used since the 1850s.

The date is substantiated by those of Caroline-Virginie de Saint-Ours-Kierzkowski’s honeymoon in Europe and her documented Paris visits in 1868 and 1869, which determine when she bought the gown with the Paris label. Caroline-Virgine de Saint-Ours-Kierzkowski was fashion conscious. In a diary written during her European honeymoon in 1868-1869 she remarked on the dress of New York women, finding them, to her taste, over-dressed. In London, she commented on her enjoyment of window-shopping. And while visiting Paris, she wrote of La Messe des Élégants at the Église de la Madeleine: she wryly observed that at this late mess, people seemed to be moved more by the display of the toilettes than by the service. (Excerpt from: BEAUDOIN-ROSS, Jacqueline. Form and Fashion: Nineteenth-Century Montreal Dress, McCord Museum of Canadian History, 1992, p. 34.)

When I talk about ballgowns, I often see people who are less in the know about fashion history getting starry-eyed and thinking of Scarlett O’Hara from Gone with the Wind. The fact is, Gone with the Wind is a nightmare for veteran Civil War reenactors trying to teach amateur Civil War reenactors because the new girls always want to wear the big, pretty, ornate dresses like this peach ballgown. People who show up to Civil War reenactments dressed that way (unless it’s specifically for a formal event) are incorrectly representing the mid-nineteenth century to the general public. Here are some cold hard facts about ballgowns:

– A proper woman never exposed her shoulders or arms (with the exception of underage girls) before evening, no matter how hot the weather.

– There were several styles of what is known as a “ballgown” based on the type of event. Dinner parties were a little more covered up but no less ornate. Balls dictated the classic “ballgown” that we all think of today.

– Ballgowns were made of rich, shiny fabric and done in light colors for practicality. There was no electricity in the mid-nineteenth century, so nighttime parties were dimly lit even if there were a million candles. A shiny white dress (or any other pastel) picked up the light. Wouldn’t you want to be “seen” if you paid so much for your beautiful ballgown?

– Color was determined by age and marital status. The lighter the color, the younger and more single you would have been. Once a woman married, her dresses took on darker colors. Single woman, as they advanced in age, progressed into darker colors as well.

– Ballgowns and the women wearing them were very often decorated with fresh flowers or even false flowers, fruit, feathers and so on. A ball was a big deal and people wore the finest of everything they owned.

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