First Event Nerves

I haven't had time to get into my sewing room for about a month now, aside from a couple of days when I didn't have the energy to sew. It seems unfair that the days often fall like that for a season, but for the next few weeks, I'm looking at the grey cloud of my husband being gone on orders for the silver lining of extra time to be in the sewing room. 

Fort Frederick Market Faire is in a couple of weeks, and I am planning on going. I'll be able to meet friends from the internet in person, and shop hands-on at vendors that I've only purchased from online in the past. I'm planning to go in period clothing, as well. I'm extremely excited! However, with the excitement comes nerves. I'm a perfectionist and struggle with a little social anxiety (as we all do on occasion), so wearing my 18th century creations somewhere that a lot of very knowledgeable people will be is frankly, terrifying. In order to feel confident, I want to complete a couple more items for my 18th century wardrobe, chiefly a market bonnet and a summer gown.

Market bonnets appear to be an ubiquitous article of headwear, worn by the rich and poor alike. They seem to most often have been made of black silk, but other colors and fabrics do seem to have been worn as well, including wool, linen, and velvet. These bonnets are mentioned frequently in runaway ads like those in Wives, Slaves, and Servant Girls, and appear in portraits and sketches of the time. I highly recommend Don N. Hagist's book if you are interested in what everyday people, particularly those who were enslaved or in service, wore. Below are a few examples of paintings and engravings showing this distinctive style of headgear. 

Miss Palmer by Sir Joshua Reynolds, 1780.
The subject wears a white (probably silk) bonnet. 

Palemon and Lavinia, 1782.
The young woman appears to have been working in the fields. She wears a black bonnet atop her cap.

A Lady and Her Children Relieving a Cottager by William Redmore Bigg, 1781.
Note the bright blue silk bonnet worn by the oldest daughter.

Miss Tipapin Going for All Nine, 1778.
Quite a variety of hats here!

I have some brown polished cotton in my sewing stash that I think will do well for a start. It has the shine of silk, but a little sturdier and more forgiving to work with. I'm using Fashions Revisited's pattern, with additional assistance from the American Duchess Guide to 18th Century Beauty. It's funny how everything I've made so far shares a similar color palette. I certainly haven't planned it that way--I've just done things piecemeal using fabric from my stash or fabrics that grabbed me when I had a wander around the fabric store. On the one hand, I love how well I can mix and match to create harmonious ensembles. On the other hand, I adore the absolute chaos that 18th century ensembles could be, and am a little disappointed in myself for not leaning into that more strongly. 

I'm hoping to also complete a summer gown to wear to the event. All I have for warmer temps is a bedgown, and because of the way I've adopted it as my spring/summer/fall robe for around the house, it feels weird to consider wearing it out and about in the context it was originally made for. I fell absolutely head over heels for this lovely striped linen from Burnley and Trowbridge the moment I saw it, and purchased just enough to make another Angelica gown. Literally, just enough. I have scraps left. Sometimes when you're costuming on a budget, you take some risks with ordering fabric yardages. This time, it paid off. 

The linen in question

I took a break in working on one of my last grad school papers over the weekend to get the pieces cut out. They have been waiting for me to finish my research paper and my new stays for me to begin (post coming soon on this), and I'm so excited to get the project underway this week! I plan on wearing this with my dark blue linen petticoat and apple green check apron from last summer, although I'm certainly open to more color combinations!