Farm and Garden

Calico Ball historical collective

Welcome to CalicoBall’s Farm and Garden pages! Your place to dig in and get your hands in some dirty history! Sow a bit of the past into your daily lives or just explore rural life. A space for general farm shenanigans, flora, and fauna.

Heirloom Seed Catalog Reviews

Digging up the past!

Digging up the past!

Love History? So do we! Join our tribe!

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CalicoBall is a grassroots effort to document, preserve, and present rural America’s diverse historical traditions. CalicoBall is an educational extension of Maggie May Clothing. ©2020 Maggie May Clothing.

D.I.Y.

Calico Ball historical collective

Welcome to CalicoBall’s DO-IT-YOURSELF hub! The premiere source for all your make- it- yourself projects! Looking to perfect those skills or learn something new? Either way, we’ve got you covered!

D.I.Y. Tutorial coming soon!

D.I.Y. Tutorial coming soon!

D.I.Y. Tutorial coming soon!

Love History? So do we! Join our tribe!

CalicoBall logo

CalicoBall is a grassroots effort to document, preserve, and present rural America’s diverse historical traditions. CalicoBall is an educational extension of Maggie May Clothing. ©2020 Maggie May Clothing.

About

Calico Ball historical collective

The CalicoBall Collective?

If you are reading this, you probably LOVE history. And if you are like all the other history lovers I know, you are probably ALWAYS looking for ways to integrate a little piece of the past into your daily life. So wouldn’t it be nice to have one place where you can do just that? Wouldn’t it be nice to have one place where you can find interesting historical vignettes? Or historical recipes adapted for modern cooking techniques? Or guides to heirloom gardening? Or even tips and tricks on how to adapt historical clothing patterns for modern wear? And wouldn’t it be nice if those who are masters in these fields had a place where they could share their knowledge? If so, then CalicoBall™ is the place for you!

What is a Calico Ball?

Ladies pose for the photographer in their matching calico dresses. Image c. late 1880s

Calico Balls (often called Grand Calico Balls) originated in the mid 19th century and served as benevolent social gatherings. Ladies and gentlemen of middle and upper middle class would forego their fancy silks and satins for the evening and instead don much simpler gowns and ties made from humble cotton calico. Afterwards, calico ballgowns were donated to local charities. Calico Balls reached their heyday in the 1870s and lasted well into the early 20th century.

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Origins of the CalicoBall Collective

CalicoBall was a musing that started in early 2019. After 25 amazing years of making historical fashion, I was looking to the future and wondering- WHAT’s NEXT? About this time, I read an article in Early American Life magazine regarding the history of calico. I was intrigued with the idea of Grand Calico Balls and the concept of taking something traditionally associated with the “laboring or lower” class and elevating it “grandeur.” This concept struck home as it is also the foundation of a 21st century movement currently sweeping across the South. Similar to the late 19th-early 20th century Arts and Crafts movement, trends toward ruralism, urban gardening, dress reform, and the reintroduction of folk music into modern popular culture are pervasive across the region. Twenty first century chefs are looking to the South’s culinary past and reviving what was once considered “poor folk” food and elevating it to fine dining. Popular authors are writing stories about real life characters who embody the deeply embedded Southern concepts of struggle, survival, and resilience. Recent evidence of this movement is Ken Burns’ 2019 documentary on Country Music which traces the origins of the musical mega genre back to its quaint, rural roots.

Realizing historical clothing is only a small part of this larger sociological, cultural, and historical context, it was obvious connecting with topics and ideas outside historical clothing itself was not only an exciting new prospect but also part of this larger revivalist movement going on around us.

And with that, the CalicoBall collective was born.

Woman feeding a calf c. 1910. Photographer: Reuben Sallows
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CalicoBall Mission

At CalicoBall, we celebrate the humble. We believe meaningful connection with the past is the root of authentic living. We honor our rural heritage by preserving the cultural story of those who came before us and we strive to provide a place of respite for our readers in this fast- paced, often hectic, modern world!

Jess and Amy
Milking time in the Sequatchie Valley c. 2018. Photographer: Susan Jarrett
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Contributors

BarbKing

Barb KingLead Interpreter, Barrington Plantation/Texas Historical Commission

Susan Jarrett

Susan JarrettHistorian and Founder, Maggie May Clothing

Love History? So do we! Join our tribe!

CalicoBall logo

CalicoBall is a grassroots effort to document, preserve, and present rural America’s diverse historical traditions. CalicoBall is an educational extension of Maggie May Clothing. All rights reserved.

Teens Era A-line skirt

Details:  Choice of 100% cotton or wool/ wool blend.* Unlined. Fully machine sewn. Button closure at enter back waist.

Skirt slightly gathered at center back. Standard hem length: 35″. Approximately 90″ wide.

Pricing INCLUDES fabric.

This gown in made on demand. Please check our current turn around time listed at the top of each page. On demand garments are filled in the order in which they are received. If you have further questions about our current turn around times, please contact us.

*Wool selection based on market availability.

Time Traveler’s Tote

Do you love historical fashion? Are you a history buff? Do you love Period Dramas and/or literature? Well, we have something just for you! Welcome to the Time Traveler’s Club!

Let everyone know you are fascinated with the past with this super cute and eco- friendly Time Traveler’s Tote!

Made of 100% cotton canvas, this custom designed tote was made exclusively for Maggie May Clothing by a local Tennessee artist.

Perfect for transporting your latest sewing project or bringing in your newest book haul! This versatile and high quality tote will be a conversation piece where-ever you go!

Get yours today! Available in Farmhouse Grey, Walnut brown, or Saxon blue!

Details: 12 oz cotton canvas; 22.75″self-fabric handles; 10 1/4″W x 13 1/2″H x 5″D

Learning to Spin Wool (without saying bad words)

Irish Mother and ballad singer son c. 1890. Image used with permission. ©Restoring Your Past.

On a sunny Saturday in late winter, Fall Creek Falls State Park (est. 1944) out on the Cumberland Plateau hosted the first of what is to be a series of heritage craft workshops at the park’s Nature Center. Kicking off the series was a beginning wool spinning class with 50 year spinning guru Sherry Watkins of Frostglen Farms.

Sherry, who happens to have been an international physicists in her former life (I know right!), along with her husband Bill, are the proud stewards of a herd of 80 alpacas on their 27 acre farm in Loudon, Tennessee. Sherry has been a shepherdess for nearly 30 years and fiber artist for nearly half a century!

The brilliant Sherry showing us how to ply yarn

Sherry and her husband Bill (also a physicist by the way) are long time demonstrators at the park’s Mountaineer Folk Festival (which began in 1978!) The Folk Art Project is the brainchild of park ranger Matt, who after meeting Sherry and Bill at the festival in 2019, took an interest in learning to spin. The two struck up a conversation and the rest is history.

I arrived at the Nature Center and was welcomed by the very friendly Ranger Matt and Sherry, and was offered up some simmering hot cocoa with fresh whipped cream. Sherry made a batch of homemade oatmeal cookies and there was also an assortment of herbal teas.

At 9:00am, three other ladies and myself sat down to our wheels and Sherry taught us all the parts of the wheel. The Maiden, the Whorl, the Fly, the Mother of All…. these where all names that rolled off the tongue and set in the mind images of flying things, imaginary contraptions, and fantastical intrigue.

The ladybug wheel

And then we peddled. And peddled. And chatted. And peddled some more. This is when Sherry in the midst of chatting about alpacas casually interjected she had an advanced degree in theoretical physics and was the only female physicist to graduate that year from UT Knoxville. I almost choked on my hot cocoa.

It was then that the ladies around me began offering up their experiences. Being the firsts in their field. Experiences with inequality in pay. About accomplishments being dismissed because of gender. Being offered positions far below their talents and skills. About having to train men who ultimately advanced beyond them. All this while peddling a spinning wheel- or doing something which is still to this day considered “woman’s work.”

We peddled for A LONG TIME. And I know why. Right before lunch, it was time to try our hand at spinning fiber. After a quick demonstration, Sherry handed us a lovely ball of fluff and set us off to our business. And this is when it got complicated. And when I say complicated… I mean REALLY CRAZY DIFFICULT!

Essentially spinning fiber into yarn is a very simple concept. You take clean fiber that had been arranged in the same direction and twist it together. Sounds simple right? Ha! Ha! No.

Cleaned and picked alpaca wool ready be run through the drum carder to align the fibers for spinning

In order to spin fiber into yarn (or thread), one must operate the spinning wheel with your feet. In our case, we were using double treadle machines so it was like peddling a bike. After creating a leader, we began feeding our line with supply with one hand while the other hand held tension on the strands of fiber rapidly disappearing into the orifice hole while the wheel turned, and I peddled, and the fiber twisted into yarn. Or in my case, into teeny, tiny, little knots.

I made lots of knots. And tiny threads. And lumps of untwisted fiber. And blobs. And curls. Everything BUT yarn. I resisted the urge to say bad words because there were visitors moving in and out of the visitors center observing. And it is not polite to use such kind of language amongst ladies. But it was HARD and my brain declared this was the Mother of All multitasking and was so relived when it heard Sherry say, “Let’s go to lunch!”

And so we did.

My “parked” yarn

Ranger Matt came with us to the lunch bar at the village but he kept his polite distance. During the morning workshop, he set up his wheel adjacent to us but further into the visitors center. At lunch, he also kept his respectful distance and I wondered if it was because he was “working” or if he was following the age old Southern cultural tradition of not interjecting oneself into a group of womenfolk.

Ultimately, as all Southerns do, the ladies discovered over lunch they had common acquaintances. This is a peculiarity to the South- everyone knows someone who knows someone we know. Therefore, we are all connected and have a common thread. This is most prominent in small towns as also it establishes where one stands in the social hierarchy. And of course, there is always talk of “the world today,” sharing experiences, and wisdom for the future.

Year round park resident
Our view just outside the Nature Center’s window

After lunch, it was full on spinning for the rest of the day as we were set with the task of making yarn. Feeling refreshed after a break and connected with my fellow novice spinners, I determined under no circumstances was I going to give up on learning to spin wool! Thus, I set my mind to making it happen. NO. MATTER. WHAT!

SEVEN HOURS LATER I had a finished product. Or at least what I declared finished. I set a goal of spinning my entire batch of fluff but by 5:00pm conceded that 85% spun would suffice. Sherry held it up in front of me as a proud grandmother would show off images of her grandchildren, excitedly announcing “You have yarn!” It felt like a real accomplishment.

My yarn is nothing close to ideal. Even after lunch and the remaining hours of practice, my yarn still had knots and tiny threads. It had lumps of untwisted fiber. And blobs. And curls. I would not say it got easier, but I will say it did get more familiar.

To me, the best part is the yarn has the demarcation of time. It is symbolic of experience and is a reminder of what it feels like to learn something completely new. The earliest yarn is thin and tight and curled and knotted. The after lunch yarn is thick but relatively uniform. The late afternoon yarn is lofty and significantly less twisted. And the end of my yarn is exactly as was in the beginning- a loosely hand rolled strand of fiber just waiting to be picked up once again.

Afterthought: Ranger Matt did come and join us toward the end of the day. His spinning in the lobby of the Nature Center allowed him to interpret this age old heritage craft for visitors so we could focus on nothing but learning. Sherry is not only a spinning guru (and all around fascinating person) but the ideal teacher for this craft as she is patient, encouraging, and empowering. It was a pleasure to have the opportunity to learn from her in one of the most beautiful natural settings in Mid-Eastern Tennessee. And I am honored to have had the opportunity to hear the stories of the ladies who took the class with me.

It was a lovely day to be on the plateau!

For more information about the Mountaineer Folk Art Project or the Mountaineer Folk Festival, please visit the Friends of Fall Creek Fall’s Facebook page. To learn more about Sherry and Bill Watkins and all their critters, please visit their farm website. To learn more about Fall Creek Falls State Park, check out their facebook page.

And finally, for more about the history of turning fiber to yarn, check out this fascinating article from the Library of Congress.

©CalicoBall & Maggie May Clothing

CalicoBall is a grassroots effort to document, preserve, and present rural America’s diverse historical traditions. CalicoBall is an educational extension of Maggie May Clothing. All rights reserved.

The Downton Abbey Exhibit at Biltmore Estate

Costumes from Downtown Abbey The Movie

Over the Thanksgiving holiday, I took a little road trip into the mountains to see the Downton Abbey exhibit at the Biltmore Estate in Asheville, North Carolina. The full exhibition consisted of a multi room costume display and a separate large gallery with portions of the sets.

Hand applied lace appliqués

The Costume exhibition was (of course) fantastic! The intricate detail work of the garments was exquisite. Many of the costumes were extant pieces (or parts of extant pieces) and those that were not looked so close it was difficult to discern. Although modern fabrics have a distinctly different look and feel than 100 year old textiles, one had to look very close to distinguish the two. For example, Lily James’ Robe de Style was definitely a 21st century creation but Edith’s wedding gown was an original garment.

Lily James’ Robe De Style- a 21st century adaptation of period garment
Hand appliquéd ribbon work on Lily James’ reproduction gown
Edith’s wedding gown is an extant garment
100+ year old lace! Veiling is modern.
Detail of original lace

Aging (or what I lovingly call “vintaging”) is always a fascinating process and adds an undeniable level of texture that does not always transfer blatantly onto the screen- but is OH SO important. Multiple layers of delicate hand dyed fabrics, trims, and overlays gave the garments an ethereal quality. Vintaging also adds depth and character to a garment making it look less flat and one dimensional.

Sybil’s Poiret dress with multiple layers of hand dyed chiffons, georgettes, and lace
Many layers of texture in this garment
These three garments are reproductions
Gorgeous Bead work

In the main exhibition hall, A LARGE portion consisted of larger than life film photos, episode clips, and fabricated “history” such as fictional correspondence between Anna and Bates, Sybil and Branson, etc. This was a bit odd to me (as these are characters in a fictional world) but it was interesting to see just how much effort the creators of this series have gone to to create for its fans the world of Downton.

Lady Mary’s bedroom

The most engaging portion of the exhibit (besides the costumes) were the actual production sets. I was curious to see how many props (or objects made to look real but were fabricated) were employed. I was surprised to find most of the pieces from the sets were indeed antiques that had been curated to reflect the opulence of the early 20th century. Even the crystal goblets were real (no shatterproof plastic there….) The only fakery I detected were the foods in the main kitchen and the paintings in the main dining hall. Pretty Fantastic!

Mrs. Patmore’s kitchen
The grand dining room complete with real crystal and faux paintings

Random side notes: Michelle Dockery (Mary) is really quite tall! As is Jim Carter (Carson)! Mrs. Hughes’ dress has a gorgeous antique lace insert. ALL of the garments incorporate some type of TEXTURE- whether is be damask fabric, layering, or hand stitching. NOTHING is plain. Everything is delicate and flowing. The millinery is exquisite.

Dame Maggie Smith’s mix of vintage and reproduction gown. Skirt is black damask.
Mrs. Hughes’ standard with lovely vintage lace insert.
Variety of bridals
The gorgeous millinery of Downton
Beautiful hand dyed velvet flowers

The Downton Abbey Exhibit at Biltmore Estate runs now through April 7, 2020.

To HA or not to HA?

Lately, I’ve been tuning into quite a few costume designer’s blogs and podcasts regarding clothing and character development. When it comes to period pieces, there is no doubt costuming plays an extremely important part in how the story is presented (and then how we the viewers interpret the story). Historical costuming tells us in nonverbal ways the age and gender of a character, the time period in which a character exists, his/her culture and socio-economic status, and how he/she fits into the storyline.

In many of these discussions, costume designers touch upon the concept of historical accuracy (shorthanded to HA) and creative license. This is a huge topic that continues to garner wide debate amongst designers, historians, and enthusiasts. Often the dialogue gets rather heated.

Historical Clothing aficionados threw a huge “knit-fit” over the use of these chunky scarves in Sony/Starz’ 2014 production of Outlander stating they were not HA.
Chunky knit mitts + faux fur cowl? Double blasphemy? Maybe not. Look below.
(Image courtesy IMDB.)
Mid 18th century cold weather fashion featuring full gloves (most likely kid leather), fur muff and scarf. While these garments were intended for OUTDOOR wear, the use of woolen mitts and scarves INSIDE an ancient stone castle makes sense to me. Scotland is notoriously cold. And dressing in layers is HA after all. (And I am sure the descendants of the 18th century critter dangling about her neck appreciate their modern doppelgängers). Image (c. 1750s) in the collection of The British Museum.
A more historically accurate mitt pattern looks like this. Typically stitched rather than knit.
So the knit pieces are not a literal interpretation of the past. But to call them historically inaccurate is being pretty “knit-picky” if you ask me. These rustic knits WORK in this production. Not only are they functional, but they capture the look and feel of the visceral and untamed nature of the Scottish Highlands. I think something strictly historically accurate would have felt stiff and out of place. (Image courtesy IMDB).

Another notable influence on historical costume interpretation can be credited to fashion designer Christian Dior and his 20th century notion of “toning down” the silhouette. This began in the 1940s with his Post WWII New Look and continues to impact how we view clothing today.

Christian Dior’s Post War haute couture New Look stylized historical silhouettes creating sleek, clean lines and exaggerated geometric shapes. (Image courtesy Vogue Archives)
Dior’s New Look romanticized the past while looking toward the future (source unknown)

Dior’s influence and the idea of “toning down” is reflected in designer Paul Tazewell’s period costumes for Broadway’s recent smash hit Hamilton. He tells the LA times in a June 2016 interview that “Throughout the whole design process, the smartest thing… to do was simply to “get out of the way,” stripping things down so that [my] work could ‘breathe more.’ Ultimately, I can only finally judge by how I feel about something. It’s an intuitive and emotional response to what I see,” he said. “That’s what I trust.

Paul Tazewell’s 18th century minimized silhouettes for Broadway’s Hamilton. (Image courtesy Joan Marcus)

This statement is significant to any of us who work in the creative fields (whether it be high profile productions or our own personal studios), because it is our intuition and emotional response that makes each of us unique and original. For creative minds, it is aesthetic intuition that drives the majority of our conceptual decisions. Now don’t get me wrong. Any costume designer understands research is important. In fact, research is IMPERATIVE. But research has no meaning without interpretation.

Let’s look at a couple other instances where being completely HA in costuming has had to take a back seat.

For television and film projects, time is typically the biggest factor affecting historical accuracy. Sometimes designers are given plenty of lead time to complete a project but more often than not, the turn around is just a matter of days. When I was working on a project for NBC/Sony I initially had about 2 months lead time. But costume decisions were not made until two weeks prior to production. My team and I worked around the clock to complete over 100 custom made garments in just 10 days. When this is the case, choices have to be made, details have to be eliminated, and the focus becomes meeting a deadline. No designer/costume department wants to be the reason the production process is delayed because garments are still being stitched together! So while complete HA may have been the initial goal, sometimes production scheduling and other external forces effects the final presentation.

Just one of the costumes I designed in record time for NBC’s The Frontier. Image courtesy IMDB. Lead costume designer- Chrisi Karvonides Dushenko.

In theater and operas, performance demands can affect historical accuracy. A few years ago, I designed a gorgeous hand dyed linen gown for a production of Fingersmith. It was completely authentic from the inside out. But unfortunately, employing authentic front closures, the gown proved to be too time consuming for costume changes, and thus the back of the gown was cut and a hidden zipper was inserted. So again, while the initial costuming goal was complete authenticity, time constraints and external forces required modern accommodations.

Zippers were cut into the back of this authentically made gowns to accommodate quick costume changes at The Oregon Shakespeare Festival.

With my living history clients, I have found most are willing to make a few modern accommodations for pragmatic reasons. The majority do not mind the modern sewing techniques we use on the interior of our garments. Machine stitching is just as durable as hand stitching and it takes much less time. And less time means less expense and faster delivery of garments. For us, hand stitching is reserved for external details and therefore a nice compromise in authenticity.

So what if you are just making garments for yourself? What if time is not an issue? Then I say go for it! Make your garments as HA as possible! Hand dye them! Hand stitch them! Make them as close to originals as possible! And count yourself fortunate for having the time and ability to do so!

But understand not EVERYONE has the same goals. Not everyone has the same definition of historical authenticity. Not everyone sees the past through the same lens. Clothing, whether modern or historical, has always been- and will always be– a form of personal expression.