Multiculturalism for Steampunk

Art Challenge: Japan

2012-02-16T00:29:00.003-05:00

In my opinion Japan is the epitome of a steampunk country- once they got ahold of their first pieces of steam and industrial technology, they put their culture of passionate practice to work and in a few short decade exploded into a superpower. While much of the traditional culture fell by the wayside, they still went forth into the modern world with a style all their own. What do you see when you think steampunk Japan? Well, let's see what this week's artists envisioned from the Land of the Rising Sun.

HEY THERE, DISCLAIMER: Remember, this is someone else's work- so if you MUST link to show your pals, please either A. Go to the artist's website and ask permission. or B. Link back to the original artist (such as the case of tumblr or twitter). And please visit these fine folks' deviantarts or personal webpages- give them some likes, some praise, hell- give them a commission if you're able! (Because if there's one thing we artist types like, it's doing what we love AND getting paid to for it!)

Artist: Kallen

Artist's Comments: Japan reopened it's borders to the Western world in the late Victorian era, which makes it a prime candidate for some really wonderful mish-mash costumes full of kimono silk and bustles, but I wanted to maintain the sort of zen simplicity that Westerners tend to associate with East Asian cultures . (Though, from personal experience, I can tell you that in real life "zen" is an ideal more than it's an actuality--their apartments get just as cluttered as ours!)
In the end, I gave her a Gibson Girl hairstyle (with clock hands for hairpins) rather than a more traditional geisha hairstyle, and shortened her kimono into something more like a polonaise over a scarlet walking skirt and added some lace trim, with a corset in place of an obi. What WOULD have been the obi bow was lowered into something more like a super-structured bustle. Her shamisen I wanted to keep simple, but it definitely needed a touch of brass, and clawed feet seemed like too much fun to pass up. ^___^
Miss K's Comments: First of all, extra gold star for you because you've submitted a piece every single week. Second of all, this is a gorgeous, clean, subtle piece. You really have to study it to understand all of the marriages of East and West and I like the autumnal sort of color scheme.

Artist: Miss Write

Artist's Comments: Here is my submission for Steampunk Japan. She is a clockwork Meiji geisha. I did cheat a little and traced the geisha's form, but added all the details.
Miss K's Comments: A fine effort, Miss Write. The posture looks very comfortable (something I can never seem to get down, myself) and the pattern on the obi looks almost block printed with how you drew it. Keep them coming!

Artist: Purple Kappa

Artist's Comments: Someone gave me the Folkwear pattern for Japanese Field Clothing so I started working with that. During the Meiji restoration, the ease of travel restrictions resulted in western tourists. Interest in natural sciences was popular in the Victorian and Edwardian eras, so I combined the two and became a westerner traveling in Japan, researching the flora and fauna. (Check out Purple Kappa's blog entry for more details, including her initial sketches and how she created her outfit)

Miss K's Comments: You look darling in your ensemble! And I took great zeal in reading how you came up with your concept (which isn't as bad as you think it is) and the accessories you chose. I'd like to see more photos of you wearing it.

Artist: Anna/Ribaki

Artist's Comments: The first lady, the old ma'am, is from India. She's somewhat steampunkish with the hand and all, but yeah... I think she's works with electonics and stuff, and I promise, she has one hell of a personality.

The second one is not so steampunk, but she was really so much fun to draw. I got really inspired by the Maghreb!

The last one is japanese, as you can see, and has metal legs. So I think that counts for steampunk, don't you?

Miss K's Comments: I love your style. I actually had to double-check your Deviantart label because I didn't believe that it was digital- it looks so much like old-fashioned pen and ink illustrations. I also can't get over how delicate and.. well... PERFECT your Japanese drawing's face looks. (Also, I reaaally don't want to mess with your Indian woman.)
Artist: Chelsea Gould

Artist's Comments: So, I decided to go with a being of Japanese legend, the ningyo (or the Japanese version of mermaid) and another icon of that region, the koi. Both have been properly steampunked, the ningyo given a prosthetic tailfin and the koi entirely functioning from clockwork and such. Took me three days to complete, though I mostly blame drawing an insane amount of scales on that mer-tail. NEVER AGAIN.
Miss K's Comments: Holy Crap. Do all of yourselves a favor and ZOOM IN AS CLOSE AS YOU CAN to see all of the details that Chelsea's put into this piece. The mechanical koi, the ninyo's eyes, the individual scales on the prosthetic tail. Amazing piece!

Artist: Miss Kagashi

Artist's Comments: I've had this concept in my head for a while. So I dreamed up a squadron of young, unmarried women (since they're so damned lightweight) that glide on aerial missions for the Emperor called the Koumori Ryodan (Bat Brigade, to describe the shape of their 'wings'). The mon on this girl's (I've taken to calling her Kaori) kimono is the seal of Emperor Meiji.

Excellent work this week, ladies- I'm loving the variety of media an styles we're getting. So, what's on the docket for next week, marking our first month of challenges? Well, how about something near and dear to many a steampunk's heart:

Sorry Abney Park, but I grew up in the 90s, so this is the first Airship Pirate I knew of.

Airship Pirates. Love 'em or (in my case) hate 'em- there's no getting rid of these scum of the skies. But piracy wasn't limited to Western Europe and North America, nono, far from it! For next week's challenge I'd like so see or read about airship pirates from around the world. Scallywags from Sumatra? Arr! Corsairs of the Catatolia? Aye, aye! The Last Saskatchewan Pirates? You betcha, fella!

Have fun, be creative, and don't get caught!

CYL: Kilty as Charged: Folk Dress of the British Isles

2012-02-09T23:26:00.000-05:00

A badass looking granny in Welsh costume c. 1905 (Linda Jean)

Failte! I know what some of you are thinking: Britain? Isn't this the very same country that was the powerhouse behind the largest imperial force during the 19th century? Perhaps the most mainstream and stereotypical representation of the era that most steampunks base their outfits, prose, and characters off of?

Yep.

Yep it is. But the three-piece ditto suits and bustle dresses weren't everybody's traditional clothing. Even in the British Isles, there were cultural minorities with their own specific modes of dress that were still being used- even in the heady era of the empire. Let's take a look at the Scottish, Welsh, Irish, and perhaps a quirky local culture or two!

Scottish miners doing God-knows-what to a draft horse at the turn of the century. (lineages)

Historical Background
England's domination of the globe actually started pretty close to home. In the Middle Ages you have frequent trips into Scotland, the slow withering of Welsh control over their own territory, and from the 13th to the late 16th centuries an attempt at colonizing an area of Ireland called the Pale (whose boundaries indicated the borders of English authority, hence where we get the modern expression "Beyond the Pale"). Needless to say, from its beginning, England had its fingers in a lot of pots- much to the overall chagrin of the native inhabitants who sort of had their own languages and customs..

Jump ahead to 1707- while English monarchs had reigned over Scotland since the ascension of James in 1603, Parliament made it official with the Acts of Union. For the first time, we have Great Britain (the Scottish were not pleased). Then, in 1800 we have another Act of Union that merges Great Britain with Ireland (the Irish were not pleased). Poor conditions for native Irish who had not capitulated to the British government was rough, and made worse in 1840 with the start of the Irish Potato Famine which led to a mass migration to the Western Hemisphere. The Scottish had an emigration wave of their own starting in the mid-1700s after the failure of the Jacobite rebellions, sending them to the United States, Canada (Nova Scotia, anyone?), and later Australia and New Zealand.

Don't think for a moment that the Welsh were twiddling their thumbs during the 19th century (turns out, they weren't pleased either). In the mid-1800s they were engaging more and more in riots and unrest against the British government, which led to a ban on the Welsh language, particularly in schools where students were beaten for speaking it.... funny we should mention the Welsh....

Two ladies in Welsh Costume taken by John Thomas c. 1875 (Tate Gallery)

Welsh Wardrobe
I give the Welsh a hard time, I'm not going to lie. Mainly because their language has more consonants in a word than I have black tank tops in my wardrobe. Also sheep jokes. (And a grudge from my days as an entirely too precocious 13 year old attempting to learn Welsh. Ah, the mistakes we make when we're young...) But no more! I need to give the Welsh their due in one particular cultural department: Folk dress.

Unlike most folk dress, which typically develops over time based on the fashion norms of common people- Wales invented its own. In 1834 it was the opinion of local gentry and Cymryphile Augusta Hall, Baroness of Llanover, that Wales needed a national costume to propagate its cultural and artistic identity. After publishing a fairly respected essay on the topic (since this was a full hundred and seventy years before twitter), she and her lady friends set about taking icons of Wales (such as the wool trade), typical rural dress of the early 19th century (like plaid and flannel petticoats), and a few fanciful details to create a quaint homage to the land she loved so well. This is the result:

Some ladies wore these to sewing or knitting groups. (betws-y-coed)

Originally the costume was only intended to be worn at heritage, fancy-dress, and political functions- but it soon caught on amongst Welsh ladies that (much like many indigenous cultures today who have faced modernization) people would pay money to see or have a picture of them wearing these outfits. In fact, there are many surviving postcards of women sewing or carrying on other household tasks dressed this way that people would buy on trips to Wales. So from the beginning, the Welsh costume was considered more touristy than legit, but many have a soft spot for this attire. Personally I think it's adorable, particularly the stovepipe hat. A men's costume was developed later but it wasn't nearly as popular. It lacked the hat.

(It's totally the hat.)

"Sketches of the Irish Character- the Irish Cow Doctor" by E. Fitzpatrick, 1857 (Crawford Gallery, Cork)

Debunking Some Myths on Irish Fashion...
Much like the Welsh, you don't really think of the Irish having their own traditional 19th century dress, other than horribly stereotypical leprechaun garb. However, like a lot of stereotypes, it's based on a little sliver of truth. One thing particularly noted about 19th century Irish fashion was its tendency to be stuck in a time warp. Clothing could be twenty, even forty years behind when it was originally in vogue thanks to wide-scale poverty, which inspired a great amount of thriftiness. Vests and coats could be patched, holes could be darned or rewoven, making Irish clothing very durable, albeit distressed. There are even records of people willing sets of clothes to their relatives that had been worn much of the deceased's life (this may not be as terribly shocking when average life span is taken into account, which was typically not more than 50).

The result is Irish men wearing the swallowtail coat and knee breeches of the 1810s and 20s in the mid-century and women in laced bodices and broad skirts. Typical fabrics were linen, wool, and that most lower-class of robust materials- corduroy! For those who could afford it, the Irish lacemaking industry was in full swing during this period and its product was highly sought after.

An Irish family presumably arriving at Ellis Island in the late 19th century (Patricia McCarthy)

The tradition of the homespun sweater is also prevalent in Ireland, with examples turning up as early as the beginning of the 17th century. The two most popular varieties of sweater are the Aran and the Donegal. Aran sweaters are stitched with a variety of patterns unique from family to family and due to their nigh indestructible nature, are often passed between generations. A true Aran sweater is always an off-white, since the yarn is never dyed. In contrast structure-wise, Donegal sweaters are woven into a woollen, tweed-like fabric flecked with multiple colors twisted into the base yarn. Both are 100% sheepswool and cozy as hell.

As a side-note, upon research it appears that the most frequent colors for Irish clothing in the 19th century were blue, gray, and brown- not green, green, and green. Sorry folks.

Queen Victoria's stalwart Scottish manservant John Brown, who was never seen without his kilt. (Mumford Books)

Great Scots!
We have Scots in Michigan, except we call them Yoopers. Regional humor that maybe five people will get aside, Scotland's distinct clothing history runs pretty deep up until the 19th century. It seems after the failure of the Jacobite rebellion, traditional Scottish clothing on a day to day basis (with the exception of the kilt for the upper classes) legally and socially fell out of favor. Women wore the capes seen in London rather than their traditional arisaids (wrapped and belted woollen mantels), bowlers and driving caps were opted for instead of balmoral bonnets and tams, and highland dress became more of a ceremonial affair than common. Many Scottish politicians, officers (such as the famous John Brown), and wealthy elite did wear kilts frequently, however- particularly after tartan came into vogue among the wealthy in England during the middle of the century. Speaking of those most Scottish of garments...

If Nathan Fillion in a leather kilt is wrong, I don't want to be right. I've been waiting for an excuse to use this in blog post! (kiltmen)

On the kilt...
These days you can go to a convention (any convention) and see a number of men wearing kilts- particularly the stripped down, rugged utilikilt. In fact a "bump" on Dragon*Con TV this year jokingly said that the official uniform for twenty and thirty-something male nerds was a utilikilt and a "Han Shot First" t-shirt. What makes gents want to don what would otherwise be considered a lady's garment in mainstream society? Well... some like breeze, some like the ease of movement, and still more like the connotations of centuries of roguish rebellion associated with it. OR IS IT?

Now, some will argue, but I've consulted the Scottish Tartan Society (who should know kilt and tartan history moreso than ANYBODY) and they report that the fitted, pleated kilt as we know it didn't show up until 1792. Yes chickpeas, 1792. Now before I get a million angry emails or matter-of-factly posts remember: this is the modern fitted kilt. The kilt we know and encourage our significant others to wear has its roots in a woolen garment called a brat or plaid (Gaelic for blanket, since that's basically what it was) that was wrapped in a fairly elaborate manner around the wearer. By the late 16th century these mantles became so large and ungainly that someone got the bright idea to belt them, making a distinct "top" (draped) and bottom (wrapped) portions.

Prince Alfred, Duke of Edinburgh (1844-1900) in a fitted kilt. Yes please. (xmarksthescot)

In the 18th century people started doing away with the top part altogether (because wool is hot and cumbersome, let no one tell you otherwise) and just wore the belted plaid wrapped loosely around the waist. Some speculate that an English factory owner named Thomas Rawlinson made this innovation for his overheated employees, but art from the period shows the Scottish wearing these years before he made the claim. It didn't take long before someone tailored the kilt, added some side pleats for movement and Scotland was given its most famous fashion contribution.

The tailored kilt caught on with military regiments before the civilian population went crazy for it. The 19th century also started the standardization of clan tartans. Before that, patterns were as fixed as eyeliner at a screening of Schindler's List. Think of it like this: Before the Industrial Revolution in the late 18th and early 19th centuries, textiles had to be woven by hand. Do you think you could weave mass quantities (and reweave for the sake of future kilts) something as minute as the individually-plotted lines of a "clan" tartan? Hell, you wouldn't even be able to get the same color from batch to batch without SCIENCE!!!1! and its modern dyes.

Just more proof that Braveheart lied to you.

Pearly King ensemble, dated to be c. 1910 (liveauctioneers)

Costermongers and Pearly Queens
One of the more notable subcultures within England itself (with an equally noticeable form of folk dress) are the Cockneys. Most people associate Cockney with a sound rather than a look, since the cant dialect developed in Eastern London and hit its peak in the 19th century. I'll post links with more information about Cockney rhyming slang, since you could write a book about how it was developed, how it works, and the basic words but that's not what we're here to look at!

Cockney costermongers (fruit sellers) decorated their otherwise drab trousers with rows of penny-sized mother of pearl buttons along the seams and hems. In 1875 they caught the attention of a fellow named Henry Croft, who had lowly origins in a bleak Victorian orphanage. Croft dialed the fashion statement up to eleven and decorated an ENTIRE SUIT with pearl buttons, which effectively turned him into a local [eccentric] celebrity. Instead of using this notoriety to get chicks or free drinks like some people with sweet costumes, Croft started collecting money for the orphanage. Pretty soon he was raising money for all host of charitable causes and a small army of costermonger families took up his heavily buttoned mantle to do the same as Pearly Kings and Queens. The tradition continues to this day!

There was even a Pearly at Teslacon II this past year with landmarks of Madison, WI represented on her suit. (zanierlong flickr)

As you can see, there's a little more to these cultures of the British Isles than standard Victorian fashions and they might serve you well in steampunk. Here are a few ideas:

Not Your Typical UK Steam!
-Costermonger clothing decorated with a few rows of mother-of-pearl buttons is a great way to add visual interest to an otherwise drab outfit. It would also be fun to use steampunk imagery instead of the usual cityscapes or floral motifs (like using buttons to create an airship, moving cog, or engine motif).
-A Welsh stovepipe hat instead of traditional topper would make a quaint, but standout choice for a lady.
-Kilts are also highly steampunk-able, my personal favorites being the "sport" kilts made by designer Anthony Canney. They go fantastic with a grungy engineer's workshirt or the fine waistcoat and jacket of the elegant.
-Glengarries, balmorals (which are available in non-plaid varieties), and tams (ditto) also make fine headgear options for the top hat and bowlered out- just don't wear the tartan kind with your plaid kilt, it looks a dreadful eyesore.
-Aran and Donegal sweaters are durable, comfortable, and are great looks for working class outfits- plus they layer well.

Irish Famine by George Frederic Watts, a bleak portrait of Irish poverty painted in 1850 (Watts Gallery)

Helpful Links
-More information on Lady Llanover and her mission for a Welsh folk dress.
-Historic UK's feature on Pearly Kings and Queens.
-The Dowling Family has a fantastic and very informational page on the evolution of Irish dress over the centuries.
-Confused about the different accessories for kilts? Worry no longer, the Kilted Scot has you covered with this handy diagram!
-I'd be remiss if I didn't link to my friends at Angus Harvey, kiltmaker- crafters of custom, hand-made kilts!
-As far as I'm concerned, the best and most user friendly guide to Cockney Rhyming Slang. They even have a translator! (Note that CRS changes with the times, so what was hip slang twenty years ago is out or unintelligible now. If you want some help on London street slang that would have been appropriate for the 19th century, check out Victorian London).

Art Challenge: The Maghreb

2012-02-08T22:52:00.000-05:00

(Pendersleigh and Sons cartography)

Turns out when you announce that the weekly art challenge is the 19th century Maghreb, you get a lot of colorful images of pretty Berber ladies. Frankly, I'm overjoyed- because you'll find in these images a lot of research into the garments and embellishments of the Amazigh culture and despite the stereotypical allure, no exposed midriffs. This week's challenge results also go to show that it doesn't all have to be brown and earth-tones to be steampunk. Let's have a look!

HOLY DISCLAIMER, BATMAN: Remember, this is someone else's work- so if you MUST link to show your pals, please either A. Go to the artist's website and ask permission. or B. Link back to the original artist (such as the case of tumblr or twitter). And please visit these fine folks' deviantarts or personal webpages- give them some likes, some praise, hell- give them a commission if you're able! (Because if there's one thing we artist types like, it's doing what we love AND getting paid to for it!)

Artist: Hannah Hem

Artist's Comments: Her design is based loosely on Algerian Berber merchants, with traditional Algerian harquus and jewelry women of the period would commonly wear.

Miss K's Comments: You even included a camel! I also liked how you used a dark blue for the harquus rather than a straight black. It adds great color depth and is probably a bit more accurate for tattooing.

Artist: Kallen

"Djinn in the Machine"

Artist's Comments: The area has a lot of Islamic influence, so I took the concept of a Djinni and played with it. In terms of what she's wearing, I guess it's some sort of kaftan-esque robe/dress thing, with Bedouin inspired jewelry. She's not any one particular culture of northern Africa, but rather several all rolled into a single being that brings to my mind images befitting of 'One Thousand and One Nights' and traditional Islamic folklore.

In Islamic folklore (and from pre-Islamic culture as well), Djinn are one of the three sentient beings (along with humans and angels) created by Allah, and are said to occupy a world parallel to our own. They can be good, bad, or neutral in nature. The word "Djinn" comes from the Arabic root for "to be hidden" which I think is delightful.

Miss K's Comments: Beautiful flow and good marriage of mechanical and biological (it took me a minute to see that her arm was actually a prosthetic). And I agree, Djinn are fascinating in Islamic folklore.

Artist: Ana Kronicity

Artist's Comments: I was inspired somewhat by the Berber/Amazigh people of Morocco. The girl is riding to the city to sell handwoven rugs and some mechanical odds and ends, and since I figured she would come into contact with French colonists or soldiers during her trades, I wanted to add in some Western elements (such as the hat and riding boots) without overshadowing the overall Amazigh-ness of her outfit. I wanted to keep the technological aspect to a minimum, since not everyone in a steampunk world would have access to steam engines and the like, especially not a tribe in the mountains of Morocco. It turned out a lot sloppier than I intended, 1) because I haven't drawn anything in a really long time and 2) I've never drawn camels before. I had a lot of fun with the textiles, though.

Miss K's Comments: Hoorah, another camel! I really appreciate your attention to detail in this one, down to the ornamentation on the saddle.

Artist: Novella Delphine

Artist's Comments: I didn't have enough time to finish it, but it's for the Multiculturalism for Steampunk contest on the Maghreb. I was so excited too. But that's what you get when you go to university and try to have a life.

Miss K's Comments: I feel your pain, Novella. But all the same, what you have here is spectacular! The clothing structure and accessories are great and I really hope you finish this!

Artist: Miss Kagashi

Artist's Comments: This is Selima bint Mustafa, a young Amazigh woman who has taken up tinkering wind generators for her family's treks out into the desert. I think my favorite part of painting this was picking all of the colors in her outfit. Fun fact: Heterochroma (mismatched eyes) is actually genetically frequent amongst Amazighs.

Thanks for participating, artists- our showing was small, but mighty! Our next challenge is *drumroll*:

C. 1817 (antique maps online)

Japan! This is indeed a big one with many possibilities. Steam-powered samurai, clockwork kamakuri, the Meiji Restoration, a non-Meiji alternative history where Perry's ass got handed to him! I already know what I'm doing and I hope you come up with some fun ideas for next week's challenge!

Art Challenge: India

2012-02-01T21:56:00.001-05:00

India c. 1857

Holy crow, our first week of the Art Challenge couldn't have gone better, in my opinion (the fact that we had not only more than one submission, but seven on the premiere edition makes me giddy as pie). For this and the next few weeks, the challenges are going to be fairly straightforward- a large or well-known culture to make it easier for researching and brainstorming, not saying that conceptualizing multicultural or any steampunk is by any means simple. Still, I don't plan on throwing any curveballs (like Brittany or Fiji) for a while yet.

India was chosen not only because several people requested it, but it's powerful creative appeal (also I'm reading the Mahabarita for class...). Think of India and NOT have something very unique pop into your head- whether it be elephants, grand rajas, chai tea, sumptuous or millennia-old civilizations. Let's see what some very talented artists dreamed up:
BEFORE ALL OF THE PRETTY: Remember, this is someone else's work- so if you MUST link to show your pals, please either A. Go to the artist's website and ask permission. or B. Link back to the original artist (such as the case of tumblr or twitter). And please visit these fine folks' deviantarts or personal webpages- give them some likes, some praise, hell- give them a commission if you're able! (Because if there's one thing we artist types like, it's doing what we love AND getting paid to for it!)

Artist: Denise Farinsky

Artist's Comments: This painting is symbolic of Queen Victoria's reign in India and how the native peoples of India [represented by the mechanical elephant symbolizing the Hindu god "Ganesha"] were made to be the work force supporting the British Empire. The Victorian lady symbolically represents Queen Victoria in 1880s attire with a gas mask that symbolizes this toxic situation for the people of India. Queen Victoria was called "The Empress of India" from May 1st, 1876 in an act of Parliament. The mechanical elephant has a melancholy expression. The land is barren and the sky reflects the toxic atmosphere.

Miss K's Comments: Quite a statement about the evils of colonialism even without Denise's explanation. The picture's bleak and the woman's angles are exaggerated (almost villainous) compared to the elephant.

Artist: Chelsea Gould

Artist's Comments: A little messy, but...I had gotten so busy after a week of eyeballing pretty armor that I ended up having to churn it out in an evening. Bad me.
Anywho, here's my entry. I had spent some time wanting to design a somewhat more streamlined version of the old armor from India and this was the result (though it doesn't honestly differ that far). And who doesn't like a warrior lady? I focused on removing some of the old details, reworking them, and adding in new excessive detail in places there wasn't any before.

Miss K's Comments: I'm in love with the decorative brass medallions on the front and the shape of her sleeves. And anyone who doesn't like a warrior lady will be sacked.

Artist: Novella Delphine

Artist's Comments: My first attempt in a very long time at digital art, so you'll have to excuse my messiness. The character herself doesn't look all too steampunk (which I figured was because she's a harijan, thus unable to buy any wonders of the world) but I'm planning to use her in a steampunk novel.

Miss K's Comments: Well I think it turned out nicely- I didn't even know it was your first trip back into digital post-hiatus until I read it. She looks so swashbuckling!

Artist: Valeriane Duvivier

Check out the detail shots here.

Artist's Comments: (via deviantart) This is a picture of Maharani Sumati, the first wife of Maharajah Prasad, taken just after their wedding (attested by the wedding menhdi on her hands). Maharani Sumati, born into the Nair Clan, was known for her interest in science and western civilization. She was sent to England with her eldest brother the Prince Rajnish, to keep him company during his studies.
While her brother succeed in his political and economical studies, she centered her own around steam vehicle, earning the respect and admiration of her classmates.
Back in India, with the help of her brother, she arranged a wedding with Maharajah Prasad, who agreed to let her built the first Indian Steam Engine, the ISE Vāhana. Coupled with her brother and husband politic and a fructul import-export of both goods and foods by the mean of the Vāhana, she became one of the first lady of the country, in both influence and wealth.
At the death of her husband (rumoured to have been assassinated by political opponent), she fled the palace with his two others wives and their four children and went into hiding among the people. Five years later, she pull down the government with the help of the blacksmith cast, came back to power and put her son on the throne before building the ESI Vāhana II and the Indian Airship Engine, IAE Garuda, the first Airship to make the non-stop flight between Dhaipur and London.

Miss K's Comments: Tres charmante, Val- l'histoire origine notament. (Sorry for appropriating your language, forty lashes with a wet noodle for my gross insensitivity). Anyhue, I love how you've developed this history for the character and you can plainly see it written on her face and clothing.

Artist: Claire Hummel

Artist's Comments: (via deviantart) This is pretty subtle in its steampunkery (read: no extranneous metal bits), but I was just trying to bring in a few western/Victorian elements to traditional Indian clothing- legomuttoned sleeves, the double breasted, collared choli, and adapting the churidar into buttoned spats.

Miss K's Comments: Holy Crapmuffins, Shoomlah reads my blog. The color and sumptuousness of this piece is lavish, I feel like I should be going to the gym just for taking this painting in.

Artist: Kallen

Artist's Comments: (via deviantart) This is Steampunk Ganesh, the elephant-headed god. ^..^ Considered to be a god of learning and writing...rather fitting for a subculture like Steampunk, I think being that it has literary foundations, and values such tropes as scientist and archaeologist...learning features foremost, in other words!

Miss K's Comments: Very true, and I like the subtle (and not-so-subtle) cues back to traditional depictions of Sri Ganesh.

Artist: Jeni Hellum (Miss Kagashi)

Llama by Paul Eyer

Artist's Comments: Miss K. will upload her entry tomorrow after she takes her exam on (you guessed it) India during the Mauryan period because she's one of those weirdos who has to scan her art in.

Big thanks to all of the artists to participated this week- it was a great showing! Now for the starting gun for next week. Our next challenge is:

(Pendersleigh and Sons Cartography)

The Maghreb- A region comprised of Morocco, Algeria, Tunisia, Libya, and Mauritania. Be sure to check out a prior post on the clothing of the region and get ready for (hopefully) another slough of fantastic art next week.

New feature: Weekly Art Challenge

2012-01-24T19:10:00.000-05:00

A Qing/Manchu-1860s inspired wardrobe design I did last year.

While researching and writing for the blog helps me a great deal in my own academic and artistic endeavors, what I really strive for is a greater appreciation for global themes in steampunk. Plus, I want to see how other artists apply the things they see here and elsewhere in their own work. So, we're going to start a new feature.

Concurrently, with the offiicial facebook page, MfS:tST will be issuing a weekly art challenge. Every Wednesday, a theme will be announced: perhaps a character trope, a geographic region, a culture, maybe even a piece of literature. Anyone who wants to participate will have until Wednesday morning to create a piece of steampunk or retro-futuristic art in keeping with the theme and submit a link. Wednesday evening, I'll gather up the links, post them on the blog, and announce the next week's theme.

What's welcome? Well, art! It could be 2d or 3d, digital or traditional media, a short story, a poem, a design draft- anything you want. I just request the following:

THE RULES (and requisite fine print)
-You must do some research for your pieces. A. This will show you some mind-blowing details and facts you can integrate. B. ....well, do you read this blog?
Research recommendations: University libraries and collections (many of which can be found online and free of charge), scholarly works (I recommend google scholar if you don't have access to things like JSTOR), museums, and of course- books!
- If you're taking a photograph of your piece (such as costumery/fiber arts, jewelry, or sculpture), please make it of a decent quality.
-Poetry or short stories should be preferably linked to something like livejournal, deviantart, or a blog like blogger/wordpress to avoid clutter.
-Watermarks are completely acceptable. Rights to the artwork will be kept by their creators and will not be used without their express permission. All imaged and links will be credited and can be linked to a personal website or gallery if desired.
-I (Miss Kagashi) have a right not to post particular pieces if I feel that they are inappropriate, such as cases of: Exceptionally graphic violence, blatant insensitivity or ignorance about the culture represented, or exploitative nudity. I'm no puritan by any means, but this isn't a porn site... other than costume porn, maybe.
-This is NOT A CONTEST. It costs nothing to submit your art, however I am not offering prizes or payout for submissions (except maybe some free publicity on the blog and facebook page).
-Have fun, be creative, and stretch your artistic wings!

Remember: be sure to watch and check the Multiculturalism for Steampunk facebook page for more information and the week's them. Happy creating, world travelers!

Out and About: Teslacon II- Madison, WI

2011-11-30T08:06:00.003-05:00

Ooh, shiny.

Sometimes Miss Kagashi gets out of her tiny student apartment and occasionally, it's for something supremely awesome. The kind of awesome that provides fodder for late nights with friends for years to come. The kind of awesome where you're relating the story with the same people who were THERE, IN IT- and everyone's still in stitches:

Oh yeah, Teslacon II did that.

But first, a bit of background.

A splendid homage to Verne and LXG's Captain Nemo that I saw. (Photo by Kordite, who I hope won't beat me with a tire iron for using his photos)

Two years ago myself and Aaron Egan, the steampunk chef (often mistaken as my boyfriend, husband, or brother- awkwardly sometimes all three) were panelists on the costuming track for Windycon in Chicago. We were given an invitation earlier that weekend to a room party called "the Teslacon Holiday Soiree". Other than getting my photo taken, I don't remember the party much, to be honest (only one glass of wine in me). Instead I remember doing some in-character banter with a jovial gent with a walrus mustache named Lord Bobbins, which led to the delighted man leading us out to the hallway to drop character entirely. Much steampunk and Star Wars geekery was had. But amongst this he told us that the IAPS were perfect for his event coming up in November 2010...

About the Con- a Backstage Perspective
First thing you learn about Eric Larson/Lord Bobbins: the man keeps his promises. He created Teslacon which is, as far as I'm concerned, the first successfully immersive steampunk event. The convention has its own plot, canon, and the guests are swept into it in a way that the only limit is how far they feel comfortable taking it. The congoer is no mere badgeholder, they are an honored guest (with a passport instead of that gaudy badge) and shown the utmost hospitality. Instead of a blank-walled hotel with bad contemporary art, the event space is transformed with period advertisements, portraits of royalty and characters, and propaganda posters that only aid in the simulation of an airship or submarine.

Aethersharks were swimming about the corridors. Thankfully I don't think anyone's ankles were savaged. (Photo- Kordite)

Even for me, an active participant in the plot and panelist, this isn't a convention- it's a vacation. A lot of it is how well-organized things are. Panel slots are an hour and a half long, which allows an ample Q&A period and spare time for setup. Communication amongst convention personnel is consistent and up to date (very rare, I assure you) and it's rare that an issue goes unresolved for more than half an hour. The other great thing is how open-minded Eric and his staff are. If you have an idea to make the convention better, or a concept for a party they will not only listen- but if it's a rational and good idea, they'll make it happen. Extended tea room hours, more tea room personnel, souvenir postcards and luggage stickers, and more organized schedules are a result of actual guest suggestions from Teslacon I.

Also there's the Tea Lady, who should be canonized in my opinion. This delightful woman runs the tea room (an unlimited weekend pass for a mere $10!) and cheerily caters on guests in a way that makes even the sourest of souls fill with warm whimsy. I've decided that I'm going to make her a present for next year. You should too. Because she's the damned Tea Lady and if anyone has an issue with her, I will throw hands.

I was in the Nativepunk for half of Saturday. Harness by Steampunk Leather (Photo- Alexa Black)

What I was up to:
I met Eric a year before I started the blog, so he knows me best as my irascible Prussian persona, Kapitan von Grelle. As such, myself and the IAPS are there more for interactive and hospitality purposes than as panelists- not to say we don't do them. On Friday Aaron had his Steampunk Cookery panel, in which he whipped up a batch of chicken curry and made the entire convention population sore at him for making the hallways smell of stewing meat and garlic. Later on in the day, myself and trowel-jockey Jade Luiz conducted a civilized Temperance Party where we held a screening of a fairly raunchy movie. (Blogger's note: By the way, the sleeper hit of the beverage board at this party was homemade ginger ale, made with ginger syrup. The recipe can be found here for the curious.)

Saturday was the big one though: The Multiculturalism Panel. I was honored enough to sit on this discussion with Aaron, Jade, and our special guest Tony Ballard-Smoot (AKA Captain Legrange of the Airship Archon). We discussed why multiculturalism can and should be incorporated into steampunk, how a multicultural ensemble can be sensibly and sensitively done, and why history is really a fertile ground for imagining a more cosmopolitan future-past. I even feel we did a good job honestly talking about a few elephants in the room like cultural appropriation and racial perception. The other panelists felt very satisfied and encouraged as well- we took many (some of them your!) questions and comments.

And then this happened:

If it's not obvious by the fact that Steampunk Fett is still alive and well kicking ass, taking bounties, and eating Moon Pies- this was scripted. John Strangeway's been wanting to do this for some time, and a panel with myself and Tony Ballard-Smoot provided the optimum opportunity to live out his nerdy, nerdy Kevin Smith fanboy dreams. We scripted everything out, but poor Tony had 11 panels to do that weekend so he had to ad lib most of his lines- the important ones are there though. We joke that he's so laid back that he's incapable of black rage. Really it's more black enthusiasm. Bless him, though.

After a brief moment of hi-fivving and making sure John wasn't actually dead (where the hell is PDP going to find another PR person as hammy as him?), Jade and I ran upstairs to gather supplies for our co-ed grooming panel with the IAPS boys. We did so heaving a sigh of relief that we weren't tarred and feathered on our way through the lobby (I hold no such expectations for the internet). Grooming panel went fairly well, albeit rushed because the boys demonstrated a full straight-razor shave and Ozzy had to circulate around the room to allow the ladies in attendance to... ahem... inspect his face.

Tony, Von Grelle (me), and Jade. I have slight velociraptor arms. I don't know why. (Photo by zanierlong)

Ladies and Gentlemen, my Teslacon list of Epic:
- Meeting the Man who is to be the primary plot, and therefore my character's antagonist next year. Little did many convention guests know, but the evil Dr. Proctocus was out and about the WHOLE WEEKEND disguised in plainclothes with a gasmask and as the Aquillan ambassador. His actor not only wanted to get a feel for the convention, but scope out the characters present so he can be a better villain next year. I approve, not only for this method, but also because he's quite a looker. (To his real-life new bride: Kudos ma'am, kudos)

- The Costuming Level is Magnificent. I've heard it said on a few reviews that Teslacon is one of the better-dressed steampunk conventions. That's absolutely true. People really try to make an effort not only to come up with eye-catching and innovative stuff, but also cater to the year's theme (20,000 Leagues Under the Sea, in this case). I didn't see a single person at the formal ball who didn't try to clean themselves up. Furthermore, people dressed in otherwise plain or lower-class outfits weren't looked down upon. Teslacon is an event where the more historically accurate clothes horse can rub elbows with the casual hobbyist in a gasmask and harness.

Some people really took the underwater theme to heart, like this fine lady. (Photo- zanierlong)

- The Art Direction. I work as a visual artist, so I appreciate the care that goes into art direction. That awful Last Airbender movie? Yeah, it was pretty bad- but BOY was it pretty as it failed (an under-appreciated soundtrack, too). Unlike most conventions, Teslacon has an established look. Eric Larson has a professional background in art, so he's taken great pains to set the aesthetic for his con, down to its distinctive font, custom-composed music, and even sound effects to play in the hallways. This all culminates in his plot events. Teslacon is the only steampunk events with fully-rendered title sequences, which really set the mood in opening ceremonies with its triumphant soundtrack and a list of all of the guests and airship crews in attendance. There was also a submarine battle, and a final, dramatic climax in which the vile Dr. Proctocus appeared on the "telemonitor" to inform Bobbins that he's kidnapped his wife in order to blackmail the lord into handing over a secret device. Really this was a pre-filmed video, but Eric timed it out just right so that it really felt like the conversation was happening.

- Old-Fashioned Manners. On personal principle, I like offering hospitality to guests. Come to my house, I'll offer you what tea and food I have. It makes sense. Sadly the modern world is predominately lacking this, but Teslacon brings out the best in a lot of people's manners. Doors are held open, pleases and thank yous are uttered, BATHS ARE TAKEN. (Seriously, this was the most funkless convention I've ever been to. Deodorant, sweet deodorant!) This even extends to the hotel. My companion Jade flew into Madison from Boston and arrived before my convoy from Detroit had shown up. The Sheraton didn't have a shuttle, but they offered Jade a complimentary cab ride to and from the airport. It also doesn't hurt that there's free wifi, which is pretty rare for a nicer chain hotel.

- The Outfits at the Multiculturalism Panel. Listen folks, here's a secret: I'm happy that people even show up to my panels and workshops. But nothing made me more flabbergasted and gobsmacked than seeing a full room positively studded with fantastic multicultural steampunk outfits. Sure, several people that I knew turned out such as the Staubitzes in their Turkoman-inspired outfits and fellow IAPS-member Kristina DiGiacomo in her Plains-Victorian hybrid, but there were so many of you that I hadn't had the honor of meeting yet who looked positively dazzling. Thank you so much! You've made this blogger ecstatic.

Sadly I didn't get this woman's name at the panel, but her Metis outfit was fantastic. (Photo by Kelly Datillo)

In Which Names are Uttered and Links are Spammed...
I had a lot of great times that really shouldn't be discussed at length due to their personal nature (what happens in a hotel room shared between several actors, an archaeologist, the First Lady of Detroit burlesque and cabaret, and Steampunk Fett stays the hell there) or because they're off-topic (our raucous Saturday-night drinking party went off delightfully well!), but know that they were filled with laughs between dear friends and new acquaintances. Speaking of new contacts- I met a few folks on the road such as Aloysius Fox from Steampunk Empire, Kevin from Airship Ambassador, Calamity Dawn from the Airship Passpartout, and Diana Pho from Tor/Beyond Victoriana and her partner Lucretia (who gave a fellow a thorough walloping in one of our party games).

I also had a grand time with some older chums (not saying you're all old...) like those mischievous Ace of Spades, the crew of the Airship Archon, Rory Silverstein, Steampunk Chicago, and Zebulon V. Pike (alias Kevin Geiselman, who graciously brings us gifts of root beer. They say he actually has eyes under his sunglasses. I know this to be a wanton lie.) Anthony Canney from House of Canney was up from Atlanta as well and showing off his luxurious designs in the fashion show.

In space, no one can hear me mock goggles.

Bam! Zoom! Straight to the Moon!
Teslacon 3 (Nov 30 - Dec 2, 2012) has Bobbins and company taking a voyage to the moon! Just think! Minuets on the moon! Fanciful steampunk space suits! CHEESE TASTINGS! And of course, the epic conclusion of the struggle against the forces of Proctocus.

If you want to be there for this galactic gala, be sure to get your tickets as soon as they go on sale December 10th (if you'd like a special Platinum membership, hold on until January). Like all incarnations of Teslacon, ticket numbers are FIXED, so don't dilly-dally! Join us, it's bound to be out of this world! (LET'S GO TO SPACE!)

FF: Dearly Departed: Global Funeral Customs of the 19th Century

2011-11-03T00:37:00.000-04:00

Irish members of the U.S. Cavalry staging a 'mock wake' in the mid-late 19th century (Collectibles Corner)

Dearly beloved, we gather here to take heed and to read this blog post. Remember this blog as it was, when I had free time coming out my eye sockets and I didn't have to seek employment to keep myself rolling in microcurry and peanut butter. Amen....

It's Halloween, my lovelies, my favorite holiday. In keeping with this month's folkways theme, we'll be discussing that most final of topics: Death. Since I can't find a lot of reliable primary sources about trips to the afterlife for some reason, we'll have to deal with the aspect of death that impacts us living- the funeral. Specifically, funerary and mourning practices of the 19th century and you'll see that the Age of Steam was one interesting time to die and be the bereaved. If you find that this article starts depressing or creeping you out (which is why the tone will be quite light) then I recommend detoxing with this tumblr: Oh Yeah Adorable Puppies. Feel better? Splendid! TO THE GRAVEYARDS WITH US!

"The Funeral Procession of Keopuolani" wife of King Kamehameha in 1823 (Hawaiian Time Machine)

Death's been going on for some time now. It's been around for literally hundreds of years.

All right, I'm kidding- death is a bit of a heavy topic. As forbidden as a political debate at the dinner table and unpredictable as your first time (will it be on prom night? Will it be after the tea party? YOU DON'T KNOW), it's perceived as many different ways as people on earth. Which is why funeral habits are so damned fascinating. In the modern, Western world in particular, we don't like to discuss death or funerals unless we happen upon one. We're fairly removed from the funeral process, too- something inherited by the Victorians and the Edwardians, when the shift to morticians and funeral parlors happened. So when we see things like Tibetan sky funerals or old-fashioned wakes, they can be a little unnerving because we've been taken out of the funerary loop. So, first of all we have-

Preparing the Body:
So you've got this body. Maybe it was one of the many diseases roving around the 19th century like cholera, smallpox, or polio. Maybe it was childbirth or a casualty of war. Perhaps they were trying out a new invention and tested it themselves by jumping off the first deck of the Eiffel Tower.... Either way, your dear friend is dearly departed and left their body behind, time to prepare them for eternity.

An 1811 French engraving of a funeral in Tahiti.

First of all make sure they're actually dead and not just passed out. Best way to do this is to follow in the footsteps of the Victorians and the Maori and have a wake. Irish Catholics in particular were (and still are) renowned for laying their dead out and having a party celebrating their life...usually with said dead person laid out not two feet away. The Victorians were a great deal more morose about this, as in most things, and a wake (period rather than event) would typically last 3-4 days so kin coming in from out of town could be notified. It also insured that the person was in fact, dead.

In the West, the 19th century was a time of funerary revolution, thanks to (wait for it....) SCIENCE! Thanks to constant warfare, particularly the American Civil War and the Crimean, embalming science jumped ahead by massive leaps. Families back home wanted to have funerals for their men lost in battle, so methods of keeping the body composed despite cross-continental shipping was in high demand. The man of science to meet this demand was the mortician, who before the late 19th century was a pretty obscure character because most people opted to wash and lay out the body themselves in their own homes. Home funerals, and even home-embalming would remain popular until the 1920s.

An Edwardian home embalming kit. You can actually buy this one (used) for $500. (Pandora's Parlor)

Roma (gypsies, to those who aren't familiar) of prior generations were fairly squeamish about handling dead bodies because of their strict hygeinic code, which is why they preferred to multitask and bathe and dress a person as they were dying to avoid this contamination. If this wasn't possible, then they brought in a non-Roma (gaujo) to perform the service. Since bodies were under threat by malevolent forces, it wasn't uncommon for their nostrils and ears to be plugged up with beeswax, or even pearls to prevent errant spirits from getting in. This is similar to Orthodox Judaism, where a delegation of people called the chevra kadisha are designated to wash and dress the dead in shrouds because corpses are considered (ditto) unclean. There is a strict division in the sexes, just as in life, so there are female members as well as male.

Once your body's washed, time to primp. Hindus in India anoint their dead with perfume and surround them with flowers, dressed in their finest clothes. But what did other cultures wear for the hereafter? Prior to the 19th century, the usual fashion for a corpse in most Abrahamic religions was a simple shroud of cloth... but starting in the Age of Steam, people wanted the dead to appear more like they did in life- so the creepy shrouds gave way to the deceased's favorite clothes. In fact, in some Southeast Asian cultures it's traditional to buy an entirely new suit. Might as well go out in style.

Photograph of a Chinese funeral procession taken from John Stoddard's 1901 lecture.

The Funeral:
It's oft said that funerals are not for the dead, but for the living. They give a wonderful opportunity to remember the deceased, say goodbye, and appeal to a higher authority to protect or look favorably upon the person (and their living associates!).

Some cultures included a grand party in their funeral tradition. In the Mindanao region of the Philippines, funerals are joyous social occasions where songs and gambling are encouraged (in fact it helps pay for it!). According to 19th century accounts, the Ainu would counteract the grim mood of the death of a friend by getting gloriously wasted to get back into the attitude of normal life. Across the Pacific, the Tlingit prescribed memorial potlatch parties as a required part of any proper funerary cycle. The Maori have a tradition called Po Whakangahau where friends and family perform songs, tell jokes, dance, and try their best to cheer up the bereaved the night before burial- god knows they'd need it.

But alas, not all cultures were as festive. In Orthodox Judaism, the way to show grief at a funeral is to tear your clothing. Funerals are closed-casket affairs and quite solemn- in fact during the first few stages of mourning the bereaved isn't even allowed to listen to music! The Irish, while capable of pretty lively wakes, were also renowned for their keening at funerals. Keening consisted of praising the dead, prayer, and good old-fashioned wailing, typically by a chorus of women (being a professional keener was actually a viable job in 16th-19th century Ireland) set to a doleful tune.

Engravings of handprints left by real women who went to commit suttee in Jodhpur (George Mason University)

Since it's a bit of an elephant in the room (and because I'd be mad to talk about global funerary customs without making mention of it) why don't we discuss suttee, or sati, a bit? To the uninitiated, in India suttee was supposedly the greatest act of devotion that a wife could show her husband: namely, jumping onto his funeral pyre along with him. This has been wildly sensationalized over the years given the concept. First of all, suttee was not common (if you want proof, I have a variety of sources that will happily back it up) since while devoted, jumping onto a bonfire wasn't terribly tantilizing. (Think about it, would you?) Secondly, it was voluntary.... most of the time. Third, the British were not the first people to try to stop it. Mughal rulers like Akhbar the Great tried to quash it centuries before, and various sects of Hinduism prior to him absolutely hated it. But still, it continued long enough into the 19th century that the British enacted the Suttee Regulation Act of 1829 to end it outright.

In some societies, gifts were doled out to the funeral attendees. A Chinese custom would offer a sweet and a red string in an envelope. The string was tied around the latch of the front door to ward off evil spirits that might have followed them home. Starting in 1835, Thai people started giving out "nectrological literature" made with their newly-imported printing press. These little books recited Buddhist sutras, poems about the deceased, fond stories of their lives, and even favorite recipes! Many a Thai cook have gleaned prized dishes from funeral books....

A Native American burial platform- Edward Curtis, 1908 (old pictures) I like to call it the hammock of eternity.

Body Disposal
So you've prepared your dead associate, had a nice funeral.... but what do you do with them? Well thankfully, you have options! If you were very close, perhaps you'll opt for a traditional West African burial and have your loved one interred under your kitchen floor, where they'll bring you good luck for decades to come! The Chickasaw did a similar custom- except under the couch or bed where the person died, in a sitting position no less (I know a few gamers who would probably want to go out like this). No? Well a traditional Chinese burial has a body underground for 7 years. After that period the bones are exhumed and placed in an urn so that it can be close to the family. The family pays homage to their dead ancestors, the living are given protection and good luck; win-win!

Since burial was an inconvenience, semi-nomadic pre-Contact Woodlands tribes of North America would stow the dead in shallow, rush covered graves until they could be retrieved as much as 7 months later for proper burial. Many horse cultures of the Great Plains (and some of the Northwest Coast) built scaffolds upon which they would put the dead, dressed in their best. Pre-contact Hawaiians would stow their dead in sea caves around the islands, particularly those of high status. Australian Aborigines would nestle their dead in hollowed out tree trunks- like a treefort of eternity!

But sometimes burial seems impersonal (even in a treefort of eternity), which is why many indigenous tribes such as the Wari and Yanomami of South America and the Berawan of Borneo would have their deceased relatives for dinner. Literally. Carrying your loved one inside of you was considered an act of great honor and love... needless to say endocannibalism spooked the Europeans, so few cultures carried the tradition on after contact and colonization.

An 1867 illustration of a Japanese cremation by JMW Silver (wikicommons)

In the East, cremation tended to (and still does) be the way to dispose of the body. Hinduism, Buddhism, and Shinto all prefer the technique- though variations have popped up. In Tibet, sky funerals occasionally still happen- where the body is ritualistically divvied up into bite-sized morsels and eaten up by vultures. To Tibetan Buddhists it's a sacred honor, though it made Edwardian explorers' stomachs turn. In a similar vein, Zoroastrians of prior centuries (and millennia) would construct "Towers of Silence"- a fairly badass-sounding name for a structure where bodies were laid out for scavengers to consume.

In the 19th century, Westernized countries like the United States were going through a burial revolution. In 1855, the first "lawn" cemetery was opened up- a brand new concept that did away with overgrown churchyards or unevenly plotted burial grounds. While this seems pretty inconsequential, it shaped how Americans (in particular) mourned. With open-lawn cemeteries there are fewer statuary, tall gates, family vaults and are (most importantly) away from churches. This was intended to make visiting a cemetery a pleasant experience for the grieving Victorian that was free of grim symbols or iconography that would remind them of death. Lawn cemeteries are also a hell of a lot cheaper and easier to maintain. (Personally, Miss Kagashi, being an old fashioned sort of goth, prefers the statuary cemeteries with creepy-looking angels and weepy willows; so much more atmospheric.)

Pere Lachaise in Paris was established in 1804 and is a sterling example of a statuary cemetery that was gradually phased out by the late part of the century.

Perhaps one of the oddest (and most whimsical) "burials" of the 19th century was of British utilitarian philosopher and academic Jeremy Bentham. When he died in 1832, Mr. Bentham would have none of that wasteful casket nonsense! Instead he allowed his body to be dissected as part of an anatomy lecture, then embalmed and stuffed... then in 1850 he was put on display at University College, London. Where he is to this day! Occasionally Mr. Bentham is wheeled out to university board meetings, where he is marked "Present, but not Voting." I daresay he would have approved...

I plan on paying the old boy a visit someday!

Mourning
Some cultures regarded death with very little fuss and encouraged people to move on. In traditional Hinduism, the mourning period is a mere 13 days after cremation. Japanese Zen Buddhists will mourn for 49 days, unless the deceased was the victim of a crime- in which they would cease when the trial was completed.

In many Native American cultures, cutting the hair was a symbol of grief and would be one of the few times in an individual's life when they would willingly do it. If hair wasn't enough, fingers were sometimes lopped off as an expression of loss. Records point (get it? Because it's a finger...) to the Yankton Sioux doing this from time to time. Certain tribes in the Southwest preferred wailing as a form of mourning- whether this was dreadful enough to wake the dead is sadly undocumented.

The Victorians though- oh boy- they take the cake. Combine a revolution in mortuary science, the grief of one queen (oh Vicky...), and a society infatuated with class-based norms and you have a miasma of funerary crazy. First of all, mourning depended on the degree of relation to the deceased; brothers mourned less than wives, mothers mourned more than children. A cousin might only be in mourning for a few months, but a wife would do so for two and a half years. During that time you were expected to have a wardrobe for the different phases: full/deep mourning (a year and a day- typically reserved for spouses and maybe parents), full mourning, and half mourning. I'd go into the full details of mourning clothing, but it's fairly ridiculous and specific, so I'll save it for a different post...

Four ladies in mourning in the 1870s/80s. I really can't help but laugh at this photo...

Wealthier families were expected to not only purchase new mourning attire every time, but also buy new, dark furniture. Entire mail-order companies and emporiums sprang up to cater to the demand. Mourning was big business and meant paying big money. In fact in the original The Wonderful Wizard of Oz (1900), Dorothy frets over staying in Oz longer because her Aunt and Uncle can't afford to go into mourning.

But wait. It gets weirder. You've got a slough of memento mori with the Victorians. In addition to their habit of coffin-side photography (it was a new and expensive technology in those days, so often it was the only time when a family could scrape the money and time together to get a portrait made), they also collected the hair of the dead. These tresses were woven, plaited, and stitched together into art pieces, jewelry, embroidery on clothing, or even wreathes. Judging by the volume of some of these hair memorials, there had to be bald corpses going into the graves.

1880s advert for a tailor specializing in mourning clothes.

When we look at death, we appreciate life all the more- particularly in how varied and wild it can be. Some of these traditions are bygone, some are happening as we speak; all give us an idea of how people came to terms with being bereaved. So what would it have been like in a Steampunk world? Would super scientific morticians spread their new techniques all over the globe? Would there be airborne "burials at sea" on dirigibles? Or would we be like dear Jeremy Bentham and put ourselves up for display- perhaps even turned into automatons to tell the living about ourselves as a way of being remembered? Or perhaps everyone gets shot out of a supercannon to a massive booze-up.... either way, remember that for every way there is to live in style, there's another to be dead in style.

Congratulations, you (and I) have made it to the end of a long, somewhat heavy article. Here's a corgi.

Helpful Links
-A full essay of funeral and mourning habits of Roma peoples from the Patrin Web Journal.
-Still looking for more tidbits on shuffling off this mortal coil? Check out the fairly-well documented Encyclopedia of Death and Dying.
-"The Irish Funeral Cry" a Dublin news article from 1833 describing the tradition of keening at funerals.
-The Civil War Lady has a great article on mourning during the American Civil War in the 1860s.

Hey Look! A Bibliography:
Suttee or Sati: Victim or Victor? by Julia Leslie, taken from Institutions and Ideologies: a SOAS South Asia Reader, 1993.
Wine of the Corpse: Endocannibalism and the Great Feast of the Dead in Borneo by Peter Metcalf, taken from Representations, 1987.

Tutorial Time! Sugar Calaveras

2011-10-26T02:05:00.003-04:00

19th century Mexican illustrator Jose Posada created la Catrina, an image that mocked the excess of high society ladies of fashion. To this day, La Catrina-style art is very popular.

It is often said that the people of Mexico have a special relationship with death. Much of the Western world prefers to ignore the inevitable. Relatives are regarded as truly gone from this earth, images like skulls or cemeteries are seen with either morbid glances or very clinical, clean scrutiny. There isn't nearly the soul or celebration in death that the Mexicans have that is, quite frankly, beautiful. Many cultures have veneration of the dead holiday or tradition. Native American tribes had spring rituals that evolved (thanks to the colonizing French who introduced All Saint's Day) into modern Ghost Suppers (myself and Aaron over at Steampunk Cookery are planning to host one as we speak) to which you would invite dead relatives by hanging wreaths on their graves. In Vietnam the anniversaries of loved ones' deaths are celebrated with feasts and the burning of so-called "hell notes", paper money intended as gifts to the dead person.

But Dia de Los Muertos tops them all in popularity and liveliness. It's captured the imagination of people outside of Mexico and venerates the dead, but with a joyous twist for the living. Traditions include cleaning and decorating relatives' gravesites, eating pan de muerto (spindly loaves of sweetened bread that look like cracked bones), and designating offering altars in the home called ofrenda. These colorful tables are adorned with flowers, paper decorations, photographs of the deceased, food (and booze), items the deceased enjoyed, and perhaps the most iconic image of Dia de Los Muertos: the calavera, or sugar skull. Note that the dead cannot actually eat the food, they simply indulge in the aroma, sight, and memory attached to it.

More calaveras-style art from the 19th/early 20th century. (Mexican Folk Art Guide)

Calavera (skull in Spanish) was originally a folk art form that began to become popular in the 19th century and was said to be influenced by Aztec and Maya art, which used a lot of skeletal imagery. The first sugar skulls were said to have been made in the 17th and 18th centuries. Dia de los Muertos actually has its origins with a much older Mesoamerican festival that venerated the dead. When the Spanish conquered the region in the 16th century, they attempted to obliterate the old holiday: No dice. People LOVED this festival and refused to give it up. As we saw with St. Patrick, instead they moved the holiday to All Saint's Day and reinvented it as a Catholic one. Since the locals didn't have a lot of the fancy materials to make offerings for their ofrendas, they took sugar (which was cheap and plentiful) and pressed them into skulls.

Now you might notice that this is a tutorial and not a recipe- well this is because there are multiple methods of making calavera and it's recommended that you not eat certain ones. The upside is, these things will last for years if you take care of them properly, and therefore I consider them (at least this technique) to be decoration more than confection. I chose this technique because unlike many guides on the internet, this requires NO special equipment (no molds, no meringue powder) and is safe for anyone to use! So gather up the following materials and make it a fun project with friends, family, and even children!

You will need (for 4 medium/fist-sized calavera, feel free to scale up or down on whim):
Hardware:
-1 Medium-sized mixing bowl
-1 Large spoon
-Newspaper or butcher's paper
-Paintbrushes, toothpicks, or anything needed to decorate with.

Software:
-4 cups (950mL) of powdered sugar (Out of powdered sugar? Make your own!)
-2 egg whites
-2 (30 mL) tbsp corn syrup
-1/2 tsp (3 mL) of vanilla extract (if you can get the brown stuff from Mexico, all the better. It is DIVINE.)
-Cornstarch (enough to dust on your hands and work surface. I like to pile a little on top of a paper plate for standby)
-Anything you might want to decorate with: food dyes, pre-made or homemade icing, sequins, sprinkles of varying sizes, beads, gears, flowers, toothpicks, feathers- the sky's the limit!

First of all get your wet ingredients together. Separate your egg whites from the yolks and add them to your vanilla and corn syrup in the bowl.

Wet team, ASSEMBLE!

Next, add the powdered sugar. I know what you're thinking: Miss K, THAT MUCH powdered sugar for that little liquid? Quiet you! First use your spoon, then your hands (did you wash them then coat them in corn starch?) and gradually work the wet into the dry, until a crumbly play-dough consistency is reached. This phase can be a little bit awkward to achieve. If your dough is too wet, add a little more sugar. If it's dry and falling apart, add a tiny bit of water to hydrate it.

Took a little more powdered sugar to get it to this point, but this is essentially what you're looking for.

Ideally you'll have this mass of dry, yet pliable dough. It should be moist enough to be sculpted, but dry enough to hold its shape. If it's too moist (greasy) it'll be too heavy and your calaveras will droop and melt like Nazi faces in Raiders of the Lost Ark. You'll find that the more you knead it, the more the powdered sugar is absorbed, so you'll need to (again) add more. At this point you can wrap your dough in plastic and store it in the refrigerator for future use or carry on to the next step!

Commence sculpting! Now, skulls are the most traditional form- but doves, angels, animals, and hearts are all documented. But don't restrict yourself to just that! Sculpt a zeppelin (I'd do it in two pieces then skewer them together with toothpicks), or a character from your favorite cartoon, or...

Ladies and Gentlmen: Dorkiness has reached critical mass.

You can use knives, toothpicks, spoons, and all sorts of kitchen implements to help you sculpt. It might get frustrating because of the consistency- the dough is soft and yields to persistant pressure, but a lot of sharp details will either crack or spring back. When you've finished sculpting, add any sequins, sprinkles, or objects you'd like embedded in the surface. Remember: It's going to get hard and brittle, so do it now while the dough is soft.

Elder gods prefer paring knives to help them take shape. FEAR HIM!

This is perhaps the hardest step of all: wait. Depending on the size and density of your sculpture, it'll take between 12-48 hours to dry out. My first batch (Boba Fett and Mrs. Skullivan) were rock-hard in two days. Humidity will also effect the drying times, so moister climed readers might have to wait even longer! When your calavera is dry, commence decorating! This can be as simple as piping swirls of frosting on, to painting elaborate scrollwork in primary or metallic-colored food dye. Traditionally the name of the deceased or the person it was being given to was written somewhere on the skull.

I follow original trilogy, so alas poor Fett, I knew thee well.

So there you are- a simple method to make your very own Dia de los Muertos calaveras. Let your imagination and creativity go wild! They make great window dressing and home decor, as well as thoughtful gifts- just store them in a dry place!

For more information on Dia de los Muertos, check out the book: Skulls for the Living, Bread for the Dead by Stanley Brandes.

FF:Another Way to Love: GLBT Culture in the Age of Steam

2011-10-06T01:59:00.001-04:00

A tender photo of a Japanese couple (1910s, judging by the cut of the suit) (Buzzfeed)

October is GLBT History Month here in the United States and encourages everyone, both Queer and heterosexual alike to explore an often unspoken record. While homosexuality has only been brought to the forefront of civil issues in the Western world in the past sixty years, it's certainly (as old as sex itself) been present- albeit trapped under the ice, conveniently shoved into the back of the bookshelf, or simply ignored outright. If we view LGBT history (like steampunk) through the Euro-American lens it can seem pretty stuffy or one-note (that note being hard labor if we read a lot of Victorian novels). But it's not all doom, gloom, and repression, folks! There were plenty of cultures and nations around the world during the 19th century who accepted homosexuality, bisexuality, and even transgendered folks as a common occurrence.

Before we get into it, I'd like to preface this article, considering the political climate in some countries (including my own) these days that this piece is about alternate sexuality and gender identity. On top of that, it addresses it (and unions thereof) in a sympathetic, positive manner (I know that makes me a bad academic, but I'm also a proud straight ally). If you disapprove of this or aren't comfortable with these facts, I would really suggest you find a different article to read. Also all of the images are safe for work. All right? Is the unpleasant disclaimer business done with? Rockin'.

Got to hand it to Wilde, he has fine taste in ~~train wrecks~~ lovers, 1894

On Criminal Law
The Age of Steam was a little odd as far as LGBT legislation was concerned (a little queer? Sorry.. sorry, I know, history is srs biznis). While many countries in the west like Prussia, Britain, and Russia were criminalizing or putting stricter punishments on homosexual acts others like the Ottoman Empire, Italy, and the Netherlands were de-criminalizing it. In Japan, where homosexuality had flourished for centuries, the Western-influenced Meiji enacted a law making it illegal... only to repeal it in 1880! In many places homosexuality wasn't outright illegal but carried a heavy social stigma (didn't mean that a desperate Queer individual couldn't find some companionship in a specialized brothel). Not surprisingly, most of the records of out and proud GLBT individuals from the Western world at the time come from the artistic class... showing that some things just really don't change.

Two women at the turn of the century pose in Paris (buzzfeed)

Tribadism, Sapphic Love, and "Romantic Friendships"
In the 19th century lesbians both had an easier, yet more difficult time of it. On one hand, romantic friendships or "Boston marriages" were in vogue; where women engaged in passionate, heady friendship with one another. These included sharing beds, sending very intense love letters to one another, and in many cases being more loving than the womens' actual marriages to their male husbands. Since extant records don't give many more details, it's very much up to interpretation as to how many of these romantic friendships were simply for fashion, actual platonic love, or genuine lesbian affection (or bisexuality, which we'll discuss later).

Unlike homoerotic acts between men, lesbianism wasn't outlawed in the Victorian era under the infamous 1885 Criminal Law Amendment Act (the very same law that nabbed dear Oscar in 1895) reportedly because Queen Victoria believed that women weren't capable of such acts! (Which, my dear readers, is a myth. The real reason why parliament never added lesbian acts into the CLAA was to avoid women becoming aware of such things. Oscar Wilde's reincarnation Stephen Fry told me so.) Not to say that independent lesbians didn't exist or that they were all under the radar: there was quite the burgeoning scene in Paris at the time, particularly at establishments like Le Hanneton. Writers such as Radclyffe Hall and Amy Lowell not only identified as lesbians during the Age of Steam, they flaunted it in their works.

The ever-dapper Radclyffe Hall by Charles Buchel, 1918 (National Portrait Gallery)

Elsewhere in the world lesbianism was mostly underground. China discouraged it as it damaged the Confucian ideal of complete female filial piety and dedication to the family. A scant 10% of brothel clients in Tokugawa Japan were women, and no one knows how many were then pursuing ladies (lesbian behavior wasn't banned or not transpiring, it just wasn't as accepted as male-male relations). But some Non-European lands had a warmer reception to female love- like Siberia! The Chukchi, neighbors of the Koryaks, held female shamans in high regard and many took multiple wives. Likewise, many indigenous African groups allowed women to become warriors, own slaves, and marry other women if they so chose.

A Japanese male sex worker and his client, 1788 by Kitagawa Utamaro (glbtq)

Brothers in Arms, Mandrakes, and Nanshoku
Think of 19th century homosexuality and one purple velvet-clad name comes to mind: Oscar Wilde. And it's true, while Wilde was the face of proper Victorian ideals' war against sodomy there were many others around the world in the same struggle. Some men, like American artist Charles Demute or German writer/philosopher Karl-Heinrich Ulrichs were unapologetic and out- but most were forced to keep their desires a secret, only coming out in old age or posthumously. Like women, it can be hard to determine just who was gay in the 19th century since men also had intense friendships for the likes of which 'bromance' just doesn't cut it to describe. This includes going on long trips together, wearing matching outfits, and kissing or holding hands in photographs, making certain modern bloggers have a hell of a time trying to find extant depictions of a documented gay couple.

See what I mean? But ah well, it's fun to pretend.

But what about outside of the West? Glad you asked. There are a few surprising places during the steam age that not only had long, outstanding traditions of homoseuality but also retained them, even during this time of pressure to Westernize. The Ottoman Empire decriminalized homosexuality in 1858 and while they didn't exactly put the welcome mat out for gays. It just wasn't really a surprise considering the Ottoman preoccupation with dressing attractive adolescent men up as female dancers (a tradition called kocek that dates back to the 16th century). Said dancers were adored by men of the court, who would get into sometimes lethal fights over their affections. Furthermore there is the stipulation that anal intercourse is not banned by the laws of Islam, a loophole that many a sultan and imperial official took advantage of. Persia had a similar mentality and homosexual 'postures' show up from time to time in court miniatures. (Shah Abbas was particularly a fan, as shown in rather blatant images I can't put on this blog, sorry.)

Japan's culture of homosexuality was born in pederasty from the monastic and samurai orders. When the Tokugawa regime pacified its warrior class in the 17th century, homosexuality moved from bushido to the brothel- where prostitutes would pretend to be younger than they were in an effort to keep working. The floating world of prostitutes, illicit love affairs, and trysts with actors filled the public imagination (even women found it tempting) and was embodied in the various shunga (erotic) ukiyo-e prints. It was believed that as long as affluent men partook in these desires and still were able to produce heirs with their wives, it was completely acceptable; even healthy! When the Meiji Restoration banned homosexuality it lasted less than ten years before being repealed again- some believe because of this long tradition.

Colette by Jacques Humbert, 1896. (wikicommons)

Swinging Both Ways in the Age of Steam
To be honest, most of the alternate sexuality happening during the 19th century was quite clinically bisexual. Sure, Victorian housewives had their 'Boston marriage' and some gents were 'jolly old bachelors' (SERIOUSLY, Pickering and Higgins in Pygmalion/My Fair Lady? They have to have had something going on...) but that sort of lifestyle is easier to cover up with a heterosexual partner. And that's a lot of what happened. They carried out their social, national, and religious duty and got married and produced children... while carrying on affairs with the gender of their choice. One royal example of this was Gustav V, who ruled Sweden between 1907-1950 and married Victoria of Baden, with whom he sired three sons. However, after the cherished monarch's death the truth came out about his twenty-year relationship with a commoner named Kurt Haijby. The Swedish government had paid handsomely for silence about the king's... ahem.. companion so the announcement was quite a shock for the populace.

Gustav V:Got Sweden through two world wars, instated child welfare, snogged a wine seller on the side. (lgbtq)

Bisexuality also flourished amongst artists (big surprise). Salons, dance halls, and cabarets attracted the dejected and artistic in droves and with it became hotbeds of multisexual experiences. French dance star and author Colette had various female affairs (including Josephine Baker) during her heady days at the Moulin Rouge before settling down (if you would call it that) into a string of three marriages.

A Navajo couple c. 1868- the one on the left is a 'nahdleehe', or two-spirit (Indian Country Today)

Exceptions to the Rule: Third Genders
When male and female just fail to describe a person's individuality there are third genders, which are only recently really being recognized in modern western society. But various cultures around the world acknowledged the folks who just couldn't figure out which box to check on the census form.

Perhaps the most famous example of this acceptance was the Native American concept of the "Two-Spirit", or a person who literally had both male and female spirits inside of them. Depending on the tribe (since many, but not all, ascribed to the two-spirit philosophy) it was believed that these people had special spiritual abilities. In some cases a two-spirit took on tasks attributed to both genders (i.e. hunting and making clothes, in the case of the Lakota) while in others the individual dressed and worked as their desired gender. In the case of marriage, two-spirits reportedly engaged in relationships with either gender- though it was typically bad luck for two of them to get together.

We'Wha, a famous Zuni two-spirit who was a respected potter and even met President Grover Cleveland in 1886. She was warmly received by the Washington elite because of her affable nature. (Two-spirit.org)

Another interesting third gender of note are the Italian Femminielli (literally 'little woman-man', a genuine affectionate term), a Neapolitan identity that really caught on in the 19th century. A femminiello is a male-bodied person who dresses, lives, and behaves as a woman- often as a prostitute. They aren't necessarily transgendered, nor are they simply transvestites either. Really they're their own, very fabulous thing. And much like the two-spirits, even in veeerry Catholic Italy they weren't reviled- in fact it was considered good luck to have a femminiello on the block and they were often asked to babysit!

There are loads of third genders around the world, so many that PBS made this handy map! Others of particular note are the Fa'fafine of Samoa (also known as wakawahine in Maori and mahu in Hawaii) where male bodied individuals took on the chores and status of mothers and matriarchs. The Bugis people of Indonesia have no less than FIVE GENDERS, including Calalai ('false man'- female bodied, male identity), Calabai ("false man", the inverse), and Bissu (all gendered, for when you just can't decide).

A Victorian-era Femminiello. Don't tell the other 3rd genders, but this one's my favorite. (umuc.edu)

Seeking Acceptance
While Gay-Straight Alliances and GLAD didn't exist in the 19th century, there were still places for closeted individuals to find some modicum of acceptance in countries where alternative sexuality was outlawed or looked down upon. One trend in Imperial Great Britain was to seek colonial office and sent elsewhere in the Commonwealth. According to some archaeologists studying extant records, a surprising number of British and French provincial governors and officers during the 19th and early 20th centuries were gay or bisexual. They were by no means the majority, but it was a road sought often enough by the gentry or middle class looking to escape constricted Victorian society.

A similar strategy used in the United States and Canada was to go west. Some sought the solitude to pursue both a livelihood and their passions (yes, there were in fact gay cowboys. Not all of them and certainly not as pretty as Heath Ledger, but they existed. When there are few able-bodied men handy, cattle ranchers are a little more inclined to look the other way) while others hoped to find peace in more remote communities.

For those unwilling to leave their homes and jobs, there were the risky venues of the 'molly-houses' (the forerunner to the gay bar, a combination pub and brothel). While the better of these establishments like the infamous White Swan in London catered to their clientele and kept things discrete in back rooms, there was still the risk of being raided by the police (... which the White Swan did in 1810) then all the joys of trial and punishment.

Two men in 1906 (fyqueervintage)

What we can see from this globetrotting survey of alternative sexuality is that the world wasn't as suppressed and stuffy in the 19th century as we thought. But we've also come a long way and have just as far to go in our modern times. Which is why I'm so happy to see LGBT people just as much as people of different ethnicity, nationality, economic class, and religion taking part in steampunk. I like to think that it's a safe place for everyone to express themselves (I swear, I see people get more irked about my opinion on goggles than a transitioning young woman deciding what to wear to her first steampunk outing. And it had better stay that way.) And should you be an LGBT individual looking for a creative outlet or to meet new people- I would recommend steampunk, the community tends to be very welcoming. Just don't insult the goggles. Believe me.

Helpful Links
-An article from Indian Country Today that details a revival in the "Two-Spirit" identification as a source of solidarity and pride for GLBT American Indians.
-Out From Behind the Curtain is an LGBT group on the Steampunk Empire community (free and open to join).
-GLBTQ is the encyclopedia of gay culture and contains many interesting articles on homosexual themes in literature and GLBT historical figures.

October Preview

2011-10-02T17:19:00.003-04:00

19th century watercolor depicting a Punjabi funeral procession (gdhillow)

October is another one of those months filled with observances and meanings- seemingly more than usual! Since Miss Kagashi is still buckling down her Fall semester, the weekly post goal is going to be two (perhaps three if it's a slow or inspiring week). Here's what you can expect for the month of October:

Clothing You'll Love
Once Upon a Time in Mexico...
Ethiopia

Focus on Folkways
The Other Ways to Love (A Survey of LGBT Culture in the 19th century)
Ashes to Ashes (Exploring Mourning and Funeral customs- just in time for Halloween)

Kagashi's Kitchen
Dia de los Muertos Sugar Skulls

Featured Traveler of the Month

It was also noted on the blog's facebook page that a few days ago the Steamer's Trunk officially turned one year old. As is the case with anything online, its success is a mirror of the many wonderful people that subscribe, read, and repost- so thank you all. It's been a hell of a year and I've learned a lot through my research- and I hope you've learned something too! Or perhaps that you saw something and was inspired. My deepest thanks to all of you, from the casual reader who was linked here by a friend, to the lovely people who link, to the subscribers that have been here from the beginning. Hopefully I can meet you on the road somewhere (we'll have a cup of tea!).

Nautical hijinks! Mummy unwrappings! Irate Germans! OCTOPODES!

Speaking of which- I'll be appearing at Teslacon II in Madison, WI in November! In addition to my duties playing Kapitan von Grelle, the irascible captain of the Imperial Anti-Piracy Squadron, I'll be giving a panel on the possibilities of Multicultural Steampunk! Sitting on the panel with me are Captain Anthony Legrange of the Airship Archon, Aaron Egan the Steampunk Chef, and the blog's Archaeology and Anthropology consultant Jade Luiz. If you have a ticket to this sold out event, don't miss it!

CYL: Zouaves- Swank and File

2011-09-30T16:39:00.002-04:00

Trois Regiment des Zouaves, 1916. (The Zouave Archives)

Salut, mes amies!

Uniforms. Ladies love a man in them and a well-presented one can make anyone feel like a badass. Well today we're going to learn about some of the greatest BAMFS of them all, born in North Africa and then extolled the world over: The Zouaves. What started as a group of Amazigh mercenaries hired by the French turned into a global phenomena within a few decades because of guts, determination, and some damned snappy clothes. But first, we need to revisit a little history from a prior CYL article (it's almost like I'm planning this!).

French Zouave by Frederic Remington, really it's a Turco. Remington wasn't much for specifics, I guess.

Historical Background
It all started with the Amazighs of Algiers (Berbers, as they were known to the Europeans, who really could have picked a more polite name) who fought against the French in the 1820s. While the country would fall under French control in 1827, the occupying forces were impressed by the ferocity and guerrilla tactics of the rebels. In 1830, the fighting skills of an elite group of Zouaoua (a band of the Kabyli(e) tribe of Amazighs) were enlisted to fight in the French-Algerian army, wearing uniforms comprised of their traditional clothing. Within a year two battalions of native Algerians, Amazighs, and French were formed up and seeing action throughout the region.

Of course, it didn't take long before becoming a member of these battalions became desirable and the amount of Frenchmen increased while the native North Africans decreased- until in 1852 when the zouaves were absorbed into the regular French army. North Africans were sorted to their own brightly-colored regiments called Turcos, their uniforms in a lighter blue than their primary European counterparts.

Speaking of which- we should probably interrupt this history lesson to go over what a zouave uniform entails. Be right back American Civil War buffs, I know you're chomping at the bit on this one.

A rather dapper-looking Turco, Algiers (fyeahmeninolduniforms)

Anatomy of a Zouave Uniform
So what makes these uniforms so damned swank? Well! They're typically comprised of a pair of baggy, sirwal-like trousers (red or cream, usually) tucked into buttoned gaiters (white/cream. The original zouaves made theirs of leather or canvas.) that both keep the excess of fabric contained, but also protect the leg from dirt, debris, and underbrush.

Up top was a fitted waistcoat (or gilet, colors depended on country and regiment, but they were typically in the usual color scheme of blue, red, or white) wrapped in a 12 foot-long sash that served multiple purposes: it practically kept belt and gun tack from rubbing up against the buttons on the vest, protected the midsection, and could also serve as an impromptu bandage in the thick of battle. Over the gilet was the showpiece- the zouave jacket. It was short, collarless, and featured a scooped-away front- almost like a bolero. The classic jacket was dark primary blue and trimmed in red applique with silver or gold buttons.

To top it all off (God, I'm hilarious...), zouaves wore both fezzes (with massive blue tassels!) and wrapped turbans, though the latter phased out more in countries beyond the French commonwealth. Kepis of the hard and soft varieties also found their way onto zouave noggins, but again, this was later on in the century.

Two French zouaves during the Crimean War (old-pictures)

Historical Background Part II- The Zouave World Tour!
The French Zouaves saw action around the world, but their big foray onto the international stage came in 1853 when the Crimean War broke out. Enemies and allies alike saw what these oddly-dressed battalions could do (and were impressed) and soon everyone had zouave fever! (Three major uniform trends of the 19th century as I see it: Zouaves, hussars, and Prussian blue- armchair generals and military history enthusiasts can snipe at me all they like, but I calls it how I sees it.) Soon EVERYBODY needed a group of crack baggy-trousered infantry, to the point where it was believed that the uniform made the men fight harder.

A Papal zouave (Warfare in the Age of Steam)

Spain, Poland, Britain, and even the Vatican raised zouave units, each with their own variation on the traditional Maghreb clothing. They caught the eye of a military buff in the United States named Elmer E. Ellsworth, who formed a squad of zouaves in Illinois in 1860. The colorfully-clad cadets were drilled hard and performed across the country, garnering national attention and the adoration of many a lady. They challenged any squad in the country to top them in drills, but none managed to beat the United States Zouave cadets- even Abraham Lincoln was impressed with Ellsworth and his men. Copycats and similar-clad units sprung up all over- much like Christopher Walken, the United States had the fever. And the cure was more zouaves!

Illustration from sheet music for "Zouave Grand Parade March", 1861 (Library of Congress) And yes, 'zouave fever' was a period term, I wasn't just referencing SNL.

By the time the American Civil War broke out there were dozens of zouave groups both Union and Confederate ready to heed the call, all inspired by Ellsworth's model. The man himself? Elmer Ellsworth died early in the war in 1861 in an attempt to seize Alexandria, Virginia. His legacy was intact, however, as zouave units would fight and die all the way through the war, still popular as ever.

What ended up killing the zouaves was technology, though. When World War I broke out, the last thing you wanted to be wearing in a grey, murky trench lined with opponents carrying the latest in arms was a brightly-colored uniform. (In fact, during one particular charge a zouave unit suffered 80% casualties!) By 1915 fezzes were changed out for helmets and the reds, golds, and blues for French blue and khaki.

Illustration of a French Cantiniere (wikicommons)

Vivacious Vivandieres and Courageous Cantinieres
Let's say, like Lord Flashheart, that you're more comfy in a dress. Well ladies, unconventional gentlemen, you can indeed have your cake and eat it too. With the zouaves came another French tradition of women serving alongside the men as nurses, water and ammunition bearers, and morale-boosting mascots. Typically they were wives or female family members of men serving in the unit that wanted to stay close to them. These sharp-dressed, multi-talented ladies of the battle field were called Vivandieres (Suppliers) or Cantinieres (Canteen woman). They wore corresponding uniforms to their male counterparts but with the addition of corsetted jackets, voluminous knee-length skirts, and bloomer trousers (this is the mid-1800s, folks, that's rare as hell). Just like the zouaves, Vivandieres caught on in Crimea then spread to points beyond.

So are you inspired by these multi-colored, multi-cultural soldiers of the 19th century? Splendid! Here's a few more lingering tastes of snappy uniforms:

Jen Thompson based this gem off of vivandiere and zouave uniforms. Check out more photos and information on her website.


"Imperial Guard Zouaves" and their Cantinieres too! (Warfare in the Age of Steam)

The Tirallieurs Algeriens, or Turcos (Ulanka and Litevna)

A French Vivandiere kickin' some ass. (thebonswan)

Traditionally the white trousers were worn in summer (mentalfloss)

Helpful Links
-I've only scratched the surface on zouave history and the culture of zouave-mania. For more information I'd suggested the blogs Warfare in the Age of Steam and the Spanish-language Zuavos del Mundo (Zouaves of the World).
- Want to add some zouave touches to your costume? The Steamer's Trunk has you covered with our wrapped turban, fez, tassel, and turkish trouser tutorials.
-This website is fantastic for general history and plenty of photos of zouaves.
-G.D. Falksen wrote an article about zouaves that appears on steampunk fashion.

The Feedback Board: Reader Turbans!

2011-06-13T23:08:00.001-04:00

I've been wanting to do one of these posts for some time showing off some of your results from using the tutorials that I post and the interesting spins you take. More than anything else, I've seen some pretty fancy turbans out there from some of you travelers! Some of this could do with the simplicity and versatility of the project, but it could also correlate with the hot summer weather that's rolling in a lot of our reader areas (handy tip, you can wrap cold packs and bags of ice into the turban itself). Why don't we look at a couple of fashionable examples?

First up we have Gretchen Jacobsen, a very talented costumer from Atlanta, Georgia. Gretchen sent in a couple of photos of her steampunk costume that was inspired by the Orientalist craze of the late 19th century, including a very colorful turban made using the tutorial:

As you can see, Gretchen was smart and used a soft-folding natural fiber.

Another intrepid turban-maker is Tabitha Kelley, who made this one for her little 16-month old daughter. The results are simple, but adorable:

I just broke my d'aww bone

I'm glad you ladies are enjoying your turbans. If you've done a project based off of one of the tutorials posted on the Steamer's Trunk, please send in your pictures and show them off! Creativity is the gift that keeps on giving and indeed, is what gives steampunk its steam- so keep experimenting!

FF: I Do (Love This Dress)

2011-06-07T04:35:00.002-04:00

A pleasantly purple wedding kaftan that would have been worn by a Jewish-Turkish bride (Magnes Collection)

Until recent years (when September and October have eclipsed it, according to a poll of wedding planners) June was considered the month in which to hold a wedding in several Western countries. Many cite the mild weather and preponderance of flora, while others point their fingers at pre-Christian traditions centered around the Summer Solstice- a time of great fertility and prosperity. Personally, this blogger blames the Victorians; who seemed to imprint as many modern traditions with weddings as they did funerals (and that, my friends, is a lot). In addition to its ancient ties and clement weather, June also would have offered great conditions to embark upon a honeymoon- the modern idea of which is an invention of the (early) 19th century.

It should be noted that Miss Kagashi hates weddings- or at least mainstream American ones. The blogger will spare you all her acid concerning these travesties of consumerism unless asked, however. So why focus an entire article on weddings and dresses worn by brides around the world if I detest them so? Much like headgear and etiquette, things were just so much more nifty back then and elsewhere. If these gorgeous pieces of art can make a believer out of me- who knows, I might get some drooling out of you.

This Jewish bride from Morocco's attire is anything but dull. Eugene Delacroix, 1832 (Hoocher)

One thing you might notice about this nuptial jaunt around the world is how colorful it is. With a few exceptions outside of the West, white was not the marriage color. In fact, for many cultures (particularly in Asia) white was a color of mourning or old age, not celebration or good fortune: things you want present at a wedding. This is why you see a lot of red, gold, blue, and even green on wedding dresses from around the world at this time. White became de rigeur (much like Christmas trees) with the ascension of Queen Victoria and her marriage to Prince Albert, in which she wore a diaphanous white gown to symbolize her purity. This caught on like indoor plumbing and next thing you know, everybody's getting married in white. How utterly boring.

Korea

Wedding hanbok from the collection of Linda Wrigglesworth (Londonkoreanlinks)

This bridal hanbok (the basic garment of Joseon Korea) was made and worn in the 19th century and decorated with actual gold plate. The rainbow sleeves (saekdong) are also traditional- a call to each of the five directions for their blessing. Part of the traditional Korean wedding ceremony is for the bride and husband to bow to one another- as that was originally the first time they would ever meet (thankfully this has gone the way of dial-up). For this custom the bride was flanked by bridesmaids because her wedding garb would be so heavy that she might require help to rise from her bow. While Western fashions have become popular, a lot of modern Korean girls like to get married in traditional dress- albeit not as overbearing as in prior generations, so the bow-guards' jobs are mostly symbolic.

Senegal

Woman in a recreation of a 19th century wedding gown at the International Day Festival in Dakar. (T.J. Haslam)

Senegal was under the colonial influence of the French from the mid-19th century to the mid-20th and while they were forced to adopt the fluffy confection of the European wedding gown- the native affluent elite gave it their own twist. The tall headdress, looseness of the top, and mix of textiles are all local clothing customs that still pervade gowns like this to this day. Another beautiful example of an indigenous population taking a "gift" of colonialism and making it their own.

One fun tradition that the French took with them to most of their colonies was that of the charivari- a loud and raucous procession made by family and friends of the newlywed couple. The band of well-wishers would make their way to the house of the couple, making all manner of racket on pots, pans, kettles, and washtubs until they were invited in for refreshment (punch and pie!). The charivari hit its pinnacle in the 18th and early 19th centuries, but is still done in parts of Quebec and Cajun country in the southern United States. I think it needs to come back, mainly because I want to harass my sister while banging on a mixing bowl demanding an omelet or something.

Bahrain

Photo taken by Coleen over at Costume History is Fun!

This traditional style of wedding outfit from the early 20th century (the dress itself though was made in the 1980s) is called a Thoub al-Nashl (gauzy overdress) and a Darr'ah (undergown). Made out of green silk chiffon, the thoub's sleeves are so massive that they can be draped up and over the head as a veil. How's that for multitasking? One would think, with those yards of hand-down metallic embroidery, isn't it a waste to wear it only once? Well, the Bahrainian people agree with you. A woman would wear her best thoub al-nashl many times throughout her life beside her wedding, like birthday and Eid celebrations.

Turkey

A full Turkish bridal ensemble from the 1900s (V & A Museum)

This outfit consists of a cropped velvet jacket, a fitted robe called an entari, and pink silk sirwal (trousers, remember those?) which are in essence very simple garments but thanks to painstaking metallic embroidery turn them into showpieces. Indeed, the clothes are so crusty with detailing that the V & A museum notes that it would have been difficult for the bride to move! (Personally I think this might have been an insurance policy against cold feet, but I'm a cynical thing...) One explanation for the sheer amount of bling in this ensemble is an old Ottoman tradition of family members and friends who approved of the marriage giving the bride golden tokens of encouragement that she would then proudly sew into her clothing.

A slightly less delightful tradition is the rather old-fashioned announcement that the bride was in fact a virgin in front of the guests, family, friends, and well... everybody. While this is very touching that any Ottoman groom worth his salt would be appalled at the thought of any man but he bonking his wife, it doesn't exactly help that he was allowed to sleep around as much as he liked before and after marriage... but hey, at least she has a gorgeous dress as consolation!

China

A 19th century Manchu-style wedding robe (Miller's Antiques)

As some of you may recall from our post exploring the importance of color in various cultures, the Chinese are very conscious of color and its symbolism. This is why most Chinese wedding dresses before the 20th century were red- the color of happiness and good fortune (in fact many modern Chinese brides opt to have a red dress to change into during the reception). Another aspect of this robe is the attempts to make it harmonious with the use of yin and yang iconography. The metallic designs depict large dragons (yang) surrounded by smaller phoenixes (yin) and peonies (yin, and also a symbol of longevity)- so even wearing the dress was an act of harmony and good luck.

Just in case a luck-infused dress wasn't enough, one of the pre-wedding customs was for a person called the "Good Luck Woman" to style the bride's hair while uttering encouraging, auspicious, and complimentary blessings. When my sister gets married this fall I might bribe the hairdresser to do this, everybody could do with a pep talk...

Greece

Wedding gown from Attica, found in the Benaki Museum (Caro Interiors)

I ask you all to look at the gown above. See those subtle, raised, glittering patterns? You guessed it, hand embroidery all in spun gold (which sadly is not available at Joann Fabrics...). Another feature is the silver headpiece, which while not uncommon wasn't standard since many Greek brides opted wear a garland of flowers atop their heads (which probably means that this outfit belongs to a wealthy lady indeed!). You might also notice something familiar that some of our other dresses lacked- a veil. The first recorded use of veils in bridal traditions actually go back to ancient Greece, where they obfuscated the bride's identity from gods and monsters that would otherwise harm her (or, in keeping with Greek deities, abduct her... let's face it).

Kazakhstan

A Kazakh bride in 1911- judging by the horse's pose the engagement was consensual (Sergei Ivanovich Borisov)

Sure, arranged marriages are a drag- but imagine being stolen by your bridegroom. Bride abduction was fairly common in Central Asia (and still happens occasionally) and could be as innocent as two sweethearts eloping to a total stranger making off your your daughter or sister. However, there were various steps insuring the safety and well-being of the girl and ultimately she could outright refuse the offer and petition her male family members to come and get her. There was nothing insuring said male family members wouldn't be irate or downright violent when they'd retrieve her, however.

If the parties agreed however, a Kazakh bride would wear a tall, steepled, bejeweled headdress called a saukele. This highly ornamented hat would be worn the entire first year of marriage and probably caused many a backache for a newlywed crawling out of her yurt.

Spain

Yes, this is a traditional Spanish wedding gown. And yes... I kind of want one. (Elegant Event Designs)

A lot of old-fashioned Roman Catholics were fond of a concept called memento mori- or the reminder that one of these days you were going become an ex-person. But the Spanish weren't so doom and gloom that they would make their brides wear skull rosaries or hair jewelry (seriously, Victorians were weird). Instead, they wore sumptuous black lace wedding gowns with matching veils called mantillas as a reminder that the marriage (and the love, one would hope) would last "'til death". Spanish brides also traditionally carried a small purse with them to the ceremony filled with 13 gold coins- a gift from her bridegroom that promised that he would support her in the future the best that he could.

The mantilla was affixed to the bride's hair with ornately carved mantilla combs- which are now highly collectible...

United States

This one's from the 1870s- I couldn't find one from the 1860s that struck my fancy (V & A)

I know what you're going to say- United States?!? What's exotic about that? Well, during the 1860s a trend amongst brides added a bit of color to the white gown that Victoria popularized at her wedding. As a show of support for the wounded and fallen during the Civil War (1861-1865) American brides opted to wear purple wedding dresses. And as many of you know, purple is the most steampunk color! Of course, a bride during this tumultuous time had to be grateful that she had a groom present at all, let alone a gown made with the newfangled anneline purple dyes.

I hope you enjoyed this bride-gawking jaunt around the world (which is by no means complete, I'm rather peeved that after 2 hours of searching I wasn't able to find an extant picture of an Indian bride- but worry not, we'll be discussing henna soon!) and some of those gorgeous gowns of yesteryear. If you find yourself to be wedded this June (or some time in the near future) I wish you the best of fortune and happiness (and that you weren't abducted from your yurt...)

Mix it Up!: Real Airship Pirates- Pirates of the 19th Century

2011-06-03T01:29:00.000-04:00

Shown: Scarier and more badass. (Also this print was done in 1909, historyaficianado's flickr)

Airship pirates. You can't go to an event or a convention and swing a cat around by its tail without hitting one. I'm not going to lie everyone, pirates are getting awfully old- particularly with Jerry Bruckheimer's quest for more money. But a lot of the Sky Pirate Popularity (and therefore staleness because nobody does anything else with it) I blame on the band Abney Park and the carefree antics of their crew on the Ophelia and their songs of adventure (that and the cartoon Talespin- Don Karnage rocks!). Now, before I engage the rant drive, I request that you consider that I do in fact listen to Abney Park. I own three of their albums and a respectable chunk of my itunes is dedicated to their music. I know full well that this won't dissuade several Abney Park fans from posting things like "NO, ur wrong! Robert is hott!" or "This is just for fun, man, stop being such an elitist!"

I know that pirates will exist; it's a natural, healthy part of any history-oriented subculture. In fact, I encourage the growth of the steampunk underworld- body smugglers, prostitutes, opium peddlers, and con artists. All I ask is what I normally desire with this blog: do it right. How do you do piracy right? Well why don't we look at some of the fine examples of rotten behavior left to us by history!

A Chinese pirate junk sailing out of Canton in the 19th century (Hong Kong's First)

Historical Background: A Primer on the History of Piracy
As long as there's been merchant trade, there's been someone trying to upset it by taking said goodies for themselves. In the ancient Mediterranean, the Illyrians and Apulians were reknowned pirates (they even had a queen by the name of Teuta- eat your heart out, Kiera Knightley) that attacked Greek and Phoenician trade routes. While the terrestrial versions of this became known in later centuries as bandits or highwaymen, their seaborne counterparts went by a variety of names: boucaniers (buccaneers), corsairs, sea dogs, and of course pirates.

In the Western world, the Age of Exploration began a boom in maritime banditry called the Golden Age of Piracy (1650s-1730s) spurred on by Europe's obsession with all things mercantile. In addition to all of those goods being transported between the New and Old Worlds, there were advances in sailing vessels such as the caravel and the sloop that allowed them to work on par with their military and merchant counterparts.

By the 19th century however- the Age of Steam was readily putting traditional Western pirates out of business. The military was upgrading to newfangled steam ships in the mid-century and a lot of the Imperial powers were becoming quite tired of the antics of both the pirates and the privateers, so the amount of letters of marque went down considerably. In addition, the slave trade was banned in 1830, which also threw a devastating blow to Western pirates. (But don't worry, smuggling would be alive and kicking for many decades to come!)

19th century illustration of the corsair Dragut Reis (National Maritime Museum)

Pirates of the Eastern World
No offense to airships pirates of the Western orientation, but Barbary corsairs and China Sea pirates could kick your asses. They were tougher, lived by stricter rules, and faced as a gruesome punishment at the hands of their very own captains and lords as the governments who hunted them. For example: If a sailor aboard a Chinese pirate ship left the ship without permission, his ears were cut off and displayed accordingly to discourage others from a premature shore leave.

Barbary corsairs trawled the waters throughout the Mediterranean and off of the shores of Northeast Africa from the 16th century until the 1830s, when the French put a stop to their activities with their conquest of Algiers (you may recall them mentioned in the U.S. Marines' Hymn- "From the halls of Montezuma; to the shores of Tripoli"). Typically they acted under the protection of the Ottoman Empire. Boy, did they cause some massive headaches for European traders (though some corsairs were in fact European in origin) with their constant raids on ships and taking massive amounts of people as slaves- whom they treated brutally. Sometimes a European captive could get a reprieve by converting to Islam and proving himself worthy of joining the crew... but this was rare. Needless to say, neither Chinese or Barbary corsairs haven't really been romanticized like European pirates have...

A 19th century engraving of Cheng I Sao- a woman who wore her ovaries on the outside. (Ossian's Pirate Cove)

But that's sort of what makes them so badass. Corsairs and China sea pirates were tough customers that would probably make even Edward Teach double take and certainly give most airship pirates I see (who really act more like sky hippies than actual pirates) a run for their dubloons. The overall makeup of either of these groups was very multicultural and even offered opportunities for women- such as the case of the 16th century Muslim Queen of the Corsairs Sayyida al-Hurra.

Cheng I Sao and the Red and Green Fleets
While piracy in the Atlantic had been in a state of decline for nearly a century, freebooting was alive and well in the Pacific- particularly in the waters surrounding China. One of the most infamous lords of this coast was... in fact.. a lady. A former prostitute, in fact! Cheng I Sao, or Shih Yang started her rags to riches tale by marrying the ruthless pirate lord Cheng I, who apparently respected his bride enough to allow her to participate in his business affairs. When Cheng died in 1801 during a storm, his wife was more than capable to take the reigns of his 40 ships and bumped anyone who disagreed out of the way. From then on, Lady Cheng ruled the waters surrounding mainland China, Vietnam, and Hong Kong with an iron fist (with some help from her lover, Chang Pao). Her personal fleet became the dreaded Red fleet, while Pao was given the Green.

When the old bird was getting a bit too achy in her bones to shake a cutlass anymore, she rigged a deal with the Chinese government that allowed her to retire. Her tens of thousands of crew were pardoned, Pao was given a comfy desk job, and Cheng lived to the ripe old age of 60 as the proprietress of a house of ill repute and filthy rich. Not bad, not bad at all.

Chinese pirates sailing on the Yellow Sea (Chinahistoryforum)

Plundering Attire
Historical pirate clothing was actually nothing to write home about. Seriously. Clothing was minimalistic to allow for range of movement and to prevent getting caught or tangled in rigging. In fact most pirates while on deck tended to go barefoot-since its near permanently wet state would prevent shod feet from keeping a good grip. Furthermore, flying sailing a pirate ship is hot, tiring work, so wearing layer upon layer of wool and leather would make things utterly miserable. Finally- a lot of pirates (and sailors in general) tended to coat their clothes in a sexy layer of tar to make them waterproof.

Of course, this is where airship and sky pirates have an advantage. In high altitudes, the air is thinner and colder, making thicker clothes and multiple layers a must. Since there wouldn't be as much of a moisture and grip problem, thick boots would also make sense.

Typical clothing for Barbary corsairs sanctioned by the Ottoman Empire (twcenter)

Typically pirate clothing followed the modes of merchants and sailors. In the 17th and 18th centuries it was nearly impossible to distinguish a legal mariner from an illicit one, Eastern pirates included. Barbary corsairs wore the kaftans and sirwals of their landlubber associates just as Western pirates wore baggy trousers and waistcoats. If pirates did dress up, it was usually for shore leave or their execution.

One interesting exception were Chinese pirates and their love of wearing bright silks and sashes in an effort to intimidate their victims. Broad hats made from straw were also popular for keeping the sun off of their faces and were tied under the chin to keep them from blowing away in the wind.

19th century depiction of an Illanoan/Moro pirate, who raided along the Southeast Asian coast near the Philippines (Filhistory)

Other Global Pirates
While not an airship pirate, Captain Nemo from Jules Verne's 20,000 Leagues Under the Sea is a brilliant example of a non-Western version of this trope. For those unfamiliar, Nemo is the pseudonym chosen by the Hindi Prince Dakkar after he lost his birthright and family in a war with the British- who gave him his Western education. It wouldn't really be much of a stretch for there to be an airship pirate crew of turban-clad Sepoy deserters, or Oceanic pirates teaming the skies around the oil-rich regions of Brunei. Basically if you have a member of a regional population who has a tiff with the military or have access to a commodity's trade routes- you have a possibility for a sky pirate.

The Nemo portrayed in Alan Moore's "League of Extraordinary Gentlemen" explores more of Dakkar's Raja background than previous incarnations.

So you see folks, I don't really have anything against airship pirates so much as with the over-stagnated idea of someone clad in brown leather, messy hair, and a "don't do anything" attitude. Come on! You're a pirate! Anybody can wobble about making jokes about why the rum's gone, but it takes a real pirate to make that guy look like a pansy! Then take him prisoner, cut off his ear, and ransom him to his fangirls for cold, hard cash.

Don't be a pansy pirate, everybody. I say this because I care.

Further Reading
Hong Kong's First is a Chinese history blog that has a fantastic article on local piracy during the 19th century and how it impacted struggles with the British.
"Jefferson versus the Muslim Pirates" is an interesting article on how the infant America's war on the Barbary corsairs would impact its early international image and foreign policy.
Rob Ossian has gathered tons of information on pirates throughout history, their cultures, and presents it in a fairly objective manner. Check out the terminology and the sailing simulator for more fun!

BB: Multicultural Celebrations by Norine Dresser

2011-06-01T18:27:00.000-04:00

You can find it used very inexpensively!

So yeah... the real reason for my recent absence from posting has been a severe inundation of real life- which as many of you know, is an unavoidable threat to every blogger or webcomic author, particularly if real life is offering you money. I assure you, it's worth it: because in two month's I will have helped birth a bouncing baby novel ("Blood in the Skies", which has been written by my friend and sometimes contributor G.D. Falksen and published by Wildside Press).

I'm kidding, the real reason why I haven't written up a post in a long time is because I was captured by a secret organization called the Build-a-Bear Group, who were after my scone recipe to use in their diabolical scheme to take over the world with a massive Teddy Bear Tea. After giving them a dummy recipe (for crumpets), I escaped: wreaking much havoc, breaking windows, and putting bananas up tailpipes of cars. After a nice, long shower I'm happy to be back to discussing multicultural steampunk and its many applications.

Today on Babbling Books I'd like to show you a wonderful book I picked up a couple of days ago that's so engaging that I haven't been able to put it down! I was hunting for more information for my Victorian etiquette panel when I found Multicultural Celebrations by Norine Dresser tucked in the 'manners' section of John K. King Books in Detroit. The book proclaims that it's a guide to "today's rules of etiquette for life's special occasions" but it's truly more than that...

Dresser spent years gathering first-hand accounts and attending the events featured in the book to make it as authentic and helpful as possible. The book is divided up into events that mark milestones of Birth (which includes ceremonies for discovering the sex of the child), Giving Birth (including naming and birthday traditions), Coming of Age, Marriage, Healing, and Death. In addition to old Native American/First Nation, African, and Asian traditions, newer events from modern, Western culture are included which gives the book a living, breathing appeal (for example while the Japanese birthday tradition is studied, not ten pages later the Alcoholics' Anonymous birthday ceremony is covered).

A 19th century Eastern European Jewish wedding. Dresser takes the time to describe wedding practices of Reform, Sephardic, and Orthodox sects (wikicommons)

What truly makes this book a gem are the helpful guides at the tail-end of some event entries. From Nigerian weddings to Amish funerals, Dresser includes tips concerning dress (including colors and styles by gender when applicable), body language (which will teach you gestures such as the wai- a bow used in southeast Asian manners as well as when gender separation is imposed), and verbal gestures (with things that should NEVER be said, to help you avoid nasty faux pas!). For example, here is the word-for-word guide from an Indian ceremony called a Valaikappu (the Bangle Bracelet Ceremony, in which an expecting woman in her seventh month of pregnancy will be decorated with dozens of bracelets. The joyful tinkling sound of the jewelry clinking together is thought to aid the health of the child).

"Gifts: Only bangles.
Words: Congratulations and other felicitations
Clothing: Remove shoes and socks before entering the home [where the party is being held]. Avoid wearing black [or white]."

As you can see, this is a very helpful book- particularly for someone living in a city, a multi-ethnic area, or acquainted with people who still observe old traditions like the Valaikappu. In some cases, studying up on customs like this are your responsibility as the guest: as committing a faux-pas (like wearing black to a Chinese wedding or hugging people at a traditional Vietnamese wedding) and taking away from the real reason or person the event is based around. In these cases, it's not about you, so try your best to fit in.

If you're interested in more multicultural etiquette (and in this rapidly expanding world of ours, you should be!) check out Dresser's other titles: Multicultural Manners (First Ed: 1996, Second Ed: 2005) and Come As You Aren't: Feeling at Home with Multicultural Celebrations (2006)

An invitation to a Chinese red egg and ginger party- would you know what to do if one of these arrived in the mail?

FF: Be Not Afraid of Color!

2011-04-25T05:24:00.001-04:00

Turkish caftan 19th century (Alain Turong)

I know I'm due for a recipe or tutorial post, but I was feeling particularly clever tonight (also I just finished another illustration for the upcoming steampunk adventure novel by G.D. Falksen- Blood in the Skies). Instead of locking myself into my sewing room I've decided to instead tell you to "BE NOT BE AFRAID OF COLOR!".

I promise, my good readers, that this is not going to be a rant. Instead, it's an argument. They're really not the same thing, just ask Monty Python. I propose that the most steampunk color is purple.... don't look at me like that, I have my reasons!

A Singh boy's tunic- early 20th cent. V & A Museum.

First of all we consider what a steampunk world offers us in the way of continuity. One thing that everyone tends to agree on because of crazy submersible and dirigible contraptions, world travel is not only possible, but mundane. It might cost them a pretty penny, but there's nothing geographic keeping a small chimney sweep from Hammersmith from traveling to Ankara (for the International Chimneysweeps' Convention).

Secondly, we all agree that there's a technological boom going on. I mean, look up any definition of the genre that isn't derogatory and there's a consensus that technology in most aspects of life and society are going crazy right now, with steam, hydraulic, and clock mechanisms producing ships, computers, communication devices, advanced medicine, and weaponry. So then it'd extend to the clothing, right?

We Interrupt This ~~Ra-~~ Argument for the Actual Content of the Post
During the 19th century, unless you had a particular religious or political reason (i.e. Orthodox Jews, British judges, etc.) color was an okay thing. More than that, color was something aspired to. Even the Europeans, who are mistaken for being sober aficionados of drab grays and blacks went gaga for color! (Remember folks, the photographs are in black and white or sepia. In sepia tone you can't see that Oscar Wilde is wearing a purple velvet suit! Was every Victorian gentleman a veritable rainbow? No. But they certainly added bits of color to their wardrobe- particularly in cravats and waistcoats.

Around the world, color was the way to attract attention, celebrate culture, and advertise wealth. After all, if you could afford to continue to keep your nice clothes their vibrant color, the you were certainly an affluent individual. Previously to the 19th century, however, dyes were made using natural substances like madder for red, indigo for blue, and onion skin for yellow. Many cultures that didn't have continuous exposure to Europeans kept these dyes for much longer, but even with synthetic dyes the hunger for color didn't vanish. It just meant you could get previously impossible, permanent colors (not saying the dyes themselves were safe, but hey, at least the world has magenta now!)

Part of a 19th cent. saree from Varanasi, India. (Marla Mallett)

Around the World in 80 Shades
India is a sea of color- just take a look at a marketplace! But in clothing, different colors have distinct regional and spiritual symbolism. For example, blue is associated with the energetic Hindu god, Krishna (possibly because the fellow's skin is blue) while green is popular amongst Indian Muslims as the color of Allah because of its connotations with growth and renewal. Red is the vibrant color of life and celebration (also possibly stemming from the Hindu belief in the creative and destructive power of fire) which is why brides tend to wear it. If you travel to Southern India, you'll see plenty of people wearing pastels, whereas in the North bolder primary hues are traditional. It's wearing an absence of color such as black or white that's noticeable- as that usually signals that an individual is in mourning.

In nearby China, you may notice that red is highly favored in art and design. This is because red is considered a lucky color- which is why it's worn a lot during celebrations like New Year's, in an effort to attract it. Yellow was a signal of royalty- in fact before the Revolution only members of the Imperial Family could wear it (this was also the case in Malaysia). Colors are also considered yin or yang (though there are properties of both in all things) and are traditionally believed to impact the wearer physically, mentally, and spiritually by shifting them one way or the other. Yin is cold, feminine, wet, and soft whereas yang is hot, masculine, dry, and hard.

This 19th century Chinese theatre costume is very yang, with its red and gold colors and dragon motif. (V & A Museum)

Blue is also a religious color in the Middle East (and elsewhere) with its ties to Abrahamic religions. In Christianity the Virgin Mary wears a blue shawl (traditionally, though history would doubt as it was an expensive dye at the time) while in Islam blue is considered the color of heaven and used to adorn mosques, such as the beautiful dome of the Bibi Kanym mosque in Samarkand. Judaism probably has the closest relationship with blue in a holy tradition called tekhelet- the name of a particular azure dye used to color the threads of the tzitzit (prayer shawl).

In Africa, there are about as many color interpretations as there are cultures, but green, blue, and red seem to be popular throughout the continent. Red in particular is an important color to the Masai, who regard it as the color of life and use it to dye their clothes and cake their hairstyles with reddish clay. Just like in China, certain tribes reserve gold and yellow for the ruling class or the wealthy. In cities like Zanzibar or Mombasa though, color was an indicator on the vibrant wealth of the city and embraced by its citizens while white was considered a mark of slavery.

A very colorful cross-stitch embroidered coat from Uzbekistan (V & A)

Station and Symbolism
Around the world, colored garments were used to label certain individuals in a society- such as American policemen wearing blue today. In Buddhism, different sects and denominations dye their robes a particular color: Blue and black in Japan, orange in Thailand, and red in Tibet. (On a similar note I'd like to clean up a particular piece of misinformation. While white is traditionally the color for prayer clothing for Muslim men, Muslim women around the world are under no restriction for the colors of their clothes. Even in Iran, where modest dress and hijabs are compulsory, women wear vibrant, even bright colors. In the words of a customer of mine "just because I'm a Muslim doesn't mean my husband or anybody forces me to wear black!")

A courtier's vest from mid-1800s China, note the yellow color. (V & A Museum)

Up until the 1920s, wearing pink was a boys' thing... seriously! Before the 20s, the preferred color for newborn and baby boys was pink, because it was a toned down version of the masculine color red. Blue was reserved for girls!

In Victorian England, the standard mourning color was black until the stage of half-mourning is reached (six months to a year, depending on your relationship to the deceased), then colors like dark green and purple could be slowly introduced into the wardrobe. Speaking of mourning...

While I'm not saying to research every color in every culture known to man, it is important to know certain color types like... say.. the color of mourning. In the West this is considered to be black, generally (look into Victorian mourning fashion standards, they're fascinating) while elsewhere the colors can be anything from white (much of Eastern Asia: Japan, China, Korea), yellow (Egypt), or even purple (Thailand)!

So is she A. In mourning. B. Royalty or C. Belle from Beauty and the Beast?

While I know that these handy tidbits about color and cultures doesn't hold a lot of sway with the majority of steampunks reading this article (i.e. the ones threatened by folks who want some historical accuracy or the ones who just think brown is cool), there are benefits to injecting color into your steampunk costume- global or not.

-It can help define a look. One of the first things I learned in costumer school (that I never went to...) is that colors are archetypal depending on where you are. For example, in the West the good guys wear primary colors while the bad guys wear black (and the antiheroes wear... well I guess whatever the hell they want). Older characters wear muted colors while younger ones wear brighter ones. Want to make yourself into more of a villain? Sure, wear black- but make it striking with gold, green, red, or silver (J.K. Rowling wasn't being incidental about her color choices for the different houses at Hogwarts). I will do the gauche thing and use me as an example:

Tell me folks- is this the color scheme of a noble and good-hearted individual? (By Black Hole Photog)

-It can get you noticed. Have you ever been to a steampunk convention, meetup, or event? There is a LOT of brown, green, gray, and black going on. There are a host of reasons why, I admit. To some folks these colors make sense in an industrial, ragtag world. To others, they think it looks cool. While some people actually feel pressured to wear these colors lest their peers not consider them "steampunk enough".

I'm not going to tell you which colors are steampunk or not- but I can tell you that if you integrate some color into your outfit (a blue scarf there, some pink gloves here, perhaps a flourish of yellow or orange feathers on your bowler hat) you are a LOT more likely to be noticed in a crowd by both individuals and cameras alike. It's the same reason why playing with patterns and textures builds a more interesting and "realistic" outfit.

-Better photos. While all black or all browns can look very striking, some of the best steampunk photographs I've seen are of outfits that have what I call a 'popper', or a piece or garment that's a contrasting color that keeps the eye moving around and presents a more complete look. It also makes for a better picture in black and white or sepia because it presents better contrast.

So as you can see, folks- color is nothing to be frightened about, whether you're dabbling in multicultural steampunk or more Western European styles. Except for acid green, they don't bite.

MY EYES! Yes, it's from the 19th century, Okinawa, to be precise. (V & A)

More on color!
-G.D. Falksen wrote an article a couple of years ago about the use of color in Victorian dress as an inspiration for steampunks.
-Sensational Color has a bevy of travelogs about colors and their significance in different regions.

If You've Stuck Around this Long...
So why do I think purple is the most steampunk color? It's social, economic, and technical. In the 19th century synthetic dyes were first introduced to the Western world, which meant that for the first time just about anyone could afford bright, vibrant colors that weren't affected by things like dyestuff economics. Whereas in the past, pure, deep purple was one of the most expensive dyes to manufacture (hence why for centuries only royalty and the very chi-chi were allowed to wear it) now that clerk down the street could afford it- all because of.... everyone together with me.

I'll wait 'til you're ready....

SCIENCE!!!!! That's why purple is steampunk to me. It was a treasured commodity, only in the hands of the rich, then suddenly because of a boost in cutting-edge technology it was available in never before seen incarnations like fuchsia for the masses.

Either a pretty purple dress or STEAMPUNK AS HELL.

CYL: Those Incorrigible Cossacks!

2011-04-19T16:10:00.001-04:00

Three members of the Cossack "life" guard 1899 (militaryphotos)

Bitajemo!

My first exposure to the Cossacks was in 8th grade language arts when our class read the famous short story by Richard Connell, "The Most Dangerous Game". The villain in the story was a man supposedly of Cossack descent... which (like a good reader!) led me to look it up in the dictionary because as a 13 year old American I rarely came across the term. I daresay it was actually more interesting than the story I had just read (writing a report on it didn't help, but that's neither here nor there).

The trick with 'Cossack' is that it both names a group of people and a branch of the Russian army- so over time the word has gained a stereotype of burly men in exquisite uniforms, riding horses and twirling their mustaches (and believe me, we'll see some of them too!) when in fact... any age and either gender could be a Cossack. This journey we'll be looking at both, so let's head to the plains of Eastern Europe!

Two Cossacks dancing in Russia while others look on, 1870 (mansvolk)

Historical Background
Cossacks are not to be confused with cassocks, the traditional long, fitted coat worn by Catholic priests. Also I dare my readers to attempt to say "Cossack's cassock" four times fast.

The name Cossack is derived from a Turkic word- quzzak- which means freeperson, which is an accurate name for these horsepeople. Similar to the Roma, the Cossack people have found themselves spread across national boundaries and often found themselves at the wrong end of local governments. However, unlike the Roma didn't start as a distinct ethnic group- basically if you were a discontent peasant or runaway serf from Russia or Eastern Europe and could make it to an encampment: you could be a Cossack! Despite their utter distrust of the Russian army and the Tsar, they allied with the Imperial authority due to its ties to the Orthodox Church- which was just peachy by the Tsar since after years on the plains and raiding the Ottoman Empire, the Cossacks had evolved into top-notch fighters and riders. (They also sometimes grew tired of the Tsar's crap and staged several terrifying uprisings in the 18th century.)

"Portrait of a Cossack Woman" by Wassilij Iwanowitsch Surikow, 1909 (artweb)

When relations with the Tsar bordered more on wary and less on utter hatred, the Cossacks were used as frontier guard, scouts, and cavalry. In fact, the Tsar had a personal retinue of fiercely loyal Cossack guards with him in St. Petersburg (in fact when they deserted Nicholas II during the Russian Revolution, knew then that he'd better abdicate). In fact, in the 18th and 19th centuries there were several high-ranking military officers in the Russian army of Cossack birth. Other Cossack groups outside of Russia likewise were integrated (physically, but not culturally) to their local government's army.

Cossacks settled throughout modern-day Russia and Eastern Europe in frontier outposts- particularly concentrated in Ukraine (although some Cossack settlements go as far East as China!). Both on and off the battlefield they tended to keep to themselves- often preferring to raid together, eat together, even forage their own supplies separate from the army regulars. Most are Eastern Orthodox, though there are some clans of Jewish Cossacks.

Predominate groups of Cossacks include the Don, the Zaporozhian (Ukraine), the Terek, the Amur, and the Kubans.

Postcard of a Zaporozhian Cossack leader called a Sotnyk, 1900s (ArtUkraine)

Menswear: Beyond the Mustache
One thing that comes to mind concerning Cossack style is the mustache. For some clans and groups it was considered an integral part of national and cultural costume: hence why 90% of depictions of Cossack men have them proudly displaying one. What comes to mind is a quote from the Ukrainian frontman of the band Gogol Bordello, Eugene Hutz, who has said, " There is saying in Ukraine that a man without a mustache is like a woman with one. I strongly stand behind that theory.”

I do too, Eugene. I do too. For you, at least. (Escapist Magazine)

In the 19th century the basic garment of Cossack men was a loose, lightweight shirt (called a pansky)- often made of white linen- that was host to all manner of embroidery, trimming, and smocking. Equally loose trousers similar to Ottoman sirwal accompanied this and were tucked into the man's riding boots (leather, between the calf and the knee) as the most basic layers. Boots, particularly those belonging to military men, were babied and attended to with the same care as a prized motorcycle (then again in a horse culture, who can blame them?).

Over the shirt and trousers was a tunic-like coat called a zhupan worn either open or closed via frogged fasteners. Typically these coats are wool and serve as the all-purpose garment during colder seasons. Some were cutaway in the front and scooped down towards the back hem to be less cumbersome while riding, while others long. Some were lined in fur, while others were plain.

Further into the 19th century, western-cut waistcoats and trousers also became popular amongst Cossack men, especially if they were trying to assimilate into more urban settings.

A restored Cossack man's outfit- 18th century (Welcome to Ukraine)

Women: Retreads of Threads...
Being devoutly Orthodox, Cossack womens' clothing was traditionally very conservative in how much skin was being shown (but then again, very few cultures in Europe liked dressing like "brazen hussies" during the 19th century). Like the men, a woman's basic garment was a loose peasant blouse and a full circle skirt that could be found in just about every color of the rainbow (similar to a Western European dirndl). Bodice-like vests and tightly-fitted coats were worn over this, often embellished and colorful as their accompanying skirts. In cold weather a simple mantle was added for warmth. Thankfully fuzzy hats like the kubanka were unisex!

Three Ural Cossack women, 1893 (wikimedia)

Military
Two of the most iconic garments worn by Cossack guards and cavalrymen are the chokha and the kubanka. The chokha is a coat traditionally worn in the Caucuses (particularly Georgia) that's long, tailored at the waist, and features ammunition loops across the shoulders (in other words they sort of look like a cassock!). These loops, which are used more for decorative uses nowadays are called gazirys.

You might recognize the kubanka from our visit in Russia, as the cylindrical fur hat that was NOT a ushanka (I told you, there would be a quiz later). Particularly in Russian units, these distinctive clothes were paired with heavily decorated waistcoats and knee-length boots. At the side of every Cossack cavalry officer was the shashka- a long, curved sabre perfect for swinging through enemy lines.

An authentic 19th century Cossack guard uniform: a chokha and kubanka (Russianswords)

Cossack units often took the uniform of their participating army fairly frequently though- which is why you'll often find photographs and paintings of Cossack men wearing the same outfits as their regular cavalry counterparts. This includes schakos, hussar-decorated coats, and pelisses (a decorative jacket often trimmed heavily in fur and braid meant to dandily drape over the shoulder- very dashing).

So why should you clothe yourself like a Cossack?
-The typical weapon for a Cossack cavalryman was a lance- imagine a telescoping, metal one for today's technologically advanced charges!
-Pansky (Eastern European peasant shirts), particularly embroidered ones look great when layered with Western-style vests and coats.
-Zhupans could be made in leather or appliqued with it in steampunk designs. They also make a dramatic base for armor pieces.
-Chokhas- really? Really! Can you get any more steampunk than a long, fitted coat with AMMUNITION strapped to it?
-Shakos, while traditionally a Western European military headdress, a lot of Cossack troops wore them, and they can add a nice touch if your going for more of a cavalry look.

A Cossack guard lieutenant (mansvolk)

Cossack men and woman from the Black Sea region (Braun and Schneider)

Two Russian Cossack men arriving at Ellis Island between 1909 and 1914 (New York Public Library)

Two Cossack men from the Caucuses (englishrussia)

UK Steampunk Ilya Rostov wearing a chokha at the Whitby Festival in 2011 (Photo by Karl Burnett)

Helpful Links
-The History of Cossack involvement in the Napoleanic Wars.
-Have you ever seen traditional Cossack dancing? Be warned, it's awesome.
-And of course- a source for those furry hats.

FF: These Boots Are Made for Walking

2011-04-14T03:48:00.001-04:00

We can always trust the Mongolians to have something fun on their feet.

One of the things I've noticed about steampunk fashion is an adoration for boots of all shapes, sizes, classes, and creeds. Whether this is because boots suggest a more rough and tumble air or just because they're so bloody cool remains unclear, but all the same- a good pair of boots appear on just about every "how-to steampunk dress-up" guide. Victorian ankle boots and army surplus models are certainly great (I own a few pairs and wear them around on a day-to-day basis), but you should know by now that there are many options and inspirations from around the world during this time. So, ready boots?

A boot is defined as any shoe that extends above the ankle... that's all. This means that there are about as many types of boot as cultures in the world. Some are soft and designed as plush palace-wear or for special occasions, while others are tough and ready for a day of work.

Asia

A colorful pair of Tibetan boots. 19th c. (Bata Shoe Museum)

Curled toes, as seen on these Tibetan boots (and also prevalent on traditional Mongolian boots) are a recurring theme in a lot of footwear in Asia. It stems from Hindu, Buddhist, and Jain traditions of ahimsa, which literally means to "do no harm". It was believed that the curled toe treded softer upon the earth, therefore was less likely to injure small creatures living in the soil- so they also encouraged the Buddhist tenet of right mindfulness.

The man pulling this Meiji-era snow taxi is wearing leather tabi, a forerunner to modern jika tabi (Okinawa soba)

Jika-tabi, which may be iconic for the anime-consuming crowd, are soft, flexible boots that fit the form of the foot quite closely. They're designed for the working class- particularly farm laborers, roofers, and taxi that need a decent amount of flexibility and good traction. That comes from the special rubber sole that grips and bends, yet protects the foot from ground hazards. Heavy duty leather tabi have been around for centuries, but actual jika-tabi don't show up until the 1920s- with the advent of modern rubber.

Awesome leather jika-tabi in brown, cream, and black from Ayyawear. ($198)

Of course, the 19th century was the last heydey of Chinese footbinding, or the custom of deforming a young woman's foot from girlhood onwards by constant pressure and tight wrapping. The result was a tiny lily in its gilded shoe, but outside... well, here's a link, may you not have nightmares. It was thought that the shaky, swaying, vulnerable walk produced by the instability of such small and ungrounded feet was the height of attractive but Empress and general all-around badass lady, Cixi, put a kibosh on it in 1903.

Well... these aren't made for walking AT ALL. (Angela San Cartier)

These boots are beautiful, but a sobering reminder of what women were doing (and in many cases continue to do) to their bodies in the name of looking beautiful. It makes Miss Kagashi proud to have size 10 snowshoe feet- they come in handy on icy walks during Michigan winters.

Africa

Once more, the Bata Shoe museum makes my job so much easier...

In most parts of Africa, sandals and low-profile shoes are the traditional norm, since the climate and lifestyles of the people call for them. Most examples of African boots were developed with protection in mind, particularly while riding animals or spending long days in tough environments like the Sahara desert. According to the Bata Shoe Museum, the boots above are specifically padded in the knee for additional comfort during long days of riding.

(National Museum of Moroccan Art, courtesy of the Indianapolis Museum of Art)

These boots from Morocco are made from the traditional textiles and designs of the Ait Ouaouzguite people (a subgroup of the Amazighs, remember them?). Still, for all of their beauty, they are made of a tough leather for days in the arid landscape of North Africa.

The Near/Middle East

Syrian Boots (National Museum for Eastern Art- Rome)

There are as many cultural groups in the Middle/Near East as of grains of salt in a shaker, but one noticeable feature of these boots are the original basic structure that their based off of. The boots above are based off of traditional slippers in the Near East, while the pair below are clearly built off of Ottoman babouches. The other thing is the love of tooling on a lot of the leather boots and shoes throughout the Middle East, particularly in the Ottoman Empire and Persia.

A pair of 16th century Persian/Ottoman boots with exquisite tooling

Europe

Unlike some modern snowboots, no wookies had to die to make them. (Goeastern Europe)

These piles of fuzz are valenki, traditional snow boots from Russia made from layers of wool felted together and worn by the working class for centuries. In the last century an outer shoe of rubber or leather went over the heel and toe to make it more impervious to water.

The note says sealskin, but it looks more like reindeer to me... (Bata Shoe Museum)

These are traditional snowboots of the people around Lapland in Scandinavia and Russia. This particular pair is made from sealskin, but later on it was adopted by various militia groups in WWII out of leather because of its insulated design and a special feature- the beak. The "beaked" toes on these and later models of boots caught on because it helped keep skies latched tightly.

The Americas

This gent is wearing old fashioned cowboy boots.

When you hear 'cowboy boots', what do you think? Pointed toes? Tooled leather? Gaudy? Well originally cowboy boots scantly resembled the foppish showpieces you see in Westerns and they were born and bread to work. The prototype for the cowboy boot was the Hessian military boot- a knee-high riding boot with a divot in the front to aid in the flexibility of the knee and solid soles for keeping saddle stirrups in place. The first cowboy boots started popping up in the 1870s, and were plain, sturdy, and often had an adjustable cuff.

High-top Kiowa moccasins. (Icollector)

Certain Native American tribes tended to make tall, boot-like moccasins- typically as a result of the introduction of horses or a colder climate. As we discussed in our prior post on moccasins, the materials used told a great deal about the environment the wearer lived in. Arid territory, horse cultures, and tribes further west tended to use tough rawhide, bear, and buffalo hide to make their footwear with a separate sole piece. Tribes further east, or ones who lived in humid or Woodlands terrain had soft-soled moccasins- often made from one whole piece of leather.

I hope you enjoyed our little jaunt around the globe to take a gander at some peoples' soles. Who knows, perhaps you got some ideas for your next steampunk outfit (boy are those jika-tabi nice), but thank you for indulging in a little boot lust with me!

Seriously though, check out the Bata Shoe Museum.

TT: Chinese Rockets

2011-04-07T23:43:00.001-04:00

Extant drawing of a dragon-headed multi-stage rocket (Grandhistorian)

I'm going to tell you all a secret: Imperial China invented A LOT of things. No, seriously. I would make a list, but I fear that that would be a blog within itself (if someone wants to take that and run with it, feel free). A few of my favorites include sunglasses (used as early as 1000 C.E. by Imperial judges who wanted to appear unemotional and impartial at trials), the collapsible umbrella (1st century C.E. for use on the chariots of political bigwigs), and the landmine (3rd century C.E., for... well... same use as always- blowing people and things into wee tiny bits). Then of course there was the mechanized water clock invented by a Buddhist monk to regulate the Emperor's sex life...

.... the man had a LOT of concubines.

A lot of these groundbreaking technologies were developed centuries before the Age of Steam- so why bring them up? Well, if something like a rudimentary rocket was in use on the battlefield as early as the 13th century C.E., just imagine how advanced it would be with the industrial and technological explosion that a steampunk age would offer? But before we ponder that, why don't we look at this simple, yet inevitably complicated invention: the rocket.

I know, I know- it looks a little more Wile E. Coyote than devastating, but let's see you do better in the 13th century.

Of course, without gunpowder there would be no rockets (in China, at least- it's been rumored that the scientists of Ptolemaic Alexandria were developing steam-powered devices similar to rockets). The simple combination of carbon, sulfur, saltpetre, and honey was described by Taoist alchemists in the 9th century C.E., probably looking for the elusive Elixir of Life. Rather than write this crazy explosive substance off, the Chinese decided to harness it for use in religious and social spectacles (hooray fireworks!), war, and medicinal concoctions.

Ballistics was a series of simple concepts: 1. Gunpowder explodes. 2. The angle by which gunpowder explodes can be controlled. 3. Much of the world is flammable. Chinese rockets were originally a system for augmenting the propulsion and intimidation of arrows- in fact, in Chinese "fire arrow" and "rocket" are the same word. The first ones were a lot more arrow than rocket, with a bamboo tube of gunpowder serving as the propellant. When lit and shot, these arrows would streak through the sky with great speed and brilliance; scaring the ever-loving tar out their opponents (in this case, the Mongols).

A modern drawing of a flying fire cannon (cultural china)

By the 14th century, more sophisticated multi-staged rockets were developed that were known as flying fire cannons. These devices were propelled by a series of smaller rockets (similar in simplicity to the original 13th century ones) to propell the canister (made from lightweight wood with dragon or monster's heads carved into the front) over far distances. When the smaller propulsion rockets ran through, they would light the tails of the fuses of several more fire arrows inside of the canister- which would keep the rocket moving long enough to release a shower of arrows out of the dragon's mouth. One variety of this cannon commonly held nine of these payload arrows.

Later advancements would include long-range boosters made from charges of gunpowder and massive multi-shot rockets made by combining bundles of fire arrows and cannons together so that they flew cases of arrows towards the enemies- that exploded over the enemy. (I like to call it the "Cabinet of Doom", because that's what extant plans for it look like. Quite devastating, particularly in the 15th and 16th centuries. It should also be noted to some of you folks out there that these technologies were used (quite successfully, might I add) fighting pirates along the Chinese coast during naval battles.

Seen here: Definition of "it seemed like a good idea at the time". (United States Civil Air Patrol)

Then of course, there was Ming-dynasty bureaucrat Wan-Hu's notorious trip to the moon. In events made famous by Mythbusters and chuckled over by historians around the world, the official decided to strap 47 rockets to a chair and have them lit by 47 servants simultaneously. Wan Hu picked a lovely clear day, wore his best robes of state, then "vanished" by all accounts of eyewitnesses after the rockets exploded. Whether Wan Hu made it or not, NASA decided to be nice and named a crater on the dark side of the Moon after him. I'm not sure if they'd bestow the same honor if someone tried this again, which is why I'd advise my readers not to... don't waste perfectly good chairs like this!

The possibilities of science fiction using Chinese technology available in the 19th century (although the Chinese abandoned rocketry in favor of guns eventually) are very vast considering their aptitudes in natural sciences, architecture, pyrotechnics, decorative arts, civil engineering, and medicine. For all of steampunks' love of jetpacks, why not make a metal-based version similar to a fire cannon? Or a rocket launcher as a weapon? What would a steampunk Chinese rocket maker look like?

A Ming "wing bomb", a rocket mounted on a gliding frame shaped like a bird. (Chinahistoryforum)

These are all things to think about when going on your next global ballistic adventure. Now if you'll excuse me, I think my roommate's cat wants to take a ride on the dining room chair. Should any of you find her in your neck of the woods, please send me an email and I'll give you the mailing address.

CYL: The Neglected and Overlooked Nation of Britain

2011-04-01T06:13:00.002-04:00

Victorian women's dresses from (L-R) the 1830s, 1860s, and 1890s (TFC)

You know, if you mention the 19th century and steampunk countries to event-goers or artists the answer you never seem to get is Britain. This overlooked island, though obscure in its contributions and actions on the world's stage in the Age of Steam, still has an exotic culture to inspire even the most timid steampunk. Why don't we take a look at the fashion of this strange land?

Queen Victoria and Prince Albert c. 1860. (vivavictoria)

Historical Background
In Britain, much of the period that deals with steampunk is referred to as the "Victorian" era, named for the queen that reigned from 1837-1901: Victoria, from the House of Hanover. During her reign Victoria was at the helm of an expanding Empire (upon which the sun never set, apparently), saw many social reforms (such as stricter control of child labor and the burgeoning of a middle class), and spread her progeny like crabgrass around Europe.

From the late 1700s to the mid-1800s, Britain was in the midst of a massive Industrial Revolution that forever changed the social, political, and economic climate of the country. As things progressed, work weeks were established and a middle class emerged from the middle management, clerks, and semi-skilled of the population- which led to leisure time (fancy that)! Leisure led to the development of amusement parks, resorts, bicycling, and a variety of other recreational activities that are still being enjoyed today. It also led to a bevy of social and cultural "norms" that were established amongst the middle and upper classes, typically concerning dress and manners. Strange things like yielding to ladies riding bicycles, being pleasant and polite at all times, or (strangest of all) never leaving the house unless completely dressed.

Of course, for the working class toiling in the factories, fine linen and calling cards weren't really part of the equation... but hey... 8-hour work day before you go back to living in an overcrowded, over expensive tenement, right? Right? Oh dear.

Lower-class slums near St. Giles, London. (Getty)

After Victoria's death in 1901, Britain came under the rule of her son, Edward VII, whose reign came with a similar amount of sobriety and preponderance of fancy hats until he kicked the bucket in 1910. While alive, he maintained a rather chilled relationship with his nephew, Kaiser Wilhelm II of Germany- which I'm sure will have no impact whatsoever on history, so I don't know why I even mentioned it.

Men's Clothing
In the wake of the Industrial Revolution, cotton was the fabric du jour for much of Victorian clothing- particularly for the lower classes (although wool wasn't too far behind and silk also in vogue- if you could afford it). All men wore variation of the same formula: a shirt, vest (or waistcoat), trousers, and coat. Of course the cut, style, and richness varied by class, era, and occasion. Shirts fastened up the front and were typically white or colored, in the case of lower classes. Collars, which were expected to be kept clean and white (quite a challenge in 19th century, smog-filled London) were detachable via studs and were made from paper for the poorer orders.

Menswear c. 1896 (Vintagevictorian)

Waistcoats were tailored fairly close to the body and often the most ostentatious piece of dress: stripes and checks were particularly popular. Lower classes also wore knitted sweaters over the shirts- typically homespun. Trousers were typically wool and fluctuated in tightness (the 1830s and 40s were particularly kind to Victorian ladies) throughout the century. They were kept in check with braces (or suspenders) more and more towards the middle of the 1800s. Coats were also commonly wool and gradually became straighter-sided and longer towards the turn of the 20th century, though (again, in the 30s/40s) they were quite tight, indeed.

It should be noted that men indulged in colorful clothes as well- particularly in the early and middle of the century. It wasn't under the 1870s that the "ditto suit" in all one color was in vogue. Before then men mixed colors, textures, and patterns (3 kinds of plaid, that's all I'm saying) with little or no abandon.

1830s- Tight trousers, cinched waist, long coat. Let's bring it back, shall we?

Women's Clothing
As always (well, since the 15th century, at least) women's dress was more complicated. In addition to the ever-present undergarments (the chemisette, bloomers/drawers, corset, and petticoats) fashion changed every ten years or less! In general, though, the look was full skirts of various shapes (more on that later) with a bodice that fitted over a corset. Lower class ladies wore simpler dresses of cotton that were typically all one piece, joined at the waist. Of course, middle and upper class ladies strutted their stuff in silk, taffeta, and satin productions that were bedecked with pleats, ruching, ruffles, and frills. Typically bodices were sleeved- except for the case of evening or dinnerwear, which sported short or no sleeves at all. Necklines also varied with occasion and also time of day! (Not joking, a high-necked collar was often referred to as a "morning collar" while a low, exposed one was an "evening collar".)

The Curious Evolution of the Bustle
In the beginning of Victoria's reign, skirts were supported by a round hoopskirt and the look was very bell-like. Towards the late 1860s and early 1870s, the shape of the hoop (or crinoline) started shifting backwards, but it was still fairly round- this was the origins of that strange, yet wondrous invention known as the bustle (or: "Why yes, there is a throw pillow shoved up my skirts!"). By the mid-70s fashion had moved even more towards the back, often with long skirts that exploded in a decorative train- this was the First Bustle Period.

But then someone left the air out of things... 1876 (Laracorsets)

In 1875, though, the bustle disappeared into what was called the "Natural Form Era", which was a very good time to be a slim woman as the bodices became tighter and longer with no help from a bustle. Skirts were deflated and straight-sided, but with a peacock-like train in the back. But then... the bustle returned WITH A VENGEANCE! In the early 1880s the bustle exploded back with large, flat shelves in the back of ladies' dresses, which were straight-sided with short bodices. This only lasted for a few years, though- because by 1886 the bustle deflated once more into the A-lined skirt of the late Victorian and Edwardian period (but don't worry, the sleeves started inflating instead!).

I can hear the "Ride of the Valkyries" playing, can't you?

Finishing Touches
Hats were always present on the British during the Victorian era, from the formal top hat and homburg for men, to various kinds of bonnets and perching hats for ladies. Diminutive hats were kept on ladies heads and their intricate coiffures via hat pins (that doubles as a self-defense weapon). Straw hats, bowlers, and driving caps were common on the lower classes or the middle class at leisure.

Longer, heavier versions of the man's coat (called an over or driving coat) were worn in colder or wet weather while women wore short, fitted coats or capes. Gloves were worn by monied members of both genders, the finest made of kidskin leather. Men typically wore low, lacing shoes or boots while riding, while women wore lacing or buttoning ankle boots. Parasols and canes were usually close at hand- though always carried in the right (as was proper!).

Cartoon from Punch! Magazine about the "Inconvenience of taking one's hat to a crowded party". (Victorianlondon)

The Required Warning Label...
Victorian clothing was sometimes hazardous. The metal crinolines of the 1860s were prone to getting stuck in carriage wheels or getting caught by the wind and resulting in the crushing or drowning of the wearer (respectively). If that didn't kill you, the dyes on your clothing would! In the 19th century, synthetic dyes were on the market for the first time, and offered clothes in every shade of the rainbow... but for a price. These colors were often stuffed with toxic chemicals, many of which did not react well together and sometimes resulted in skin irritation for the wearer, poison, or the dye would simply eat away the fabric over time or if washed.

In addition, there was that whole corset business- though that's a matter that's a little overhyped. Yes, corsets were worn by females as young as 12. Yes, they were restrictive. Yes, long-term tight-lacing in a corset WILL reshape your body and how your organs are arranged. HOWEVER (big however), there is a difference between corsetting and tight-lacing. Tightlacing occurs when you tighten your corset more than a healthy amount of your body size (larger ladies can lace tighter than smaller or fitter ones as- to be blunt- fat "squishes" better than lean or muscle). For example, I possess a 30 inch waist. I make no secret of this. Typically when I lace into my corsets (which were made to fit me, and this makes a big difference with comfort and tightening) I go for a waist reduction of 2-4 inches. This is healthy for my size and experience with corsetting. However if I went for a 6-8 inch reduction, that would be tightlacing and should be rarely, if ever done.

That... that's tightlacing. Don't do that. (seattletimes)

Most women in the Victorian period did not tightlace. Typically it was something done by the middle and upper classes, who strove for a tiny waist as a status symbol. Also bear in mind that women were smaller back then in general, with the average shoe size being much tinier and narrower than a contemporary woman's (ever go shopping for period shoes and despair at not being able to find any in your size? There's a reason.)

I hope you give this overlooked nation and its obscure culture and dress a try in your steampunk. The bonus is that you rarely ever see it in mainstream portrayals of steampunk or at events, so if you choose to go with a top hat, bustle skirt, or waistcoat you'll find yourself the most original person there!

Bottle-green 1880s gown, probably synthetic dye. (Pastperfectvintage)

Men's suit styles from 1872

A winter outfit from the Natural Form era (Bustledress)

Two gents in 1901 out golfing (wikimedia)

1885 Gown (Metropolitan Museum of Art)

Helpful Links
-Great website on Victorian etiquette.
-Overviews on Men's and Women's fashion from throughout the century.
-Victoriana is a fair resource, if a bit sticky to navigate.
-Victorian London is a fantastic collection of primary sources about the culture of the era.

Oh yes, and....

APRIL FOOLS.

BB: Freebie! Racinet's Le Costume Historique

2011-03-28T03:34:00.001-04:00

19th century Spanish folk dress by Racinet. Love the embroidery on the skirts.

Between 1876 and 1888 Auguste Racinet, a French artist, compiled a visual encyclopedia of world costume spanning antiquity to the contemporary. It was pretty. And all was well. Except that the book was largely forgotten outside of costume designers and other such strange communities of people.

In the same vein as Max Tilke and Braun and Schneider, this book encompasses a large portion of the world, is in wonderful color, and is available for free on the almighty internets. Unlike Braun and Schneider, however, Le Costume Historique goes into some fantastic detail, including hairstyles, makeup, and accessories with some plates. True, while Racinet isn't politically correct by a modern definition (Monsieur Racinet, your Chinese models don't look particularly Chinese....), his sense of detail and dedication to the garments should at least be commended and studied.

So check it out, it's available for free here at The Costumer's Manifesto labeled in English and categorized into time periods so you aren't confused. Happy researching, world travelers!

Preview: April Showers Bring... More Blog Posts!

2011-03-25T02:01:00.000-04:00

More mustache than you know how to deal with! (Mansvolk)

Let's mix things up folks, shall we? Yes, I owe a few posts, but frankly I'd rather tuck them away for later than to do a sloppy job. Also I know I promised a rant about airship pirates, but I've calmed down a bit since then... false angst alert, I suppose. You might also notice a smaller list of topics- that's because April is Finals for me, and I'll probably be doing a few short, spontaneous posts to fill in spaces between- such as Featured Travellers and Mix It Up!

Clothing You'll Love
Andean Attire
Cossacks!

Talking Tech
Chinese Rockets

Focus on Folkways
Be Not Afraid of Color!
Made for Walking... Boots from Around the World

Tutorial Time!
A Basic Guide to Applique

Kagashi's Kitchen
Second to Naan

I'll also be announcing a special contest this month, so stay tuned!

Mix it up! 10 Alternatives to Top Hats

2011-03-22T03:54:00.005-04:00

Look familiar? (Motoring Pictures)

All right, time to clear some air. Less than a month ago a blogger who attended Wild Wild West Con in Arizona made a (probably unintentionally) controversial post about the "Top 7 Overdone Steampunk Fashions " at the con. What was intended as a piece of snark to poke fun at some costuming stereotypes exploded into a flamefest of people accusing the blogger of being elitist, ignorant of people who either can't sew or afford a fancy outfit, and trying to restrict others' creativity.

I'm not going to lie, I stand with her. I'm not doing this to be snotty or because I'm a professional costumer (so therefore I don't understand what it's like to not have a lot of cash or the resources/skill set to make an outfit) but because steampunk is supposed to be a creative genre. You're welcome to wear whatever the hell you want. I don't care. Wear goggles on your goggles, because as much as I detest them and they pervade at least 65% of steampunk outfits (or somewhere around there), I can't take away your right to wear them. However, I beg for you just to look at OTHER possibilities (because that's what I do on this blog, doncha know) to broaden your horizons, if not for the sake of newbies. Yes, newbies. I have a few come up to me at every event and ask if that person who said that their outfit wasn't "steampunk enough" because it lacked goggles, a top hat, or a nerf gun was right. And I'm sorry, that doesn't sound particularly creative or welcoming to me. The last thing we need are people being hindered creatively because they feel they need "status symbols" to belong.

One of Ms. D'Andrea's points concerned that most Victorian and steampunk of archetypal fashion- the top hat. We see them everywhere. Convention floors are veritable seas of top hats in either black, gray, or brown- from the tiniest doll hat with feathers glued on it to the standard felt behemoth that a lot of vendors have in stock. Do I like top hats? Certainly. Am I sick of seeing them? Sure am. There are legions of hats that fell from popularity and memory as the 20th century progressed, so why don't we look at a few? Should you find yourself enamored, a few links will be provided of where you can get your own- affordably!

I did omit a few notable non-toppers from the list such as bowlers, cabby/driver caps, shakos, and pith helmets because I see them fairly often and I feel people are aware of their existence. In no particular order, here are:

10. The Homburg

An adorable ladies' homburg by House of Nines Designs.

Poor Homburg. I think the reason why this hat, which is one step below the top hat in Victorian formality, is forgotten is because of its similarity to a more modern piece of headgear- the fedora. Homburgs tend to be rounder and curvier in the brim than fedoras though, and predate them by at least fifty years in popularity. It was primarily worn as a semi-formal accessory to suits, but it would look great on a gentleman, a spunky female adventurer, or even a gunfighter.

Are you sold?
Get yourself a basic homburg in chocolate brown or black for just $27

9. Beret

An Argentine gaucho in a beret- not so sissy now, are they?

Yes, I know that you see this and you think- FRANCE! The beret has been popular in some form or another for centuries and across the Western world. Basque shepards and Argentine gauchos wore them as well as military forces as a fatigue/undress cap. They look good on either men or women and because of their cheapness can be a good starter hat for little steampunks. Dress them up with medals, badges, pins, and even sprigs of feathers!

Are you sold?
My favorite place to get berets are from marching band supply sites, as they're typically worn by tuba players. Marching world offers them at every color of the rainbow for $5.50!

8. Sedge Hats

A Japanese laborer wearing a sedge or conical hat (imagestate)

If you're looking for something with a little more of an Eastern flavor, why not try a sedge hat? This conical hat has been used by peoples in East and Southeast Asia for centuries to keep sun and rain off of their faces when outdoors. Rice straw and bamboo are often used, and can be stitched with multicolored embroidery. They can be found relatively cheaply too, but do yourself a favor and get a slightly more expensive model than the party store variety- you'll get a much better quality hat. As far as steampunk possibilities? Clad it in brass! Cover it in a gauzy veil and use it as a lady's motoring hat! Stick an interesting finial on the top point! Or just wear it as is for a more "mysterious traveler" look.

Are you sold?
These sedge hats are only $12, but you can probably find a better-quality one if your city has a Chinatown.
This thatched version is $29.

7. Kepi

A trove of French kepis (wikipedia)

Kepis were one of the most-used types of military headgear during the 19th and 20th centuries and continue to be used to this day. From the soft kepi used during the American Civil War to the hard kepi (or Charles de Gaulle), they're very versatile hats that can be used in a variety of looks. Military kepis are easy to find, but a few vendors like Blonde Swan make them out of leather for a more everyday look. Insignia, feathers, cogs, or goggles can all find themselves comfortable on a kepi, which can be perched jauntily at the side if desired.

Are you sold?
Vintage French-style kepis can be found on ebay and militaria sellers for fairly cheap, like this one on etsy for only $30! (Or make your own)

6. Fez/Smoking Cap

A 19th century smoking cap (Windows on Warwickshire)

There is a lot of fez love on this blog, and it's nice that I'm starting to see it and it's diminutive cousin, the smoking cap at a lot more steampunk functions. Fezzes were made popular in the 19th century by Ottoman Sultan Mahmud II, who was looking for a more modern staple hat than the old turban. They turned out to be very user-friendly; worn by civilians, military, and officials alike. Smoking caps are similar to fezzes in that they're cylindrical and often decorated with a tassel, though these often ornate accessories are softer and shorter than a standard fez. They were designed to be worn with smoking jackets and protect the wearer's clothes and hair from pipe or cigar smoke. Both are unisex, classy, and can be worn with an assortment of looks. As an alternative to a tiny top hat, a short fez or smoking cap would look great pinned into a lady's hair!

Are you sold?
Village Hat Shop offers a basic fez for $17
Alchemy Arts on Etsy makes smoking caps all for around $42. Alternatively this blogger also makes hats on commission... just sayin.

Tutorial
Since I don't post it enough, it seems, my fez tutorial.

5. Chambergo/Slouch Hat

A pile of felt chambergos

This is one of the most basic and universal styles of hat- the slouch or chambergo (you can often find this style called a 'blank' by hatters). Typically made of wool, they were designed as an all-purpose, wide (often floppy) brimmed hat to keep traveler's heads dry in the rain or the sun off of their faces. Argentine gauchos wore them as their hat of choice for riding across the plains Simple, comfortable, and versatile as hell! Pin up a side for a military or Wild West look or beat them to hell! Add decorative bands around the crown or feathers, ammo belts, or veils! I even wear one of these on rainy days: the wool keeps my head dry and my face pale during the summer.

Are you sold?
Crazy crow offers wool blanks in 3 colors for only $19!

4. Boss of the Plains

Two fellows wearing Bosses in the 1870s (The Last Best West)

The long-forgotten brother of the cowboy and ten-gallon hat in the Old West. The Stetson Hat Company developed the Boss in the mid-1800s to be the go-to hat for the Westward settler, ranchhand, or prospector with its wide brim and waterproof properties. Unlike its brothers, it doesn't have a crease in the center of the crown, giving it a very distinctive (and I think less hokey) look. Towards the late 19th century, the hat became more creased and the brim angled, leaving this lovely hat lost to the ages. Rough and tumble outfits would look great with one, such as an airship pirate or desperado.

Are you sold?
A Stetson brand hat costs a fortune, but Resistol Hats makes an open-crowned cowboy hat like the boss for under $100.

3. Glengarry

An Iroquois woman wearing a glengarry-type hat. (Gerry Biron)

Another piece of folk dress that spread like crabgrass thanks to the British Empire. These "boat-shaped" hats originate in Scotland during the 18th century for units of Scottish Highlanders and caught on amongst many Commonwealth regiments around the world. The Iroquois peoples of North America would embroider them with colorful, traditional designs. They look very sharp, whether with a traditional kilt (tartan or otherwise), a military uniform, or a cute skirt and vest.

Are you sold?
Blonde Swan makes an excellent-quality suede Glengarry in a variety of colors, perfect for any ensemble (and only $75)

2. Tyrolean Hat

Self Portrait in a Tyrolean Hat by Lovis Corinthe

Jawohl! This hat is a standard of regional German, Austrian, and Swiss folk dress, where it was worn locally well into the 19th century. Nowadays it's synonymous of mountain climbers and beer halls, but I think this little felt cap deserves its due! With its robust look, it would look great with lower and working-class costumes that require a little more interest than a bowler or cabby hat. They look cute perched on women's heads as well. Also come September you have something to wear to Oktoberfest.

Are you sold?
Village Hat Shop sells a cute Tyrollean for only $28!
Or check out Amazon's Tyrollean for $25.

1. Ushanka

Russian troops wearing ushankas in 1917

Remember our chat on Imperial Russia? The ushanka came into circulation with the Russian military after the Revolution, but the basic hat's been around for centuries and a favorite of cold climate-dwelling folks. It's warm, fuzzy, and the look is adjustable with the various flaps (which you can hide things in!). Since a lot of modern militaries use them, they can be found very cheaply on surplus websites.

Are you sold?
A Soviet surplus ushanka (brand new!) will only set you back $5 here, and all you have to do is pry off the insignia!
Or get a rabbit fur model for $65 from the Russian Shoppe.

I hope this list gives you some ideas for more hat possibilities other than that typical topper. If it doesn't- ah well, at least we've indulged in some hat lust together. I might do more of these Mix it up articles, let me know if you liked it!

Out and About: Marche du Nain Rouge- 2011

2011-03-20T23:38:00.001-04:00

Mac and I in front of the Detroit Masonic Temple. Say hi to Mac everyone! (Ladies, he's single!) (Al Bogdan)

What do the ghost of Antoine la Mothe du Cadillac, a velociraptor, a brigade of men dressed as the wives of automobile moguls, vikings manning a flamethrower, and a handful of local steampunks have in common? They were all at this year's Marche du Nain Rouge in the heart of Detroit, Michigan and they celebrated in a way that only Detroiters can. There were over a thousand revelers in this year's march, from people manning chariots (modded bicycles or scooters), to hundreds of costumed revelers, to families or couples looking for a fun afternoon out.

Want to find out about more kookiness or why I'm wearing red paint on my face again? Read on!

A fools and mummers procession- 19th century

History
Le Nain Rouge is an old urban legend of Detroit, dating back to 1701 when Antoine la Mothe du Cadillac founded the city as a French colony and encountered the malevolent Nain. Instead of appeasing the beast, as a fortuneteller urged, he hit the Nain sharply with his cane and soon found himself financially ruined. Since then, the Nain has appeared before disastrous or grim occasions in the city of Detroit, such as ice storms, blackouts, and executions. The best way to rid yourself of the Nain and his doom are to either A. appease him or B. SWEEP THE BUGGER OUT OF TOWN! So during Marche du Nain Rouge, residents and friends of Detroit gather in costume (so the Nain doesn't know who they are and can't hurt them) and lead a procession to chase the Nain to the center of town (in our case, Cass Park), where he's banished and burned in effigy.

The Marche is a direct descendant of European mumming traditions, which often occurred during the solstices or equinoxes (in this case, Spring in the Northern hemisphere begins tomorrow) in masks and impromptu costumes. Mumming processions are community events and bring together all walks of life to celebrate local pride and solidarity.

Ladies and Gentlemen, the Detroit Party Marching Band. (Al Bogdan)

The Spirit of a Community
Marche du Nain Rouge is no exception. It's no secret that the city of Detroit and Michigan as a whole is going through a lot of hard times, political mismanagement, and urban strife- but it's events like the Marche that show that A. People life in Detroit, B. People are proud of Detroit and want it to survive, and C. Everyone is welcome to take part. It's events like these (and the Tweed Ride in Fall- a 20mile bicycle ride around the historic places of Detroit in period or mock Victorian dress) that show that Detroit isn't the dying industrial hulk the media thinks it is. Sure, the population isn't as dense as it was in the 19th and 20th century, but the community is tight-knit and well-meaning. I'm not a Detroit resident, and I felt right at home.

What does this have to do with steampunk? There were several in attendance at the Marche. One of the biggest pasttimes of the event is the spirit of invention and improvisation. Floats and vehicles (called chariots) are scrouged and decorated with pieces of scrap or unwanted materials. A lot of costumes are made in a similar manner. Which is why local steampunks felt and looked so at home amongst this homemade mob. Not only that, but Detroit is one of the most steampunk cities ever. In the 19th century it was laid out and designed to be a paradigm of modern city planning and aesthetics, an embrace of old-world style with new world possibilities. What the 1820s planners didn't take into account was the 1950s invention of the modern suburb, racial tension, and the fall of the auto industry. Still, Detroit is a strange mix of old-fashioned opulence and decaying antique with brand new steel and glass. We could learn a lesson from it.

Just one of the steampunks patrolling the Marche (Al Bogdan)

So what was it like?
Mac and I met the mob at the 3rd Street Bar along the infamous "Cass Corridor" which used to be a very rundown part of town (and many outside of Detroit think still is) but is now populated by students and young, hip professionals. We both wore costume pieces from out of our closets; Mac in parts of his military uniform and a bowler with a bandit's mask, and myself in parts of mine with a few bots of my casual wardrobe mixed in. I painted my mask on. Typically people wear black and red- so the company takes on a very grim, but vibrant look.

Gathered around the lot I saw people dressed clowns, pirates, men in drag, legions of demons, imps, and lesser hobgoblins, or folks who just decided to throw on a crazy hat, wig, or mask. Period costumes mingled with plaid shirts or painted suits. Some people dressed as odes to their own city, most notably a fellow encased in a papier mache replica of the famous Joe Louis fist sculpture. Another fellow painted head to toe in silver ran around (wearing only a towel) as the 'spirit of Detroit'... he gets serious kudos...

A marcher dressed as the sculpture of boxer Joe Louis' fist from downtown Detroit (Al Bogdan)

Even without mentioning our corrupt government (don't worry, it was skewered thoroughly in the opening ceremony) a lot of the costumes had a political bend. A group of people dressed with cardboard models of abandoned houses on their heads- symbolizing the many parts of the city in idle, unwanted stagnation. Along the parade route there was also a group of pro-Nain protesters; proof that no matter what the situation, there are going to be people complaining.

There were also chariots- or decorated man-powered vehicles. Bikes were decorated with scrap, wagons were covered in cardboard and sheet metal, and a moving platform manned by vikings had a working flamethrower on it.... not kidding.

Protestors supporting the Nain. *sigh*. (Al Bogdan)

During the opening ceremony, the Ghost of Antoine la Mothe du Cadillac and the mob called out the Nain for doing horrible things to the people and city of Detroit. Five minutes of taunting and threats followed. The Nain explained that he was "the pothole that bends your rim", the "scratch you cannot itch", and the "emergency financial planner". With very little order, the parade was declared underway with a column of over a thousand marchers. The way was led with the Ghost of Cadillac with a little raucous help from the Detroit Party Marching Band.

The Nain appears! GET HIM! (Al Bogdan)

Noise was the name of the game. Chants of "Leave Now Nain!" or "Downtown!" mixed with musical instruments, noisemakers, and ramshorns. Boos were also fairly constant, since the Nain (and his loyal security guard complete with earpiece) were running throughout the crowd only to be met with a barrage of canes and brooms (the traditional Nain-beater of choice for your average Nouvelle-France housewife). Unlike most parades, this was not meant to be a spectator sport. We picked up marchers all along the route and there were very few people just watching the parade- though there were some locals waving from their balconies or businesses. It was a very warm reception from a city where you're advised to be extra-vigilant walking down the street.

Once at Cass park, the mob gathered around to banish the taunting Nain once and for all! With the help of Cadillac (who arrived in... what else.. a cadillac!), the ghost of legendary mayor Coleman Young (played by Coleman Young Jr, a state senator), and the Spirit of Detroit, the crowd banished the Nain in a storm of city pride. Paper effigies of the beast were burned, assuring that he was gone... for another year, at least.

A view of crowded Cass Park. Let's play spot the bloggers! (Al Bogdan)

There were plenty of food vendors at Cass Park, but Mac and I had a hankering for something in particular: Barbecue. And in Detroit, you can do no better than Slow's... I will have dreams of pulled pork smothered in South Carolina sauce.

So if you find yourself in Detroit in late March, trying joining the pride and innovation of this old French tradition! Just remember, keep a broom and a mask handy in case le Nain Rouge wanders to your town...

Yes, I know I look like Adam Ant. (Al Bogdan)

Links
-Be sure to check out the rest of Al's photos from this afternoon!
-MLive's coverage of the festivities.
-A video of the Marche.

FF: In Search of Steampunk St. Patrick's Day

2011-03-17T02:34:00.001-04:00

A Victorian St. Patrick's Day postcard. I might heave.

Once upon a time, there was a fellow named St. Patrick. He did some awesome stuff with shamrocks, leprechauns, and snakes, and in honor of his awesome we all get blitzed in the pub every year. The end. Also if you don't wear green, you get pinched.

....This is most Americans' understanding of St. Patrick's Day. I'm not sure how folks in other parts of the world might partake in this most Irish and Catholic of holidays, but here in the United States St. Patrick's Day has become about as Irish as Cinco de Mayo is Mexican. Similarly, not many people know how this holiday developed or how it was originally celebrated.

Let's see if we can explore the origins, traditions, and how St. Patrick's (NOT St. Patti's) was celebrated in the 19th century so maybe we can piece together how it could be observed by steampunks.

An 1882 woodcut of St. Patrick holding a shamrock.

Origins
Let's make this history as quick and painless as possible. St. Patrick (or Padraig in traditional Irish) was born in 387 C.E. to a wealthy Romano-British family. For all accounts, he was a spoiled pagan brat. At the tender age of sixteen he was abducted and taken to Ireland and forced into slavery. He spent six year tending a flock for a local Irish lord and learned a great deal about the indigenous Celtic religion and the druids (this will come into play later). According to the two surviving and recorded letters that he wrote, he received a message from God as he slept, urging him to escape and return to Britain. He succeeded and joined that new-fangled Christian religion once he was safely home, effectively weirding out his short-relieved parents and old school chums.

But we all know that's not the end of the story! Patrick, having had some adventures wandering through Britain and France as a hermit, returns to Ireland to convert the people whom he once called master. Some converted gladly and became his disciples... while others weren't terribly convinced. To plead a better case for Christianity, Patrick retold scripture cast with traditional Celtic figures and concepts. The goddess Brigantia became St. Brigit, for example. He explained the Holy Trinity in terms of the three leaves of the shamrock. After a while (and several miracles) most of the country was on board, and Patrick died an old but venerated man, having driven out the "snakes" in Ireland (more on that later).

His feastday was set for March 17th (despite never being formally canonized...). Also, did you know that St. Patrick is the patron of paralegals and engineers in addition to Ireland and protection against snakes? Maybe Indiana Jones should have carried one of his medals on him during Raiders of the Lost Ark...

St. Patrick at work.

19th Century Ireland
Fastforward a few centuries and St. Patrick's Day is observed... well, like a holy day. Just like Hanukkah for Jews, before the modern era St. Patrick's Day simply wasn't a big deal, it was on a middle- if not bottom rung as far as feastdays were concerned. In fact, the only thing particularly special about it was the dispensation from the Church to raise the dietary restrictions of Lent so that it could be given a proper feast. Processions were led through towns, but they were religious in nature and typically lead the faithful to prayer at the church. It wasn't until 1903 with the Bank Holiday Act that St. Patrick's Day was made an official holiday in Ireland. Perhaps wisely, Parliament decided that the pubs should be closed for the ocassion. They weren't reopened for the holiday until the 70s! In IRELAND.

But what about some of those Irish-beyond-Irish traditions? Well... a few of those need explanation or debunking:

Shamrocks- St. Patrick used the shamrock to teach the pagan Irish about the Holy Trinity of Christianity, so it's been the symbol for Irish faith for centuries. During the 16th and 17th centuries under the Pale system of British colonization and rule, the shamrock became a symbol for indigenous pride in the midst of traditional cultural suppression, in addition to the harp.
Green- Blue was originally St. Patrick's color, but it was the green of the shamrock that caught on as the holiday's official color. Green is also one of the colors on the Irish flag, so there's also a sense of nationalism and cultural pride attached to it. In the 17th century, green ribbons and rosettes began to be worn to mark the day.
Driving Out the Snakes- This is allergorical, alluding to St. Patrick driving out all of the snakes (read: pagans) in Ireland. It is true, Ireland doesn't boast a snake population, but this is because it's an island and the last Ice Age kept the country too cold for reptiles to really flourish there.
Leprechauns- Oh boy, these fellows are teddy now in comparison to how they got started in Irish folklore. Originally the leprechaun was a mischievous, spiteful sprite that would appear in a red or green coat and pull pranks such as stealing milk from cows or shattering mirrors. They would also mend shoes, if appeased. On the grand scheme of Irish fae and creatures, they're like that one unemployed friend of yours that sleeps on your couch and drinks your juice... Not evil, but you sure as hell don't want him there.
Corned Beef and Cabbage- is thought of as the staple dish of St. Patrick's Day and this is true outside of Ireland. Back in the old country, a thick meaty rasher of bacon was the main course to the cabbage and potatoes, not beef. When thousands of Irish immigrated to America in the 19th and early 20th centuries, they found their usual cuts of pig to be far too expensive- so they took a cue from their Jewish neighbors who were enjoying corned beef. (Source: ALTON BROWN! I need not say more...) However, this doesn't make it any less tasty. If you're not a fan of either, I recommend Shepard's Pie or Colcannon.

Engraving of a leprechaun from around 1903 (wikipedia)

So... How Did We Get So Hung Over?
Basically, it's because St. Patrick's Day left Ireland. Yes, all common stereotypes of the Irish people aside, it was its immigration to places like the United States, Canada, and Australia that set it on a much more secular path. It was created out of a need for cultural solidarity and to remember their roots, rather than for a spiritual purpose. Some of the first big St. Patrick's Day celebrations occurred in large American cities in the mid-19th century by Irish community organizations and by veterans of the Civil War as a way to come together in camaraderie. Cultures mixed, the celebration grew, and the appeal extended.

Religious processions became secular parades, what was once an entirely Irish-oriented tradition became open and widespread to non-Irish communities, and let's face it, the pubs were open. Add a hundred years or so and we're dyeing rivers green and encouraging all citizens of drinking age to let loose and have a Guinness.

A raucous St. Patrick's Day celebration in 1860s New York.

All right, so I'm a little bit cynical of St. Patrick's Day. I really do understand why it's caught on around the world; it's a time to get together with your friends and have a good time, drinking or not. In fact, I plan on going to a traditional Irish dinner on Friday made by Mac of Steampunk Cookery and probably not imbibing (I better not, I have to drive!). Regardless of how many St. Patrick's Days in Detroit that I've seen, it can be a fun and educational holiday- I just want to set a few people straight on the culture and traditions they think are so Irish, similar to how a lot of the population sees Native American culture. (I.e. Do you really like us, or do you just like what Boondock Saints/Kevin Costner have shown you?)

But enough ranting!

Steampunk St. Patrick's Day?
So how would steampunks, in an alternate 19th century celebrate St. Patrick's Day? Well... it would depend, really. Personally though, I think in a more scientific age and with widespread travel possible via airship, rail, and submersible, that the secular aspects of the holiday would overpower the quiet religious one. Perhaps traditional songs played on steam, clock, and electric-modified instruments being played everywhere from London to Timbuktu to the bottom of the sea out of Irish pride. It's certainly something to consider!

Sean and Kat's Irish-inspired steampunk costumes, with a very appropriate background. Thanks for the photo!

An Assortment of Miss Kagashi's Favorite Traditional Irish Drinking Songs
The astute of you will notice that "Danny Boy" isn't on this list... that's because that's a song of mourning (and English in origin) and therefore horrendously inappropriate to sing in a tavern on St. Patrick's Day. Besides, there are MUCH more fun songs to sing... songs that involve lewd words and scandalous situations! So should you find yourself well into your pints at a pub today, please show a good example for the other clods around you by singing one of these and NOT Danny Boy- for the love of St. Patrick.

For the teetotalers and those who want to play the home game, just play these as loud as your speakers can handle. Some of the content's suggestive, so don't say I didn't warn you! Also notable standards like " in the Jar" aren't on here because... well.. they aren't my favorites!

Finnegan's Wake- About a deceased gent's wake that goes a bit awry. Performed by the Dubliners.

Black Velvet Band- That warns about the dangers of drinking with mysterious, attractive women. For those who want a little punk in their steampunk, this version is performed by the Dropkick Murphys.

7 Drunken Nights- Chronicling a wife's affair and her nonchalant attempts to keep her drunken husband out of the loop. Performed by the Dubliners. Admittedly my favorite version is done by the Brobdingnagian Bards.

Johnny Jump-Up- Extolling the virtues of cider! Performed Gaelic Storm.

Wild Rover- About a carefree gent and his travels. Performed by the Pogues

The Parting Glass- A bittersweet tune meant to be sung in honor of those not joining you or company you're about to leave behind. Can and will make you weep like a child. Performed by Sinead O'Connor

Éirinn go brách (Ireland forever) and Happy St. Patrick's Day, everyone!

GLLC: And the winner is....

2011-03-15T17:07:00.000-04:00

Entries were judged on creativity, effort, accuracy, and how much tea came out my nose from laughing.

So you learned, you spoke, but who conquered? I received 4 very nice videos as a result of our very first Great Language-Learning Challenge and as promised, it's time to announce the winner....

...Below the cut (Look, I'm creating suspense, just like a reality tv show!HAHA!)

The winner is Mr. Adam Jones, who submitted this madcap entry in which he shows off his brand new Japanese skills.

It was the panda that killed me, I think. Congratulations, Mr. Jones, you win a fuzzy hat and the title of Gabber of the Year. Email me with your preferred color scheme.

However, everyone's efforts deserve recognition, so here are the other entries that were submitted, in no particular order.

Traveler's video was very well edited and I was impressed with his visuals.

Mac (from Steampunk Cookery) deserves a nod for his attempt. Ah well, Mac, Yiddish is nice too.

Double Vertigo should also be commended for her user-friendly subtitles and interesting cut-aways (I like hockey, too! Who's your favorite team?)

Thanks for participating everyone, and I hope your budding skills in your language of choice continue to grow. Most of all, start talking to each other! This was one of the primary motivations of the GLLC- to bridge potential language gaps between international steampunk communities. We'll certainly try this again next year (hopefully I see you all before then!).

My Nativepunk and Some Anachrocon Memories

2011-03-14T22:23:00.005-04:00

The photos from Anachrocon are in, folks, so I'm pleased to present the first incarnation of my Anishinaabeg Native American steampunk creation, which I premiered at Anachrocon 2011 a couple of weeks ago. The judges were so impressed with it that I won 2nd place in the masquerade!

Photograph by Ryen Wilson.

Let me take you on a tour:

An Ottawa or Huron warrior- late 18th century

I was inspired by the Potawatomie portion of my heritage and the typical dress worn by warriors in the post-contact period from the 17th century to 19th centuries. And yes, I'm aware that 99% of the time men were warriors- but hear me out. This is steampunk and this is the modern age and if I can't take an old stereotype or social rule and make it my own in science fiction, then when can I? I wanted a scavenged and traded look, maybe a hint of feminine influence from Western fashion.

-The roach (headdress) was made by myself and from a secret material I'd rather not share (I'm sorry purists, but at $40 a hank, I couldn't afford porcupine guard hair), scrap pieces of brass, curled wire, and watch hands (yes, watch hands!). The roach was traditionally worn in battle to appear more impressive and also advertise the wearer's scalplock or braid as a trophy. It was a punctuation of, "Go ahead, come and get me. Try and take it!"

-The bone choker was made with the help of my jedi master Tawny, who donated pieces of the chokers that she wore when she was my age. It's not only a lovely looking piece, but the recycling definitely gives it more meaning for me. I strung it on wire so that the hairpipe wouldn't shear through it, like leather or sinew.

Bust shot. (Photo by Sam of the Imperial Podcast)

-The shirt was a thrift store find that was tea-dyed, aged with paint, and decorated with leftover watch parts, metallic studs, and whatever pieces of scrap metal I could find wandering around the house. Traditionally men went shirtless. I'm going to assume that you all know my thoughts on this.

-The corset is a nod to a lot of different native influences. It's made of blue wool, similar to stroud cloth. Stroud was a very rough, dense grade of wool that was traded between Europeans and Native Americans and it could only be found in a strict range of colors- typically indigo blue, scarlet, and white. I spent about 12 hours total on the hand-embroidery and beading around the center belt. The design itself was my own invention (i.e. I didn't steal it off of someone's bandolier pouch), taking traditional woodlands star and floral elements. I added some metallic studs for an industrial feel.

-The skirt and apron are a direct nod to the traditional breechclout that men wore (though admittedly I'm wearing one of those underneath as an insurance policy when picking things up or sitting down). My friend Morgan, who runs a steampunk leather business, gave me a bunch of pieces of scrap leather and suede that appear in this outfit. The piece that makes up my apron flap was dye-damaged; so I painted it up (more Woodlands floral patterns), added some jingle cones for a bit of sound, aged it, and strapped it to the bustled skirt.

The skirt was meant to look like I had taken it from a supply wagon- so it was appropriately aged, broken down, and generally beaten to hell (HOORAY, NO HEMMING!). On the bustled side points there are clusters of tassels and more tinkling cones. Morgan also donated some of the lovely conchos that I tacked my bustling to.

-The leggings were made from a pair of army surplus trousers bought for a mere $6.50. I kept them fairly unabused, but added a strip of suede along the inseam and some decorative brass studs. They're held up with some stout, tooled leather straps around my mid-thighs.

-The mocassins (or makizan) were made by hand myself out of a pair of hideous suede trousers that were just given to me. Admittedly I ran out of time, so I wasn't able to decorate them... but boy were they quick to sew. All they needed were a quick wet-stretch and they fit my feet like a glove.

Another nice shot by Sam from Imperial Podcast

-The gun was made to look like a repurposed Western rifle. This was the biggest pain of the whole outfit, not hand-sewing moccasins until my thumbs went numb or spending hours embroidering my corset. The stock was an old drill rifle which took 4 hours to sand clean and ten minutes to gratifyingly bash against the basement floor.... it was totally to give it a well-worn look... it was stained with leather dye (thanks again, Morgan!). Add a barrel made from an old windchime and a brass funnel and that part was done. The macehead (which is Iroquois, but I always thought it to be SO COOL) was made from an ornamental ball found at Joann fabrics and painted up then attached with copper plumbing brackets. I have nicknamed it "Polite Reminder", am working on translating this into Anishinaabemowin (Algonquin)...

As a lot of you read, this outfit filled me with a lot of different emotions; pride, joy, fascination, rage ("why did you sand that by hand? I have an orbital sander!" "...."), and even discomfort. I was worried about how people would take this creation, even how other people of Native American descent would think of me after this. However, creating and wearing this outfit taught me something: If you have the inspiration to design it, the love to make it, and the drive to keep going even after your fingers blister- then you should probably have the balls to wear it, no matter what people might think.

The folks at Anachrocon seemed fine with it, or at the very least very polite... or mildly terrified as I don't look like the friendliest person wearing this. This is partially why I chose to smile in my photographs... also because nobody digs (and I quote the awesome author Sherman Alexie on this) a "Tonto face". I spoke with a lot of people who were glad to see others wearing outfits outside of the traditional Euro-American models you see plastered all over the internet or at cons. Some were wearing multicultural outfits of their own, such as Randy Taylor in his offbeat interpretation of Inca Steampunk!

I asked him what the staff was for. He said, "For calling the aliens to the Nazca lines." I decided that we needed to be friends. (Gretchen Jacobsen)

That staff lit up, too... Hee!

I also spoke with a fellow named Edward Neary, who wore a Bedouin-inspired outfit he was looking to expand upon (it still looked pretty nice, Edward!). There was even a group of 5 or 6 friends who decided to wear Russian touches on their ensembles. Some of the best global threads, however, belonged to Joanne Alford, who mixed English sensibility with bold Japanese design. She'll be featured as a Traveler this month, so stay tuned!

Also to the three people who greeted me with "How"- lame and childish. I wasn't outraged per se, mainly annoyed and somewhat saddened. I took the opportunity to gently correct one of them, but I couldn't catch the other two.

Ah well. Don't let that paint a bad picture of Anachrocon, however. Most attendees were genuinely congenial and there to have a good time. Though fairly small, the enthusiasm of its members makes it appear larger- the added bonuses of a consuite, diverse programming, and the lovely Atlanta weather didn't hurt either! I would really recommend this for a reenactor (as a lot of the programming would interest them) or a new steampunk as an introduction to steampunk conventions and to gather new ideas and techniques from presenters such as Penny Dreadful Productions or Laura, the Cyborg Seamstress. Personally, I ran a panel on Basic Hatmaking and sat on a Costuming Advice Panel.

I was also honored to be interviewed, along with G.D. Falksen by Jack Walsh from "This is Atlanta" on WABE. Mr. Walsh is one of the two fellows behind the documentary "Four Days at Dragon*Con", which is currently playing on public broadcasting stations across the country (check your local listings).

While in Atlanta, G.D. Falksen and I stopped by the studio of renowned photographer Thomas Dodd and modeled clothing by Anthony Canney.

Right now? I've got a costume to work on! Salathiel Palland of Off the Beaten Path Bookstore has commissioned me to make her a steampunk underground railroad conductor! Its an interesting, but fun challenge. Thanks for checking out my handiwork, as always, and it was nice talking to some of your first-hand in Georgia!

Another marvelous photo by Thomas, wardrobe by House of Canney.

Top Ten Reasons Why You Should Attend the World Steam Expo

2011-03-09T03:18:00.003-05:00

Spot the blogger!

Last year I was in attendance as a panelist at the World Steam Expo (being held this year on May 27th-30th) in Dearborn, Michigan for its maiden voyage and now the convention planners are hard at work trying to top themselves. I personally think they'll succeed, but I'm dismayed at how many people either refuse to come to WSE or just haven't heard about it. Which is why if you're on the fence, I'd like to bring you over with my Top Ten Reasons You Should Attend!

Why should you believe me? Because I'm a native Michigander, poor as a dustmite, and I've been to a variety of steampunk conventions over the last couple of years and believe World Steam is really the hidden jewel in the bunch. Here are my reasons why:

10. I'll be there!

When I'm not extolling the virtues of multiculturalism I'm gutting airship pirates as a Prussian Imperialist- irony much? Photo by Lex Machina Photography, who will be attending the expo as well!

Admittedly I was going to put this further up the list (kidding) but for fans of the blog I would like to note that WSE is my home convention and I'm a fairly active participant in their programming. Not only will I be conducting a panel on Multicultural Steampunk but my interactive theatre group, The Imperial Anti-Piracy Squadron will be running panels, events, contests, and late-night shindigs (including our infamous "Evening of Recollection and Ribaldry"!) in our very own programming room. So stop by, turn in any airship pirates you might know, and say hello!

9. Food, Glorious Food

Praise be to carnivores! A view of the dishes available at Slow's BBQ in Detroit: Liezlwashere

WSE sadly does not have a consuite or hospitality suite, however due to the nature of Dearborn and greater Detroit, there is no shortage of dining options within short walking or driving distance to the hotel! If you're looking for international flavor, Dearborn has some of the largest populations of Middle Eastern peoples overseas, so there's plenty of family-run restaurants with homemade specials. Buddy's Pizza, a local place within five minutes of the convention, has some of the best pizza in Southeast Michigan- though I mainly go their for their thick, overloaded minestrone soup. Both are reasonably priced.

If you're willing to make the fifteen minute drive into Detroit (yes, I said Detroit) you'll find an even larger array of grastronomical delights. For internationally-inspired fare I recommend tourist-friendly Greektown (including the legendary Astoria Pastry Shop) and Mexicantown (Los Galanes is my personal favorite) and the mecca for Michigan Barbeque- Slow's in Corktown.

Try picking just one at Astoria Pastry Shop in scenic Greektown, Detroit. (Travel Detroit)

If you're a steampunk of limited means, don't worry- Michigan has you covered. The state is host to a type of greasy spoon/family restaurant called Coney Islands, typically run by Greek immigrant families. At these warm eateries you can expect to find Coney Island hot dogs, stick-to-your-ribs Greek food, traditional diner fare, breakfast most of the day, and a pretty low price tag ($5-$10 for a generous meal, easily). While you're here be sure to try Vernor's, a spicy, bitey ginger ale that's been brewed in the state since the 1860s as well as Faygo- a local staple since 1907.

8. The Hotel

Ooh.. shiny

World Steam Expo is held at the Dearborn Hyatt Regency, which sort of looks like some sort of superhero or supervillain headquarters- but that's not what makes it a great hotel for this con. My only main drawback with it is the lack of free wifi- but there are plenty of area restaurants and shops that have it.

First of all, the common areas and lobby are roomy with plenty of couches and chairs- perfect for ladies in corsets or heels or men carrying heavy prop guns. The staff is friendly and quite used to people wandering around in strange clothing as several genre conventions are held there throughout the year. In fact, I saw people actually swapping hats for photographs with the hotel bellhops!

This photo doesn't communicate how massive this lobby really is...

The basic guest accomedations are a respectable size, clean, and well-lit. I crashed in my room with 3 other members of the IAPS (and our suitcases of costumes) with very little issue and quite comfortably. Another admirable thing about the hotel are the MULTITUDES OF ELEVATORS! That's right, no waiting fifteen minutes to get back up to your room because your roommate overdid it or you had a costume malfunction. Furthermore the elevators are always well-maintained and quick.

Finally, the Hyatt has a fantastic indoor pool and rec area. There's a well appointed pool, a clean hot tub, and even a sauna and small fitness center... not that you'll need it with all of the activity you'll be doing.

7. The Michigan Steampunk Scene

Almost 40 Michigan-area steampunks enjoying a casual lunch at Sidetrack's Bar and Grill. (Aaron Egan)

In the last few years a fairly rich steampunk scene has emerged in Michigan, particularly the Southeast corner where the Expo is held. Local events are held on a monthly basis- from dance parties to concerts to crafting workshops and outings. This has kept the community active and varied. To find out more about these events, check out Motor City Steamworks.

You'll find most Michigan steampunks to be an open, friendly crowd who are happy to have you in their state (though be warned, Michiganders are stereotypically a sarcastic bunch). Should you need a suggestion for dinner or directions to a location, don't hesitate to ask- you'll receive many eager recommendations or perhaps even an invitation to join them.

If it's your first time visiting Michigan, you might have some issues comprehending the local lingo (we call soda/soft drinks 'pop', for example), so this website might be helpful, if not entertaining.

6. Vendors

Just one corner of the bustling vendor's hall. (Mark Moore)

What's one of the best parts about going to a convention? SHOPPING! If you're in need of some retail therapy or a special purchase, World Steam Expo will probably have something for you! The Vendors Hall and Artist Alley were constructed to not only be varied with its content and merchants, but comfortable enough for people to walk around (great pains have also been made to make it wheelchair-accessible).

In addition to steampunk convention staples like Blonde Swan Hats and Brute Force Leather, World Steam Expo is also host to limited edition vendors like Retroscope Fashions- who typically don't take their beautiful wares on the road. There are also plenty of tables for local artists and craftsmen, such as the Spectra Nova for jewelry and the art of Bethalynne Bajema. Whether you want to drop a fortune or a few bucks, there will be something for you to bring home!

Phil Foglio of Studio Foglio chatting with some fans in the Artist's Alley. (Mark Moore)

5. Nearby Attractions

Whitcome Conservatory on Belle Isle in Detroit (Desgrange)

I would actually recommend coming to Southeast Michigan a day early or stay a day late to appreciate some of its fantastic area attractions. The area is teeming with history, specialty shops or restaurants, and fantastic landmarks that will stir any steampunk's wanderlust.

For a bohemian experience, travel a half an hour west of Dearborn to that famed hotbed of artistic activity and home to the University of Michigan, Ann Arbor. In nearby Royal Oak you'll find the Detroit Zoo, with its fantastic aquatic exhibit where polar bears literally swim above your head!

If you're looking for a good read, check out Off the Beaten Path Bookstore and Cafe in Farmington Hills, which has made itself a hub of the Michigan Steampunk scene and a heartfelt hangout. There you'll find both new and used titles of fantasy, steampunk, science fiction, mystery, and children's genres, in addition to a bustling steampunk boutique.

The Detroit Institute of Arts (Travel Detroit)

Detroit is actually not as bad as the media would have you believe, if you stick to friendly areas such as Downtown, the Wayne State District, and ethnic neighborhoods like Greektown and Mexicantown. You'll find a lot of people in the city that are happy to have you (and your tourism dollars, not going to lie) visit. There you'll find the ethereal Whitcomb Conservatory on vast Belle Isle in the middle of the Detroit River, that hearkens back to a more opulent age. Back in the city there's the Detroit Institute of Arts, featuring the famous "Detroit Industry" fresco by muralist Diego Rivera. Nearby (and across the street from my favorite crepe shop) there's the Detroit Historical Society Museum- containing hundreds of years of local history. If you end up in downtown, be sure to stop by John K. King books, the largest independent bookstore in Michigan with seven floors of used, antique, and rare finds.

There are tons of historical places, centers of industry, and a new sense of urban and cultural revival in the Detroit area- so give it a chance!

4. The Programming!

Scandal! The ladies of the IAPS present a panel on bustles in their unmentionables! (Mark Moore)

One of the best things about World Steam Expo is that you can't do everything the convention has to offer, which is to say that at any time there's a variety of unique programming going on! Panels typically don't start until 10am (thankfully, I've seen 8 and 9 am panels with some very tired-looking panelists and moderators) and run until early or mid-evening, which allows some time for a dinner break before evening festivities begin.

After 10pm, the salacious side of steampunk comes out with burlesque reviews, intimate unplugged performances, and old time vaudeville or freak shows at the Midnight Carnival. Room parties and convention-organized parties are also common in the evening- guaranteeing a lively evening out for any night owl. Informal dances on Friday and Sunday nights are presided over by regionally-respected steampunk DJ Dr. Toon. On Saturday night there's a ticketed formal charity ball designed to help a local organization. Last year's charity was Cornerstone School in Detroit, so it's nice to know that you're twirling and jiving in your finery for a good cause.

High fashion and hijinks abound at the Charity Ball. (Mark Moore)

There are multiple panel and event rooms open simultaneously offering a diverse body of content. In one room you'll find a talk on Victorian etiquette while next-door there's a leather or metalcrafting demo. There are panels for beginner steampunks all the way up to the serious alternate history enthusiast. For the music fan, you can do no better than WSE- with a series of concerts both large and small occurring every day!

3. It's Easy on the Pocketbook!

Dearborn, Michigan- conveniently located in the middle of the bloody country.

World Steam Expo is cheap, particularly in comparison to similar events occurring on the East and West coasts. Due to Michigan's unique position, it's fairly equidistant from a lot of big cities in the East, West, and South, which means you spend less money getting here! Until April 15th registration for this Four-Day event is only $40 per ticket- that's $10 a day! Most conventions are only three days and cost just as much, if not more! The hotel rate for the convention is $91 a night (which is a steal for a hotel like a Hyatt) and split between friends it's very affordable.

The cost of living is less expensive in Michigan as well, meaning that you get more bang for your buck when it comes to food, alcohol, and those little emergency purchases like hairspray or duct tape. This way you have more money to spend on vendors or having a good time rather than frustration because your cheeseburger cost you $12.

2. Greenfield Village

All Aboard at Greenfield Village

Greenfield Village is hosting Expo events concurrently to the Dearborn Hyatt and scantly a mile away from the hotel! But what is Greenfield Village? Only one of the greatest historical attractions in the world!

Henry Ford decided that he would collect buildings brick-for-brick and restore them, arranged in a village-like setting in Dearborn to educate the public on American life and heritage. In the Village you'll find a hatshop from Detroit dating to the 1900s to a 17th century Cotswold cottage all the way from England! There are also landmarks of famous historical figures such as the Wright Brother's Bicycle Shop, Noah Webster's house, and the entire Edison Menlo Park Complex. There are over 80 historical buildings, manned by friendly costumed interpreters and guides that relive the past.

History is also meant to be experienced here. You can ride a working steam locomotive around the Village, drive in a Model T automobile, and ride one of the oldest working carousels in the world. There is also Eagle Tavern, a restored stagecoach stop that serves up 19th century, locally sourced food and drinks.

Civil War Reenactors drilling on the Village Green in front of the Eagle Tavern (Detroit News)

Attendees of the Expo are doubly fortunate because Memorial Day weekend is also host to the Civil War Remembrance, the largest Civil War reenacting event in Michigan. So during the weekend the Village is alive with thousands of reenactors, sutlers, and events like skirmishes and parades. The reenactors are also very friendly and some are part-time steampunks, so don't be surprised if you're stopped to chat or asked how the Expo's going.

Just watch where you step, there are horses around.

1. The Guest Roster

Abney Park performing at the 2010 Expo. (Lex Machina photog)

I've gabbed about value, Michigan's varied attractions, and Greenfield Village, but what's the best feature of World Steam Expo? The Guests! WSE has worked hard to bring in a variety of musicians, historical experts, authors, and artisans to make your convention interesting and worthwhile. There's also a good mix of internationally-known steampunk acts and impressive local groups- a variety that cannot be found at other events of this kind.

There are some big American musical names this year, such as Abney Park (you might have heard of them) and the Clockwork Dolls but WSE is the ONLY place where you can see U.K. sensations Sunday Driver (this is their debut show stateside) and the punktastic Men That Will Not Be Blamed For Nothing. For more intimate shows there are steampunk veterans Frenchy and the Punk (formerly the Gypsy Nomads), Harpnotic, and local Celtic ruffians, the Bawdy Boys.

Artists of the big and small screen, Penny Dreadful Productions (Lex Machina Photog)

Famed steampunk author (and Multiculturalism for Steampunk contributer) G.D. Falksen and East-Coast promoter and events-diva Evelyn Kriete will be on hand, as well as the impressive work of professional screen and convention veterans Penny Dreadful Productions (yes, Steampunk Fett is coming too, he promised me). The award-winning and trendsetting creators of Girl Genius, Studio Foglio return to the event as well, making a varied pool of creativity and information. You can find them all under one roof here in Michigan during Memorial Day Weekend, so don't pass this opportunity up!

Mr. Falksen will also be acting as an emcee. Science has shown that looking at pictures of him lowers blood pressure.

So have I convinced you yet? Well why don't you register for your pass to one of the best events this year! You're all welcome here in Michigan!

CYL:The Roving Roma

2011-03-08T17:54:00.000-05:00

A young Roma performer- 19th c: Svenko

Prale!

What do you see when you hear the word gypsy? Colorful caravans of exotic individuals? Life on the road, with no country to call home? Hot, thick music dripping with expression and rhythm? Well, when it comes to "real gypsies", the people known as the Roma (aka Romany/Romani/Rrom) these connotations are not entirely inaccurate... but it's not the whole story.

But don't get depressed! Sure, the Disney-tinted images of "gypsies" with hiked up messes of skirts and opened shirts is... well... wrong, but that doesn't mean that these world travelers were bland in their dress. Why don't we take a look?

A brightly-colored Roma vardo/wagon from the 19th c. (wapedia)

Historical Background
The word 'Gypsy' is derived from the old belief that the Roma originally came from Egypt, which is why you won't find it in this article, except when referring to historical texts. Anthropologically, the Roma branched off from peoples who left the Indian Subcontinent around 500 C.E. and made stopoffs in Iran, the Byzantine Empire, and finally made it into the outskirts of Medieval Europe around the 1000 C.E.

As is the case when strange, new people show up in a time of relative discord and misery (Black Death anyone?) the Roma found themselves unwelcome in most areas of Europe. Germany and England enacted laws against Roma residing in the country while Bulgaria and Romania (which today have some of the heaviest concentration of Roma populations) made it legal to enslave them. Towards the 1700s many countries lightened these laws in an effort to get the Roma to settle and become acculturated into the general population... it didn't work terribly well.

Job and Morenni Smith, a Romanichal couple- 1909. Uni of Liverpool

One of the major traits of the Roma people is a general sense of xenophobia towards non-Roma, who are traditionally referred to as gadjo or gadje. After centuries of diaspora and slavery... I think they're allowed. This distrust of outsiders was cemented in the belief in a hygienic and social code called marhime, which was derived from old Hindu practices of the Rigveda. Marhime literally means 'unclean' and was given as a label to objects and individuals that should be avoided by Roma society to avoid contamination. Dead bodies were marhime, as were marriages between Roma women and gadjo men, as well as women who had just given birth for over a month afterwards. However, eating from a dirty table or not washing your hands before you eat was also considered unclean... and a step up from their gadje counterparts in prior centuries.

The other thing to understand is that (much like Native American tribes) there are many different bands of Roma, typically grouped together by common ancestry or geographic area. For example, the Travelers and Romanichals are primarily found in the British Isles while the Sinti are common to Germany and Italy. The Kalderash flourish in Eastern Europe and Spain and are famed metalworkers. Manouch/Manush work a lot in entertainment (music, dance, animal training) and primarily reside in Francophone countries.

A young woman offering her services as a fortuneteller: Svenko

As for this whole fortuneteller schtic- it's a blend of fiction and reality. The Roma were (and still are) superstitious people and had their own ways to divine the future, read omens, or (yes) even curse. However, mainstream Victorian Europeans definitely blew this all out of proportion- but do you know what? It paid the bills. So many Roma women willingly adopted their over-mystified, over-exoticized roles to put food on the table.

A Roma family arriving at Ellis Island in 1905 (NY Public Library)

Debunking a Few Fashion Myths
The social and hygienic code of marhime impacted fashion in a fairly big way. If you think about literary or other media portrayals of Roma, you're bombarded with images of scantily clad women with frothy hitched-up skirts. While it's true, Romani women wore fairly voluminous and layered skirts, they were meant to shield their lower body, which was considered unclean under marhime. Needless to say, if you were whipping around advertising your legs, it wasn't particularly flattering to your reputation. Also most Roma weren't ambling about screwing like weasels, contrary to mainstream 19th century literature. Traditional etiquette and social norms meant that girls behaved themselves until betrothal, men didn't run around on their wives, and Alexander Pushkin was full of crap.

The Roma kept their heads covered, typically. Married women would wear a kerchief called a diklo (sort of like a bandanna) tied around there hair to keep it out of the way while they worked. Men were partial to felt caps and hats similar to what mainstream Europeans wore.

Milos Tchoron, a Galician Kalderash Roma (c. 1915?)

The clothing of Roma could often be very colorful, particularly amongst traditionally performing bands like the Sinti and Manush as it could attract the attention of crowds. In addition to this, embroidery, beading, and other embellishment was popular to give old or secondhand clothes more pizazz or value. Primary red was avoided however, particularly in garments covering the lower body as this was visually linked with the color of blood, which was marhime.

Speaking of jewelry... This particular stereotype is actually fairly accurate, particularly in the 19th century. Being fairly cautious and xenophobic people for a bloody good reason, Roma didn't care to deal with gadje banks or other financial institutions, so they kept their wealth on them or accessible. Furthermore things like jewelry, trinkets, and pieces of art were preferable to money since they retained their value going place-to-place. To this day there are Roma who'd rather keep their money under their mattress than in a bank, interest rates or not.

Yipunka Koudaoff, 1914. Note what you can't see: Most of her body... (U. of Liverpool)

So What Did Roma Wear?
Well... a better question is to ask what didn't they wear? When you're wandering and settling on the fringes of society, you tend to not be too choosy about the clothes you wear. The common trend though, is that the further West and later in the period you go, the more mainstream Victorian Roma clothing becomes. To the point where you see men in full suits resembling that of their working class English or French counterparts.

Traditionally the main garment was the peasant shirt or blouse- a simple shift of cotton or linen that was typically full-fitting and comfortable. These were often showcases for embroidery, particularly in Eastern Europe- even men's shirts were covered in decorative smockwork or designs.

A 19thc. Romanian blouse decorated with embroidery and sequins, something Roma women could have worn (NY art)

Men would often show off their style with decorated or ostentatious waistcoats and vests- which could be decorated with embroidery, studs, or metallic embellishments like sequins or buttons. Riding boots were also a staple and well-maintained, considering that the Roma were some of the best breeders of horses in Europe at the time and often showed off at horse fairs such as Appleby in England. Loose trousers were tucked into the boots for ease during riding.

A Kalderash man in Poland- 1865: Svenko

Women typically covered up with shawls that varied in richness and were often edged in lace or fringe, which they wrapped around themselves by whim (similar to the kanga cloths we looked at in Africa). Jumper-like dresses similar to Russian sarafans were also worn- because of the proximity to Russia and because the full skirts did an admirable job of covering the lower body. One of the prides of a Roma woman was her hair- which she grew out and took painstaking care of, often setting it in long braids to keep it out of the way.

Roma dress, particular in Eastern Europe and the Balkans, was also influenced by Ottoman modes (for obvious reasons)- such as with wide-legged sirwal or tailored kaftans. There is also a lasting impression of these garments because they were worn for performances or fortune-telling due to their colorful and exotic nature. Bright 'gypsies' were painted or photographed, so that's how they're remembered most.

A tinted lithograph from 1906 of a Kalderash camp: Svenko

Why Should You Reflect Roma in Your Steampunk?
- Take a hint from the Kalderash and develop some interesting metal pieces or inventions or your outfit.
- It would be interesting to see a take on a Roma musician and see a steamed up performance outfit or musical instrument.
- Peasant blouses and shirts are cool, comfortable, and look great layered with mainstream Western-inspired clothing or even more Eastern-oriented dress. Remember Anna Velarios from Van Helsing? (Although her use of trousers might be considered somewhat unclean).
-Carry your wealth on you in the form of jewelry; necklaces, bangles, earrings, rings.... it would be a great way to show off your collection of steampunk bijoux.
-Tiered skirts, particularly in various colors, patterns, and treatments can be layered or bustled for a Roma look- just wear them below your knee please...
-The diklo is worn fairly stereotypically in a lot of Halloween 'gypsy' costumes, but it is a good way to add color to your outfit.
- Also please note that belly dancing costumes are not Roma costumes... while they can be inspired by Roma dress, don't run around in an exposed middriff and a coin bra proclaiming your outfit to be Rom, please.
- Romano men too great care in maintaining and showcasing their boots, which included metallic and painted embellishments... sounds pretty familiar, huh?

Several Roma women in Russia (romakultur).

Two young Roma from Bosnia

A young Roma dancing out in the desert: Solartraveler

A Kalderash man- see the metallic embellishment on his coat? Svenko

Helpful Links
-When studying Roma culture and history, you can do no better than Patrin, a web journal developed and maintained by people of Roma descent to educate the public. There is also the entire text of "The Pariah Syndrome" a book about the history of the persecution of the Roma by Ian Hancock.
- The University of Liverpool is host to an entire collection of "Gypsy Lore", an archive of British Romanichal families during the early 20th century.
- Svenko is a "gypsy" band that has a marvelous website that depicts the history of Roma music, including a collection of paintings and photographs of Roma in their folk and performance dress. I wish I could have posted them all!
- Roma vardos are pieces of art in themselves and are actually making a comeback amongst the camping and small house demographic.... and yes, Miss Kagashi has given thought to traveling to conventions in a vardo...

Tutorial Time!: Basic Wrapped Turban

2011-03-07T23:58:00.003-05:00

"Woman in a Blue Turban" by Delacroix. Dallas Museum of Art

So you're looking for some awesome headgear? Hmm... well bowlers and top hats are all well and good (and done OFTEN). Fezzes are cool- but we've already covered their construction in a previous tutorial. Let's face it, folks, buying new hats can be expensive (but a joyous experience, one which I would recommend having with the folks over at Blonde Swan) and making them does take a certain degree of skill. But what I'm going to show you today is a hat that requires very little money, barely any sewing, and can be in a matter of minutes... with some practice.

Sikh troops in the British army wearing their dastar turbans.

As avid readers of this blog (or at least observant ones) might have noticed, turbans and similar headwraps come into play A LOT in the clothing of various cultures. While turbans are thought of as the stereotypical attire of Arab or Muslim-integrated societies, they were in fact far more widespread than that. European working women wore headwraps of white linen for centuries to keep their hair off of their necks and out of the way. Even in the late 18th and early 19th century, Western ladies in vogue wore fine silk or voile turbans decorated with feathers, pins, and veils. Post-contact Native Americans wore trade cloth turbans as well, particularly in the Northeast and Southeast regions.

It should be noted that this kind of turban is NOT a Sikh-style turban. That's an entirely different shape and method of wrapping (not to mention that it involves FAR more cloth). If you'd like to learn to wrap and tie a Dastar, I direct you to this helpful video. On a similar note, this is not a turban of state worn by some Muslim leaders in prior centuries which requires a framework or bolster underneath to get the correct shape.

Me in another one of my North African/Turkish inspired outfits. Photo by Mark Moore. Cookies by Katherine Moore.

Hardware:
- Sewing Machine (briefly, in fact you could probably hand-sew it with little hassle)
- Scissors
- A mirror... or a very clean window, in my case.

Software:
- 2-3 yards ( about 2.5m) of 42-45 inch (about 1m) width lightweight fabric. My personal recommendations: Cotton/linen/silk voile, crinkle cotton/gauze, cotton flannel. You'll probably want something that's a natural fiber- not because I'm a snob- but because it'll be much cooler to wear and the fiber won't slip against itself when you're tying the turban. My experience is that soft-folding fabrics work better than harder ones.
- Thread to match
- Scarves or sashes to be wound in (optional).
- Any additions such as veils, hat/stickpins, feathers, or broaches (optional... but fun).

Sewing Instructions:
-First of all, take out your length of fabric and wash it, either by machine or hand. It seems trivial, but it's necessary. Washing will make the fibers more pliable, and therefore a little friendlier to tie.

- Once your fabric is washed and dried, fold it in half lengthwise (as we learned in the previous tutorial, I prefer to call this 'hot dog' style. My elementary teachers would be proud). Sew along the edge where the two sides meet- basically you're making a long tube.

-Turn your tube right side out and there's your turban base!

Tying Instructions (with Optional Steps for Different Styles):
If you have long hair and don't want it peeking out, pull it into a ponytail or loose bun. If you have shorter hair, pin it or comb it back neatly.

-Optional step: If you would like to wear a veil with your turban, such as the style worn by Amazigh, Tuareg, or Bedouin peoples, do the following:

Using bobby pins or regular hair pins, attach your veil piece to your head, so it covers your head and potentially your shoulders. This is just to keep it from slipping around while you wrap.

- First step: Making sure that it's centered, place your turban on your head, unfolded. The longer edge of it should meet your forehead.

Seen here: What happens when your cameraperson says something odd.

- Second step: Keeping it stable and centered on your forehead, bring the loose ends of the turban behind your head and cross one over the other. Tie them together and tighten until it's comfortable. The knot should be right around the nape of your neck. Before you tighten it all the way, tuck any stray hair or your ponytail into the little pocket the knot has created- it's sort of handy like that.

In some cultures a white turban is a symbol of leadership. In the context of this blog it means that the blogger had to improvise because her usual turbans were packed away somewhere.

-Third step: There should be two loose tails in the back. Pulling the fabric taunt, bring one of the tails around the front of your head and tuck it over your ear.

-Optional step: If you have scarves you'd like to interweave into your turban (it does look pretty flash) then follow this step.

Tuck one end of your scarf or sash into one side of the base of your turban- again, a good anchor point would be either of your ears.

Before you proceed with step four, experiment with different ways of winding your sashes around the untucked tails of your turban. That's really all I can tell you. It's fun to play with the different colors and textures, though- just be sure to leave enough at the end of the sash to be able to securely tuck it near one of your ears.

-Fourth step: Next, take the second tail and repeat on the other side of your head. Be sure to free your ears if you like and make sure any unwanted flyaways are tucked away- although I have had fun with little beaded braids sticking out from the turban or my usual casually elegant errant curls. (Note: This is what the blogger calls her hair when it misbehaves... which it often does.. in an attempt to not look like a slob. Use it for your own hair! Hooray denial!)

Keeping a hand along the base of your turban can help keep it stable as you tuck.

-Fifth step: Fluff and tuck where needed until you have the desired effect... and voila! A simple wrapped turban perfect for anyone from zouaves to airship pirates, ladies of leisure or craftsmen.

You can also pull folds down gently to cover your hairline if need be.

-Optional step: If you want to have fun...

DECORATE! WHEEEEE!

Not bad, kinda snazzy.

Admittedly this is the best part. Tack or pin on tassels, add feathered pins or hat pins, brooches, goggles, hamsters- the sky's the limit!

There you have it! Wasn't so hard, was it? Admittedly, tying any sort of turban takes practice to get it down quickly and smoothly, but after a half-dozen tries you should get it! Here are a few more ideas for this style of turban:

-If you like how your turban came out and want a more permanent hat, then with the turban still on your head (be careful! Or have a friend help you...) tack the folds down with needle and thread. Then transfer it onto a skull cap or a baseball cap with the bill torn off.

-Sometimes with how this turban is wrapped, there's a sort of 'empty space' near the back of the head. With the help of a very careful friend and some pins, you could tack a fez or similar hat in place there. It looks very swank and lets you show off that fez you made using Miss K's handy tutorial.

-Note: Unless tied very tightly or pinned in place, excessive physical activity such as hanging upside down or falling on the ground because you were in a stunt-fighting workshop will result in a de-turbaning. Luckily they're so easy to tie!

I love wearing these even when I'm not at a costumed event. When it's humid and hot in August or I have a day of cooking or propwork ahead of me I like to wear these to protect my hair and keep the back of my neck cool. Give it a try sometime and enjoy your turban!

Note: It's important to get roommates involved in your creative process, particularly if they're tipsy. This is Josh. I'm keeping him quiet by having him hold the stem of my feather cluster.