Editorial Reviews for Treasures Afoot: Shoe Stories from the Georgian Era

Have you seen the editorial reviews for Treasures Afoot?

"In this lavishly illustrated, meticulously researched book, Kimberly Alexander tells the fascinating, hitherto untold story of the shoe in early America—of the cordwainers who made them, the factors who advertised and sold them, the men and women who bought them, and, eventually, the museums that catalogued and displayed them. Treasures Afoot is a must-read for anyone interested in the material culture of the founding era."

    — Eliga H. Gould, University of New Hampshire, author of Among the Powers of the Earth: The American Revolution and the Making of a New World Empire

"Treasures Afoot is a much-needed work on Georgian shoes, blending historic research and biography with material objects, elevating the importance of footwear from a dress accessory to a central element of an entire wardrobe. Alexander's book is a must-read for costume and shoe historians and sets a precedent for future scholars."

— Neal T. Hurst, associate curator of costume and textiles, Colonial Williamsburg Foundation

For more: https://pwb02mw.press.jhu.edu/title/treasures-afoot/reviews

Treasures Afoot: Shoe Stories from the Georgian Era

Johns Hopkins University Press, 2018.
Image, Strawbery Banke; Photograph, Ellen McDermott

Shoes reveal the hopes, dreams, and disappointments of the early Americans who wore them.

In Treasures Afoot, Kimberly S. Alexander introduces readers to the history of the Georgian shoe. Presenting a series of stories that reveal how shoes were made, sold, and worn during the long eighteenth century, Alexander traces the fortunes and misfortunes of wearers as their footwear was altered to accommodate poor health, flagging finances, and changing styles. She explores the lives and letters of clever apprentices, skilled cordwainers, wealthy merchants, and elegant brides, taking readers on a journey from bustling London streets into ship cargo holds, New England shops, and, ultimately, to the homes of eager consumers.

We trek to the rugged Maine frontier in the 1740s, where an aspiring lady promenades in her London-made silk brocade pumps; sail to London in 1765 to listen in as Benjamin Franklin and John Hose caution Parliament on the catastrophic effects of British taxes on the shoe trade; move to Philadelphia in 1775 as John Hancock presides over the Second Continental Congress while still finding time to order shoes and stockings for his fiancée’s trousseau; and travel to Portsmouth, New Hampshire, in 1789 to peer in on Sally Brewster Gerrish as she accompanies President George Washington to a dance wearing her brocaded silk shoes.

Interweaving biography and material culture with full-color photographs, Treasures Afoot raises a number of fresh questions about everyday life in early America: What did eighteenth-century British Americans value? How did they present themselves? And how did these fashionable shoes reveal their hopes and dreams? Examining shoes that have been preserved in local, regional, and national collections, this book demonstrates how footwear captures an important moment in American history while revealing a burgeoning American identity.

Historian Kimberly S. Alexander, a former curator at the MIT Museum, the Peabody Essex Museum, and Strawbery Banke, teaches material culture and museum studies at the University of New Hampshire.

More Red Georgian Shoes

Red silk satin pumps, possibly worn in New Hampshire, c. 1780s

Moffatt-Ladd House and Garden, Colonial Dames, Portsmouth, New Hampshire 

These vibrant red pumps were probably made in London and are similar in style to shoes by London shoemakers, Chamberlain and Son, from the same time period. Red continued to be a popular color for women's shoes, even wedding shoes, throughout the 18th century. [1] Buckles were needed for fastening the lachets or straps.  They are lined with linen and feature the minute stitches at heel indicating the work of a skilled cordwainer. The shoes are on the large side and wide, indicating a custom or bespoke order. The architectonic, balanced color scheme and smooth surface is indicative of the Neoclassical influence, as women's shoes moved away from the heavy embroidery and richly decorated silk brocades found earlier in the 18th century, associated with the Rococo style. 

Unfortunately, both the maker and wearer are currently unknown. I will be discussing theses shoes and other Georgian, Regency and Victorian examples of footwear at the Moffatt-Ladd Harvesting History event, October 21.  (For information www.MoffattLadd.org) 

1. I will discuss many examples of red Georgian shoes in my forthcoming book, "Georgian Shoe Stories from Early America" Johns Hopkins University Press, 2018.

Georgian Shoes in Transition

After a five year search, I recently became the proud owner of a pair of charming and delicate Boston-made, Neoclassical slip-on shoes. The silk satin shoes feature embroidery at toe and are a good example of a ‘transitional’ shoe – moving from the earlier 18^th century Rococo style with its focus on bold floral patterns, densely embellished silk brocades, often adorned with metallic threads or metallic lace and spangles, and a weighty French (or Louis) heel. Whereas shoes from the earlier Georgian time period featured long straps and were attached via buckles – which ranged from simple paste stones to actual gems—these shoes would have slipped on. A small, thin tie or string, runs through a narrow channel at the top of the shoe.

Note the buckle shoes with their straps, compared to the transitional Boston-made shoes

By the mid-1780s, politics in a post-Revolutionary age made an appearence in fashion circles, as light cotton and muslin dresses with high waists and columnar shapes held sway in the assemblies and drawings rooms, echoing the look of ancient Greece and Rome. The same visual language was present in shoes made between 1785-1790s– lighter color palette, limited ornament, smaller heels and an architectonic quality. By the close of the 18^th century, flats will take precedence in Regency/Empire/Neoclassical fashion, a trend which will continue into the mid-19^th century.

The cream silk satin shoes shown were made in Boston by P. Gull and feature chain stitch embroidery at the toes, with what was known as an Italian heel. 

They were photographed on site at the John Paul Jones House, Portsmouth Historical Society, February 2017.

A similar transitional shoe, courtesy www.eng-shoe.icons.com

Silk Brocade Shoes “For Exportation”

These dainty silk brocade shoes were made by London boot and shoemaker, Charles Chapman and exported to British America. While we do not know who owned them –the provenance has been lost—they were most likely worn in New England. 

The brocaded silk is visually appealing with pinks, pale green and raspberry tones on an ivory ground, and most likely dates to a decade or so before the actual shoe was made. Note that there was some piecing (the straps for the buckles are not matched for example) of the shoes. The style of the shoe, with its diminutive heel and placement, indicates a date range in the 1780s. They are in fine condition.

Fortunately, the survival of a label affixed to the footbed of the shoe reveals that the maker was located at 80 Cornhill in London and his business made shoes for retail shoppers as well as for export. Alas, other details regarding these shoes are lost to us at present.

The shoes are in the collection of the National Society of the Colonial Dames of America, in Boston and all photos are courtesy of the NSCDA. The author appreciates the generous assistance of Nancy Lamb, Chair of the Costume Committee, and Becky Putnam, for the invitation to speak at the Society’s Beacon Street headquarters on these, and many other shoes in the collection, February 2016.

Inspired by 1775 Embroidery Patterns: The Lady's Magazine Stitch-Off

The Lady’s Magazine project (housed at Kent University) recently embarked upon a major undertaking – a stich-off! While there are many different aspects to this multi-faceted project, I was intrigued by the appearance of a 1775 embroidery pattern for shoes. Women were creating their own uppers which were then attached to a cordwainer’s ‘leather,’ meaning his sole and heel, as well as purchasing those professionally produced.

Once the generous owner of the privately held pattern made it available, the creative Dr. Jennie Batchelor threw down the gauntlet and inspired ‘stitchers” deftly created some stunning pieces.

I have had the good fortune to follow the work of the talented Nicole Rudolph over the last few years (to see more of her fascinating projects, see www.DiaryofaMantuaMaker.com). When she turned her talents to the project --- well, you can see the results for yourself. As the label notes:"These shoes have been constructed using historical tools and techniques in a style that would have been popular around 1775 when the pattern was printed. They are made from figured silk taffeta and satin, embroidered in unspun silk.

To place the work in context, you will find many extant museum examples – below find a few:

A later example, c. 1780-90
Courtesy, Manchester Art Gallery

Blue figured silk, c. 1776, European
Courtesy, Metropolitan Museum

Figured silk shoe, made in Massachusetts, c. 1780s
Courtesy, American Textile History Museum; Author photo

Thanks to the efforts of many, you can now view examples from the Lady’s Magazine stitch off on view at Chawton House as part of the ‘Emma at 200: from English Village to Global Appeal’ exhibition.

For the latest:

@ChawtonHouse

@ladysmagproject

@colevintage

‘Emma at 200: from English Village to Global Appeal’

https://blogs.kent.ac.uk/ladys-magazine/2016/01/31/the-great-ladys-magazine-stitch-off-goes-to-chawton-house-library/

http://www.kent.ac.uk/english/ladys-magazine/index.html