A Pair of Lady's Shoes From the Lynn Museum, c. 1780s

In preparation for a talk at the Lynn Museum "The Art & Mystery of Making Shoes: New England Shoe Stories From the Long 18th Century," I am making an advance trip to visit some old "friends" such as the shoe pictured above. 

This pair of lady’s shoes, c. 1780s (probably London, no markings or label) features white silk brocade, with an exuberant, stylized floral pattern.  While the colors are faded, the palette was muted initially. The heels are covered in the same material and exhibit the leaner profile seen as the 18th century progressed.  A buckle was used to secure the shoe; however, no evidence of pin holes or stress on the fabric was evident upon close inspection by the Director Kate Luchini, Assistant Director, Abby Battis and the author.  The pointed tongue may have been altered, probably square. There is a straight side seam, and as was frequent, no separate left or right shoe.   The lack of wear and somewhat unfinished appearance may indicate that the shoe was either a display sample or worn only a few times, then put away.

At 9 ¾” long, 3 ¼” wide, 4 ¾” high, these shoes would be approximately a size 8.5 to 9 in US sizing.

Courtesy,  Lynn Museum (www.LynnMuseum.org)

Emma Hope's Pink Boho Fuzzy Felt Slingbacks: "Think Pink"

I recently caught up with London shoe designer extraordinaire, Emma Hope. I have had the pleasure of collaborating with Ms. Hope since 2010 when I asked her to consider designing a contemporary shoe based on the work of London Georgian cordwainers for an exhibition.

This time, I was interested in a pair of shoes featured in the current Museum of Fine Arts exhibition “Think Pink” (http://www.mfa.org/news/think_pink)

Emma shared the following regarding the concept and design of the Boho Fuzzy Felt Mules (2005), in the MFA collection.

KA:

What was the genesis behind this delightful burst of pink?

EH:

The boho fuzzy felt itself came from a little vintage collar I found at a jumble sale which had bullion and felt flowers on. I think we did a bag and some ballets [flats] too, but thought it would be mainly pretty as a boho chic sling [back]. I used to have a rather low-key game box of fuzzy felt animals to stick on when I was little, so I that is how the name came about.

KA:

You are well-known for your interest in reviving historic techniques and aesthetics, incorporating them into your contemporary footwear. What were your inspirations for this shoe?

EH:

I think the Victorians put an awful lot into embroidery, as seen in the original vintage collar on which the sling is based, perhaps because they didn't have TV as a distraction. There was quite a lot of mental energy to be channelled into creative work.

EH:

While we did a couple of colourways, and probably sold more on a black suede base, I think the pink is nice and summery.

About Emma Hope:

Emma Hope grew up in Singapore and England and graduated from The Cordwainers College in London. Currently, there are three Emma Hope shops in London; the first Emma Hope flagship store in Japan opened in 2003 in Roppongi Hills, a leading shopping area in Tokyo. Ms. Hope has designed shoes for Paul Smith, Anna Sui and Mulberry. Her shoes and bags are in over 150 stores worldwide including Neiman Marcus, Bergdorf Goodman and Harrods. All the shoes and bags are made in small, family owned factories in Tuscany, where they are specialists in the finest hand crafted shoe making techniques. Emma Hope likes buying beautiful vintage bags, shoes and gloves at jumble sales and flea markets using them to rework and revive the old techniques of how they were originally made. More: http://www.emmahope.co.uk

About the exhibition:

Think Pink features approximately 70 objects, including dresses, suits, jewelry and accessories by designers such as Christian Dior, Dolce & Gabbana, Ralph Lauren, Christian Louboutin and Oscar de la Renta and is complemented by graphic illustrations, photography and paintings. On view through May 26, 2014 in the Museum’s Loring Gallery, Think Pink will also highlight dresses and accessories from the personal collection of the late Evelyn H. Lauder, who was instrumental in creating awareness of breast cancer by choosing the color as a visual reference. More: http://www.mfa.org/news/think_pink

A Special Invitation to a Costume Tea at The Warner House, Portsmouth, NH.

Jonathan Warner extends an invitation to you and your friends for a special afternoon at the MacPheadris-Warner House, Portsmouth, NH.

We live in one of the finest early-Georgian brick houses in New England, c. 1716. I would not be too bold as to add that we are also among the best appointed in these northerly climes - our gardens are delightful, our murals powerful and our smalt chamber the envy of many. Declared a National Historic Landmark in 1960, we are well-situated in downtown Portsmouth, near the mighty Piscataqua (and rather close to Maine). Our house has been a bit quiet of late - Might you and your friends be interested in a venue for costumed events such as teas or perhaps a dance?

Do join us in your costume of choice on Saturday, 21 June 2014 for an open house from 11:00-3:00. A five dollar donation covers tea, cookies and a tour. RSVP to Jeffrey Hopper, Warner House Manager at info@warnerhouse.org by 15 June.

The Dramatic Shoe: A Selection from the Chester County Historical Society

I was fortunate to be "up close and personal" with these shoes and many others from the Chester County Historical Society at a recent conference. Colleague Professor Mary Doering, who teaches costume and textile history at the Smithsonian Masters Program in the History of the Decorative Arts (an academic partnership with George Mason University)  invited Nancy Rexford, author of Women’s Shoes in America, 1795-1930 and nationally recognized costume historian and me, to take part in a “shoe study session.”

None of the shoes shown here are timid. These are just a few of my personal favorites- the collection is extensive and impressive. Rich discussion and analysis resulted as part of the session, which I hope at some point we will be able to write up for you.

You have to appreciate the dramatic flourish of this over-the-top satin pleated "bow" ornament which dominates these 1876 cream kidskin wedding shoes. They were worn by Catherine Black for her marriage to Herman F. Myers and have a Marie Antoinette revival flair.

These bright boudoir slippers would have been the ideal indoor footwear for an elite woman, adding some dash beneath her wrapper. Of dark brown leather with red binding, all the emphasis is placed on the front of the slipper with its pleated pink bows, and appliqued green flowers set against a pink panel, c. mid 19th century.

There are two pairs of c. 1800 shoes which really caught my attention and inspired my pen.  If you have followed SilkDamask on twitter or facebook, you will know I have a penchant for plaid. These kidskin shoes with white/purple stripe plaid immediately captured a place among my footcandy favorites! Look at the elegant tassel ties and the impossibly pointy toes, c. 1800. Imagine how they would have looked, with accessories, visually breaking up the solid colors associated with white cotton, muslin, linen or silk of Neoclassical/Regency columnar dresses.

The second pair (pictured below) will be the subject of a future post, but until that time please do check out the excellent blog by our colleagues @2nerdyhistgirls http://twonerdyhistorygirls.blogspot.com/2014/04/a-ladys-embroidered-silk-sandals-c-1805.html

These are indeed rare slippers or sandals as they would have been known by the fashion forward ladies of the late 18^th-early 19^th century. The pink satin vamp has two pieces, laced together with a dark green ribbon. The sides and heels are open. The pointed toe has green embroidery in the form of tendriling vines, a perfect classical motif to accompany the slippers. The soles are suede and the insole features a removable quilted lining – I suspect these shoes were made for indoor wear, most likely for dancing.

All shoes are from the collection of the Chester County Historical Society, West Chester, PA. www.chestercohistorical.org

The exhibition “Profiles: Chester County Clothing of the 1800s” is on view through 30 August 2014.

All photos are by Kimberly Alexander @SilkDamask

The Unfortunate Tale of Boston Shopkeeper Henrietta Maria East Caine, 1750s

Seeking new financial opportunities as a single woman, Henrietta Maria East arrived in Boston from London in 1743 with a rich stock of textiles (such as the c.1750 Spitalfields silk from the Metropolitan Museum, above) and other goods. She opened a millinery shop in the heart of the town, on Marlborough Street. Judging from the advertisements she placed over time in the Boston Post Boy and other newspapers as well, she kept a well-stocked shop of prized textiles and accessories.

An ad from 1750 made it clear that she had all the latest and most fashionable goods from London. She carried everything from fine silks, to tabby stays and London shalloons – items in demand from Boston residents. (Advertisement, courtesy American Antiquarian Society.)

As recounted in Patricia Cleary’s noted 2000 publication, Elizabeth Murray: A Woman's Pursuit of Independence in Eighteenth-Century America, Henrietta’s  decision to marry in 1747, had devastating consequences for the young entrepreneur. Cleary reveals that Henrietta married Londoner Hugh Caine, who, as it turned out, was already married and had a wife at home. Not only a bigamist, he abandoned Henrietta in 1751, helping himself to her hard earned property.  She would later reveal that during those four years of marriage she sustained his violence toward her. Unfortunately, Hugh Caine's departure did not end the problems caused by the marriage. Henrietta Maria East Caine remained legally responsible for all of his debts and found merchants unwilling to trade with her because of her connection to a bigamist, despite his departure. The legal bonds that women experienced with marriage limited her ability to act independently. Eventually, she turned to the courts to dissolve her marriage, but once again, met without success. She was literally trapped by the legal system and her ultimate demise was not a happy one as you might expect.

Although of little comfort to Henrietta, today’s textile, costume and material culture scholars will find great interest in the items which were auctioned to cover her debts. Running to four full pages, every ribbon, button and remnant was cataloged for sale. Bundles of "babies Rowlers," women's tabby stays, scarlet calamanco, every imaginable silk and even the odd wig, were up for sale. Even some of Henrietta's household items were included at the close of page four. It is not currently known how much was realized at auction or if she regained solvency. To view the entire inventory as listed for sale in 1754 (from the Massachusetts Historical Society Collections): Henrietta Maria Caine, Catalog of Auction Goods, Boston-1754

For more on Henrietta Maria East Caine's life and career, see Patricia Cleary, Elizabeth Murray: A Woman's Pursuit of Independence in Eighteenth-Century America (Amherst: University of Massachusetts Press, 2000), 45-46, 57, 60, 62-63, 241n.

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