Clothing: Is it Garb, a Costume, or Cosplay?

Victorian Grand Bustle made on a White Treadle Sewing machine

By Alanna Radle Rodriguez and Judge Rodriguez

Hello Friends!

Thank you for joining us once again as we delve into the history of this great state, we call home: Oklahoma.

For the last several months, we have been delving into the history of several buildings in Guthrie. This month, we will take a short break from the norm, and I will explain why, later. As we have both been freely open with, we work at the Edmond’s 1889 Territorial Schoolhouse, as guides to visitors. We are their resident “Living History Re-enactors.” What is that you ask? Why, we dress in garb, tell whoever asks about the climate of the town of Summit, Indian Territory, now Edmond. Mind you, this is not just climate as far as the weather, but is socio-political and historical as well.
  

Judge in what we consider garb

There’s that word again. Garb. What IS this “garb” we keep mentioning? Well, as defined by most historians, garb is the clothing worn by others during their time period. Now, that’s not to say we raided a museum, but we made our own clothing by using materials they had back then, and methods that have survived since. Before you ask, yes, our clothing was sewn on a treadle sewing machine, and our footwear is hand-stitched.

 

Judge and I at the Medieval Ball, 2019
These outfits we consider more costumes

So, what’s the difference between garb and costumes? Garb is using the same materials, the same methods and even, according to some groups, the same amount of time as making the clothing as they did back in the day. Costumes are clothing INSPIRED by a time-frame, or event. This is not to say that costumes are any less effective in story-telling, but that there is something to keep it from being garb. Most of the times, it is a difference in the materials and methods, like using rayon instead of muslin, and being made on a modern-day sewing machine. 

 

Vest made on a White Treadle Sewing machine with period pattern

Muslin shirt sewn with period pattern on a modern machine

Some groups refuse to accept not having made your own material as your outfit being a costume. They are commonly insist on the perfection of the clothing, before they tend to accept the person as being a living history re-enactor. 

Then you have cosplay. This is a term that has been bandied about for the last number of years. What is it, you ask? Cosplay is a combination term of costume and play. This type of outfit is an artistic expression of something. This could be a character in a popular t.v. show, or possibly a movie, or a book. This type of an outfit is only limited by your imagination and resources.

   

My Cosplay...Going Narnian
at Life.Church At The Movies, 2010

For anyone that is looking at making or buying an outfit of any type, we always recommend you keep three things in mind. 

1. Know your audience. You can’t get away with cosplay in a group of re-enactors, unless it was previously set up. 

2. Know your history. Make sure you know the difference if you are wearing a costume, garb, or cosplay. 

3. Know what you yourself want. If you look at buying garb, or even making it yourself, remember it is YOUR outfit, not to be completely defined by someone else. That is not to say others can’t influence your decisions, but that YOU need to be final authority of what it is you want. Each group, each region, each person has their own definitions. Times change along with language.

We hope you have enjoyed this article on the differences between the types of outfitting.

OH! Almost forgot. Why, you ask, the change from the normal routine? That is because we celebrate our 5th anniversary today in the place that we wed. We did an article about the historical wedding and the historical traditions we did, you are more than welcome to click here and read it. We are working at the Territorial Schoolhouse today between 1 and 4 p.m and invite anyone to come along for a rousing discussion of history and clothing.

 

Wedding Day, Oct 19, 2014
Edmond, Oklahoma 

Happy anniversary, my love. 

Happy anniversary, beloved.

Born and raised in Edmond, Oklahoma, Alanna Radle Rodriguez is the great-great-granddaughter of one of the first pioneers to settle in Indian Territory. Judge was born and raised in Little Axe, Oklahoma, the son of A.F. Veterans. Judge and Alanna love the history of the state and relish in volunteering at the 1889 Territorial Schoolhouse in Edmond. Her second published story, part of a collaborative novella titled 18 Redbud Lane, is now available. Alanna and Judge live with her parents in the Edmond area. They are currently collaborating on a historical fiction series that takes place in pre-statehood Oklahoma.

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Traditional Navajo Clothing

by Kiersti Giron

Navajo weavers at Hubbell Trading Post.
U.S. National Archives, Public Domain.

When many of us Americans of immigrant descent think of traditional Native American clothing, we think of deerskin, beading, and blankets. For the Navajo, or Dine', people of the southwestern regions of this country, however—in present day New Mexico, Arizona, and Utah—this image is not quite correct. Instead, think flounced skirts, velvet blouses, and turquoise and silver jewelry. After living in New Mexico for several years during my teens, most of my novels have been inspired by the history and culture of the Navajo people, and I have found learning about their distinctive and beautiful traditional clothing to be quite fascinating.

While most Dine' men and women dress in contemporary clothing today, their traditional historical clothing still frequently is worn at ceremonies and during special occasions, and it forms an integral part of their cultural identity and heritage.

Before European Contact

The wife of the great Chief Manuelito, wearing a blanket dress.
By Pierce, C.C. (Charles C.) 1861-1946 Public Domain.

Before the mid-19^th century, Navajo clothing held more similarity to that of many other First Nations tribes on this continent. Both men and women wore deerskin clothes, such as skirts, shirts, and leggings.

Women also wore the “blanket dress,” a simple woven garment made similarly to a poncho. Weaving remains a central piece of Navajo culture to this day, though the craft shifted in the 19^th century from making clothing to weaving the famous Navajo rugs.

After the Long Walk

After the tragic period of the “Long Walk” in the 1860s, when the U.S. government forced the Navajo from their homeland and marched them hundreds of miles to be held at Fort Sumner (read more about the Long Walk here), Navajo clothing, as well as other aspects of their culture, underwent a dramatic change.

The Dine' have always been an adaptable people, taking elements from other cultures and weaving them into their own in a style distinctly Navajo. It is easy to see the influence of European settlers, as well as the impact of Mexican culture, on the style of Navajo dress that emerged from this period. Still, traditional Navajo clothing is also completely unique.

Navajo girl, 1941. By Ansel Adams, Public Domain.

Women’s Clothing

A traditional outfit for a Navajo woman evolved to include a skirt and blouse, perhaps inspired by contact with the wives of European-American traders. From these trading posts, the Navajo in the late 19^th and early 20^th centuries purchased cloth like calico and velveteen in exchange for their high-quality wool and rugs. The full skirt is usually pleated and often tiered, made from calico, velvet, or satin, and the blouse is usually velveteen and decorated with silver buttons. Often in the past, the buttons were actually coins and might comprise a good portion of the woman’s wealth.

Navajo Squash Blossom necklace
By Barbarabarrington - Own work, Wikimedia Commons

Navajo jewelry is known throughout the world and is still a significant household industry in the Dinetah (land of the Navajo) today. Silver and turquoise form the classic elements, and the jewelry is shaped by skilled silversmiths into beautiful and elaborate bracelets, rings, and necklaces such as the famous squash blossom necklace. The jewelry is not only sold to tourists but also forms a significant part of the Navajo traditional clothing or regalia. Coral is a popular traditional element in jewelry as well.

Deerskin moccasins, either ankle or knee-height, also remained an important part of Navajo clothing both before and after contact with Europeans.

Edward S. Curtis, from The North American Indian.
Northwestern University Library,
sponsored by U.S. Library of Congress. Public Domain.

Men’s Clothing

Navajo men also traditionally wear a velvet shirt, as well as jewelry such as necklaces. Today, jeans are a common accompaniment to the traditional shirts, though breeches from thin material and deerskin leggings would have taken their place historically.

Both genders will also often wear a concha belt, with large silver conchas strung on a belt. Originally the conchas would be made from silver dollars, with scalloped edges, leather backing, and holes punched through.

For headgear, traditionally a Navajo man would wear a headband, but hats similar to cowboy hats have also become incorporated as a common piece of traditional clothing, often with a bit of embellishment around the brim.

Navajo Cowboy. By Moyan_Brenn - https://www.flickr.com. Wikimedia Commons.

Hairstyles

Traditionally, both Navajo men and women wear their hair long and twisted in a distinctive bun, or tsiiyéél, on the back of the head, tied with white sheep’s wool yarn. The hair binding was typically a bonding family ritual, done between brothers and sisters or parents and children, and with the aid of a traditional hair brush called a be’ezo, a bundle of dried grass bound tightly together, and remains an important part of Navajo culture today.

Navajo Woman Baking Bread, By Unknown
Carli Digital Collections, Illinois University, Public Domain.

So, which aspect of traditional Dine' clothing do you find most interesting or attractive? Were you familiar with any traditional Navajo clothing already? What cultural connections or differences do you see? Please comment and share!

Kiersti Giron holds a life-long passion for history and historical fiction. She loves to write stories that show the intersection of past and present, explore relationships that bridge cultural divides, and probe the healing Jesus can bring out of brokenness. Kiersti has been published in several magazines and won the 2013 ACFW Genesis Award - Historical for her manuscript Beneath a Turquoise Sky. A high school teacher and member of American Christian Fiction Writers, Kiersti loves learning and growing with other writers penning God's story into theirs, as well as blogging at www.kierstigiron.com. She lives in California with her wonderful husband, Anthony, and their two kitties.

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Tidbits on the Fashion of 1870 Gentlemen's Hats

I love being able to see something to get a true feel for how it appears. Below are some examples of 1870 Gentlemen's Hats. They represent the latest in fashion for 1870. The differences are subtle from what you would see on men today. Take the first hat for example, a top hat, note the longer and curved brim. Today the brim is not the same, nor is the top of the hat flared as much. Personally I love the top hat but my husband has never had the occasion to wear one. My son when he was only seven years old did, for my sister's wedding.

Lynn A. Coleman is an award winning & best-selling author who makes her home in Keystone Heights, Florida, with her husband of 42 years. Lynn's latest novel is a collection of three. Brides of Kentucky She also released a novella this month The Matchmaker Brides Collection Lynn's novella is titled "The Tinman's Match"

Amish Dress in the 18th Century

I live in Amish country—to be specific, Elkhart County in northern Indiana, the second largest Amish settlement in the country. Growing up Mennonite with many Amish relatives, and living in this community, has given me a pretty good look into their lives and customs. You might assume that since the Amish cling to tradition, their style of dress has always remained the same, but you’d be mistaken. Just like everyone else, the lifestyle of the Amish has undergone a lot of changes over the centuries, including the way they dress. Just over my lifetime styles have changed noticeably, although it’s happened much more slowly than in the outer culture.

When I started doing research for the Northkill Amish Series, which I’m writing with bestselling author Bob Hostetler, it quickly became obvious that we needed to describe our characters and what they’re wearing. To my dismay I discovered that there’s very little information available about Amish clothing in the eighteenth century, the period during which our series is set. Mennonite Attire through Four Centuries by Melvin Gingerich is the only detailed resource I found on the subject, but although it’s helpful, it doesn’t include much specific information about Amish fashion in the mid-eighteenth century. So I had to make some educated guesses. Happily I chanced across the images of the 18th century Swiss Anabaptist man and woman to the left and below right. The clothes they’re wearing would be very close to what the Amish wore during the same period, except for the stripes on the woman’s apron. They may be Mennonites, who were a bit more fancy in their dress.

One thing I learned was that when the Amish broke away from the Mennonites in Europe at the end of the 17th century, they continued wearing much the same general style of clothing as the common rural people of the Alsace, the Palatinate, and other parts of Europe where they lived. In fact, the dress of Amish women is very similar to examples from the 17th and 18th centuries displayed in Palatine museums. Because of their beliefs, they chose to dress much more plainly and modestly, however, and to adopt little, if anything, from the ever-changing fashion scene. Colors remained very somber, and no adornments such as stripes or figures on the fabric, jewelry, ribbons, and shoe buckles were allowed. Of course, when the Amish emigrated to America they brought their style of clothing with them.

Like the majority of colonial men, Amish men would have worn a long linen shirt that also served as nightwear, a waistcoat, and knee breeches, with long hose and plain shoes as you see above. A dress coat was added for formal occasions such as attendance at church. Once they married, they were required to grow a beard.

Since women had to cook over open fires and do other labor, they wore a plain mid-calf-length petticoat with a separate bodice that pinned together down the front, and a pinner apron like the one worn by the woman in the painting on the left. Under this they wore a shift that did double duty as a nightgown, hose, and plain shoes. (Colonial women wore stays to support the bosom and back and to provide the right shape for their gowns, but I have no idea whether Amish women did so.) Over their bodice, they wore a Halsduch or neck cloth that covered the neck and bosom, which you can see both in this painting and in Wybrand Hendriks’ portrait of a Dutch milkmaid below right. In cold weather they would wear a shawl. A fitted white or black linen cap called a Haube, similar to the cap the old woman seated at the table in the last painting, by Adriaan de Lelie, wears but lacking a ruffle, covered their hair, which was pinned behind the head in a bun.

In the summer when they went outside, just like their colonial neighbors Amish women wore wide-brimmed straw hats with low crowns, which they set right atop their cap. These were called scoops because of the shape that resulted from passing a ribbon or cord over the crown and tying it under the chin, thus pulling the brim down over the ears. Amish men and women both wore flat black beaver hats, called in German Flamma deckle, during the cold months, and when needed, they tied the brims down on the sides to keep their ears warm or prevent them from blowing off.

Bonnets came into fashion in the early 19th century, but it wasn’t until the mid 1800s that Amish districts slowly began to allow women to wear them. Gingrich cites examples of Amish mothers who on their deathbeds pleaded with their daughters to promise never to wear this outrageous headgear, but to little effect. Bonnets took over, and today Amish women still wear them. One of my cousins who was raised Amish told me that she absolutely hated wearing the silly things, and she had a good laugh when I told her that they were once banned. How things do change, and perhaps one day the Amish will transition to something else!

Clothing became an important factor in why the Amish clung to the dress styles they brought with them from Europe instead of adopting new fashions as the society around them did. In America the Amish found themselves for the first time conscious that their clothing was distinctly different from their neighbors on the frontiers where they settled—the Scottish-Irish, Huguenot, Quakers, and English. Traditional Amish dress served to immediately identify those who were members of the community. Over time, it also served as a hedge against the pressure to change in ways could eventually cause the Amish community to go out of existence.

~~~

J. M. Hochstetler is a descendant of Jacob Hochstetler’s oldest son John. An author, editor, and publisher, she is the daughter of Mennonite farmers and a lifelong student of history. Northkill, Book 1 of the Northkill Amish Series, won ForeWord Magazine’s 2014 INDYFAB Book of the Year Bronze Award for historical fiction. Her American Patriot Series is the only comprehensive historical fiction series on the American Revolution. One Holy Night, a contemporary retelling of the Christmas story, was the Christian Small Publishers 2009 Book of the Year.

Fact or Fiction? The Absence of Under Clothes During the Regency

What About Those Underclothes?
 by Linore Rose Burkard

Rumor has it that women's clothing during the Regency lacked sufficient underclothing. But was it true?

During the 18th century, women were required to wear layers and layers of clothing consisting largely of underclothes. Chemises, stockings, stays (corsets), hoops, panniers, and often many layers of
petticoats. By the time of the Regency, costume had undergone a downright shocking reversal. The change began in France, the center of fashion, which took its ideas from classical Greek and Roman styles of antiquity (as in the illustration, below). The new styles caused the heavy layers of underclothing to be largely discarded.

Greek costume that influenced the Empire Style

It was, if you will, no less than a fashion revolution. 


Some French women of the upper class went so far that underclothing was in danger of becoming downright extinct.  When this “Empire Style” crossed the channel into England, however, it became
less risqué, thanks to the more modest English. 

(This explains why the quintessential Regency style dress has an "Empire" waist.  The style began during the reign of Napoleon, who fashioned himself emperor--ruler of an empire.)   

Regency Corsets

In England, the ideal of a long,
straight dress, revealing the human figure beneath was still in vogue, however, so all those petticoats from the previous century had to go.  Same for the long corsets, the hoops, and panniers.  What remained was a simple chemise, usually accompanied by a short corset (called “stays”) which served to raise and support the bust. It was a precursor to the modern bra. 


This is where personal taste came into
play. The long, straight line of the figure was the fashionable ideal which precluded the use of bulky under-garments. Most ladies, nevertheless,
assuredly wore underclothing. The chemise was a mainstay of the wardrobe, and the petticoat never disappeared completely. The Regency is famous in
caricature for the lack of female undergarments, but this propensity of exhibitionism was far less
common than the cartoonists of the day (or some modern novelists) would have you think.


Most women, like Jane Austen herself-- wore utterly sufficient undergarments, and, indeed, dressed quite modestly. The Empire day-dress, if it did not have a high neckline, used sundry manner of textile trickery to conceal the bust (such as
frills, lace, ruches and ruffs, and even light spencers) so that day garments were in particular extremely modest.

 

Josephine, as Empress

Evening dress was admittedly more revealing, requiring a square, low bodice, but women were free to use shawls, scarves, feathers, veils and what-not
(all of which came in an amazing array of sizes and styles, especially as
the Regency wore on), so that they could easily appear more modestly if  desired. Even to modern eyes, however, bodices from the day are revealing; but again this was mostly the case for evening wear, and
more formal occasions. The scantily clad lady sitting in the library
reading just wasn't the way it went, no matter how romance novel designers choose to portray it. And ladies without undergarments of any kind were, without question, a rarity.

Even drawers were worn by women as early as 1804, though admittedly not yet popular. (Left: 19th
century American women’s drawers)iv They were taken from men's clothing and considered coarse
and crude. Princess Charlotte was discovered to use them, however, which (despite shocking the
older set), did much to popularize them with the masses, who adored her.

VERDICT: Did Regency women abandon underclothes? No, this is a FICTION.

BONUS:  Subscribe to Linore's ezine and receive a coloring e-book companion to this article (for grown ups who love fashion!). (Greek and Roman Styles that Influenced the Regency.)  Leave a comment with your email address and let us know you subscribed (at LinoreBurkard.com) and Linore will send you the fun coloring book! Simply print out the pages you want to color, or just enjoy the fashion plates.

 

Linore Rose Burkard  is best known for her Inspirational Regency Romance Series, which whisks readers back in time to early 19th century England. Eye-popping detail and heart-warming adventure are par for the course in her books. Fans of romance in the tradition of Austen and Heyer (such as Pride & Prejudice, Cotillion, and even My Fair Lady), enjoy meeting Linore's feisty heroines and dashing heros.