An Absinthe Minded FAQ - Part 5; The Absinthe Ritual

Photo credit: John Mays

Q: Having acquired the absinthe and all the accouterments, what's next? Isn't there fire involved?

R: Coughs delicately. No, we call the Absinthe Heresy.

But first, some mechanics.

Essential oils from the herbal macerations are dissolved in  absinthe during distillation. Ice water is added to the absinthe before serving, to emulsify with the essential oils. This is what creates the "louche", the characteristic swirling opalescent cloudiness that defines a good absinthe. Simultaneously, the essential oils release a bouquet of fragrances - floral, herbal, spicy, honey. The fragrance will  fill the glass, and sometimes the room. Fragrance is considered part of the experience; enjoy it.

The louche should not be too thin nor too thick. Too thin is typical of an inferior absinthe; too thick would indicate presence of a gum or resin, which is how some low quality or faux absinthes get a louche, because there's not enough anise oil in the mix to do it properly. This is, by the way, an "authentic" adulteration, as it was used in the 19th century too.

The trick to getting a nice louche is to add ice water slowly to the absinthe. If you have a lot of control, a carafe will do the trick. If you've gone "all in" and bought an absinthe fountain, your finesse counts a little less.

So, let's prepare some absinthe. 

Photo credit: John Mays

You will need your glass and spoon, ice water in whatever delivery container you have acquired, and some sugar cubes. Packages of absinthe sugar are available on line, and I do recommend those little green-wrapped cubes. Gourmet refined or raw sugar is also available in cube form, and the raw sugar in particular will add a different note to your prepared absinthe. However, they are larger in size compared to the absinthe sugar and they don't melt as quickly or thoroughly.

Start by pouring an ounce of absinthe into your glass. If you have a glass with a measured dose or bubble, that's easy. If not, you'll want to add a jigger to your bar.

Place the sugar cube on the spoon, and lay the spoon across the glass. Sugar is, by the way, optional, and should be added to taste. If you prefer sweetness, use an entire cube. If you like less, feel free to cut the cube to a smaller size. Sugar balance is important; it tempers the bite of the wormwood, but it can also mask flavors.

If you are using a carafe to deliver the water, start by wetting the sugar cube. Then set down your carafe for a few seconds - up to a minute - to give the sugar a head start on melting. If you're using gourmet sugar cubes, this is a good idea, even if you have a fountain.

Now start to drizzle the ice water over the sugar (from the carafe or fountain) in a thin steady stream. Watch the louche magically develop. Inhale the fragrance.

The typical ratio of absinthe to water is 1:5, or one ounce of absinthe to five ounces of water, resulting in a 6 ounce drink and about 12% or 14% alcohol - comparable to a glass of wine. If you want it a bit stronger, use three or four ounces of water.

Coordinate the speed of pouring with the dissolution rate of the sugar. This might take some practice.

Using the absinthe spoon, stir the glass briefly to mix in any undissolved sugar grains in the bottom of the glass.

L'Heure Verte est arrivée!

Sip slowly, allow the mix to slip across your tongue and enjoy the sensations, the fragrances, and the flavors. Notice how the fragrance has changed with the addition of water and sugar. 

But what about that burning sugar part?

Pointless, dangerous, and heretical. 

It was an "innovation" designed to enhance the allure of absinthe, to underscore the illicit drug image, a marketing ploy that does nothing more to the absinthe than to impart the flavor of burned sugar to it, while burning off some of the essential oils that are critical to the flavor. It's not traditional, unless you count the past 20 years of Czech practice. 

Next time: how to evaluate an absinthe. 

An Absinthe Minded FAQ - Part 4; Absinthiana

Q: I've purchased an impressive-looking bottle, and I'd like to do a respectable presentation. What else do I need to serve absinthe?

My Pontarlier reservoir glass

R: While there are no actual requirements beyond a pretty glass and an absinthe spoon, there are myriad available examples of each out there - and more. Let's first look at these two basics and then the other absinthiana that will complete your set. And some Cheapside sources!

The Glass

The first item that you'll want to look for is a good absinthe glass.

Historically, absinthe was served in multi-purpose bar ware, stemmed water or wine glasses that worked equally well with other drinks, and would stand up to heavy use. As absinthe-specific glasses were developed, the absinthe makers started using barware to advertise their brands, adding logos to virtually every item of absinthiana. As glassware specialized, the classic shape developed, with a dosing bubble or line to assist in measurement.

The typical absinthe glass is a funnel shape with a short, often ornate stem. Glasses are often decorated or faceted to reflect light into or through the louche. A good glass will cost you as much a $20, although they can occasionally be found in thrift stores [1] for far less. Mine is a finer quality glass than would be found in a Belle Epoch bistro; it's a delicate glass, probably mouth-blown. La Rochere makes a variety of lovely sturdy machine-molded absinthe glasses. To start, there's the basic Pontarlier, a classic shape with a dosing bubble. La Rochere also makes an ornate absinthe glass in the Versailles pattern, with a dosing line rather than a bubble. There's a carafe (which I'll talk about in a bit) in the Versailles pattern.

There are other typical shapes. La Rochere's torsade is one of the most frequently seen glasses in Impressionist paintings. (One of the great things about La Rochere is that they're 500 years old - some of the glassware that they make today is unchanged from previous centuries.) They also make the Lyonnais, another pattern that also has a matching carafe.

Luckily, the funnel shape is still in production by a lot of other manufacturers as "water" glasses. IKEA's Pokal wine glass is a perfect shape and size and it's about $1.50. Water glasses are also readily available from your local thrift store. Look for the funnel shape, clear glass, no more than about 7 ounces, with the short, ornate stem and you'll be set.

The Absinthe Spoon

Most people prefer their absinthe sweetened to some degree. The usual process of adding sugar requires an absinthe spoon.

Spoons come in a wide variety of designs, but they all have a couple of commonalities - they're all perforated in some way, and they have a notch below the flat bowl to rest on the edge of the glass. Like glasses, spoons were very often branded in some way, and Kübler still produces branded spoons. Spoons usually run at less than $10, unless you get a silver-plated one. Mine is a silver-plate Eiffel Tower spoon, a reproduction of a tourist item commemorating the inauguration of the Tower in 1889. I think that it was around $20.

There are also grilles available for the same purpose. They look like a saucer that can be suspended above a glass.

There are of course a number of other items that the absintheure might obtain to fill out the respectable absinthiana collection. Marketing being what it is, absinthe manufacturers made every effort to get their brands in front of customers, and this is in part what contributed to the wide variety of absinthiana in the 19th century. Most of the rest of these items are in the "cool to have" category, and I'll list them by purpose.

To deliver water 

Absinthe is never served neat, but always mixed in some way. It might be in a cocktail, but more commonly absinthe is diluted with ice water. Of course one has to have mechanism to do this. In the Belle Epoch bistro, the ice water was often served next to the glass in a carafe so the patron could dilute the absinthe to taste.

However, unless you've got artful water dripping skills (patience and finesse!), using an absinthe fountain is an easier route to your louche. The ice water is loaded into a globe elevated above glass level on a stand. The stand incorporates several spigots which allow water to slowly drip over the sugar cube and to properly develop the louche.

If you're preparing for one, a brouilleur is a handy tool. A small bowl which fits over the rim of a glass, the brouilleur has a tiny hole on the bottom which slowly drips ice water. One can add sugar to directly to the brouilleur.

To hold your glass

In the bistro, absinthe was customarily served on a porcelain saucer which contained the width of the foot of the absinthe glass. The dish often was marked with the price of the drink, and at the end of the evening, one's saucers would be collected to add up your bill.

To contain sugar

Footed metal dishes were used to hold sugar cubes. Reproductions are available, but we use footed glass dishes. They're elegant, amply sized and cheap at the thrift store!

Other interesting stuff

Match holders - not for the heretical Czech burning ritual, but because smoking was common in 19th century bistros. Always emblazoned with an absinthe-maker's marque.

Spoon holder - for, well, absinthe spoons. Usually metal, funnel-shaped to accommodate a collection of spoons. Again, we use similarly-shaped glassware. Also from the thrift store.

Sugar tongs - any ornate tongs will do.

Next time: The Ritual and how to use all this stuff!

[1] I've even found Lucid-branded glasses in the thrift store. So very 19th century!

An Absinthe Minded FAQ - Part 3; Extraordinary absinthes

This time, let’s chat about some truly extraordinary absinthes.

Q: I hear that European absinthe is the cream of the crop. Is it available in the US, and from where?

R: The short answer is yes, and yes. And you’d best get out the credit card to pay for shipping.

But first, a bit of recent history.

T.A. Breaux probably knows more about absinthe than anyone alive today. He is an environmental microbiologist, native to New Orleans. In the 1990’s he found a few unopened bottles of century-old absinthe. Knowing that the prevailing opinion (no science was involved in the US’s absinthe policy) was that absinthe was poison, Ted decided that the only way to re-make the classic aperitif was to relocate to Europe where it had been legal since 1988, when the EU standardized its food and beverage regulations. Happily, the equipment remained in France to properly distill real, authentic absinthe. He used his scientific education to engage in some forensic research, analyzed the contents of these very old bottles and began to develop modern versions that are indistinguishable from the one-hundred-year-old real thing.

Ted’s Jade absinthes began production in 2000, and I consider them to be the very best. Native botanicals and antique stills produce an absinthe that is indistinguishable from those served in Belle Epoch Paris. Here is a selection that we have enjoyed.

Jade Nouvelle-Orléans – The first in Ted Breaux’s creations, this may be my personal favorite. It features a lovely floral bouquet, which I suppose to the gardener is especially appealing. Rolling clouds form the jade green louche. The Wormwood Society rates Nouvelle-Orléans at 4.4/5.

Jade Edouard – Another perennial favorite in our house, Edouard spots a complex aroma and a spicy flavor note. Thick trails form in the opalescent light green louche. 4.5/5 at TWS.

Jade Verte Suisse – A bit of spice and mint distinguish this fine, nicely balanced absinthe. It’s got a good tingly mouthfeel, which lingers on the palate. Some consider this the best of the Jade absinthes. TWS gives it a 4.5/5.

However, Jade isn’t the only fantastic European producer out there. We recently sampled La Clandestine (TWS gives it a 4.3), which is light and lovely, even though it was mixed a little sweet for my taste. The anise is a bit less than some absinthes, and the mouthfeel is silky with a slight tingle. La Clandestine is a Swiss absinthe, which is known for the “clandestine” (bootleg) absinthes. After prohibition in the early 20th century, Swiss producers skipped the final herbal maceration process – the one that produces the green hue. This colorless absinthe is termed “la Bleue” or “blanche”. That way they could plausibly fool the government men into thinking that the clear contents of those bottles was gin. Maybe. Maybe the government men just liked to think that it was gin, and went home to their nightly absinthe after all.

Post-ban style Swiss absinthe is now commonly called la Bleue, and there are several good ones available. They tend to have lighter herbal notes because of the missing second maceration. Alandia’s Suisse la Bleue is a standard favorite, distinguished by the aromas of honey and flowers.

The problem is that these labels are virtual unobtanium in the US. The good news is that they are readily available for import – for a price. Alandia (www.alandia.de) is our usual supplier. Shipping cost for one bottle from Germany to the US is $44.45 which is 60% of the cost of a bottle of Jade. Eep! The good news is that the shipping cost is exactly the same for three bottles, which reduces the cost per bottle to something more reasonable. In fact, it’s cheaper to buy 3 bottles from Alandia than from the one liquor store in the US that will ship Jade absinthe. Good reasons to coordinate an order with friends.

It’s still higher than domestic absinthes, but remember that these are the extraordinary absinthes.

Next time:

The absinthe serving ritual.

An Absinthe Minded FAQ - Part 2; Local sources and recommendations

Hazel's in Boulder, CO. Photo credit: Chris Bays 

Q: I'm at my local package store for a bottle of the Green Fairy. There are too many pretty labels on the shelf! How do I decide??


R: First of all, know that this is an investment. As such, you will get exactly what you pay for in a bottle of absinthe - there is a positive correlation between price and quality. If you look at nothing else, the highest priced bottle is likely to have the best balance of flavor, color, mouthfeel (that faintly astringent or tingly-on-the-tongue quality), and louche (the clouded appearance).


Consider too, that there are about 25 "doses" or servings of absinthe in a 750 ml bottle. At $75 for a bottle, that's about $3 per glass. So, actually cheaper than a $20 bottle of wine! And the alcohol content is about the same.


However, maybe you've got some choices in the $60-$75 range. In Denver, there are three local craft producers that are worth checking out.


Redux (Golden Moon Distillery, Golden, CO) 4.0/5 rating from The Wormwood Society. We've gone through one bottle of this very respectable absinthe, and were quite pleased. Flavors are fresh and intense, and the louche is a very entertaining mix of trails. Available from the distillery; checking on store availability.


Leopold Brothers (Leopold Bros, Denver, CO) - 4.3/5 rating from TWS. I haven't tried this one, but it is appealing; said to be well-balanced with at room-filling fragrance. The bottles are labeled with batch numbers. Select batches after #15. Readily available in liquor stores in the Denver Metro.


Trinity (Novovino Wine, Loveland, CO) 3.3/5 rating from TWS. A new one to me, this absinthe is described as "a good start", although it has already garnered a gold medal at the Denver International Spirits Festival. It is described as having light flavors, and a good candidate for a "standard" absinthe. Well worth a try. Available in many area liquor stores.


Looking at the shelf at Hazel's in Boulder (one of the better-appointed stores in the Metro), I honestly can't recommend any of the other offerings. (Check out the first FAQ in this series for cautionary tales.) Chambers Wine and Liquor carries a good variety, but beware of that lurid green one.


In short, you *can* pick up a perfectly good absinthe in Denver tonight.


Next time: More Sources and Recommendations.

Dress Diary: Post Edwardian evening gown - That Corset!

In the "a little knowledge might not be a good thing" category:

I just got a look at the pattern directions for Laughing Moon's corsets pattern.

Ho-boy, does that one have a lot of interesting information.

The LM pattern recommends finishing the front and back openings before doing the actual fittings. This means installing the busk and the grommets, lacing it up, and then doing the actual shaping of the panels. The mockup seems to be valuable only to determine the height of the corset and possibly ensuring that the width is correct.

Radical. Makes absolutely perfect sense. When you're making a Gothic fitted dress, you put the eyelets in the front, lace it up, and then do the final fitting.

And now I'm thinking that I need a redux on the 1910 corset. And a trip to Colorado Fabrics with the almost-finished corset to buy boning.

An Absinthe Minded FAQ - part 1; What is "real" absinthe?

Photo Credit: EvilJohn Mays

In yet another departure from my usual parsimonious ruminations, today I'm going to start a series of posts on the subject of Absinthe.

Absinthe is of course one of the defining spirits of the Victorian era, and specifically of La Belle Epoch - the almost parallel time period across the Channel in France. The social climate was optimistic, and characterized by a blooming arts community, technological and scientific innovation, and peace in the region. Absinthe was especially popular amongst the Parisian artists and writers, and being counter-cultural, was almost categorically opposed by social conservatives and the establishment.

I'd call absinthe the consummate Steampunk liquor.

Which is the reason why the Denver Victorian & Steampunk Society hosts Absinthe Minded a couple times a year, for the Steampunk community. In true Retro-punk fashion, we are for an evening, re-creating the Bohemian atmosphere complete with artists and writers, tinkerers, mad scientists, and absinthe. Our fall Absinthe Minded is at MileHiCon, the Denver literary science fiction convention. And as it's quickly approaching, I'm of a mind to put some information out there about absinthe and its surrounding culture. And I might even have a small stack of Steampunk books as door prizes.

Let's start with some basics, and subsequent posts to this blog will continue the theme through the end of October.

Q: There are a lot of bottles on the shelf at the liquor store. What is "real" absinthe, and what isn't?

R: Authentic, "traditional" absinthe is comparable to antique 19th century absinthe. It is technically an aperitif spirit, not a liqueur, and is intended to be diluted in ice water before drinking, optionally with sugar. Authentic absinthe must be distilled with the required herbs, is unsweetened, is at least 90 proof, uses Artemisia absinthium as the main ingredient, and as such must have a characteristic anise and wormwood flavor. There are very good domestic varieties of absinthe, made using traditional methods. There are also faux absinthes.

Distillation is required to separate water-soluble bitter absinthins from the desired essential oils. Herbs and a neutral spirit are macerated together and then distilled, and most absinthes undergo a secondary herbal maceration, from which the color is developed. Some high quality absinthe does not have a second herbal maceration, and is classed as blanche or la Bleue. Absinthe should not be artificially colored.

Faux absinthes vary considerably. Artificially colored absinthes are suspect, and there should never be sweeteners added. Be very cautious about the so-called Czech or "Bohemian" styles, which sometimes feature lurid colors. (Authentic absinthe is usually sold in colored bottles to protect the chlorophyll content, and thus color.) Gums and resins might be added to faux absinthe to simulate louche; they may use flavorings rather than herbs to create the flavors and fragrances. The home-made kits are not absinthe, since real absinthe requires distillation, and they're usually unappetizingly bitter besides.

In general, you're going to get what you pay for. A bottle of authentic absinthe will cost you around $70; however, consider that a single bottle goes a long way.

Next time: Local sources and recommendations.

Dress Diary: Post Edwardian evening gown - the underpinnings

I've never done one of these before.

That's not entirely true. I've never completed a corset before. I tried to make an Elizabethan corset once upon a time, and then in the early aughts, I wanted a Goth corset. Yeah, no.

But now, I have need of a Victorian corset. I typically do 1890's for the Steampunk genre, and I have designs on a Worth-inspired "absinthe" evening gown. Corset required. And I'm totally out of my element.

And then comes the opportunity to make a 1910's evening gown. Corset required...

Except it's corset lite. Straight lines, made to control the hips, tummy, and derriere. Seems to be a gateway project on the way to the hard core Victorian corset. Yeah, I can do this.

We're lucky in that there are two historic pattern companies out there doing that odd period between Edwardian and the Titanic. I call it post-Edwardian. Clothing lines have doffed the pigeon-breast look, the s-curve in the spine, for a more classic and columnar silhouette.

Maker 101

The Swagnation bag.  $79.95

I'm currently in a bit of a kerfuffle with an on-line vendor that keeps popping up in my Facebook feed. The vendor, Swagnation, posted this response on Thursday: 

Hello Guys, I am sorry, but we didn't rip anyone off. I just checked out Jungle Tribe's site, and our design isn't identical to any of their designs. Our images are not identical to any of their images. Plus, there are numerous sellers selling these types of bags on etsy, not just jungletribe. Why are we the ones being attacked? We just offer a less expensive, more affordable alternative compared to the ones sold on etsy which can range anywhere between $200 - $400, thanks, [1]

They are responding to my responses to their ads, to which I have posted twice. Finally - tired of continually seeing their ads, I went to their FB page and posted on the page itself.

Why?

One of the many iterations of the design on the Jungle Tribe site.
There are many more views. 

Because their "Steampunk" bags producer is making bags that are clearly derivative of the work of Jungle Tribe, the designer and maker of these convertible hip bags. Their maker isn't copying the designs exactly, so he's right - they're not identical. But they don't have to be. There are some differences in ornamentation, a rivet here, a d-ring there. But the fact remains that the overall design is virtually the same and obviously derivative. I have to admit that part of my outrage is that this isn't the first time I've seen Jungle Tribe's work copied. "We're not the only one" is irrelevant, totally sidestepping the question. This neat maneuver from Swagnation can be considered an argumentum ad populum, a red herring. It cannot legitimize bad behavior in any context. But in some ways, their excuse makes this a little bit worse. 

At least this time, the scammers took their own photos of the product. Small comfort.

But their final argument relies on the WalMart principle. And this is where it goes totally off the rails. This may be the part that Swagnation totally fails to grasp.

Jungle Tribe designed this bag. They did the prototypes, and more prototypes; they came up with the concept of a hip bag/holster that is convertible, with the dropped line, and decorated with eyelets and rivets and d-rings. They designed many different variations of their basic design. They've been doing this particular design for at least 3 or 4 years. I know because I've been drooling over their bags for that long.

And they're expensive. Not outrageously, not like a Coach handbag which may have been made in Asia, where you're really paying for the brand. What you're paying for from Jungle Tribe are the prototypes, the designs that failed, and the ideas that were discarded on the way to this product. You're paying for Jungle Tribe to hand-make this bag for you in Los Angeles. Cut it out, sew it, set all those fiddly rivets and eyelets and d-rings. See, I've talked to Jungle Tribe about this.

Those dozens upon dozens of Facebook likes and links means that the company who designed the bag is not getting paid for their design; their money is going instead to a company that is undercutting them on price, to which much of the cash is going to a middleman (Swagnation), and probably very little is going to the people who are physically stitching the bags together in a sweatshop somewhere.

Maybe Swagnation doesn't think that this is a problem. To a maker, this is wrong, wrong, and wrong.

Swagnation needs a course in Maker 101. 

As an artist and maker, I can speak from some authority. I have years and years of skills-building and experience. I have an education that I have paid a lot of money to achieve, and that process is ongoing. I have a substantial stock of materiel - clay, and tools, and expensive equipment and power tools for part of my studio; and beads, metal bits, findings and fittings, feathers and hardware, and tools for making dress accessories; and a large closet-worth of sewing materials, supplies, tools, and patterns that I've acquired in my career. I have bought and paid for repairs on 4 sewing machines over the years.

Everything I make is the result of myriad trials and prototypes, endless reiterations of the same bowl or cup form, tons of wearing and tweaking, repeated attempts at glaze mixes and changes and fixes; everything I make is informed and influenced by my experience and education in graphic and functional design, and uses virtually every of the principles of art and design. I'm not sure that you could name even a couple of these principles Swagnation, let alone define them or find your way through the tertiary color wheel.

The price of every piece I sell includes all the education, all the costs of sourcing, all the failures that have led to this one successful piece. Every other piece of pottery that has ended up under the hammer because it's broken in the firing, or the glaze has cracked, shivered, or dunted, or the bottom warped, all the pieces that succumbed to wind damage, go into the "cost" of a piece. Every walking stick "costs" not only the price of my time and materials, but the one that got dropped at the gallery and broken, and mysteriously lost. Every cravat I price includes not just the silk at $20+/yard, but designing the thing to one user's specifications, and then the half-dozen that stitched up crooked and had to be ripped out, and the silk that couldn't be used due to tape marks. Every necklace, bracelet and earring design is tested for how it hangs, how it wears. Every cup design is evaluated for how it feels against the lips, how it pours coffee into your mouth.

And then there's our time.

In my job - that is to say, the 40 hours per week at which I earn a wage - I make well over $20/hour (not including benefits!). I make that wage because I've been in the industry for over 20 years, and have a wide range of experiences and skills, not limited to knowledge of doing my job. I've taken specialized training related to what I do. My boss calls me when there are weirdnesses; I'm scheduled for training the rest of the staff because of the depth of my knowledge; I do specialized reporting on the database, that is beyond the understanding of my co-workers. I'm paid for the "magic" that I can do.

In fact, my skills as an artist and maker closely parallels that of a working stiff. Shouldn't I make a comparable "wage" for my time as an artist and maker? And shouldn't the makers of a leather hip bag also make a living wage? Jungle Tribe's makers deserve to make a wage commensurate with their considerable skills.

These are the kinds of considerations that go into a $300 convertible hip bag. 

These are the factors that influence every eye-roll and deep sigh of impatience when I hear "I can make that", and, "where do you find your stock?", or "it'll be good exposure." These are the reasons that I am irritated by Swagnation's product, and outraged by their response.

The legal fact is that these sorts of designs can't really be copyrighted, which means that what Swagnation's supplier is doing isn't actually illegal. Even if they could afford the attorneys and the time, Jungle Tribe would not likely prevail in any legal action against Swagnation and their producer. But it's not ethical. They didn't independently, out of their own brain, come up with this idea. They didn't develop the plans for the bags, they just copied what they got in a photo. Moving some rivets and turning a strap or two 90 degrees does not make it their design.

It is this kind of unfair and unethical competition that we makers face whenever we put a design out there[2]. Someone thinks that they can take our idea and make it - often for less - and profit off our work. It's not just the hours that we put into each item - it's the investments that we've made to create the thing that we'd like to profit from. The years of skills building are an investment, the education that we have paid to get, the sourcing of stock, the seemingly endless prototypes and failed designs are all investments in our work.

And we deserve to be paid for this. Not to have a producer in a third world country [3] copy our work and undercut our prices by 50%. Not to have the Steam-bro at the con say, "I can make that". We deserve to get paid for our skills.

This. This is why, today, that you are being "attacked" Swagnation. Because our livelihood as makers is attacked every time you sell one of the knockoffs that you got from an unethical producer. This is our experience. We deserve to make a living.



[1] I'm not going to base my argument on the lack of command of the language, but there's material here.

[2] One reason that I don't permit folks to take photos of some my work.

[3] A presumption; I don't have any proof of where these knockoffs are made, but I have suspicions. And even if my suspicions are unfounded, an item of this complexity certainly means a lot of labor hours, for which a $150 cost would indicate a really low wage.

Dress Diary: Post Edwardian evening gown - development

The opportunity has arisen for an evening at The Edison later this month. Described as "living history in downtown Los Angeles", The Edison is a destination lounge and supper club located in the basement of the historic first private power plant in Los Angeles, the Higgins Building. Some call it Steampunk, for which the retro-futuristic appointments might qualify, but the building was erected in 1910 and the décor is actually Art Nouveau to Industrial Gothic. 

Known for vintage cocktails, the absinthe service complete with winged fairy, as well as the vintage styling, The Edison is one of LA's most unique night clubs. They feature live music, burlesque, and aerialists. Although it's said that period attire might get preferential treatment, the appeal of dressing to go with the vintage atmosphere cannot be underestimated. However, my usual 1890's-based attire just won't quite do.

And thus the current project. A 1910's evening gown, from (almost) the skin out. Let me just state for the record that there is nothing cheap about this project. I haven't thrifted anything, and almost nothing has been able to be purchased at a discount. This is an all-the-resources project. Because the occasion is worth it. 

Eccentricities Make the Steampunk - Escaping Tropes for an Authentic Impression

I was chatting with a friend of mine the other day.

"I wish I had something STEAMY to wear," she said. Never mind that she makes fabulous and authentic 1890's skin-out outfits. They're too authentic.

I recommended dress accessories. 

"If I want to look steamy," she said, "all I need is a mini top hat, goggles, a gun, and a leather corset. Poof. Steampunk. But I am just allergic to looking like everyone else."

I've thought on this for a couple of days, and looked in my own closet, and then I thought, "time to write a blog." Besides, I run dress accessories panels at local conventions, and it's always nice to be able to distill philosophy down into something that's instantly understandable for interested folks. What it comes down to is:

Think Eccentric. 

There are a lot of tropes in steampunk dressing. Tropes aren't necessarily bad. In many ways, they're necessary to define any genre, and for the beginner on a sartorial journey, they're a useful shortcut to getting the look whilst researching, making, and developing a more unique impression. 

However, sartorial tropes are the thing that everyone wears. Not only does this mean that one gads about looking like everyone else, but tropes detract from the authenticity [1] of your outfit, reducing what might be a unique impression to a "costume." 

If we look at the typical tropes, we can start to see them as defining particular dress accessories, and deconstruct - and re-construct - atypical accessories that parallel the tropes without copying them. Let's look at some examples.  

Goggles - perhaps the archetypal Steampunk accessory, goggles are indeed necessary when one is requiring eye protection from flying bugs or sparks. However, there are many other eyewear options in Neo-Victorian or Steampunk stylings. I've recently picked up a pair of sunglasses  that look fab, for instance. Consider a lorgnette, or even getting your own prescription in a pair of Victorian-looking frames. How about opera glasses? 

Mini top hats - so ubiquitous as to have passed over into popular culture, women are wearing white ones for their weddings. I'm a hat girl, so perhaps I overstate the issue somewhat, but to some observers, hats of virtually any sort communicate "vintage". A standard top hat is a perfectly good accessory and has large flat areas for displaying embellishment like fascinators and mini "utility belts" masquerading as hat bands. I've even seen working clocks on top hats. Let's just add that a top hat, being a Victorian men's accessory, is positively progressive on a lady's head. (Progressive Victorianism is a topic for another blog post, but I see it as pretty Steampunk.)

Other steamy hat possibilities abound, such as pith helmets and bowlers for the gents, and fancy ladies hats just begging for some metal bits to be tucked in amongst the feathers and bows. Ladies can also find beautiful Steampunk barrettes on Etsy to tame tresses, and then there are always the glorious hat pins for an extra splash of metal. Speaking of tresses, Victorian women didn't have more hair than most of us have, but they did use false hair pieces. 

Corsets - my authenticity bias is going to show here, but - ladies, corsets are not appropriate for wear on the outside of your clothing unless you're communicating something, well, risqué. Let's re-frame the corset into other-things-that-go-about-one's-waist, but are more eccentric. I am fond of leather belts from the thrift store. I've found some lovely pierced leather belts or belts with studs, and belts with huge eyelets which are bonzer for hooking in pouches and chains. (I like buying used, partly because it comes with the patina of age.) A wide bright sash, bound with an interesting belt is a good waist cincher. I wear several belts high about my waist instead of the belt that is intended for the 1890's Sporting Costume basque. And if you want to go with the corset look, a corselet is a very good - and more authentic - option. The possibilities for steamy embellishment are endless. 

Brown - it's said that Steampunk is what happened when Goths discovered brown. The facts are disputable, but it's hard to ignore that both genres use Victorian clothing as a foundation. This trope arises from all the cabinet cards that resulted from an intersection of Victorians' passion for portraiture and the the development of photography. Although our mind's eye sees Victorians in sepia tones, any perusal of extant garments makes it very clear that clothing was virtually every color imaginable - including brown. A look at the dye samples at the South Park History Museum recently, further confirms that color was everywhere in the Victorian closet.

If you're making your own clothing, I recommend looking for interesting textile patterns; Victorian woven textiles featured paisley patterns, stripes, and Asian-themed brocades. Stripes have been claimed by the Steampunk community as our own. Thankfully, many of the gent's trousers in the thrift stores that are otherwise suitable mods are lovely pinstripes.

I've listed only four of the most common tropes. There are many more tropes that could bear some re-examining, from cephalopods to weaponry. Perhaps an alternate way of looking at sartorial tropes are as if they define parts of the body that would have been - in the Victorian era - embellished in some fashion. The challenge is to devise other ways in which headwear and eyewear and color can be used to communicate Steampunk. I encourage you to consider that non-vertebrates are not the only fish in the sea. Think eccentrically about your Steampunk impression and create something unique and authentic.

[1] See my blog on authenticity to read more about how I define "authenticity" in a fantasy genre. 

Rummaging: The Thrift Store

One of the better Rummaging Enterprises is your local thrift store. In the Denver area, we're lucky to have the ARC stores peppered throughout the metrosprawl. Their prices are a little better than Goodwill stores, and they have the added advantage of having most of their inventory on a 50% discount on Saturdays.

Rummaging requires strategies to be a success. You're not going to pop in and find the perfect eyelet bedskirt every Saturday. It takes frequent trips, and the focus to keep looking.

• Be methodical. Have a routine; for instance, consistently check the same categories of goods every time you walk into the store. I'm always looking for serving dishes for Teas and Absinthe Minded parties, so I start in the glassware sections. There are often good fabrics in the curtains (home dec weights are usually better for historically-inspired clothing), and I look at bedskirts for embroidered or eyelet ruffles. I'm always looking for belts - leather, ornate - and I check out the scarves and hats, too. 
• Make an afternoon of it and hit two or three stores, for the best selection. 
• Know what you're looking for, the "hand" or feel of the fabric or good clothing labels. Use your smart phone if you need to do a little research. 
• Saturday sales will make the best use of your thrifting budget.
• Thrift store purchases are often not refundable if you want to return something. However, they do give you store credit if you return unused items within their guidelines. 
• Never wait to buy. It won't be there if you go back later. Conversely, don't wait until the week before the con to start shopping. 
• Put it in your cart if you even think that you'll want it. You can put it back later if you change your mind. Also keep an eye on your cart; I've had stuff disappear from out of it. 

The possibilities at a thrift store are virtually endless. If you're just beginning to assemble clothing, the thrift store is great place to start. There are distinctive profiles that say "Victorian", and you'll want to look for basic separates that communicate the impression. We're going to focus on the 1890's for women, because the profile is fairly easy to achieve with modern clothing. On the other hand, men's styles haven't really changed in the past 150 years, so the thrift store is a great place to start for the gentlemen. Then add the dress accessories; they really make the impression and contribute to the neo-Victorian authenticity of the outfit.

Ladies 1890s  

Profile

• Long skirts that flare from the waist to a wide hem, in pinstripes, plaids, or solids. The front of the skirt was usually flat, with the fullness at the back center. Skirts with a casing waistline might be able to be modded. Typical colors are deep or bright; avoid pastels and most prints. Hem ruffles are a plus. Layer light colored skirts under dark skirts and tuck up the overskirts for a rakish look. 
• White cotton tops, typically long-sleeved, although short or puffy sleeves are fine for Steampunk. Even sleeveless, if you're daring. Look for details like full sleeve tops, pintucks, ruffles and lace. High collars look great with a necktie of several sorts; mandarin and wingtip collars are authentic. The visual weight of the top should be at the shoulder level and trim around the bustline and waist.  

Dress accessories

• Waistcoat - similar to men's, the typical style is high collar without points at the front waist. However, ladies have more leeway as to styling. Consider changing out buttons for quick bling. 
• Jacket - Bolero jackets were popular, as were Eaton jackets - waist-length, full at the shoulders. There are some out there that have some militaristic details, that can be easily modded - or molded - to Steampunk. Look also for "princess" lines - shaping that fits the jacket to the body. Peplums and ruffles are a bonus. 
• Neckwear - women wore string ties and cravats, both of which are frequently seen in the men's section at the thrift store. 
• Hats - Victorian ladies usually wore hats much higher on the head than we do; smaller size hats will work great. Also, boaters were popular for sporting. Look in the men's department for pit helmets or newsboy caps, too. 
• Jewelry - speaking of cravats, cravat pins are graceful additions. Look for short stick pins in the jewelry case. Necklaces, rings, and earrings were also commonly worn. 
• Gloves - anything goes, but I'd avoid shiny stretchy fabrics. They look too modern. 
• Handkerchiefs - you'll find handkerchiefs in the table linens; apparently they're easy to confuse with napkins. And if you do find linen napkins - real linen, not cotton or poly - let me know. 
• Belts - real leather looks best, and pre-owned looks well-worn. Look for anything fancy, with studs or braiding or cutouts for interest. Check the men's department. Sling them below your waist, or cinch about your ribcage for a corseted look. Belts were used for holding things other than pants 100 years ago; I have a holster for mine, and also tuck a fan in my belt. Lay your gloves over your belt when you're not wearing them, or tuck overskirts up into belts. (I recommend strategically placed pins for either of these arrangements.)
• Shoes - pointed toes, slight to moderate heel. Personally, I dislike zippers, but sometimes the right boot comes along with a zipper and what are you going to do? Riding boots look great and are easy on the feet for a day of con walking. I highly recommend spending some of what you're saving at the thrift store, on an excellent pair of insoles. 
• Reticule - the lady's purse. Usually small, ornate and lacy or beaded. You're more likely nowadays to find a small leather shoulder bag in an industrial style. 
• Walking stick - I haven't seen any of these at the thrift stores, but it can't hurt to look, right?

Men's Genera-Victorian 

Profile

• Flat-front trousers, in pinstripes, plaids, or solids. Look for dress slacks. Wool slacks are great. Cotton twills or chinos are perfect for the working Steampunk, and easy to add lampasses to for the militaristic look. They can be larger than your usual waist size, if you want to do the authentic thing and wear them with suspenders. Remove the belt loops and sew on buttons; clip-on suspenders are a later invention. Trousers were worn above the waistline. 
• Tuxedo shirt, with wing-tip collar. 
• A vest or waistcoat; it could be plain or fancy, single- or double-breasted. Victorian vests had higher necklines and didn't usually have the front center points. A gentleman's pants waistline was never visible. 

Dress accessories

• Coats - long duster-style for the dashing airship captain look; shorter suit-coat looks for more sedate wear. Avoid anything with shoulder pads; they were really popular 20 years ago, so they're all over the thrift stores. Or simply remove them. The cut will still be generous, but not supported. 
• Hats - you'll find pageboy caps at the thrift stores. For a good top hat, you'll likely need to buy new, and on-line. 
• Neckwear - cravats are typical and often available. Narrow ties were also popular, but avoid the modern tie.  
• Suspenders - find suspenders with button loops and as little elastic as possible. 
• Jewelry - cravat pins and rings were common. 
• Gloves - standard white gloves for dress; any number of other styles are likely for gents. Fingerless gloves are easily created from normal leather gloves - just cut off the top half of the fingers. 
• Belts - real leather looks best, and pre-owned looks well-worn. They're not for holding your trousers up; sling them below your waist, and thread a holster or pouch on them Fold your gloves over them when your not wearing them. Use several at once. 
• Shoes - look for pointed toe simple dress shoes. 
• Handkerchiefs - an indispensable gent's accessory. I recommend Ross stores for men's hankies. I've picked up monogrammed ones at Ross for the guys. But you might find them in the thrift store, like the ladies versions, in the table linens. Inexplicable, but there you are. 

Some other stuff that can be modded

• Almost any garment with buttons can benefit from some new buttons. Look for them at the fabric stores, but be sure to have the coupons or get in on sales. Or find clothing at the thrift store that is only good for its buttons and discard the garment. Buttons are expensive. 
• Bedskirts are an excellent source for flounces. A twin bedskirt has 5 or 6 yards of flounce. Look for embroidered white ruffles, or eyelet. They run about $5. 
• If you're up to making your own, curtain panels are a good source for yardage - especially if sets are available. Cotton twills are usually available and make good skirts. Sheers are also good for draperies and graceful puffs. Occasionally, embroidered silk shows up which has found its way into cravats and long scarves. 
• Speaking of curtains, a good number have beaded or tasseled trims that can be removed and re-sourced as trims. 
• Sheer long-sleeved tops - even if they don't fit - work great for glovettes; just cut off the sleeves as far above the cuffs as your want the length to be. Hand-hem the top edge. You may need to narrow the sleeves to fit your arm's profile. 
• Jackets are easily shortened to bolero-length, if you're handy with a sewing machine. 

Dress Diary: 1890s Sporting Costume - Concept and resources

Concept

The roles of women were changing with the arrival of the Gilded Age in the United States (and the Belle Epoch in Europe); we were emerging from domestic spheres into the public context. Women were entering the workforce at greater numbers than ever before, were social activists and New Women, and were becoming widely interested in the sporting pursuits that heretofore had been dominated by men. We took up hunting and cycling (a fad of culture-shaking importance) and tennis and swimming. And the highly restrictive clothing of the mid-1800's had to change to accommodate.

The fun part, from the Steampunk point of view, is that the styles are very much in line with the Steampunk aesthetic. Considering that the Steampunk genre features Women of Action - explorers and tinkerers, scientists and airship pirates - our clothing naturally should represent the forms of active lifestyles. This means doffing corsets, adopting shorter skirts, and wearing clothing in which one can climb rope ladders and shoot bad guys.

Nigella in particular is one of these progressive women. Her butterfly-hunting excursions and mountain climbing adventures require a wardrobe of suitable attire. This Dress Diary will detail construction of a wardrobe of interchangeable basques and skirts, accessorized by Steampunk-inspired dress accessories. Since I describe my sartorial approach to this genre as "neo-Victorian", all forms and decoration are based on historical exemplars, and qualify as historically accurate. The dress accessories are where I tend to carry the Steampunk aesthetic.

Rummaging: JoAnn's Red Tag fabrics

I have a love/hate relationship with JoAnn's "red tag" fabrics racks.

On the first hand, they're a mess. Organization is at a minimum, and the bolt labels are iffy at best. (Knowing how to do a burn test is a valuable skill.) On the other hand, if you're willing to treat the red tag rack like a thrift shopping excursion, some gems will emerge.

Putting the "Punk" in Steampunk

Beside the Victorian aesthetic and the science fiction focus, it's important to note that Steampunk is punk. Interestingly enough, lots of us Steampunks are age-peers to those 70's punk rockers. We haven't changed our philosophies, just our style. Even with the kids and the cube-farm jobs, we're still punk.

It was only in the past 40 years that the term "punk" has come into the vernacular, notably by their elders to describe the British youth counter-cultural movement deemed to be "worthless young hoodlums" inspired by loud raucous music and trashy clothing. (Had they thought of it, I'm sure that the same could be said about the 60's and the 50's, and....) It's been said that to define "punk" is to create a cultural norm, and well, that's not punk. But we've got a lot in common with the Punk Rock Girl. We're countercultural, outré, anti-consumerist, individualistic and anti-authoritarian, we have a sense of the unexpected or shocking (we're okay wearing unconventional clothing out in public!), and we're free thinkers and discontent with societal norms, attitudes, and mores, because in some way Victorian seems more authentic. And yet, we turn Victorian norms, attitudes and mores on their collectively elegant top hats. We put corsets on the outside, and ladies are bad-asses with weapons. If that's not p-u-n-k, I don't know what is.

Where is the punk in Steampunk?

Steampunk is hard to define

If you're newish to the Steampunk culture, you've probably heard all sorts of definitions, from the very limited to virtually no definition at all. Controversy rages over what is and isn't Steampunk, whether it's a science fiction or a fantasy genre, and whether you can really do a "Steamunk Boba Fett" or not. Predictably, when virtually nothing is set in stone and everyone's a critic, creating something that's identifiably Steampunk can be fraught with all sorts of anxieties.

Generally, Steampunk is defined as an alternate future as seen from the Victorian past. My position is that we begin with a Victorian aesthetic, meld it with a punk ideology, and then invent alternate futures in which to frame the style. Which is of course, open to interpretation.

Steampunk has no style authority

The style is largely self-defined, based on everyone's mental image derived from literature, and (conventionally) based on Victorian aesthetics. Steampunk style reflects the taste, style, and aesthetic of the maker. Often that aesthetic is unconventional, juxtaposing dissimilar materials, leaving exposed raw (or burned!) edges, or mis-matching buttons.

Sure, there are pioneers like Diana Vick and G. D. Falksen, but their aesthetic is constantly under fire. Everyone's a critic. There are endless debates about what's Steampunk, what's not, and what's Steampunk "enough". We parse into Clockpunk, and accuse people of edging into Dieselpunk or Cyberpunk, and some people say that it's okay too.

Steampunk is a maker culture

We put a high value on self expression. Like those 70's punk rockers, we make our own clothing, and write our own music. The Steampunk ensembles that you see at a convention represent hours and hours of effort, a vast skillset, and likely years of experience in those skillsets. Makers create for ourselves, but also for others in the community to purchase to enhance their impressions. We have an active literary and musical tradition, which supports both musicians and authors, but also professional artists who create book covers and album covers.

Steampunk is anti-consumerist

We prefer to make instead of buying, unless it's from another Steampunk maker. And when we make, we very often upcycle, haunting thrift stores for second-hand clothing to mod. We take apart machinery for the interesting pieces. We find unconventional ways to use conventional objects. Door knobs become walking stick handles, and bed ruffles become petticoats. Virtually anyone can access the anti-consumerist philosophy; if you can sew on a button, you can make mods to second hand clothing to make it more steamy. More accomplished sewers will find chinos to mod into plus-fours, or be able to convert a velvet jacket into an opera coat. 

The irony about punk is that as soon as it becomes popular and mainstream, it's no longer punk. It becomes passe, a trope. In fact, as soon as D&G creates a steamy range of men's clothing (they did), Steampunk is very firmly in the mainstream. It seems that popularity tarnishes the genre for some, and they move on to other more edgy genres. I think that it means that Steampunkers simply need to keep creating and inventing - and yes, refining - the genre. 

And the ultimate irony is about to come to fruition - all that out-out-of-fashion mainstream Steampunk clothing will be in the thrift shops next year. And the counter-cultural, anti-consumerist Steampunk will be able to upcycle that clothing into their own wardrobe.

How punk is that?