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EJT is an approved vendor here, and Ross Lamoreaux is fairly well known, some would say "notorious" in these parts. Paul Calloway and I agreed that readers here may enjoy perusing this review.
The following product review appears courtesy of The Watchdog, and will be published shortly in a future edition of The Watchdog pages in Camp Chase Gazette. The EJT review was scheduled for the final self-published edition (Fall 2007) of The Watchdog but was not ready in time.
The pics and diagrams did not attach and I am too much of a Luddite to figure that part out.
CLB
The following product review appears courtesy of The Watchdog, and will be published shortly in a future edition of The Watchdog pages in Camp Chase Gazette. The EJT review was scheduled for the final self-published edition (Fall 2007) of The Watchdog but was not ready in time.
The pics and diagrams did not attach and I am too much of a Luddite to figure that part out.
CLB
A Few “Thoughts” on Men’s Shirts From E. J. Thomas Mercantile.
Craig L. Barry
Whether Union or Confederate, after shoes and head gear the most often overlooked aspect of men’s garments necessary for an improved Civil War impression is the shirt. While seemingly simple, the cut and construction of a man’s shirt actually involves some fine hand sewing and tailoring. If trousers or sack coats were somewhat ill-fitting, that is one matter, but a poor-fitting shirt will hamper a man’s movements, and a poorly constructed garment will not stand up to the wear and tear of outdoor living, much less washing by hand with lye soap. Ignoring the government issued shirts for the time being, we can never know the full extent of what exactly was worn by soldiers during the Civil War, but we have some good ideas. The appearance of the Federal government issued shirt is well documented, and information is widely available. The Confederate government (and states) issued shirts in some quantity; however, there are few if any surviving specimens available to examine. There are those who state that there were no Confederate supplied shirts, however a close look at Confederate records, including those for the least prosperous year of the war, reveal some startling statistics. “For example, during the last six months of 1864 and including to 31 January 1865, the Army of Northern Virginia alone was issued the following: 157,727 Cotton shirts, 170,139 Pairs of Drawers, 21,063 Flannel Shirts, 74,851 Blankets.”(1)
Fabrics used to make civilian shirts included wool, flannel, heavy cotton, and fine shirts were made of linen, muslin or fine cotton. However, despite the variation found in the number of surviving specimens, a few broad conclusions can be supported by the evidence we do have. Consider possible pattern variation not only in terms of surviving garments but keeping in mind that during the Civil War-era, everything was re-used. Remnants of useable fabric from worn out or torn shirts can still be found in period quilts. These allow some insight into both the appearance of the cloth and the various print patterns used for shirts.
A good starting off point for anyone interested in a serious study of mid-century men’s shirts should consider Thoughts on Men's Shirts in America, 1750—1900 by William L. Brown. One thing you will notice is that the shirts did not button all the way down the front. Also in looking at the pictures and illustrations is the location of the button holes on the cuff. The vast majority from the photos of 1860s-era shirts in Brown’s book suggest that with the sleeve crossed over, as if the man were crossing his arms, you actually see the buttonhole. Perhaps the author did that to fit the shirt on the page better? Whatever the case, the buttonhole is in the back of the cuff. (2) Cuffs on Civil War-era shirts varied as well. Cuffs can be added using the material of the shirt or a different color or even a different material. Most cuffs were about two inches wide.
These changes began around the middle of the 1840s, and other major improvements included a lower neckline and more support across the shoulders. The placket front began to appear and extended to about the sternum with three or four buttons. By the 1860s tailoring sophistication had increased and shirt cut changed radically. (3) The modern “set in” sleeve was introduced a contoured arm pit and corresponding cut in the sleeve head. Shirt tails began to have rounded corners as well.
Let’s consider for a moment the subject of collars. Shirts with button on collars were becoming more common, but by no means ubiquitous. There were also many examples of shirts which were collarless. (4) Also consider that with a button on “removable” band collar, going collarless is a viable option (one often availed by me) as well. Hence, with detachable “band” collars even collared shirts could be worn collarless. There were also attached collared shirts with short squared points. You can change the appearance of a single shirt for multiple wearing by attaching and removing the collar on different days. Pockets were not sewn on most shirts. Heavier overshirts often had a breast pocket or two. The pockets were generally lower on the shirt and larger than breast pockets on shirts today.
In terms of fabrics, white cotton was the most common shirt material. Printed fabrics tended to have white backgrounds with small designs in one or two colors. (5) As far as improving your impression with a decent shirt, you have only three options. Buy off the rack, have a shirt custom made or sew your own. Which ever way you choose, here are some things to consider. In terms of material, it is best to stick with (homespun) one hundred percent cotton or wool flannel, and linen instead of modern blends. If a blend is used, it should be something like linsey-wooley (cotton or linen and wool) that is documented for the time period. The cost of the better fabric in negligible compared to the impact it has on the appearance of the shirt. It will be more accurate, as well as being more comfortable to wear. With another nod to accuracy, first consider patterns and finished products based on documented original specimens, either photographs or in museums.
Next, chose buttons that are correct. Stay away from any plastic and modern buttons. Nothing kills the appearance of an otherwise period correct shirt than plastic buttons. Go with glass, bone, shell, metal, porcelain, two or four holed solids or mother of pearl. As long as “The Button Baron” (John Zaharias) is still around, there is a time honored provider for authentic buttons, and he is a recommended source. (6) Glass buttons are nice because you can match them to the fabric. While metal buttons were authentic to the time period, consider the effect of possible rusting on the fabric. If there are four button holes, they should be sewn on in a crisscross or X-pattern.
If you purchase a shirt “off the rack” that is already made, even if the material and design is correct (doubtful) it may still have machine sewn buttonholes. If so, you should rework the buttonholes to make the shirt more correct for the time period. Yes, there were sewing machines, and yes some of them were capable of producing button holes, but even when shirts were machine sewn, the buttons and button holes were still done by hand. Take a seam ripper and pick out the buttonhole stitches and handwork them using the “buttonhole stitch.” (7)
The stitching around the buttonhole should look like this. Working from left to right, bring the thread out on the lower line, position the needle through the upper line and take a straight downward stitch. Keeping the thread under the point of the needle, pull up the stitch to form a loop and repeat. In fact, it is suggested that you remove all exposed machine stitching and hand stitch those areas. Try to use a spacing of about six or seven stitches per inch. When finished, you have actually now made your “off the rack” shirt much more authentic. Those with a sharp eye will also note that this is the stitch often used around the perimeter of “issue” blankets.
If these instructions are confusing to you, it is because sewing by hand is largely a lost art in modern times. Most of us sew well enough to put a cover on our canteens, but perhaps would not classify themselves as quite ready to perform this kind of handiwork on an off the rack shirt, much less tailor an entire period correct garment. With an eye always towards looking for a good “off the rack” reproduction civilian shirt, The Watchdog paid a visit at an event to Bill Lomas at E. J. Thomas Mercantile, maker of some of the finest hand sewn leather accoutrements available today. If there are any better, this reviewer has not been made aware of them, and I have been looking. If an item is sold at E. J. Thomas, the purchaser can be assured it is fastidiously copied from an original artifact down to the smallest details. The shirts for sale there were no exception and they were very well done with accurate cut and details and a good choice of fabrics. The top stitching was large and well sewn embroidery--obvious by most period standards, but neater than other available reproductions. (8) Our only criticisms, or an observation really, it that the tailor might consider using white four-hole buttons on their print shirt instead of black two-hole buttons. Also, one shirt featured square side gussets which were somewhat unique and we wondered aloud if they were copied from an original or represented a bit of interesting improvisation? The good folks at E. J. Thomas are currently revamping their web site and they are working to produce a page to focus on clothing products with detailed photos and a listing of in-stock items.
The tailor used by E. J. Thomas Mercantile, one Mr. Ross Lamoreaux, of Tampa, Florida produces garments exclusively for them, utilizing an "in-stock only" approach, but has indicated they will entertain custom orders from time to time. The usual turn around time for a typical custom order is standing at two to three months. As of late they have been extremely busy. “For a little background about myself”, the shirt maker tells us, “I am completely self taught over the last six years, utilizing several resources from written word, visual examination of original items when available to me, and the advice/critique of friends in the know to include Joe Blount of J. Blount Clothiers, holder of the patterns of Joe Covais and Steve Abolt of Allegheny Arsenal, one of the best tailors of pre-CW clothing I have ever seen. My best resource for shirts has been Thoughts on Men's Shirts, but I don't limit myself to that research. I am a (re)enactor first and a tailor second, so as such I'm not a business-man, but I have aligned myself with like-minded living historians like E. J. Thomas—and I pride myself on my personal impressions, whether military or civilian, so I try to carry that over to every garment I make.” The Watchdog says “mission accomplished.”
Item #1 is a white linen civilian shirt with embroidery on the placket, collar, pockets, and cuffs with antique glass buttons. This shirt is entirely hand sewn and is based on no particular original, just a period square cut design. The retail price of this shirt is $175.
Item #2 is a red on tan checked civilian shirt, half lined in cotton, banded collar with pockets and antique glass buttons. It is based upon a shirt in Thoughts on Men’s Shirts, but takes small liberties such as this one is an all hand sewn square cut, as the one in the book was a French cut. The retail price of this shirt is $130.
Item #3 is a very basic calico print square cut shirt, with material that is probably more 1830's or 40's, but common enough to qualify for the Civil War period. The material was procured from, I believe, the 96th District Storehouse (one of my best sources for material) and is also entirely hand sewn with glass buttons.
While the E. J. Thomas Mercantile products specializes in hand sewing, as the majority of their garments are hand sewn, Ross Lamoreaux can also do machine sewn garments and can currently produce over-shirts, coats, drawers, haversacks, knapsacks, cravats, housewives, flags, tents to include shelter tents and common tents, as well as children's clothing. Currently they use non-proprietary patterns and honor those who have put forth the effort to research and draft functional patterns hence they will not make items for sale using these copyrighted patterns. The majority of the shirts are made without patterns, and other garments are made from common patterns or by custom measurement.
For men's shirts, the retail prices start at around $95 and can go up to $200 for detailed work such as embroidery, tape trim, etc. E. J. Thomas advises that the best sellers as of late have been wool overshirts (around $125), Federal issue domet flannel shirts (around $140), and common square-cut civilian shirts (between $95 to $125). They are available through E. J. Thomas Mercantile. After inspecting these products in detail, this reviewer is indulging himself in a civilian shirt, currently being custom sewn as this goes to press.
We are fortunate to have craftsmen possessing this level of skill producing products of this high grade available for use in the hobby.
NOTES:
1. Leslie Jensen, “Confederate Issue Jackets, Part 1,” The Journal of the Company of Military Historians, 1989.
2. William, Brown, Thoughts on Men’s Shirts 1750-1900 (Gettysburg: Thomas Publications, 1999).
3. Thomas G. Shaw, “1860s Civilian Shirts,” The Watchdog, vol. 4, no. 4 (fall, 1996 ), 2.
4. See Echoes of Glory (Confederate), 154–5. There are seven shirts and each one has a different collar. Pvt. Starr's is a dark blue wool collarless pullover shirt in contrast to the one below attributed to Pvt. Beam, (Twenty-eighth South Carolina Infantry) whose shirt is a white cotton with a square collar apparently made of the same material.
5. Shaw, 1860s Civilian Shirts,” 3.
6. John ZahariasThe Button Baron, 336 Baltimore Street, Gettysburg, Pennsylvania 17325. buttonbaron@earthlink.net and (717) 476-4631
7. http:// www.embroidersguild.com/stitch/buttonhole.
8. Contact E. J. Thomas Mercantile at http://www.ejtmercantile.com and info@ejtmercantile.com.
Craig L. Barry
Whether Union or Confederate, after shoes and head gear the most often overlooked aspect of men’s garments necessary for an improved Civil War impression is the shirt. While seemingly simple, the cut and construction of a man’s shirt actually involves some fine hand sewing and tailoring. If trousers or sack coats were somewhat ill-fitting, that is one matter, but a poor-fitting shirt will hamper a man’s movements, and a poorly constructed garment will not stand up to the wear and tear of outdoor living, much less washing by hand with lye soap. Ignoring the government issued shirts for the time being, we can never know the full extent of what exactly was worn by soldiers during the Civil War, but we have some good ideas. The appearance of the Federal government issued shirt is well documented, and information is widely available. The Confederate government (and states) issued shirts in some quantity; however, there are few if any surviving specimens available to examine. There are those who state that there were no Confederate supplied shirts, however a close look at Confederate records, including those for the least prosperous year of the war, reveal some startling statistics. “For example, during the last six months of 1864 and including to 31 January 1865, the Army of Northern Virginia alone was issued the following: 157,727 Cotton shirts, 170,139 Pairs of Drawers, 21,063 Flannel Shirts, 74,851 Blankets.”(1)
Fabrics used to make civilian shirts included wool, flannel, heavy cotton, and fine shirts were made of linen, muslin or fine cotton. However, despite the variation found in the number of surviving specimens, a few broad conclusions can be supported by the evidence we do have. Consider possible pattern variation not only in terms of surviving garments but keeping in mind that during the Civil War-era, everything was re-used. Remnants of useable fabric from worn out or torn shirts can still be found in period quilts. These allow some insight into both the appearance of the cloth and the various print patterns used for shirts.
A good starting off point for anyone interested in a serious study of mid-century men’s shirts should consider Thoughts on Men's Shirts in America, 1750—1900 by William L. Brown. One thing you will notice is that the shirts did not button all the way down the front. Also in looking at the pictures and illustrations is the location of the button holes on the cuff. The vast majority from the photos of 1860s-era shirts in Brown’s book suggest that with the sleeve crossed over, as if the man were crossing his arms, you actually see the buttonhole. Perhaps the author did that to fit the shirt on the page better? Whatever the case, the buttonhole is in the back of the cuff. (2) Cuffs on Civil War-era shirts varied as well. Cuffs can be added using the material of the shirt or a different color or even a different material. Most cuffs were about two inches wide.
These changes began around the middle of the 1840s, and other major improvements included a lower neckline and more support across the shoulders. The placket front began to appear and extended to about the sternum with three or four buttons. By the 1860s tailoring sophistication had increased and shirt cut changed radically. (3) The modern “set in” sleeve was introduced a contoured arm pit and corresponding cut in the sleeve head. Shirt tails began to have rounded corners as well.
Let’s consider for a moment the subject of collars. Shirts with button on collars were becoming more common, but by no means ubiquitous. There were also many examples of shirts which were collarless. (4) Also consider that with a button on “removable” band collar, going collarless is a viable option (one often availed by me) as well. Hence, with detachable “band” collars even collared shirts could be worn collarless. There were also attached collared shirts with short squared points. You can change the appearance of a single shirt for multiple wearing by attaching and removing the collar on different days. Pockets were not sewn on most shirts. Heavier overshirts often had a breast pocket or two. The pockets were generally lower on the shirt and larger than breast pockets on shirts today.
In terms of fabrics, white cotton was the most common shirt material. Printed fabrics tended to have white backgrounds with small designs in one or two colors. (5) As far as improving your impression with a decent shirt, you have only three options. Buy off the rack, have a shirt custom made or sew your own. Which ever way you choose, here are some things to consider. In terms of material, it is best to stick with (homespun) one hundred percent cotton or wool flannel, and linen instead of modern blends. If a blend is used, it should be something like linsey-wooley (cotton or linen and wool) that is documented for the time period. The cost of the better fabric in negligible compared to the impact it has on the appearance of the shirt. It will be more accurate, as well as being more comfortable to wear. With another nod to accuracy, first consider patterns and finished products based on documented original specimens, either photographs or in museums.
Next, chose buttons that are correct. Stay away from any plastic and modern buttons. Nothing kills the appearance of an otherwise period correct shirt than plastic buttons. Go with glass, bone, shell, metal, porcelain, two or four holed solids or mother of pearl. As long as “The Button Baron” (John Zaharias) is still around, there is a time honored provider for authentic buttons, and he is a recommended source. (6) Glass buttons are nice because you can match them to the fabric. While metal buttons were authentic to the time period, consider the effect of possible rusting on the fabric. If there are four button holes, they should be sewn on in a crisscross or X-pattern.
If you purchase a shirt “off the rack” that is already made, even if the material and design is correct (doubtful) it may still have machine sewn buttonholes. If so, you should rework the buttonholes to make the shirt more correct for the time period. Yes, there were sewing machines, and yes some of them were capable of producing button holes, but even when shirts were machine sewn, the buttons and button holes were still done by hand. Take a seam ripper and pick out the buttonhole stitches and handwork them using the “buttonhole stitch.” (7)
The stitching around the buttonhole should look like this. Working from left to right, bring the thread out on the lower line, position the needle through the upper line and take a straight downward stitch. Keeping the thread under the point of the needle, pull up the stitch to form a loop and repeat. In fact, it is suggested that you remove all exposed machine stitching and hand stitch those areas. Try to use a spacing of about six or seven stitches per inch. When finished, you have actually now made your “off the rack” shirt much more authentic. Those with a sharp eye will also note that this is the stitch often used around the perimeter of “issue” blankets.
If these instructions are confusing to you, it is because sewing by hand is largely a lost art in modern times. Most of us sew well enough to put a cover on our canteens, but perhaps would not classify themselves as quite ready to perform this kind of handiwork on an off the rack shirt, much less tailor an entire period correct garment. With an eye always towards looking for a good “off the rack” reproduction civilian shirt, The Watchdog paid a visit at an event to Bill Lomas at E. J. Thomas Mercantile, maker of some of the finest hand sewn leather accoutrements available today. If there are any better, this reviewer has not been made aware of them, and I have been looking. If an item is sold at E. J. Thomas, the purchaser can be assured it is fastidiously copied from an original artifact down to the smallest details. The shirts for sale there were no exception and they were very well done with accurate cut and details and a good choice of fabrics. The top stitching was large and well sewn embroidery--obvious by most period standards, but neater than other available reproductions. (8) Our only criticisms, or an observation really, it that the tailor might consider using white four-hole buttons on their print shirt instead of black two-hole buttons. Also, one shirt featured square side gussets which were somewhat unique and we wondered aloud if they were copied from an original or represented a bit of interesting improvisation? The good folks at E. J. Thomas are currently revamping their web site and they are working to produce a page to focus on clothing products with detailed photos and a listing of in-stock items.
The tailor used by E. J. Thomas Mercantile, one Mr. Ross Lamoreaux, of Tampa, Florida produces garments exclusively for them, utilizing an "in-stock only" approach, but has indicated they will entertain custom orders from time to time. The usual turn around time for a typical custom order is standing at two to three months. As of late they have been extremely busy. “For a little background about myself”, the shirt maker tells us, “I am completely self taught over the last six years, utilizing several resources from written word, visual examination of original items when available to me, and the advice/critique of friends in the know to include Joe Blount of J. Blount Clothiers, holder of the patterns of Joe Covais and Steve Abolt of Allegheny Arsenal, one of the best tailors of pre-CW clothing I have ever seen. My best resource for shirts has been Thoughts on Men's Shirts, but I don't limit myself to that research. I am a (re)enactor first and a tailor second, so as such I'm not a business-man, but I have aligned myself with like-minded living historians like E. J. Thomas—and I pride myself on my personal impressions, whether military or civilian, so I try to carry that over to every garment I make.” The Watchdog says “mission accomplished.”
Item #1 is a white linen civilian shirt with embroidery on the placket, collar, pockets, and cuffs with antique glass buttons. This shirt is entirely hand sewn and is based on no particular original, just a period square cut design. The retail price of this shirt is $175.
Item #2 is a red on tan checked civilian shirt, half lined in cotton, banded collar with pockets and antique glass buttons. It is based upon a shirt in Thoughts on Men’s Shirts, but takes small liberties such as this one is an all hand sewn square cut, as the one in the book was a French cut. The retail price of this shirt is $130.
Item #3 is a very basic calico print square cut shirt, with material that is probably more 1830's or 40's, but common enough to qualify for the Civil War period. The material was procured from, I believe, the 96th District Storehouse (one of my best sources for material) and is also entirely hand sewn with glass buttons.
While the E. J. Thomas Mercantile products specializes in hand sewing, as the majority of their garments are hand sewn, Ross Lamoreaux can also do machine sewn garments and can currently produce over-shirts, coats, drawers, haversacks, knapsacks, cravats, housewives, flags, tents to include shelter tents and common tents, as well as children's clothing. Currently they use non-proprietary patterns and honor those who have put forth the effort to research and draft functional patterns hence they will not make items for sale using these copyrighted patterns. The majority of the shirts are made without patterns, and other garments are made from common patterns or by custom measurement.
For men's shirts, the retail prices start at around $95 and can go up to $200 for detailed work such as embroidery, tape trim, etc. E. J. Thomas advises that the best sellers as of late have been wool overshirts (around $125), Federal issue domet flannel shirts (around $140), and common square-cut civilian shirts (between $95 to $125). They are available through E. J. Thomas Mercantile. After inspecting these products in detail, this reviewer is indulging himself in a civilian shirt, currently being custom sewn as this goes to press.
We are fortunate to have craftsmen possessing this level of skill producing products of this high grade available for use in the hobby.
NOTES:
1. Leslie Jensen, “Confederate Issue Jackets, Part 1,” The Journal of the Company of Military Historians, 1989.
2. William, Brown, Thoughts on Men’s Shirts 1750-1900 (Gettysburg: Thomas Publications, 1999).
3. Thomas G. Shaw, “1860s Civilian Shirts,” The Watchdog, vol. 4, no. 4 (fall, 1996 ), 2.
4. See Echoes of Glory (Confederate), 154–5. There are seven shirts and each one has a different collar. Pvt. Starr's is a dark blue wool collarless pullover shirt in contrast to the one below attributed to Pvt. Beam, (Twenty-eighth South Carolina Infantry) whose shirt is a white cotton with a square collar apparently made of the same material.
5. Shaw, 1860s Civilian Shirts,” 3.
6. John ZahariasThe Button Baron, 336 Baltimore Street, Gettysburg, Pennsylvania 17325. buttonbaron@earthlink.net and (717) 476-4631
7. http:// www.embroidersguild.com/stitch/buttonhole.
8. Contact E. J. Thomas Mercantile at http://www.ejtmercantile.com and info@ejtmercantile.com.
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