I will leave the response to Alice's questions in its entirety. She has
addressed each of Alice's questions throughout the email. Hope this helps,
Lynn Scott
----- Original Message -----
From: "christina henri" <[EMAIL PROTECTED]>
To: "Lynn Scott" <[EMAIL PROTECTED]>
Sent: Thursday, October 19, 2006 1:58 PM
Subject: Re: [lace] Australian Bonnet project - questions
On 19/10/06 7:34 AM, "Lynn Scott" <[EMAIL PROTECTED]> wrote:
Christina, this came from one of the American lacemakers. Would you be
agreeable to answering the questions and I will repost to the list - hope
this exposure is what you were hoping for. Some of these members have
great
connections.
Lynn
Sent: Thursday, October 19, 2006 2:41 AM
Subject: Re: [lace] Australian Bonnet project - questions
Since the List is a bit quiet, Noelene tell us a bit
more about your group's plans.
This is a HUGE project. On the webpage, I see that
they are using an historically correct bonnet pattern,
but it can be decorated in either authentic designs or
modern designs. The sample pictures says embroidery
with lace trim. At first thought, I wondered how many
of the transported women would have had any lace of
any kind on their bonnets.....and even how many had
bonnets. However, the bonnet sample they used had a
lace edging around the brim and the neck.
The artist Christina Henri explains:
I have taken an original 1860's bonnet pattern taken from the colonial
clothing collection at Narryna Historic house, Battery Point, Tasmania
(AUSTRALIA). The bonnet is a servant's bonnet, simple in design yet
beautifully crafted with a lace trim that extends all around the ties. The
fabric is muslin and over the brim area is embroidery using thread that
matches the white of the muslin. I chose that particular bonnet because I am
an artist not a sewer. The pattern seemed the simplest so I hoped I would be
able to sew a bonnet and encourage others with non-professional sewing
skills to participate. I want every women who wishes to be involved to have
a chance to make a bonnet.
The convict women were given the plainest clothing. The material used in
their attire was course so as to chaff against the skin, always a reminder
to the wearer of their 'wrong doings'. I wanted contemporary women's tribute
to be a beautiful adornment, something very special to help alleviate the
indignities the convict women endured. They were a social experiment by the
Government of the day and provided free labor to a fledgling Continent that
would have failed without their economic contribution. Contemporary
Australians owe a large debt to the talents and perseverance of both their
male and female convict ancestors.
Quote on bonnet details:
"This bonnet pattern is from an 1860s colonial bonnet
made of muslin, lace-trimmed with embroidery over top
of bonnet.
Christina's suggestion for materials to be used in the
making of the bonnet would be muslin, or calico, or
homespun or cotton or linen such as old linen sheets.
The bonnets can be plain or fancy. If embroidery is
used it could be candlewick stitching or other work
from the period or it can be more contemporary.
Christina would prefer the bonnet material to be cream
or white but any decoration on the bonnets is up to
the individual. Appliqué would be appropriate.
Christina would like the name of the maker/s to be
written on an inside hem of the bonnet. Bonnets can
be made individually or collaboratively. The convict
woman's name on the outside of the bonnet can be
written on with craft pen, stitched, outlined with
ribbon or buttons ... whatever the maker desires."
End quote.
It's true, my knowledge of Australian history is
probably a bit sketchy. I've read bits and pieces in
stories, and seen movies. I doubt the movies were
exactly like the real thing.
25,000 women were transported from the United Kingdom and Ireland to
Australia on the opposite side of the world. Many left families, husband's
children whom they would never set eyes on again. Often the women were 'set
up' having committed no crimes at all. The British Government needed women
to keep the predominantly male population 'quiet'. The male population being
convict men, the army and other governmental officers and some colonialists.
The women were constantly taken advantage of. Eventually the Government
erected Female Factories where the women were housed. The conditions of
these places of incarceration were appalling. Colonialists visited the
female factories and choose domestic servants. The skills of the convict
women varied considerably so they filled a variety of positions within the
colonialist establishments. Often they were sexually assaulted. If they fell
pregnant they were sent back to the Female Factory from whence they had been
taken. After giving birth they were punished, six months hard labour, for
their immorality in becoming pregnant. The Cascades Female Factory in South
Hobart (Female Factory Historic Site www.femalefactory.com.au) now lists
over 1,058 babies and infants that died within the System to convict women.
I am personally aware of some that were not documented so the list is not an
absolutely true indicative of the numbers of deaths. Terrible conditions led
to the demise of these little mites. Their mother's were given no avenue to
grieve and their offspring afforded no dignity in their burial. Children
that did survive were eventually transferred from the Female Factory to
Orphanages (State Orphanage) where they were subjected to an institutional
life designed to prepare them for domestic service. The convict women who
eventually were given pardons sought marriage and a life of respectability.
The society of the day chose to attach a stigma to their existence, the
shame of which has perpetuated down the generations until very recently.
Through Roses from the Heart I seek to address our attitudes to our fellow
human beings, questioning our levels of tolerance and acceptance in today's
society.
Noelene -- What kind of lace does your group think is
appropriate for this project? The webpage requested
decorating with hearts and roses. Would you use a
lace pattern with hearts in it, for example? Or leave
the hearts and roses to the embroidery and just make a
narrow edging?
Whatever decoration you choose will be wonderful. The bonnet you make is
being made with empathy. Your work comes from the heart. You can choose an
appropriate embroidery stitch of the day or a modern stitch. The tribute is
the act of participation.
Have you downloaded the pattern and measured the
amount of lace needed per bonnet? Or just per brim?
(The bonnet pages were not available when I tried.
Maybe too many people were looking at them.)
If you have any problems with the pattern email the artist
[EMAIL PROTECTED] www.christinahenri.com.au website should be up and
running in a weeks time.
www.countrybumpkin.com.au is the website for Inspirations embroidery
magazine and they had a bonnet pattern in their No 51 issue. They have
on-going information regarding Christina's, Roses from the Heart project
on their website as well
Many basic bonnets could be made in a group work
session. From the picture, the pattern does not look
difficult. Decorating would take some time. Would
you accept lace donations to use on your bonnets? I'm
sure I have some yardage, new or old, that would work.
Do most of your group have a convict ancestor to
claim, or are you adopting a group of names?
I think I'll stop asking questions now.
Alice in Oregon -- with a foggy, damp day ahead
Dear Alice I drove through Oregon in 1992 and loved the Country. I had
one of
my most memorable evenings there. Any lace is fine. New lace, old lace,
especially fashioned for the bonnet lace. All will become part of a
significant
tribute. I want the bonnets to look similar from the distance, just as the
Government of the day spoke of the women 'all tarred with the one brush'. On
examining the bonnets closely the viewer will see individual creativity
mirroring the convict women's lives. They were as divers as any section of
society. Colorful, hardworking and many possessed embroidery skills of
exceptional magnitude. I will enclose an image of the embroidery work on a
convict made christening gown. This is a photogram of my work which
replicates,
in an evocative manner, the beautiful stitching and provides an imagined
glimpse
of the makers' presence.
You do not have to have a convict ancestor. Prior to convicts being
transported to Australia they were sent from the British Isles to the
American Shores so there may well be histories of mutual interest for some
American participants. If you would like to 'adopt' a convict for this
project email the artist [EMAIL PROTECTED] or check the website
www.christinahenri.com.au (should be up and running in a week) or look at
the Female Factory website www.femalefactory.com.au There is a convict list
available there. Do not be concerned if it appears someone has taken a
convict you feel drawn to. There will be occasions when many descendents
make a bonnet for their collective ancestor. This is fine.
--- Noelene Lafferty <[EMAIL PROTECTED]> wrote:
Our local lace group is going to participate in an
Tasmanian project to
commemorate the transportation of women convicts to
Australia, by making
some bonnets as worn by convict women of the period,
and decorating them with our lace.
The artist organising this commemoration, Christina
Henri has a goal of
25,000 bonnets by March 2008, and would welcome
contributions from anywhere in the world.
You can find out more about it at
http://www.femalefactory.com.au/exhibit.htm#Roses
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