Note: 11.13.22 Sharon Burnston died today. May her memory be a blessing.
It seems appropriate today to close my B.O.D. These 3 have been with me all through this journey and I’m (almost) done now. So, thank you and God speed to Sharon, Carla, and Sarah. I couldn’t have done it without you.
I am working with a Board of Divas (that’s like a Board of Directors, only better) — people who know enough about costume history to spot problems and let me know about it. They have each agreed to keep an eye on what I produce here and make sure I’m not saying stupid stuff. If they see problems, they will tell me so I can correct them. “Problems” could be typos, or they could be big things, like “You missed this entire other realm of research over here that negates this statement.”
For me, this constitutes a peer-review light, a road between academia and just some untrained person making wild unsubstantiated conclusions.
B.A. from Brooklyn College, and an M.A. from Temple University in Anthropology. See her bio here. Author of the essential Fitting and Proper, and research on 18th C shifts. But more importantly, too me, my mentor and encourager in this pursuit. We met over an 18th C cap at the Boston MFA where she showed me how to document an artifact (although ALL the mistakes here are my own!), and set me on my quest saying, “don’t find out all this stuff and then never share.” I promised.
BA in Music History and Literature and an MA in Piano Pedagogy and Performance Practice at the University of Idaho in Moscow. She then earned a Doctoral degree in Early Keyboard Performance AND an MA in Library Science at Indiana University. She is currently the Music Librarian at Ohio University. What her already incredible credentials don’t tell you is she is an accomplished seamstress and needleworker, and her interest in historic performance of music has had her in costume at the keyboard more than once. She is also an excellent accountability partner.
B.S. from Ohio State University in Textiles and Clothing, and an M.A. from University of Alberta in Material Culture. See her bio and resume here. Her work at the Milliner’s Shop at Colonial Williamsburg inspired her thesis: “Martha’s Mob Cap: A Milliner’s Hand-Sewn Inquiry into Eighteenth-Century Caps ca. 1770 to 1800.” Formerly employed by CW, you would frequently see her in social CW media. We’ve spent quite a few hours rhapsodizing about caps: what we know and don’t know, the joy of making & learning. I have enjoyed her presentations at conferences, admired her incredible handwork, and just enjoyed her enthusiasm and friendliness. I’m really happy to have her along for this ride. She’s currently creating her own hand-sewn world at Sewn Company.