Throughout the history of fly tying, the subject of the "right"
colour has stimulated much debate. Is the reported success of a particular
pattern due to the precise colour? Many argue, "yes." I'm reminded of
several examples. Frank Sawyer's Killer Bug was originally tied with
Chadwick's Wool, Number 477. This material disappeared and substitutes
were suggested. But were they as effective as the original? Not for
many reporters.
Closer to home is the case of Art Flick's Hendrickson pattern. He
called for the urine-stained fur of a vixen for the dubbing. Now give me
a break, please! That colour will vary with the age of the fox and her
diet. Unless one has a piece of the pelt that Flick used, any claim to
precise duplication is suspect. I remember, many years ago, having fits
trying to match his pattern. The colour was given in various texts as
pinkish, pinkish-orange, and several other equally unilluminating
descriptions.
More to the point, what makes amateurs believe that professional
tiers have access to the identical coloured material down the decades? They
have the same supply problems. When faced with a hiccup in the supply of
the colour their original, now-famous, pattern used, they are forced to
find substitutes.
Enter the fly-tier's greatest friend, Jean-Guy Côté, the owner
of UNI Products. He was determined to market a close-as-possible match for the
body colour of the original Gray Ghost. Where to start? Most of us would
head for the streamer-fly "bible," Streamers and Bucktails—The Big Fish
Flies, by Joe Bates. Although the recipe isn't much help, as the body is
described as "Dressed very thin with orange silk," in an earlier chapter
Bates describes the colour as "yellow-orange silk, rather than
red-orange." This is also the colour specified by Dick Stewart in
Trolling Flies for Trout & Salmon. Although Stewart variously refers to
the colour as golden yellow as well as yellow-orange, his detailed
comments were, The color of the floss has frequently been described as
orange and fly tyers often use the darker "burnt" orange or
"bittersweet" orange, however the correct color is the lighter shade
which is almost identical to the color of a Golden Pheasant crest
feather. This was the shade of the original English Pearsalls "orange"
silk and also the shade of orange rayon used by Carrie Stevens. Stewart,
like Bates, had access to samples tied by the originator, Carrie
Stevens.
To try and settle the matter, Jean-Guy wrote to Bill Thompson of
Freedom, NH. Bill owned a fly shop and is acquainted with several of the
principals. Reducing his detailed response to its essence, he has
sufficient evidence to believe that not only did Carrie Stevens use both
colours, but possibly several others as well. Why? Because her material
suppliers were a Five and Ten Cent store and a mail-order milliner's
outlet, neither of which could likely guarantee consistent colour. So,
over a lengthy career, it's not surprising that the body colour of her
flies varied. The only sure way to settle the minor controversy would be
to have access to the original fly, presumably impossible.
Based on these observations and after comparing several colour
options, Jean-Guy chose the best match. Calling the new shade "Grey Ghost" would
have suggested an inappropriate degree of certainty and so it became
"Pumpkin." Presently, Pumpkin is available in both UNI-Stretch and
UNI-Floss..
Paul is a well known outdoors and flyfishing writer. You can learn more about him by taking a look at his biography.
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