How They Wore Their Bonnets

A few days ago we looked at how some original women wore their bonnets perched on the backs of their heads as well as how we can also do so. If you missed it, the post was called Got Perch?

This was only one of several ways women wore their bonnets. Today, I would like to look further at how mid-century women wore their bonnets. Let us start with more examples of the bonnet being worn behind the mid-point of the head.

How did they close ups backYou will notice some variation in how far back the bonnet is worn. The two women on the lower left appear to have their bonnet furthest back among the group. These two also happen to have their bonnets angled more than the others. From the views/positions we have, the third woman from the left on the bottom row appears to have a nearly vertical position to the brim and tip. We can not say for certain with the other women; though I suspect the top left may also be nearly vertical. We can also see that most of these women have their flowers reaching further forward than the brim edge of the bonnet. The position of these flowers may help hold the bonnet in place. In the lower right, the flowers can be seen cupping the top of her head. Take a particularly close look at the woman on the lower left. There is a piece photographing white sitting below the flowers/decoration. This may or may not be a stay.

This next group of women are wearing their bonnets at or just forward of their mid-point.

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We see greater variety in the angle of which these bonnets are worn, seeing them worn nearly vertical, angled slightly forward and angled slightly backward. The bottom right and bottom left images show the further forward reach of the spoon bonnet while displaying noticeable difference in the depth, angle and shaping of the crown and tip. In the top left and top right images, we can see how the frill aids in holding the bonnet on.  Again, the flowers are aiding in securing the bonnet to the head. In the bottom row, third from the left, you can see the woman’s flowers reaching down over the hair line. (The lower right image could be considered as wearing her bonnet quite forward.)

In this next group, we see the bonnet worn quite forward of the mid-point.

How did they close ups full forward

Many will notice these women each look more mature. I do not know if this is a coincidence or if there is truly a connection between age and mode yet. I will look further into this. While these bonnets are worn further forward and a couple are rounder, the fashionable spoon shape is present. The bonnet with the daisies, second on the bottom row, demonstrates well how the flowers can hug the top of the head. In several cases, the flowers sit forward enough to reach to or even beyond the hair line. If there is a connection between age and this mode of wearing, there could be further speculation that this positioning of flowers could conceal a thinning part.

The following group was collected as I was looking at untied or partially tied bonnets. These are late 1840s through early 1850s examples. Each either has the ribbons simply looped over each other without a bow or completely untied. Many, if not most, of the women above would have worn their bonnets in this style ten to twenty years previous.

How did they close ups 40 50 not tied

Published in: on June 11, 2014 at 6:00 am  Comments (4)  

A Year in Millinery Fashion – 1864

Straw hat, with a brim lined and turned up with mauve velvet. The trimming consists of a long white plume, scarlet flowers and a short mauve plume. (Godey’s, June 1864)

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Post-War Transitional in White

I’ve been having so much fun sharing the millinery pieces from this spring with you, I decided to share this little bonnet. This really has been a forgotten about bonnet. It made it as far as some so-so photos for Etsy, then got tucked away to the back of the display table.

white 2In the middle of the 1860s we see a transition from the fashionable spoon and cottage bonnet shapes to the hat and smaller bonnet shapes. There were a speckling of styles that show the transition from one millinery era to the next. My bonnet pulls mostly from this first example. The crown drastically shrinks, flattening out, while the cheektabs try various positions framing the sides of the face rather than coming down to the jaw line.

From the National Trust Collection

From Augusta Auctions

Still tracking down the originAs you can see, the decorations and ribbon tend to encircle the crown and fall down along the remains of the cheektab.

white 3white 1I used the last of my hemp plait for this bonnet over the winter. The box pleating encircling the crown is a silk ribbon slightly narrower than the silk ribbon used for the ties. Just under the brim is a frill of fine net.

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My Blue Scallops

I finally finished my scallop brim straw bonnet. I’m rather pleased with how it came out.

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The straw is the French straw plait with that beautiful golden straw. This is the first scallop edge I did. There have been several since then with a more refined, smooth connection. The shaped and scalloped straw edges from the 1850s and 60s are quite decorative, often with very fine straw. This is the simplest of scallop. I look forward to creating more.

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The soft crown is a white and ivory windowpane check silk organza (This is the left overs from the drawn organza I share a week ago. This gives you an idea of how long I was working on each of these.) The bavolet is lined with cotton English net.

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The ribbon is a dark blue German moire.

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The flowers are ivory velvet roses and smaller, light blue fabric roses. I rather like the little rosebuds because they dangle nicely.

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Published in: on June 3, 2014 at 6:00 am  Leave a Comment  
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A Year in Millinery Fashion – 1864

(Wedding reception attire)
Bonnet of white crepe, trimmed with very light feathers and point lace. A fall
of the latter drops over the brim in the Marie Stuart style. The inside
trimming is of tulle and cerise flowers.

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1850s French Straw with Clouded Stripe Ribbon

This is the bonnet that made me squeel this morning as the new owner put it on. It fit her so beautifully, I really did squeel.
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I enjoyed making this bonnet so much. I love the 1850s to begin with. When I came across this ribbon, it just had to be her’s. While it is grey and white, it is also a bluey-purple. It was wonderful to work with. The bias bavolet plays with the clouded stripes wonderfully.
I am so glad we picked these blue and white flowers because they work beautifully with her complextion. They frame her face just right.
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This bonnet is made with the French straw plait I enjoy working with. I opted to line this straw bonnet because I know it will be work frequently. (While most original straws show they were not lined, lining can protect the straw.) The frill is silk organza. She has both silk functional ties and the fabulous ribbons.
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Published in: on June 1, 2014 at 5:08 pm  Leave a Comment  
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Just the Right Blues

It looks like many of you enjoyed the Green Velvet Straw Hat I shared on Tuesday. Thank you. (Be sure not to miss “Violets in Early Spring” a sheer organza bonnet)

Here is another hat I finished just prior to that one. This one is all about the right blues and right greys. To find just the right blue and grey, I requested a swatch of every blue and grey silk my fabulous ribbon supplier had. I know it is hard to see, but the tails of this hat show the blue and grey we picked.

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For the ribbon on the brim, I looked to several original straw hats for inspiration and technique. This one in particular, I like. The Vs in the front and back help allow the green velvet ribbon to lay flat. One of the keys is a narrow ribbon. Since we were only able to get the blue and grey colors in slightly wider ribbons, I needed to fold the ribbon to get the right width. I rather like the softness a folded ribbon give.

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2014-03-29 17.48.12-1The flowers are all velvet. I just love the texture of velvet against straw.

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A Perfect Green & a Perfect Fit

I was beyond excited when the photos of the new owner of this hat came through just moments ago. Between the perfect fit or the perfectly happy smile on her face, I am estatic.

This shape hat just called for a scallop edge. The dip and curve of the brim are highlighted with the scallops.

The client had the incredible satin back velvet ribbon and the beautiful berries. It was amazing how well the two went together, playing with each other and bringing out the gold of the straw. The ribbon feels awesome too. (Check out my post from last week, “why green”, for more information on green.)
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I just loved making this hat. I am so glad the new owner enjoys it.

Published in: on May 27, 2014 at 4:10 pm  Comments (2)  
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A Year in Millinery Fashion 1864

It is said that, as regards to invention, one milliner does more in a month than the world architects in a score of years. We are forcibly reminded of this while walking, lately, through the show rooms of Mme. N. Tilman, of 143 East Ninth Street, New York. At this establishment we are constantly surprised with novelties; nothing pretty or new appears in Europe in the millinery line, but is to beyond at the Maison Tilman.

An entire novelty consists of straw guipure, equal in appearance to the finest lace. Straw ribbons are also something quite new, and just introduced on the new spring bonnets. Mother of pearl, of which we have already spoken as being worn on coiffures and ball dresses, is now adopted for bonnets, and, in contrast with trimmings of rich velvet, produces an admirable effect. We are able now to speak with certainty of the spring style bonnets, as announced by the most distinguished artistes.

Scotch plaid, in silk and velvet, is very much in vogue; but we notice that Mme. Tilman uses is sparingly, and only in the finest and choicest patterns and combinations. The following will serve as examples. –

A rich wrought Neapolitan, the braids an inch apart, and each displaying a fine cord-like edge of blue, green, and crimson plaid. The curtain was composed of a shell of plaid silk upon blonde, also in a shell pattern. A puff of ribbon and meadow grass, tipped with dew, constituted the decoration, which was placed high on one side of the brim.

Trimming of all kinds is used very moderately, but it must be of the very best, whether in flowers, lace, or ribbon. It is no longer masses on the top of the brim, but is arranged on the top or side of the crown, or across the side of the brim from its tip to the crown. The shape is perfect, neither too large nor too small, but serving as a modest frame for a fair face. It is still rather high in the front, very much compressed at the sides, and slopes low behind to the base of the crown, which is wider than formerly, in order to allow for the present style of coiffure.

A charming novelty imported by Mme. Tilman consists of fine white and black Neapolitans embroidered in flowers and trailing branches in a fine jet. The design is so delicate and graceful, the workmanship so exquisite, that there is nothing of the ordinary appearance which is frequently objected to in embroidered bonnets. On the contrary, in black upon white, and black upon black, we have rarely seen anything so elegantly effective. Very little trimming, in addition to the cape of velvet or lace, and the decorations of the interior, is required for these bonnets.

Fringes of crystal and jet now replace the feather fringes, and are arranged to fall over the front of the bonnet and shade the interior. (Godey’s, May 1864)

Violets in Early Spring

This bonnet is one I have slowly been working on for a while. It really does remind me of those tiny violets that peek up in the early spring. Sometimes they are a speckle of color in the grass; sometimes a speckle in the lingering spring snow. (Btw – I’m amazed by the abundance of white violets in our yard. So, I was glad I had white violets to mimic that too.)
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This bonnet is a white and ivory organza silk organza woven in a windowpane check design, drawn on cane over light weight buckram. The brim also has some fluffy flounces.
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The lilac purple silk ribbon comes from Italy. It is a beautiful ribbon both in looks and feel. The edge is particularly lovely. (I need a photo of that edge.)
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You can find this bonnet on Etsy this morning with sideways photos. (Phone issues.)
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I have a few other millinery pieces I am anxious to share with all of you. As soon as their new owners have them in hand, I can share.

Published in: on May 25, 2014 at 9:57 am  Comments (1)  
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