If I Had My Own Blue Box:

“In bonnets, chip, crinoline, crape, and straw are used singly and in combination. On the street, Leghorn and the plainer straws have made their appearance. The Leghorns are exquisitely fine, and trimmed in a variety of ways. Ribbons approaching the straw color are much used, mixed with blue corn-flowers, to give the desired contrast; sprays of grass, black and maize-colored wheatears, laburnum, acacia, etc etc. For young ladies, wreaths of a single flower, as roses, the daisy, the violet, are used upon chip, crinoline, and all the purer straws. A violet crape bonnet with wreaths of purple azalias—a bonnet of chip, with a soft crown of blonde and thulle, and cordons of Chinese Westeria—bonnet of white crape and blonde, with blue marabouts, twisted towards the curtain; plaiting or torsades of blue crape, lightened with marabouts inside the brim; strings of blue ribbon and thulle lappets. We give one or two styles that will illustrate the trimmings referred to.” (Godey’s Lady’s Book, April 1859)

According to The Dictionary of Fashion, the Empire bonnet was “a small, close-fitting, outdoor bonnet in the shape of a baby’s bonnet.”

We see bonnets called the Empire earlier in the war, but by the end of the war they have changed:

“The Empire bonnet (in its greatly modified form) seems to become popular, it is now made of velvet as well as straw, and is found not only comfortable but in a general way becoming. Bandelettes quite flat to the head and formed of velvet are much worn in place of bonnet-caps. Occasionally a butterfly, humming-bird, jet ornament, a bow of ribbon, or turf of flowers, is posed in the centre, and takes off the rather severe effect of the flat bandelette. Sometimes the band is formed entirely of feathers.” (The Ladies’ Companion, 1865 (Also The Illustrated London Magazine))

In 1865, mentions of the Empire bonnet are in fashion descriptions with a line or two regarding an ensemble rather than commentary on the style itself.

We see the Empire bonnet made of straw as well as buckram and frequently of velvet. The decorations recommended vary. We see recommendations of tulle, velvet, rose buds, flowers, lace and leaves as well as the appearance of gold chains, straw sequins.

“We give our readers the promised Empire bonnet. It is of green silk covered with crepe, and edged with a plait of green velvet. The small cape is finished at the back by streamers of tulle and a tuft of white flowers. The inside trimming consists of a puffing of tulle and white daisies.” (Godey’s Lady’s Book, October 1865)

“Empire bonnet (front and back view). It is of rice straw, trimmed with a large turf of pink roses mixed with black feathers. The bonnet is edged with a pearl fringe, and strings are of black ribbon” (Godey’s Lady’s Book, November 1865)

“Empire bonnet of the Auvergnat style. It is of straw, trimmed with ruching of scarlet velvet and wheat-ears, the latter arranged on the left side of the bonnet.” (Godey’s Lady’s Book, November 1865)

We see much more on the Empire bonnet in 1866 than we do in 1865. Here is one description of what makes an Empire bonnet in 1866:

“The genuine Empire bonnet we think can only be found at this establishment. It is so very peculiar in shape, that only a tall, stylish-looking person could wear it to advantage. Imagine a flat, square crown, with small front and long gypsy ears tying behind underneath the waterfall. A band of ribbon fastened on top passes down and ties under the chin, pressing the bonnet so closely to the face, that side trimmings are entirely suppressed. Gilt chains on velvet, a rich ornament, of a few flowers are placed over the forehead. In the hand these bonnets are decidedly ugly, but when “well worn,” they are quite distinque. Some very elegant specimens have just been received of choice shades of velvets, such as rose, violet, silver, gray, and blue, trimmed with gold chains and beads hidden in a light cloud of marabout. Others, for street wear, are of garnet or black velvet, or else gray felt, trimmed with plumes to match, and gilt ornaments. It is, however, not incumbent upon every one to wear these exaggerated styles, as there are several very pretty modifications of the Empire bonnet. All are exceedingly small, with raised, soft crowns, or else a perfectly flat crown and a small, tightly covered cape, or band set up rather high on the crown.”(Godey’s Lady’s Book, January 1866)

Godey’s Lady’s Book, 1866 “Empire Bonnet. Intended for a half mourning toilet. The border in front and the curtain consist of white chip, the crown is formed of black thulle puffings, the puffings being separated by rows of black ribbon velvet, worked with white chalk beads. Black velvet ribbon, with a row of white beads on the centre, separates the front from the crown. The bow at the back consists of black velvet and beads; the strings are black velvet. In the inside is a black velvet bandelet, worked with white beads. If this bonnet is preferred in colors, blue silk and crystal beads might be substituted for the black thulle and chalk beads. Mauve silk, with straw drops, would likewise have a good effect.

Godey’s Lady’s Book, November 1866.”Empire bonnet. This bonnet is suitable for a middle-aged lady, and is made of gray velvet, the curtain being scarlet velvet. A bandeau of scarlet velvet is sewn inside the edge of the front. The bonnet is trimmed with handsome gray silk cord and tassles. A crystal drop fringe is added round the edge of the bonnet. Grey silk strings, with narrow scarlet velvet ones at the top of them.”

What was popular in the spring of 1865?

The fanchon bonnet.

Really, I just don’t get it. What were they thinking? Going from beautifully shaped bonnets through the 50s into the 60s… then…”hmm, let’s just make wonky triangles to stick on our heads.”

Okay, so what I see as “wonky triangles” they saw as “Half-handkerchief” bonnets. They were very easy to make, especially at home out of a wide variety of materials.

“The Fanchon, or half-Handkerchief style of bonnet which now prevails universally, is found by many to be “too common” – it is so easy to make at home, everybody wears a bonnet d la fanchon; and what everybody wears is not always acceptable, so the Empire shape, which is more difficult to improvise, is eulogized as “distinguished,” and adopted by a very small minority.” (The Australian Journal, 1866)

The Fanchon was accompanied by the “la tarte”, the “Lamballe” and the Manderin. All on the smaller side. Not everyone of the time were impressed by this phase in millinery fashion. “At present the bonnet is not a bonnet…. It strikes our uninstructed minds as a misnomer to call a bason of crape a bonnet, and yet it is a bonnet according to Le Follet, and belongs to the genus of “Fanchon”…. Paying for a bonnet should be a pleasure, and we have no doubt it is; we trust, though, that the “Mandarin,” the “Lamballe,” and “La Tarte” are only temporary, and that a bonnet will not become so diminutive as to puzzle a very Owen of millinery, who might be asked to construct one from a future “Fanchon”.” (Every Saturday, 1866)

We quickly see the Empire bonnet come to counter the Fanchon. This is a direct response to the dislike for the ‘commonness’ of the Fanchon both by milliners and fashionable customers. “None but those who take the lead in fashion wear exclusively the Empire bonnets. These have been a good deal modified in shape from what they were when they first appeared.”

Alas, here we are, looking into a season when so many eyes are on the spring of 1865. So, I have made some straw fanchon bonnet forms.

Except from “The Romance of a Tassel” (The Christmas Annual, 1860)

We were to have a sleigh-ride, and the principal topic of conversation was, the delightful morning and the promise of pleasure; I was olde enough to feel all the enthusiasm of the occasion, and yet to temper my feelings with quietness. My Cousin Kate and I had been knitting some new hoods, beautiful we thought them, and of a new pattern. As my fingers had toiled through the countless loops, I had only thought what a delight it would be to wear it, and a little vanity was mingled with my feeling, for truly I looked like another person in its scarlet and white border than in the faded silk of my old hood.

All the young girls and boys of the village were to go to this ride, and I knew very well that Kate and I would have the most dashing head-gear of the party and I remembered with pleasure, that Esquire Thomas’s son Chester had come from the city and was to be one of the party.

I presume I tried my hood on twenty times the day before, because, I said, it felt so comfortable, but I had to look in the glass each time to see just how comfortable it felt.

After our breakfast was over, my Uncle Oliver rode up with his daughter Nancy, who had been sent to join in the day’s pleasure. She lived several miles back in the country, and I must acknowledge that I felt too little interest in her pale face and quiet manners, because I thought she was not quite so smart in her ways and dress as we village girls; but I had not an unkind heart, and so I ran to meet her with a hearty welcome, saying “Why, how cold you are; your cheeks at least are red as roses; come to the fire.” My mother with gentle manner took off her straw bonnet, trimmed with its light faded ribbon, and gave her some coffee, and I ran to get ready for the ride. It took me an hour. I twisted my curls over and over again. I asked Kate if I looked well enough. Then I put on my hood – too it off – re-arranged my curls. “There,” said Kate at last, “you look like father’s beautiful scarlet and white carnation pinks, and if Chester does not say so, I will box his ears.” – And what will Chester say of you?” I asked “Oh what he always does. “you most beauchiful butcherfly.” “But is not Chester handsome, Susy? And he is really so good, so manly, so noble, father says, none of your fops – but come, let’s go down.”

Just then my mother with her gentle touch opened the door. I remembered the look she cast on me – it was one of mingled pride and trust – her eye was bright and cheerful, but there was a look so ful of hope for me and trust in me, that I ran up to her with a kiss as hearty as when I was five instead of fifteen.

“Susy,” said she, in her animated but gentle manner, “Nancy has nothing to wear but her straw bonnet. She will be ill if she thus exposes herself to the cold wind. She says sh will stay with me rather than suffer as she did coming here this morning.” “Well I think it’s queer how some people live,” said I, “Never having anything to wear that is appropriate.” But Susy, she says her mother has been so sick, and you know her father is rather afraid of pennies.” “Afraid! I should should think he was anything but afraid the way he hugs them. Well, Nancy can have my old hood, thought it don’t look very well, but it is better than that old straw bonnet.”

My mother’s look changed instantaneously; there was a sad, half reproachful, half hopeful look on her face as she opened the door, saying, “Would you like to have her wear the old one?” She shut the door and went out. What a commotion was in my heart. I knew my mother had expected me to offer my new hood to Nancy, and wear the old one myself; but what visions were before me of Chester and the effect of my hood on him; of the general look of the whole party as they saw me again in that old Silk. Then came to my ear the sweet tones of my Mother’s voice. I heard all she felt, but more powerful was the thought of what would they say to see me looking like an “old dud.”

I believe I should yielded to the selfishness of my heart if Kate had not spoken.

“I think it is absurd for your mother to ask it; of course you will wear your own things.” Her tone and manner brought to me my Mother’s hopeful trust in me, for she had called her absurd and I knew she was anything but that.

“Of course I shall,” said I, and I ran from the room with swift step. I tore my hood from my head on the way. “Here Nancy,” said I, “You must wear my hood this once, it is so warm and perhaps your father will get you worsted to knit one – Wont you Uncle Oliver? It only costs a dollar., and just see how fine it looks.”

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