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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Why Green?

This week I had the pleasure, rather joy, of truly seeing why green was used as often as it was with straw. I was applying this vintage satin back velvet ribbon in an olivey-green shade to a straw hat that is being mailed today. (I’ll share those photos once the recipient receives it.) As I stitched, I was caught by how the green brought out the golden richness of the straw. The hat was pretty before. But, the green ribbon made it almost glow.

After seeing numerous green ribbons on straw bonnets over the years, I finally saw what they saw. I saw how the green worked with the natural straw. It just works and work really well.

What does the original cast say of green for millinery?

For fair-haired women “A green bonnet is advantageous to fair or rosy complexions. It may be trimmed with white flowers, but preferably with rose. A rose-colored bonnet must not be too close to the skin; and if it is found that the hair does not produce sufficient separation, the distance from the rose-color may be increased by means of white, or green, which is preferable. A wreath of white flowers in the midst of their leaves, has a good effect.” (“Color and Ornament”, Home Circle. Nashville, Tenn, 1856)

The main relations of color to be borne in mind are these: Green is the opposite, and the complement, to red; green, therefore, reddens adjacent hues, and red adds a green tinge to them; but green and red set off each other to the best advantage when placed side by side – the green looking greener, the red redder – and this is, of course, most thoroughly the effect when the two colors are alike in depth of tone. What green is to red, yellow is to violet, and blue to orange. In the same way it may be said that the yellow tints of green suggest their compliments and opposites, the violet-reds; the yellow-oranges contrast with violet-blues, and the orange-reds with blue-greens.

Thus the pink of the complexion is brought out by a green setting in dress or bonnet; and any lady who has a fair complexion, that admits of having its rose tint a little heightened, may make effective use of the green color, but it should be a delicate green, since it is of importance to preserve harmony of tone. When there is in the face a tint of orange mixed with brown, a brick-red hue will result from the use of green; if any green at all used in such a case it should be dark.  (“Something for the Ladies About Color“, Harper’s New Monthly Magazine, November, 1854)

A green bonnet is advantageous to fair or rosey complexions. It may be trimmed with white flowers, but preferably with rose….. A green bonnet is suitable to fair and light rosey complexions; rose, red, or white flowers are preferable to all others. (“How to Choose Colors in Dress“, Peterson’s Magazine, 1855)

Worded another way in the London Quarterly Review: A delicate green is favourable to all fair complexions which are deficient in rose, and which may have more imparted to them without inconvenience. But it is not favourable to complexions that are more red than rosy, nor to those that have a tint of orange mixed with brown, because the red they add to this tint will be of a brick-red hue. In the latter case a dark-green will be less objectionable than a delicate green. (1855) (you can tell there was plenty of quoting and paraphrasing going on.)

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Published in: on May 23, 2014 at 12:25 pm  Comments (1)  
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A Year in Millinery Fashion – 1864

Bonnet for second mourning. The front of the bonnet is of black silk. The crown is of a light lavender silk, covered with a network of black chenille. The bow on the top of the bonnet is of lavender silk, edged with black velvet, and the ends embroidered and trimmed with black chenille. The inside trimmings is composed of white and black lace, and loops of lavender-colored ribbon. (Godey’s, May 1864)

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A Year in Millinery Fashion – 1864

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This bonnet has a front of drawn green silk. The graceful soft crown is of white silk. The trimming consists of a tuft of meadow grass and field flowers, also loops of white silk placed directly over the crown. The inside trimmings is of white and black lace and field flowers. (Godey’s, May 1864)