Thank you to each of the ladies who took the time to enter my “Show Your Millinery” Give-Away.

I suspect I made this give-away a little too complicated because I only had a few entries. But, I have to say, each of the entrants are look absolutely lovely in their millinery.

Now, what you have all been waiting for….. The winner of the “Show Your Millinery” Give-Away and the recipient of the Genesee Country Village & Museum‘s first Centuries of Fashion Cards is…..

Darline!!!!

Give-Away Entrants:

Darline did a lovely job finishing her black straw form. “I love how this bonnet fits.”

Erin did a beautiful job decorating her 1880s straw form. (Check out her blog and amazing dress by clicking on the photo.)

Darline also has one of my favorite drawn bonnets, this green and white mini-check. Here is the side view.

Darline also has one of my favorite drawn bonnets, this green and white mini-check. Aren’t the colors perfect for her?

Inspire Me! Entrants:

😦 I actually didn’t get any “Inspire Me!” entries.

I made this taller crown, narrow brim straw hat with the 1880s in mind. More specifically, these hats:

• This 1884-6 hat at the MET
• An 1884 Le Mode
• These 1885 Le Mode illustrations

With the attention I’ve been paying to the Regency era for my 1820 dress, I started noticing something….

This… and, this….(Right) and, this…. (Lower left) (Rudolph Ackermann Fashion Plate November 1, 1823)

Which had me asking myself “why didn’t I make a Regency hat?”! Check out the height! Check out that whee curve! Check out those brims!

I am going to have to make an uber tall Regency hat….

This, nearly brimless style is something I find very nifty indeed….1810, from the MET  (non-straw version, similar with a brim that is down turned.)

Then, there is this with the wider, forward shifted brim that is bent down with the ribbon… melding of the hat into a bonnet…

Okay, there are like a bazillion others but they all seem to be from Scene it in the Past.  And, I don’t want to impose on her images. So, go over there and drool away as you scroll through her Flicker slides.

Aka “Finally making a Dress”

Aka “The Evolution of a Dress in My Mind”

I finally decided to take a millinery break and make a dress. It is kinda funny that my first dress diary is on a dress from an era I am new to rather than an era I could rattle on about in my sleep.

This has been a molding and remolding process. This fabric has been sitting in my cabinet for going on or just past two year now. I originally bought it off a CW era FB group with the intention of making a 50s/60s washable, if I am ever laborious again dress. Well, over the past two years I’ve gone from liking to disliking the fabric due to the color. In the last couple months it grew on me again. I am still quite worried that the color will look awful on me. It is something about browns and yellow that sallow me out. (Fingers crossed.)Still, actually making a dress was just not catching my fancy. It was all about the straw.

Then, well, spring came.

On Saturday evening I had it in my head I needed a dress for the museum’s upcoming 1812 event. I had a two piece (sacque and petti or shortgown and petti) combination in my head. The shortgown was a crossover front and fitted back. The cabinet offered a couple options – the plaids were out, the paisley is reserved – the brown sorta stripe ovally motif was the fabric. (In my head is still has a blue in it.) By morning, I wanted to make the dress. As the day progressed wandering the historic village the want/need of an early teens dress evolved into a want of a late teens to early twenties dress. Ideas of one pieces vs two piece, earlier vs later, with or without the crossover jumbled around in my head cooking in the sun. By 1 am when I had a toothache (um late 30s, why is that wisdom tooth moving???) the dress was distinctly a single piece, crossover bodice 1820 dress.

Of course, it was 1 am and I had to work in the morning.

Monday was toasty, particularly with a windowless classroom full of computers and broken ac/fans. I was pretty comfortable despite coworkers insisting it was hot and that I must be hot. I did feel hotter on the drive home. But, still went straight to the sewing room sans ac or fan. Out came the pencil, scissors and corset. A thunderstorm rolled in and out; time blurred, as time often does in the sewing room. It is a good thing I have an alarm set in my phone, aka the techie fabric weight. By dinner, I had the lining cut, constructed, fitted and the fashion fabric cut, constructed and ready to attach to the lining.  After dinner, I sewed away as the temperature eased, attaching the two layers. I was pleased with the way it looked. I was not pleased with the photo hubby took to show the fit. Off came my head. Thank you crop feature. (I still don’t know if I’ll share that one.)

I still wasn’t quite tired or ready to go to sleep since it was such a nice day out and my body was so enjoying the warmth and the breeze from outside. So, I grabbed the excess cuttings from the bodice to see what they might want to be. I had thought I would do a few rows of bias ruche around the skirt. But, with these little pieces to play with….. I ended up with scallopy balloony shape gathered behind a faux self-fabric button. I figure if I set them 4.5″ apart in two rows (sorta like this), I’ll need 20 of them. I do need to learn more about those hems that look padded. In terms of wet grass, I think that would be uber-obsorbant and a soggy mess. I think I see some dresses with cording. So, maybe a corded row under the balloonies. As far as the balloonies themselves, I am considering a smaller version for the bodice. The other option being a plain self fabric or blue fabric button. Why? There is this button over neckline from this earlier dress that I am just smitten with. As Monday came to a close, I had to tell myself to go to bed as the weather was just so nice and warm making me feel so good. If I had allowed myself to start the skirt, I would have likely kept on going through the night.

Tuesday had higher ambitions that the incoming storm allowed. The skirt panels were cut, then recut (two right-hand side front angles just don’t work.) Once assembled, I basted them into place from the sides to the front closure. Then gathered and basted the full panel into the back. I distributed the back gathering across the full back. (I haven’t settled upon that yet though. A big part of me wants lots more fullness center back.) It was pretty relaxing sewing the skirt to the fashion fabric. It was far more relaxing to the point of sleepy whipping down the lining as the air pressure continued to change and the temperature dropped more. In the end, I only got the skirt assembled, set and attached. I was hoping to get it hemmed and some sleeve sketches done. Oh, I did plop on the balloon scallops (how I need a better name for these) and cut out more disks.

Part of me wonders if the cold, coldness of Wednesday contributed to my sleeve decisions. On Monday, I was thinking about looking up when short sleeves were okay for the teens and early 20s. By the time I sat down to draft on Wednesday, the idea of short sleeves were out the window, far out the window and blown away by a frigid wind. The choice was then straight sleeve or shaped sleeve. While the shaped sleeve had appeal due to its similarity to the coat sleeve I’m used to in the 1860s and utility of fabric, the straight sleeve had the appeal of challenging my fear of wearing a straight sleeve and the simple laziness of the easy draft. The straight sleeve it was. I happened to be wearing a light fleece. So, as I worked, I kept trying the sleeves on. My rational was if the sleeve fit over the fleece, it wouldn’t be too tight. I am pleased with the sleeves.

I made the little pleat-over part of the neckline. I think it turned out pretty cute. I initially planned to do a little self fabric button like the original inspiration. Now, I’m not sure if I will because I rather like the fabric piece as is. tbd.

I started the hem just before bed. As it was so cold, I was looking forward to crawling under the covers. So, the hem hangs half completed.  

Thursday, ah, Thursday didn’t go so well. I hoped to finish the dress to have this post ready to go Friday morning. Then came food poisoning. It was my own fault. Completion did not happen. I managed to finish the hem and set some hooks & eyes. I also managed to get a few of the scallop-balloonies made. For two rows I need 20 of them. With a few pinned on, I do think the hem needs something more, either another row of scallop-balloonies or a bias or corded bias strip under them or weaving through them.

Part 2 coming as soon as I finish the dress and get photos….

As I have been working on my new (first new in a year) dress in a new to me year, I have oodles of ponderings, thoughts and questions. Because I find this to be lots of fun, I will share some of what has been rolling around in my head. I may add what I find as well. (The post on the dress will be finished as the dress is finished. Maybe Friday.)

Personal Linens – What did they use, when and why?

Sunbonnets? Did they?

Parasol different kind. 🙂  a sun protection must.

What are the dos and don’ts of the kerchiefs?

Those hems, I simply must feel some of those unique hems. Quilted lining… Puffs, bias and piping…. Padded hem… Padded lining covered with a frill…

Oh, oo, do I get to carry a purse/reticule? I’ve become so accustom to my pocket. This will be weird. (pocket slit)

Break out the other shawls. 🙂

Must find the perfect cap to make. eh??

What are my new, yet practical financially, shoe options? For mid-century, I’ve been boots & slippers. Shoes, oh, shoes….

Sashes? Belts? Self-fabric belt

~~Unique stuff stumbled upon – How cool is this quilted hat?!? — I had no idea this “Orange Peel/Pin Cushion” quilt was this early of a design. I loved one Grandma made.)

Resources to explore:

• Costume in Detail from the shelf (Ginger recommended)
• Athenaeum – Paintings ca. 1818-1823ish
• Must spend more time with another part of the Greene Collection
• MFA, OSV, V&AM

Sites that focus on 1820:

• Davenport House Museum, GA
• Frontier Culture Museum, VA

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I have worked on two absolute favorite bonnets this year (so, far), both of which I haven’t been able to share because they special appearances ahead. With the Genesee Country Village‘s Mother’s Day Fashion Show this weekend, I can finally share one of them….

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Later Regency – 1820’s Straw Bonnet Form –  Keeping that even crown even was such a challenge. I love challenges. I just love this shape now.

[[[[[Waiting for the photos from today to arrive]]]]]]

Here is the bonnet I’ve been working on this week. It started with a page of 1841 bonnet illustrations (see Getting Pokey.) It is made with the coarse straw plait. I need to do this shape again in the Milan plait. My favorite angle is to the right. I really like the curves and lines straw can make.

This bonnet is currently available at my Etsy Store.

Here is the inspiration image I was playing off of. It is dated 1841:

http://cdm16028.contentdm.oclc.org/cdm/fullbrowser/collection/p15324coll12/id/9963/rv/singleitem/rec/57

This 1840s bonnet shows a similar angle from crown to brim:

http://www.metmuseum.org/collection/the-collection-online/search/94395?img=0

This one has a subtle change from crown to brim:

http://kent.pastperfect-online.com/34506cgi/mweb.exe?request=record;id=AB6F3DB0-C1BC-42CA-862B-595451116626;type=101

This bonnet has a brim rise that arcs further forward. I find this a pleasing look that may need to be added to the list:

http://whitakerauction.smugmug.com/Fall2007-1/Fall-2007/i-2QPnChB

Compared to this earlier 1820’s style, we can see the difference in the angle of the crown and tip which reaches more vertically on the diagonal. (although, this one does seem to be photographed at an odd angle.)

http://collections.lacma.org/node/232532

With so many new people asking basic millinery questions, I realized it would be a good idea to have a go-to spot for millinery vocabulary. This list focuses on the parts of a bonnet and the materials. This is going to be one of those “work in progress” posts as most of this is off the top of my head typed with my thumbs.

***Note: Terms that are not necessarily period but we tend to use in modern discussion will be in this color.

Bavolet  – The pleated or gathered fabric that goes along the neckline of the bonnet. Most commonly this is silk or silk ribbon, often set on the bias with a lining of net. Sometime lace was placed over the bavolet. The bavolet appears in the Romantic era and disappears in the later 1860s. Also called the Curtain.

Blonde – A silk bobbin lace originally natural in color, later in black. The motifs, frequently floral, are worked in a silk thread heavier than the ground.

Bobbinet – Machine made cotton or silk netting with hexagonal figures.

Brim – (1) The front part of a bonnet that encircles the face mostly vertically. (2) The bottom part of a hat the encircles the head horizontally.

Brussels Net – Plain net originally from Brussels.

Buckram – A cotton construction material that is woven and stiffened. Often a foundation that is wired and covered with fashion fabric.

Cane –  Long woody strips used in drawn bonnets. These can be round, semi-circular or flat. Also used in basket making. (try defining cane without saying cane.)

Cheektabs – The section of a bonnet that comes along the side of the head, curving downward along the jawline framing the cheek. Also called ______

Chip – Thin wood fibers plaited or woven to make a bonnet or hat.

Crepe – A puckered/crinkled fabric frequently associated with mourning when black. Modern crepe and 19th century crepe are not the same.

Crown –  The part of a bonnet or hat that sorta encompassed the head.

Leghorn – (1) A plait of Italian straw. (2) A shape/style of bonnet.

Lining – A material fully or partially covering the interior of a bonnet that protects the bonnet from the hair and the hair from the bonnet.

Net – Net is frequently found in two spots on a mid-19th century bonnet – a stiff cotton net lines the bavolet. A finer, softer, yet still crisp net in cotton or silk is used for the ruche.

Organdy – A thin, sheer plain weave silk or cotton with a crisp hand. (we tend to say organdy for cotton and organza for silk now.)

Plait – A braid of straw or horsehair.

Ribbon – Please see my ribbon page for information on ribbons.

Ruche-  The box pleated white ruffle just inside the brim around the face. Often a net, lace or sheer material in silk or cotton. “At some factories, ruches are made entirely by machinery. They are not as well nor as neatly put together, and do not sell as high as those made by hand.”(Employments of Women, Virginia Penny. 1860.) Also called the frill or cap by some.

Ties – Narrow (~1″) ribbon used to tie a bonnet on securely. These ties take the stress of wear rather than the wider decorative ribbons. Sometimes referred to as “utility ties” or “functional ribbons”.

Tip – The top most or back most part of the crown. It can be flat or rounded depending on the style.

Willow

For a better understanding of the fabrics, I suggest a good textile dictionary.

I rarely post items from Ebay or Etsy that aren’t part of a topic specific blog post. But, these two straw bonnets are swoon worthy.

You know what I was saying the other day about the curves in poke bonnets? The first one hasthat same type of beautiful curve in construction I love so much. The simple velvet ribbon wrapping around the tip and crown seems to fit those curves so well. This tempts me to do the same in the future.

The second appears to be a decade to a decade and a half later to me. Check out that wide velvet ribbon!! There is something about black velvet on natural straw. I am curious as the seller says the bavolet is wired. The quad-photo in the listing gives a nice look at wiring and one way of lining.

(I had been planning to do a post on veils. But, life has been crazy, photos have not been taken, and the discussion has come up in a FB group. I’ll do an actual real post at some point.)
Here is one of my original veils.

This is the gauze one Bevin made me. I need to double check, but I think it is the same dimensions or a little wider. I know my black gauze is about 36″ wide by 20″ long. These are a must for me to function at many events.
A random interesting quote:

The principal feature in the new bonnets [Empire?] is the veil, which has now become the all-important item for bonnets and hats. It is unhemmed black or white illusion spangles with gold, figured net, crepe lisse, or else the regular made veil. It is either caught on the side of the bonnet by a fancy ornament, or is fastened just over the crown. The length varies from three-quarters of a yard to one yard. (Godey’s Lady’s Book, January 1866)

My pinboard for veils.