If I Had My Own Blue Box:

Initially, I was going to do a post today showing you the cute trio of doll hats I made with blocks I bought. Then, I realized some of you might be asking what is with the doll millinery lately? Why are you making doll hats? Where are the regular 19th century hats & bonnets?

It comes down to straw supply. I keep hearing from my millinery suppliers that there is a material shortage. Simply straw isn’t getting braided into plait, and they don’t have the plait I need. For the list of human hats I have on my wish list, I have a very limited supply of the straw in the upper right. I have been trying to order 6-7mm straw to match the witdh of the dyed straw plait available. My preferred vendor messaged they only had the widths a available at the bottom. One being a very durable plait that makes a strong hat, but can also be tougher on the hands. The other being the same width I have a stash of. I tried a vendor I previously used for years, ordering their 5-6mm straw. What arrived is the same as my growing stash of narrow plait.

I have quite the box of this narrow 4-5mm straw plait.

This narrow plait is great for small doll millinery.

So…. I started trying to make some doll millinery blocks and ordered a few. Luckily, I found a few at affordable prices.

I should back up. Previously, I have made doll size straw millinery. I even taught a Millinery in Miniature class. I have avoided selling them because I find doll heads difficult to fit. With their porcelain hair arrangements or apple shaped heads, accurately shaped bonnets don’t often fit. Bonnets need to be adjusted and distorted. Hats are a good bit easier.

Back to the present.

With a stash of narrow straw and what appeared to be a strong, positive response to doll millinery in the fall, I decided to make more doll pieces.

This week, I focused my work on the larger doll blocks that arrived. These are millinery pieces for dolls with 12″-13″ head circumference. As you can see, each piece nicely fits a modern 18″ doll. (I have 1 more block on the way.)

I sewed each as I would a full size hat or bonnet, starting with the crown and working forward. I tried to create the layering I would expect on the pieces if they were full size. Each piece took about 5 hours of sewing, blocking, and wiring. I used almost a whole hank to make the three pieces.

I did try to ease down the brim of the middle bonnet because the block was so similar to an original millinery block in my collection. The difference being the up turned brim front.

Yes, I will be adding these to my Etsy shop. I have to decide whether to over them as a set or individually.

While she was wearing the cute Paisley shawl, I took another photo with her spoon bonnet.

When I started writing my publication on wadded hoods, I realized a standard pattern format wasn’t going to cut it. I needed to share their story as well as how to make them. Thus, the idea of a comprehensive workbook developed.

I now have 3 workbook style publications available: my Wadded Hood Workbook, Quilted Winter Hood Workbook, and Straw Bonnet Workbook.

Each Workbook begins with a look at original examples, highlighting key details of construction, technique, and material choice.

The second part of each Workbook walks you through making an accurate hood or bonnet of your own. The winter hood workbooks include pattern pieces and directions for making different styles directly based on originals. The straw bonnet workbook shows the process for making two different styles.

The directions are heavily accompanied by images showing the steps and methods of construction. I included tips to aide in enhancing the longevity of a piece, with site costuming in mind.

It is the 10th of January, which means this month’s Pocket of the Month design goes live on Patreon for Patrons.

This month’s pocket is a Scottish thistle design in recognition of Burn’s Night coming on January 25th.

2024 Pocket of the Month designs:

• January – Thistle design
• February –
• March –
• April –
• May –
• June –
• July –
• August –
• September –
• November –
• December –

2023 designs included:

A lappet style winter hood is distinguished by its elongated cheektabs reflecting the look of a lace lappet. These extended cheektabs align with a deep brim that comes forward of the face. Lappet style hoods are batted thinner than many other hoods. This makes it easy to fold back the brim. Laid flat, this deep brim and long lappets can protect the face. Folded back it allows for ease of vision.

This style hood is distinct among its quilted and wadded counterparts, yet lacked a name. The distinct long, wide cheektabs so similarly reflect a lappet’s shape and position of wear, the name lappet became obviously appropriate.

Lappet style hoods are found with three piece construction and two piece construction.

Lappet style hoods in other collections:

This pink lappet style hood is currently on display at the Genesee Country Village and Museum. It is shown with the brim turned back. You can see how the neck edge of the crown can be drawn up inside for comfort and fit.

18th century example at the Boston Museum of Fine Art

1850 example at the MET

Pattern:

To make your own lappet style winter hood

With busy schedules, taking on a project, particularly a new project, can seem overwhelming. Even after years of making winter hoods, I find switching from my rhythmic sewing for straw to construction sewing for winter hoods to be a big shift.

I find I need to break each hood into steps I can do after work. These steps give me an achievable goal and a sense of completion.

Here is my recommendation for working through my Quilted Winter Hood Workbook. Each of these is meant to be achievable in an evening. This pace completes hoods A & C in two weeks, while hood B will take a few more days for quilting.

1. Read Part 1
2. Read Part 2
3. Print pattern pages. Tape together and cut out the pieces you need.
4. Layout and cut fabrics & batting
5. Mark quilting lines. Make bias and piping.
6. Start quilting the brim.
7. Continue quilting the brim.
8. Finish quilting the brim.
9. Quilt the crown.
10. Assemble & quilt the bavolet.
11. Bind or pipe the brim (varies by style)
12. Attach the crown.
13. Attach the bavolet.
14. Finish interior and add ties.

For many, a quilted winter hood can be made in a weekend of handsewing. I would recommend reading in advance. Do steps 3, 4, & 5 on Friday evening. Start Saturday morning with quilting steps 6 to 10, accompanied by a good audiobook. Sunday, commence binding or piping, and assemble the hood through the finish.

Keep in mind that everyone works at a different pace. You may find you have limited time and need to do each step over a couple of days. Or, you may be able to do more than one step in a sitting.

A similar breakdown can be used for my Wadded Hood Workbook.

1. Read Part 1.
2. Read Part 2.
3. Print & cut the pattern pieces you need.
4. Layout and cut fabrics.
5. Assemble the brim. (x2 evenings)
6. Layer & quilt the crown.
7. Layer & quilt the bavolet.
8. Wadded the brim. (x2 evenings)
9. Attach crown & brim.
10. Attach bavolet.
11. Finish interior and add ties.

The most common sewn winter hood of the early through mid-nineteenth century was the quilted hood. This type of hood most often consisted of three pieces: the brim, crown, and bavolet, each of which were quilted with a lining fabric, outer fabric, and wadding or batting inside.

The shape and proportions of the individual brim, crown, and bavolet pieces and some construction details evolved from decade to decade, reflecting the needs of changing hair styles. When the coiffure was placed high on the head, more space was needed high in the crown. When the coiffure was placed low on the neck, an adjustable bavolet to crown seam was needed.

Most commonly, a tight weave silk taffeta was used for the exterior material. A tigh weave, smooth wool is also seen in originals for the exterior. A tight weave with a smooth surface helps snow slide off of the hood with minimal moisture absorption.

The wadding or batting is most often wool, though occasionally other fibers. The bits of wool batting peeking through seams, fractures, and holes in original hoods range from white to golden/orangey yellows to dark browns. I have observed both cleaned and uncleaned wool with plant fibers inside. I have found fulled wool fabric quilted inside original hoods as well.

Inside quilted hoods, linings most often consist of polished cotton or silk, though to a much lesser extent printed cottons are also found. The smooth surface of a polished cotton or silk causes less disruption to the wearer’s hair. The front few inches of the brim can be faced with another silk, solid, striped, or plaid. Often, this facing is on the bias. On multiple pieces, I have observed ribbon used for the facing, pieced together on the bias.

Some quilted bonnets have structural support used in the construction. So far, I have found: wires, cane, paper, pasteboard, buckram, and straw.

New Quilted Winter Hood Workbook

The next winter workbook will either be doll hoods or children’s hoods. Which would you prefer?

Now that wi ter has finally settled in to the North-East, many are thinking about how to keep warm in their nineteenth century attire, including how to keep their head warm.

The great news is there were several styles of winter hoods worn in the nineteenth century.

The challenging news is there were several styles of winter hoods worn in the nineteenth century.

With the many styles available, how do you pick the one right for your impression or interpretation?

I have this ongoing love (obsession) with sewn winter hoods. I am fascinated by how each is put together, what
the commonalities are, what the uniquenesses are, and which suits which situations best.

This overview looks at sewn winter hoods focusing on the mid-19th century. It does not include the many knit
styles that were made.

Let’s start with some basics.

Sewn winter hoods generally fall into two catagories: quilted and wadded, with some draped hoods which do not have interior guts. Winter hoods were most frequently made with a silk exterior and a silk or cotton interior. They could also be made from wool. The breakdown lands somewhere around ⅔ silk with ⅓ wool. The silk used is most frequently a tight weave taffeta, with the occasional fraille or tight jacquard weave. The tight weave and smooth texture is important for resisting water. Think about how an umbrella resists water. If rain or wet snow fall onto a silk hood, you want the moisture to roll off. If dry, fluffy snow falls onto a silk hood, you want it to slide off. The same principle applies. Similarly, when wool is used, it too needs to be a tight, smooth weave. A tight weave will minimize absorption. A smooth weave will encourage snow to slide off. A fuzzy wool will act almost like velcro, grabbing and holding onto snow. In terms of weight, the vast majority of original wool hoods I’ve examined have been light weight with some slightly medium weight wools.

Turning to the interior, silk and cotton are commonly found. Silk is often a solid color, either a taffeta or tissue taffeta. Cottons is more often a polished cotton in a solid color or a sateen, with the occasional smaller print. Often, the interiors include multiple fabrics of the same fiber. The color selection can be a dark neutral, black or brown, or a bright, vivid color such as pink or yellow.

Now, let’s talk situations and styles.
I break this down environmentally.

If you are doing an event that is likely to be windy and/or stormy, you will want a hood that can protect your face. For this situation, I recommend a hood that comes forward, protecting the face. A lappet style hood is a good choice for this. The brim extends forward of the face with the lappets hanging below. This was the style I had on when a sudden heavy, icey burst of rain hit. I found while walking through the village, my face was fully protected and dry. A capote style hood, one with minimal structure and a deep brim, would work well for a stormy situation as well.

If you are doing an event that will be very cold, while you need to be active, you will want a warm hood that stays in place while giving you a good line of sight. For this, I recommend a wadded hood. A wadded hood is likely the warmest of the hoods as it is filled full with wool wadding or down. A well fit wadded hood will snug the head, keeping out drafts, and stay put while you actively work. The edge of the brim frames the face giving you full range of peripheral vision, which is important for working with livestock or visitors.

If you are doing an event where visitors need to see your face while giving you protection from the cold weather, I recommend a quilted hood with a brim that can be turned back or is shaped with wire. This style hood can be made with lighter or cotton batting for subtle warmth or with heavier or wool batting for more warmth. A channel can be added to the inside of brim so the hood can be drawn in to hold in place if it is windy or the interpretation role is an active one.

While some winter hoods are trimmed, the majority of the everyday/common hoods I have studied are not trimmed. Simple trims can include ruched ribbon or pinked silk along the brim edge or simple bows on the crown or along the center top of the brim.

I decided to start the year with fun doll sets. These were so much fun to make.

Violet is modeling two sets. Violet is a reproduction doll with a Jenny Lind hairstyle. She stands 18″ tall, while her head measure 8.25″ around. There are three pieces in each set she models. Each trio includes a straw hat, straw and silk workbag, and cotton pocket. The fashionably shapped straw hat is made with straw plait and brown, faux horsehair plait. It is block firm, without wire. The workbag has a straw base and silk bag, which draws closed with a ribbon. The bag is lined but the straw is not. The pocket is cotton in a mid-nineteenth century appropriate print. The pocket is lined with cotton sateen ribbon for the ties.

The final set from today is model by a popular modern doll who also stand 18″ tall with a head measuring approximately 13″ around. She shows off a trio that includes a straw bonnet, silk workbag, and cotton pocket. The bonnet is a high brim straw bonnet appropriatefor the late 1850s through early 1860s. The workbag is silk with pasteboard centers. itnis a style seen through out the century. The pocket is an Heirloom Family Weavers cotton. The pocket is lined with cotton sateen ribbon for the ties.

I am currently trying to squeeze in one more thing for New Year’s Day. So, this Year in Review will be mostly photos.