How to wear a shawl
On the shoulders, draped open or held with the hands
This woman, dressed in evening attire, wears a lace shawl on the edge of her shoulders
This woman wears her shawl high on the shoulders, rather close to the neck. It drapes down the front of her.
This woman wears her lace shawl on her shoulders while holds her dog with the shawl draped through the arms.
This lace shawl is held on the shoulders, fully covering the arms.
This lace shawl is held closed with arms.
This image is harder to see. It appears to me the shawl is held on the shoulders.
This shawl is draped off the back of the shoulders. I believe this is a posed wearing.
These women wear their shawls on their shoulders tucked high under their arms.
Painting, 1860 another painting
On the shoulders, held closed with pin or other item
This lace shawl is held closed at the neck.
This woman is seated, wearing an open neckline dress. The striped silk shawl drapes around her shoulders and is closed at the front.
This lace shawl is worn high on the shoulders to the neck where it appears to be pinned.
This paisley family shawl is folded square and pinned at the neck. It is unusual to see a shawl folded this way.
Just off the shoulders
The woman on the right wears her shawl just off her shoulders and holds it closed low as she poses.
This shawl appears to be pinned in place. The woman is Cornelia Van Ness Roosevelt, taken in 1857. I believe this is a posed wearing.
This woman wears her shawl with a paisley border just off her shoulder with a significant amount draped over her arms.
This shawl is worn just off the edge of the shoulders and held fully with the arms.
This is likely a later 40s or early 50s image based on the dress and bonnet. The shawl is one that could possibly have been made at home.
Woman wearing a knit shawl
Draped on mid-upper-arm
Lace shawl worn by a woman in her 40s or 50s, draped over her upper arms as she is seated.
This lace shawl is worn on the upper arms. It is possibly a later 60s image based on the neckline.
On the arms/elbows
, draped low on the back, held at the elbows. Woman 20s or 30s.Solid shawl with possible border
This painting shows a woman, likely from the 1840s, in an open neckline day wear dress with her shawl draped around her arms loosely at the elbows.
Make-Do Furniture
In the January, 1859 edition of Godey’s Lady’s Book there is a story “The Unexpected Guest” in which 
the family has a room yet no furniture for their coming guest. The devise several nifty make-do pieces of furniture that are worth looking at. Now, I’m not saying everyone needs to run out and make each of these for their camp area. That would just look silly and create yet another over representation. I am saying it would be worth thinking through what they might have done for their make-dos when make-dos are appropriate.
To read the full story click here.
The Empire Bonnet of 1865 (and 1866)
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.”
Millinery (of the Late Winter) for the Spring of 1865
January
Fig 1 Opera hat of puffed white crape; each puff being separated by a row of large black beads; scarlet and black flowers, with loops of scarlet ribbon, replace the cape. The inside trimmings is of scarlet and black flowers and scarlet ribbon.(Godey’s Lady’s Book, January 1865)
Fig 2 White evening bonnet, with falling crown, covered with lilies of the valley and daisies.(Godey’s Lady’s Book, January 1865)
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Fig 3 Opera bonnet of blue crape, trimmed with pink roses.(Godey’s Lady’s Book, January 1865)
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February
Fig 1 is one of the most novel bonnets that has been produced this season. The front is very narrow, and is composed of a row of pink satin boullions, behind which is a bandeau of black velvet, fluted at the top, and continued from the ears to form the strings; the front edge of the pink satin is trimmed with narrow black lace. There is really neither crown nor curtain, their place being supplied by two rows of broad black lace, the upper row falling a little over the under one at the top of which are a pink rose, and a bow and streamers of black velvet. The cap is trimmed with roses and bows of black velvet.(Godey’s Lady’s Book, February 1865)
Fig 2 – Dress bonnet of Ponceau velvet spotted with small jet ornaments, the front edge is covered by a row of boullions of black thulle. The curtain is nothing but a flounce of black lace, headed by a grelot fringe, which fringe is continued on to the ears. At the back are loops and streamers of Ponceau velvet, and the strings are of the same. The cap is trimmed with fancy clowers of Ponceau velvet.(Godey’s Lady’s Book, February 1865)
Fig 3 Bonnet composed of a foundation of white silk, covered with a close network of very narrow blue velvet. The curtain is of white lace, ornamented with loops of blue velvet, and having streamers of the same underneath. The crown is nearly covered by a broad brown and blue feather, and a plume of similar feathers is placed on the right side. The strings are of blue ribbon, and the trimmings in the cap are brown feathers and a few blue flowers.(Godey’s Lady’s Book, February 1865)
March
Fig 1 is a bonnet composed of narrow fullings of violet velvet; at the back, instead of a curtain, are two rows of black lace, set foot to foot with jet trimming between; at the left side an ornament of cock’s feathers and jet pendants; loops and long ends of velvet flowers and tufts of feathers; broad violet strings.(Godey’s Lady’s Book, March 1865)
Fig 2 is a dress bonnet at the top front flutings of black velvet; the crown and sides of front folds of white satin in bias; over the crown fall two rows of black lace; bird of Paradise with long white feathers on the left side; no curtain; strings of broad white satin ribbon brought from the top of crown; blonde cap, with bows of velvet and rosebuds. (Godey’s Lady’s Book, March 1865)
Fig 3 Bonnet of black velvet, the front covered plain. The crown is fulled and finished at the back by a bow and streamers of blue velvet ribbon; no curtain; folds of blue velvet cross the bonnet. (Godey’s Lady’s Book, March 1865)
Fig 4 Black velvet bonnet. The folds in bias; a fall of black laca at the back instead of curtain; very large pink feather on the left side, edged with jet. (Godey’s Lady’s Book, March 1865)
Fig 5 White silk bonnet, with puffed front and falling crown, which is covered with long green crape leaves. A fall of blonde takes the place of a curtain. An illusion scarf is laid in folds over the bonnet, and ties under the chin. The inside trimming is of white and scarlet flowers. (Godey’s Lady’s Book, March 1865)
Fanchon Bonnets
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.
Pleasing Black Bonnet
I lack a name for this winter bonnet.
Let me talk about the original I worked from first*.
The
original is smaller than most winter bonnets, eithe for a smaller adult or older child. It is plaid, a small but not tiny, colorful plaid. The channels are a half inch wide and firmly, very firmly wadded. I increased the size to that of a green bonnet I have of very similar shaping. Getting the measurements over the full channels was fiddly. I uses a string to go over each curve. The crown is actually the direct measurements from the green bonnet that was set nearly the same as the plaid. The bavolet is actuall two curves. Odd little bavolet.
I made one inch channels instead of the half inch channels, with cording inbetween. Those inch wide channels are a challenge enough to get wadded firmly and evenly. It will be more so for the half inch channels.
I finished quilting the crown on Friday. I basted it into the brim…. and promptly hated it. It was so incredibly full through the top of the crown it looked more like a late 30s or early 40 day cap crown than what I thought it should look like. It is a good thing I slept on it, because I was ready to make a whole different back that fit what we are used to seeing. I went back to the original and realized it was how I gathered the crown and basted it in. Set in right, like the original, I like it; it allows lots of space for hair and is comfy.
*I have been holding back on sharing the originals for a couple reasons. First, I am using them in a bigger project. This will either reach the public eye in a conference presentation format or book format. Second, I’ve had a few cases lately of people ‘borrowing’ my research and designs. This makes me hesitant.
Winter Blues
A soft silk in frosty blue, lined brown in polished cotton and batted with wool. (I’ll add more about this bonnet asap.)
The crown is full for those with larger hair arrangements.
If I Had My Own Blue Box: 
