If I Had My Own Blue Box:

The week or weeks, I’m not quite certain with how busy it has been, I’ve spent time with my new millinery block. Here are the first two 1880s bonnets I made with it.

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I tried two different styles, each based on what I see in originals. On the left, the first has a more circular, though slightly oval back and closed lower crown with a deeper “brim.” On the right, the second has a horseshoe or arch back with an open lower crown and a decorative brim edge.

Before continuing, I need to share that I am having difficulty with the naming of the bonnet parts because they diverge so much from what I am accustom to in the 30s through the 60s. Being so petite, these bonnets do not encompass the back of the head the way their predecessors did. While the 1860s bonnet perched on the head, the 1880s bonnet perches on tip-toe. There is little definition between the crown and brim. On the block itself the change is just a few degrees of an angle. So, I find myself saying “yes, that still is the brim.” or “yes, that is the crown.”

Back to the bonnets.

Here they are in profile. My model head does not show well how they will sit on the full 1880s hair style, which would suspend it above and behind the head. I found the block to create a bonnet slightly larger than I expected. Placed on my own head, the bonnets feel large. I have a small head and far from volumous hair though. Once lined and trimmed, I anticipate they will fit most well. I observed this type of bonnet often had a light weight polished cotton, often cream, brown, or black, gathered towards the center back in a way to cup the hard and hair.

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Looking at the backs of original bonnet crowns, I saw circles, near circles, and archs or horseshoe shapes. I started the first bonnet, left, with an almost circle. This proved to not be the right proportion for this block. It tooms some fiddling. I do not anticipate starting for this block this way again. A circle may work better. The arch, or horseshoe, worked well for this block creating a back that fit with the block very well.

I was surprised to find this block, though smaller than my norm, to be more fiddly. This may change over time. I still need to better understand the nubs at the base of the crown.

For the first bonnet, I wanted to work around the whole block to get to know the shaping. This method creates the bonnet style with a full, closed crown. When working the rows around the whole bonnet, I found the plait wanted to flare ar the bottom of the crown, almost like a straw bavolet would. As this area is ofen covered with trims in photos, I need to examine more straw pieces of this style in person to decide whether to force the straw not to do this. I could easily see this style done with a decorative edge. I also see this as possibly working for a bonnet with a wider, deeper brim. Though, it may create a larger bonnet size wise.

For the second bonnet, right, I wanted to try the open bottom for the crown with the inverted V I was seeing on some bonnets. This block seems to be very well suited for this. I am please with the overall shape as well as the decorative edge. I have several decorative edged ideas in mind for this shape with the hop of mimicking the plait combinations of the time without access to those plaits.

These photos should give a sense of the sizes. The second bonnet is the smaller of the two. The first was blocked to the size of the block with the finishing rows added after. The second was blocked to the size of the block, including the vining decorative edge.

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I will be adding these to Etsy momentarily.

I ventured to the local fleamarket on Sunday. I like to go opening day, but this year I was extra busy. I made it a couple weekends in. I woke early with the assistance of a certain feline who wanted to be fed. I ate half a bowl of cereal and headed out. This allowed me to arrive shortly after 7, when finding a parking spot was easy, attendance was light, and some vendors were still unpacking. There were many empty spots, likely due to the forecast of rain and thunderstorms. Muddy ground and wet weather can be more problematic than it is worth.

The fleamarket was a local destination since childhood. As a kid, I looked forward to buying a little trinket with change, or, maybe if I was really lucky, finding a Breyer horse for a few dollars. Now, I still hope for that little trinket or Breyer horse. I also have an eye open for a few other things.

This year, I would like to find some small, doll size jewelry, sewing accessories, Victorian fancy work of particular types, a doll head for the ooops too big body, the right curio for the little dolls, hat blocks, and something curious.

Sunday there wasn’t much that caught my attention for coming home. There was one Breyer in the whole place, of the wrong size. No sewing accessories old enough. Nothing curious enough to fit my interests or research focus. I came home with a lone pair of gloves and this cdv.

This CDV caught my attention for what I am going to call Relatability.

It was her bodice that I saw initially. It is loosely fit through her bust rather than fitted smoothly. The fullness gathers in to the waist in controlled pleats rather than plain gathers or darts. This would make me think this is a more casual dress, but then, when looking at the sleeve with its embellishment and detail, it is seen not to be the case.

At home, I took some time with this image. Partly for a closer look. Partly to see how clear the camera on my sorta new phone does with cdvs. I am pleased with the latter.

The closer look showed me things I did not see standing in the morning sun with sunglasses and hat on. This woman was older but not old. She has wrinkles in emerging in all the natural places. She has graying hair in wisps. She has fullness at the back of the collar indicating the rolling of neck or shoulders that happens when working or reading over many years. She gave herself room in her bodice possibly for comfort, physical or mental, while her sleeves show an attention, creativity, and detail.

Each of these aspects are as much true of being then as now, now as then.

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I am reposting favorite helpful posts each Monday throughout March, April, and May.

We are entering the time of year when people are thinking spring and about decorating their bonnets. Straw bonnets have a great appeal because they are cooler to wear in the heat as the straw allows the head to breathe, and the embellishments can be changed fairly easily without leaving as obvious thread holes.

Just as with most other garments and material culture pieces, millinery is an investment. You want to finish your straw bonnet as accurately as possible. This will include several factors:

• A lining to protect the straw from your hair products and to protect your hair from snagging on the straw. While not every extant bonnet has a lining or evidence or a lining, a lining can extend the life of your bonnet
• A frill or cap for the inside of the bonnet’s brim. This frill simultaneously frames the face and helps hold the bonnet in place. You may also want to add a facing to the front couple inches of the inside of the brim. This is found in many originals.
• The bavolet will need a cotton net lining to give it the proper fullness. I believe this net also physically supports the materials of the bavolet. The silk, whether from fabric or ribbon, is most frequently seen on the bias in original bonnets. The net will help the bias cut hold its shape, especially if addition elements such as straw, lace, or bead-work is added. Consider reading “Understanding the Ribbon Bavolet” for additional information.
• A bonnet will need 2 sets of ties – A functional set of narrow ties which will hold the bonnet on, and a decorative set of wider ribbons.
• You may want to add a stay to assist in holding the bonnet to your head. The easiest to add is a simple strip of velvet. More information with images can be found in the post “Bonnet Stays“
• Then, of course, you need your decorations – flowers, feathers, ribbons, lace, etc.
• I will add – A storage box and stand – While this is not an immediate need, a stand and box will help your bonnet last by protecting it from being mis-shappened, and from dust.

Recommended Shopping List:

• I highly recommend Danielle’s book from Timely Tresses: Finishing a Straw Bonnet Form
• Cotton net to line your bavolet
• Fine cotton or silk net (bobbinette), or silk organza or lace for your frill/cap
• Fine cotton voile or silk taffeta to line your brim
• 3 yards minimum of wide (silk or quality rayon) ribbon (2 yards for ties, 1 yard for bavolet, additional for decoration/bows) (silk taffeta is also an option for the bavolet.)
• 1 yard of 3/4″-1″ wide silk or cotton sateen ribbon for ties.
• Ribbon and laces of choice for decoration
• Flowers and feathers of choice for decoration
• 1/2″-3/4″ wide velvet for optional stay

Recommended Reading List:

• “Millinery Vocabulary” – basic vocabulary to get you started.
• “Anatomy of a Straw Bonnet“
• “Understanding the Ribbon Bavolet“
• “Bonnet Stays“
• “Life of a Straw Bonnet – Cleaning & Care“
• “On the Suitability of Colors for Lining Bonnets“
• And just in case = Millinery Care and First Aid
• If you want to know more about straw bonnets, how and why they were worn in the mid-nineteenth century, please consider my book, From Field to Fashion.

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Are you one of the many readers enjoying my millinery blog posts?

Consider becoming a Patreon patron. Doing so helps support my work and helps me write more useful articles.

https://www.patreon.com/AMillinersWhimsy

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I was asked to talk about and show how a tie on pocket is worn. Here is a short video that looks at how a separate pocket ties on around the waist and how they are accessed through the skirt. I also give examples of what might be found in a pocket whether it is worn for interpretive use or keeping modern essentials.

I forgot to mention in the video that having the emergency/essential items in a tie on pocket reduces to chance of losing or forgetting something in transferring from one dress pocket to another.

I am reposting favorite helpful posts each Monday throughout March, April, and May.

There are several resources available to learn more about hairnets…..

Are you confused about the word “Snood”? Read Getting Snoody by Elizabeth Stewart Clark.

Do you want to know what basic hairnet to buy and have in your hair kit? Watch this video:

Want to know the basic ins and outs of hair nets? Read To Net, or Not to Net an article by Anna Worden.

Want to know the details of hairnets, who wore what kinds and when with lots of photos and illustrations? Read the full-length e-book To Net, or Not to Net: Revisited, by Anna Worden Bauersmith.

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Are you one of the many readers enjoying my millinery blog posts?

Consider becoming a Patreon patron. Doing so helps support my work and helps me write more useful articles.

https://www.patreon.com/AMillinersWhimsy

We all yearn for connection,

whether we know it or not.

My goal for the day was a simple one: sew a doll dress by the end of the day.

After a slow start, I found myself thinking about connection.

We connect in many ways. We connect with our senses. We connect emotionally. We connect physically. We connect through story.

To lack connection, or worse, to be denied connection can be detrimental, can be tragic.

On this Mother’s Day, sitting in the sun and shadows, I found myself listening to a story. I often listen to stories in this spot. This story was different. The words came from their mouth but the story came from the heart and eyes. The story was one of lack of story, of being denied story. It tugged at my heart.

I am grateful I heard what I could in that moment.

As days filled with sun and people go, moments fly away.

I was no longer working on my simple goal for the day. I was connecting with one of my Grandmas by sitting where she used to sit, while connecting with one of my Grandmas by sharing a love she loved.

I share with you Theo:

Theo was named by a moment, a moment created by two pairs of siblings. As I finished her dress and was ready to put it on her for the first time, the first pair of siblings came in. They were darling in how captivated they were. They watched wide eyed, both eager and polite, as I tucked and fussed and adjusted, then presented the newly dressed doll. I said: “She still needs a name.” The first sibling said “Theo.” The second sibling said “Yes, Theo.” both said “Hello, Theo” as two more siblings walk in and one says “Hello.” One of the new pair of siblings was also named Theo. It was obvious to me, the doll is Theo.

Theo is dressed in an 1850s style dress made from one of GCVM’s reproduction kerchiefs. This is one of three reproduction kerchiefs based on originals in the Susan Greene Collection and produced by Burnley & Trowbridge. When I saw this beautiful red and black on white print, I knew it had to be made into a doll dress. I am delighted with how the dress came together today. The skirt is the full 36 inch width of the kerchief with the border design around the hem and up the front. The design lined up creating a circling leaf motif centered on the bodice. The sleeves are open sleeves with the border edge at the wrist. This is the one change I would make: I would make the sleeves more funneled.

The dress will be accessorized with a black belt and mother of pearl buckle. I will add a broach as well to the deep V neck bodice. Theo will also be getting hands soon.

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If you read my “Transparency” post you may be wondering how the day went for me, the part of me that has been exhausted. Today was much needed. Approaching this weekend, I was not sure how I was going to do it; I wasn’t sure if I could do it. The morning started hard for me. I was struggling to feel my groove and zone. Then I got there. The above happened. Suddenly it was closing time and I wasn’t tired. I reached the end of the day without feeling like it was the end of the day or the end of me for the day. I wasn’t even tired a little bit until the drive home. When I got home, it didn’t hurt to get undressed, well except for the bit about gravity. I hoped in the shower. I ordered dinner. I uploaded. started editing and writing. In this moment, I am good; I feel that soft sigh of “this is good.”

Here is a list of publications I have available.

Books

Fanciful Utility: Victorian Sewing Cases and Needle-books is a guide packed full of directions and templates for making your own period correct sewing cases, housewifes, and needle-books. FanU is available directly from the Publisher at http://www.thesewingacademy.com/2012/08/fanciful-utility/

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To Net, or Not to Net: Revisited is an in-depth look at hair nets of the mid-nineteenth century. This e-book is packed full of cdvs and illustrations, covering how nets were worn and what they were made of. This e-book is available through my Etsy shop.

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Paisley, Plaid, & Purped: Shawls of the Mid-Nineteenth Century looks at the types of shawls worn in this era, from the sizes to the materials. This book includes original directions for making shawls. This e-book is available through my Etsy shop.

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From Field to Fashion: The Straw Bonnet was my first book covering the the materials and processes used to make straw hats and bonnets. This book focuses on the mid-nineteenth century. This e-book is available through my Etsy shop.

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In Detail

I developed the “In Detail” series to take a closer look at original handmade items. These publications are packed full of close-up photos and details of how these pieces were made. Many of these publications include directions for making your own using period techniques.

In Detail: Blue Ribbon Sewing Case looks at an amazing sewing case made from a single plaid ribbon. (Note: this publication does not include directions.)

This e-publication is available through my Etsy shop.

In Detail: The Velvet Slipper Pincushion takes a close look at this example of a popular sewing accessory.

This e-publication is available through my Etsy shop.

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In Detail: “Earl’s Ball” A Corded Ball looks a darling toy made in the style of a popular corded pin ball pin cushion technique.

This e-publication is available in my Etsy shop.

In Detail: Frozen Charlotte Pen-Wipers is a close look at two pen-wipers made with small porcelain dolls. This e-publication will appeal to doll and writing enthusiasts.

It can be found in my Etsy shop.

In Detail: Paper Pieced Pin Ball examins a pin ball constructed using a paper piecing method. This technique can be used to recreat the nineteenth century pin ball or a Victorian ornament.

This e-publication is available in my Etsy shop.

In Detail: The Pillow Pin Ball is near and dear to me as it was written at a very difficult time. This edition looks at a well loved pincushion made of pillow segments. This is a great project to use you scraps or to share with friends.

This e-publication is available through my Etsy shop.

In Detail: Embroidered Velvet Needle-book looks at a staple of the 19th century workbox: the needle-book. This edition focuses on recreating this sweet example.

This e-publication is available through my Etsy shop.

Patterns

My Wadded Hood Workbook takes a pictorial look at multiple original wadded hoods and guides you through making your own with period construction and techniques.

This workbook is available in my Etsy shop.

My Fichu Pattern previously sold out quickly in its paper form. As a downloadable pattern, you can start you fichu in the middle of the night if need be.

This e-pattern is available through my Etsy shop.

The Princess Capote Hood Directions are a collaboration between Jamie Quick and myself. This e-publication takes the period directions and re-explains them with some corrections.

Remember: I also have numerous free templates available here, on my blog for period correct projects. I also have modern projects available on Don’t Paint the Cat.