If I Had My Own Blue Box:

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.

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.

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.

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.)

I just loved making this hat. I am so glad the new owner enjoys it.

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.)

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.

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.)

You can find this bonnet on Etsy this morning with sideways photos. (Phone issues.)

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.

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.)

(Okay, I’ll add text later.)