1860s bonnet

Parker's Millinery and Mercantile. Click on thumbnails for larger images. Click the arrow to the right of the gallery to scroll through all the styles available. A very open weave bonnet. As with the other straw bonnets of this shape, the brim must be lined or bound to cover any raw edges.

This photo shows the neck edge bias-bound with silk. All straw bonnet forms are ready for you to add bias-binding and brim lining if desiredcurtain and ties. A frill of stiff net should be added to the interior of the brim where it touches the head to help keep the bonnet in place. Alternately, a ribbon bonnet stay may be employed.

With a few exceptions, the straw bodies shown here can be made up in any of the blocked straw shapes for regency, cottage bonnet and most of the 50's's straws on this page. In July,Godey's stated, " Lace straw bonnets, mixed with, or made up over crape of various colors, are much worn.

This is a beautiful, intricately woven straw. This one is shown without a silk-bound neck edge. This is an example of a fully-decorated "Nellie" plain-weave straw bonnet, shown at the top of the page. Silk gauze is shirred to form the brim facing.

1860s Clothing :: Dress Up Day :: Civil War Era Dress ::

White rayon moire' ribbons are utilized as dressy ties. Please click on the photo for additional images.

1860's -bonnets/hats

This shape was popular from the early through the mid's. It's made of a very light weight blocked straw with a decorative open-weave band. The cheek tabs are pinned together above to show the shape when tied. Please click on photo for additional images. This blocked and wired low brim straw spoon bonnet is suitable for the early to mid's. It features bias binding, ties and a net-lined curtain of plaid silk taffeta.

The inner crown is lined with open-weave cotton. The utility ties are of silk ribbon. A gathered strip of cotton net helps to keep the bonnet in place.

1860s bonnet

An added decoration of face flowers under the brim would be a lovely addition. Very light weight and perfect for summer wear. The interior features a cotton net frill to help keep the bonnet in place and an open-weave cotton headliner. The periwinkle blue curtain and brim binding are complimented by picot-edged vintage rayon ribbon, hand dyed silk utility ties and vintage rayon hand dyed fashion ties. Handmade cotton and linen flowers and leaves decorate the crown and underbrim.

This bonnet can also be custom-made for you in your choice of colors.

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The is the "Geraldine" straw, fully decorated with a navy blue silk curtain and coordinating vintage rayon moire' ties. The brim is blocked in an oval shape and faced with pale peach silk drawn on reed.

A very full net frill surrounds the head.

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The exterior is decorated with blue, brown and cream silk taffeta made into ribbon. This is the more round, halo-shaped brim with a flare all around. Straight line from brim to crown and an oval face-framing brim.

1860s bonnet

Very light weight straw with an open-weave band.M iller's M illinery B onnets. Order the corresponding pattern for instructions to cover and trim it. Bonnet illustrations show relative size, shape and trim possibilities. Bonnets can be made with no trim if desired. Please call for particulars. Fabrics used: primarily silks and velvets. Available colors: black, gold, ivory, blue, green, brown, red, purple, pink, gray Mark your head and face measurements on the order form.

Made of silk, the crown adjusts to fit with a draw string at the neck. Colors: black, blue, green, yellow, pink, brown, gold. Brim is faced with white or ivory silk. Colors: black, brown, gray. Snug bonnet reveals much of the face; good choice for petite women. Often made of 2 different fabrics. Double frills and double rows of cane cover this bonnet; adapted from an original.

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It's brim frames the face and ribbons tie under the chin. Available in silk over a buckram foundation. Silk bonnet is filled with wool and quilted. Brim lining may be a contrasting color which shows when brim is folded back.

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Its brim and curtain are shorter than the traditional Slat. Colors and fabrics are same as for B Pattern Rewritten from instructions. One size adjusts to fit.

The size is adjusted by loosening or tightening the inside ribbon ties. Hoods were worn throughout the 19th century. This pattern, originally published in Peterson's Magazine inhas been adapted for both adult and children's sizes. No drawing or photographic image from this site may be used without permission. Prices subject to change without notice.My 's wardrobe was in dire need of updating, so this summer I spent much of my free time creating some new clothing and accessories for reenacting.

One of these creations was this blue wool dress. The wool is a very nice suiting weight wool. The bodice has points at the front and back. The bodice fit very well in all of the fittings, but the skirt wasn't attached to the bodice until the event, so when I wore it I noticed that the bodice was a bit too long, causing it to ride up and….

Here's the paisley in my latest reproduction collection Civil War Jubilee This pack of Layer Cake precuts 10" square gives you an idea of the scale. You can fussy cut borders and blocks Here's the original document print, a cotton stripe We made it a little more red, a little less orange. It also comes in browns And blues And here's our nod to today's bedroomsgrays. NOT an authentic Civil War color, but a lovely shade of gray. Paisleys with their cone-shaped figures have been quite…. Free shipping for many products!

Straw Hat. Print dress, plaid shawl, knitting. The Princess of Wales civil war era porkie pie hat. Pork pie hat and military style dress. The swiss waist is beautiful! Hat of Italian straw, trimmed with an ivy garland mixed with black velvet flowers and small black feathers. A scarf of blonde lace is rolled around the base, falling behind in streamers trimmed with silk lace. More fabulous engravings from Ladies Friend Magazine, This has hats and caps that "any lady with the least degree of expert in theIn men's fashion, the three-piece ditto suit of sack coat, waistcoat, and trousers in the same fabric emerged as a novelty.

Mauveine Aniline dyes first chemical dyes were discovered in and quickly became fashionable colors. Intwo fashionable brilliant pink aniline dyes were named after battles in Italy's fight for independence : magentanamed after the Italian town of Magenta, Lombardyand the similar solferino, named after Solferino.

By the early s, skirts had reached their ultimate width. After about the silhouette of the crinoline changed and rather than being bell-shaped it was now flatter at the front and projected out more behind.

Puffs and strips could cover much of the skirt. There could be so many flounces that the material of the skirt itself was hardly visible. Lace again became popular and was used all over the dress. Any part of the dress could also be embroidered in silver or gold.

1860s bonnet

This massive construct of a dress required gauze lining to stiffen it, as well as multiple starched petticoats. Even the clothes women would ride horses in received these sorts of embellishments.

Day dresses featured wide pagoda sleeves worn over undersleeves or engageantes. High necklines with lace or tatted collars or chemisettes completed the demure daytime look.

Evening gowns had low necklines and short sleeves, and were worn with short gloves or lace or crocheted fingerless mitts. The voluminous skirts were supported by hoops, petticoats, and or crinolines. The use of hoops was not as common untilprior supporting the skirts with layers if starched petticoats. Bouffant gowns with large crinolines were probably reserved for special occasions.

Skirts were now assembled of shaped panels, since gathering a straight length of fabric could not provide the width required at the hem without unwanted bulk at the waist; this spelled the end of the brief fashion for border-printed dress fabrics. Heavy silks in solid colors became fashionable for both day and evening wear, and a skirt might be made with two bodicesone long-sleeved and high necked for afternoon wear and one short-sleeved and low-necked for evening.

The bodices themselves were often triangular, and featured a two-piece front with a closure and a three-piece back construction. As the decade progressed, sleeves narrowed, and the circular hoops of the s decreased in size at the front and sides and increased at the back. Looped up overskirts revealed matching or contrasting underskirts, a look that would reach its ultimate expression the next two decades with the rise of the bustle.

Waistlines rose briefly at the end of the decade. Fashions were adopted more slowly in America than in Europe. It was not uncommon for fashion plates to appear in American women's magazines a year or more after they appeared in Paris or London.

Long coats were impractical with the very full skirts, and the common outer garments were square shawls folded on the diagonal to make a triangle and fitted or unfitted hip-length or knee-length jackets. For walking, jackets were accompanied by floor-length skirts that could be looped or drawn up by means of tapes over a shorter petticoat. As skirts became narrower and flatter in front, more emphasis was placed on the waist and hips.

A corset was therefore used to help mold the body to the desired shape. This was achieved by making the corsets longer than before, and by constructing them from separate shaped pieces of fabric. To increase rigidity, they were reinforced with many strips of whalebone, cording, or pieces of leather. As well as making corsets more constricting, this heavy structure helped prevent them from riding up, or from wrinkling at the waist.

Steam-molding also helped create a curvaceous contour. The crinoline or hooped petticoat had grown to its maximum dimensions by As huge skirts began to fall from favor, aroundthe shape of the crinoline began to change. Rather than being dome-shaped, the front and sides began to contract, leaving volume only at the back. The "American" cage, a hooped petticoat partially covered in fabric, came in bright colors made possible by the new aniline dyes.The Victorian era was almost a century of fashion.

Keeping track of all the changes is no easy feat, as hat styles came and went every few years. Changes mimicked dress fashions as well as hairstyles. There were hats for every occasion, from walking, riding, morningwear, and even home use. The following explores major changes in Victorian hat fashions from the pre-Victorian s to the late s. Making your own Victorian hat is the best option using a hat pattern or a felt or straw base with which to decorate.

Simple modern hats and bonnets in the correct shape can be re-decorated with flowers, bows, feathers, and ribbon to match the preferred decade and style. Look here for modern Victorian inspired hats and bases to get you started. The crown, which was roughly the shape of a cone with the top cut off, was set at an angle to the brim. This was the shape for bonnets of straw and for those made of silk or velvet on a stiff foundation, but there was another method of making which gave a slightly different shaping.

The drawn bonnets, those in which the material was gathered over a framework of cane or wire, had the same shaping of the brim, but the framework gave a horseshoe shape to the puffed and gathered crown.

The straw bonnets may be Leghorn bonnetsthat is, of straw grown in Tuscany and plaited in the Italian fashion. These were still the most fashionable of straw bonnets. They can be distinguished by the fineness of the straw, and by the method of plaiting, with each braid plaited into the next so that the fabric of the bonnet appears continuous. Their English rivals, rather less fashionable and expensive, were Dunstable bonnets of English straw, in which the larger English wheat-straw was split before plaiting and the plaited braids were then sewn together.

In some bonnets, the Leghorn straw was used, plaited and sewn in England in the English manner.

1860s bonnet

Straw bonnets were worn during the summer months. They were worn fashionably with walking dress, but amongst the less fashionable and in the country, they appeared on all occasions. These bonnets were nearly always plainly trimmed, with ribbons. The more fashionable dress bonnets were in silk of many different kinds, plain silk or satin, watered silk, figured silk; and transparent bonnets in net, crepe or lace were regarded as especially becoming. Velvet was the usual material for winter. Flowers were also used.

The trimming of the inside of the brim was as important as the trimming of the outside of the bonnet, and lace, ribbon and flowers were used to ornament it. The lining of the bonnet brim was also important. Howell, Handbook of Millinery, But some straw bonnets appear to have been worn with unlined brims. The bonnets I mostly have wide ribbons to tie beneath the chin, and a curtain— which in the straw bonnets may be of straw or ribbon—to shield the back of the neck.

The curtain—or bavolet, for it is sometimes called by its French name—is found in almost all bonnets from the beginning of the period until the s. The straw ones are more likely to have suffered alteration than the silk ones, where trimming and foundation can less easily be separated, but any bonnet may, of course, have had flowers, ribbons and feathers removed from it or added to it.

The change in the shape of the bonnet began inwhen a form with brim and crown continuous in a straight line appeared.Parker's Millinery and Mercantile. Pamela Robles, Proprietress. Brim faced with black silk and decorated with paper roses and handmade cotton leaves and sweet peas.

Crown lined with silk and a headliner of open-weave cotton A grosgrain ribbon bonnet stay is used to keep the bonnet in place. Click on photo for additional images.

The wire is covered with cotton bias tape. All hand sewn. The brim is built with wire and net and the brim point may be bent down for the "Marie Stuart" shape.

Victorian Hat History | Bonnets, Hats, Caps 1830-1890s

An English net frill fills the under brim area. Decoration includes paper and handmade fabric flowers, as required. Click on photo for additional images and additional color combinations. Please contact me if you have questions. Black Silk and Silk Crepe 2nd Mourning Bonnet with deep curtain and quilling of white silk crepe under the brim.

The brim is lined in black silk. The crown features an open-weave cotton liner. May also be ordered in all black for a deep mourning impression or another color for a fashion bonnet.

1860s Bonnets

If you have problems with standard bonnets being too small for you, you may order this bonnet in a slightly larger size. Other straw options are available. Libby may be ordered in your choice of colors and trims, as may most of my bonnets. Please click photo for additional views. The silk cover is drawn on canes with a shirred brim area. A contrasting strip of violet silk edges the curtain and the crown is decorated with loops and tails of plaid cotton taffeta. The silk-faced under brim features a frill of cotton bobbinet.

A ribbon bonnet stay has been added to help keep the bonnet in place. Please click photo for additional views and colors.

Vihtavuori n320 for 9mm

This version is covered in shot gray silk taffeta with vintage Chantilly lace and tapestry gray vintage rayon taffeta ribbon trim. The crown and tip are fashioned of buckram while the brim is formed using wire and net. The under brim is faced with eggshell silk drawn on a reed to form a frilled edge. A double bow of the vintage gray ribbon accents the under brim, with a ruching of eggshell tulle filling the crown. Click here to view. The buckram, wire and net frame are covered with shirred and drawn silk with a self-fabric brim facing.

The interior decoration consists of a "cap" of hand-fluted cotton netting and handmade cotton roses with vintage glass berries.Those messages being diverted to the VPN server also include the calls to the DNS server.

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