Love how this bergère hat came out. This is one of the designs that became stuck in my head while looking at extant hats and later in an allergen/Benadryl fog. I sewed through Saturday and Sunday to complete it. It is currently in my Etsy shop.
I worked a fine straw plait over the outer brim in a zigzag. Looped fine plait encircles the crown.
I like how the different straw plaits play against each other, the texture and color of the two natural straws.
This bergère measures 13.5″ in diameter now that it is dry. The crown is just under 5″ across. I did not wire this brim. Though, it could easily be wired.
After many years of being asked to make 17th and 18th century bergère hats, I have finally made one.
Why did I put off making this style? It came down to two factors: Shipping the brim size and sewing the brim size while keeping it flat.
While making 1850s hats with larger brims, I discovered 2 things: First, A certain library occasionally 14x14x6 inch boxes I can reuse. Second, I can shop said box with a hat for $18-$20 with insurance. This is notably better than the $40-$60+ for shipping large 1800-1830s bonnets; the price of which makes me cringe.
Last weekend, I was asked again about a 1770s bergère hat. This time, I decided to add it to my list, knowing I could fit a 14″ one in a box.
Since then, I started a spreadsheet of extant bergère with what measurements are available to check diameters of brim and crown. In doing so, I noted the types of straw used and couldn’t help notice the straw embellishments. (I know another milliner has been recreating some straw embroidery beautifully.) The loops and figures around the crown and brim caught my eye.
Ideas started churning.
Now, I have several bergère in my imaginations that need to become a reality.
This first bergère hat began at the beginning of the week. Upon reaching the end of the hank, it asked for an artisan edge.
The brim is 14″ across, on the smaller side of bergère hats yet nearly the maximum my countertop can handle. The crown is 5″ across and less than 1″ deep. I did not wire the edge of this brim knowing these brims are often worn curved and tied under the coiffure. This lack of wire feels odd and incomplete to me as I wire the vast majority of my other pieces. (I could wire future brims and shape them to hold an up turned back.)
This particular hat is first being offered to the person who inquired last weekend. If it does not match her needs, it will be available in my shop. I currently have 2 boxes for this size hat. I happen to have 1 more bergère started.
Please do tell me your thoughts about this style. Depending on the response, I will see to acquiring (purchasing) additional boxes. (I find I can ship a 16x16x4 box for the same price. I should be able to do this size brim on my counter. )
I put 4 pieces of millinery and two trios of Clara’s Corner Bookmarks on sale for the end of the month. I really want to see people enjoy these pieces.
I recently had two comments on Facebook that I feel I need to address in more depth. In a post asking for feedback on two 1850s bonnets, two followers commented:
“These scream the handmaids tail. Who would choose that look?” “While I think they are very pretty perhaps some think of them as similar to those worn inthe ‘The Handmaids Tale’.”
My first response focused on how different the bonnets in The Handmaids Tale, called “Wings”, are from my 1850s bonnets. This response was from the perspective of someone who has spent hundreds, if not thousands of hours looking at the shapes of straw bonnets and hats as they evolved through the nineteenth century. Pairing this up against a 20th & 21st century pop-culture reference is not fair. I will come back to this comparison, though.
My response after a decent night’s sleep is a bit more reflective. We know present day pop-culture influences how visitors perceive aspects of their museum visits, as well as trends in living history and historic costuming. The popularity of Bridgerton is a current example. The romantic, sensational series with its colorful Regency style gowns has drawn many to the Regency era with an emphasis on high fashion and color. (We shall see if this shifts to the Romantic era as (if) the series continues along the timeline.) For many, the Bridgerton books or series creates a positive feeling, one of love, romance, empowerment, up-beat music, inspiring colors, etc., for both visitors and costumers. An example of a less positive reaction would be the response from young visitors to a doll I used in a demonstration shortly after the release of the Annebelle movies (horror movies about a doll). I found the negative response so strong; I removed the doll from the table to eliminate the distraction. (Much more could be said regarding positive or negative underlying factors to connections and long-term results. Possibly another post.) With this context, knowing the visual association two individuals had connecting 1850s fashion bonnets with “wings” in TheHandmaid’s Tale is helpful in that it makes me aware of potential future responses.
To understand those potential responses, it helps to understand the “wings.” (Many thanks to several friends who either read the book more thoroughly and/or watched the series, and assisted with some informational gathering last night.) The “wings” are the white bonnets worn by the handmaids in Margaret Atwood’s The Handmaid’s Tale. Under the “wing” a cap-like head covering called a whipple, is worn. Many articles say Atwood was inspired by the white caps depicted on the Old Dutch Cleanser containers produced in the mid-twentieth century. These caps are white, reaching forward of the face. (I will look for an in-text description of the wing asap.)
The current series was/is costumed by Ane Crabtree. Her costume for Offred, played by Elizabeth Moss, can be seen at the Smithsonian’s National Museum of American History. The “wing” is meant to have a tunnel-like brim that obscures the face from others while simultaneously limiting the gaze of the handmaid wearing it. In an article by Vulture, Crabtree describes the bonnet to be “a deliberate, physical impediment to control the women who wear them.” (Do read the entire section on the bonnets in this article.) Obviously, anyone who has spent time watching the series and/or reading the book at a level of making an emotional connection, could have a negative reaction to seeing a bonnet they visually relate to the wings.
Thus, pop-culture tags along with visitors’ base knowledge and personal experiences adding yet another dynamic to the interpretive experience.
What could this mean?
I am not sure how this specific influence will unfold as there are many factors both on screen and in real life. I anticipate, for some the bonnet in general may be seen as a restrictive garment similar to the connotation the corset has had for many years as a restrictive garment instead of a support garment. This could be useful in developing conversations if one is aware of the connection or it could be confusing and a lost opportunity if one is not.
Overall, I would love to have the time to explore the influence of pop-culture on visitor experience at historic site. We shall see if that is plausible.
A Visual Comparison – How I see the construction of The Handmaid’s Tale Bonnet vs an 1850s fashion bonnet:
When I look at the bonnets in The Handmaid’s Tale, my closest visual association is a type of Shaker bonnet made of woven straw. I see a solid white fabric bonnet constructed of a brim and crown. The brim is flat, having no rise from back to front. The front edge of the brim reaches far forward of the face. The brim side profile is rounded with no descending cheektabs. The crown is fabric draped over a molded form, pleated or gathered into the neckline. The pleated or gathered crown material is controlled by two rows of stitches with a small curtain falling below it. (I do not have a clear image directly from the back or inside.)
Ca 1840s straw bonnet with minimal rise in the brim that reaches forward of the face while cheektabs descend below the chin.
Comparing this to mid-1850s fashion bonnet: A straw bonnet of this time would be made from straw, while a silk bonnet would be silk over a foundation material. The top of the brim would be nearly flat in the 1840s. By the 1850s, the top of the brim would begin to rise. In the 1840s, the front edge of the brim would sit just forward of the face. As the bonnet moves into the 1850s, the front edge of the brim will pull back framing the edge of the face. From the side, the front of the brim descends into cheektabs that fall several inches below the side of the face. The cheektabs are wide in the 1840s, becoming narrower in the 1850s.
Beyond the shape and construction, I see a few other things when looking at the “wing”. We know the depth of the tunnel like brim is meant to obscure view of the face and limit what the wearer can see. The curve of the brim front into the sides would allow view of the ground immediately to the sides of the wearer if she has her head angled down. If her head was held up, the sides of the brim would block the view of her sides. This would cause her to walk with her head angled down if she need to see what was to her sides. I suspect the white material would cause increased glare on sunny days, possibly to an uncomfortable point. (This is why black parasols were more common during the 19th century than white
As I was headed out the door this morning, I noticed the level of chill in the air and realized my sense of time of year is still off. Locally, parts of winter felt like spring, completely throwing off my seasonally sensitive internal clock. Now that wet spring is here, the norm of chilly mornings followed by warm afternoons feels off. I even felt it driving home in the sun yesterday. To top off my timey wimey state, I found I have been a full week off in my planner. Good thing I’ve been using pencil.
With all of this time and space scattering here and there, I feel the need to put together a summary of the bits and pieces I’ve been working on lately….
New Short Videos
I recently added a TikTok account. With this, I have created a few reels. I added some to YouTube.
Book Study
A little bit ago, I started reading articles by Susan Ingalls Lewis who looks at the history of women, business, and employment in the nineteenth-century. Upon starting her book Unexceptional Women: Female Proprietors in Mid Nineteenth-Century Albany, New York, 1830-1885, I thought others would be interested in reading it as well. I started a book study group on Facebook. Currently, there isn’t much discussion in the group. I do hope that picks up as I find her research journey and work both fascinating and important to giving everyday women a voice. (Please let me know if you are interested in participating.)
Pockets
Somehow, I went from not having an April Pocket of the Month designed (because I pre-designed & scheduled several months) to creating 3 for this month. First came the embroidered Sun & Moon Pocket, a freehand design by me. I posted it to Patreon at the beginning of the month, so it would be available in time for people to make it for the Solar Eclipse. The pocket I made with the design got a little TV time, appearing in a local news story. Next, came the actual Pocket of the Month design, a Maze Pocket meant to be quilted or embroidered. This was inspired by the mazes posted in the Time Traveler’s Rabbit Hole. Then, this week, I found myself creating an Owl Pocket as a bonus pocket design. This is another freehand pocket design. It was inspired by what may have been a gag at work with owl faces coming out of the printer sporadically over a few days. I realize these most recent pocket designs have been freehand designs blending period inspiration and modern twists. I will make a point to include some purely historical pockets soon, possibly some patchwork.
Events
Now for more of the thinking ahead part (this has been muffled by projects at work and big grey area.) I think I need to break this down by month.
May – I will be doing a program for GCVM’s Civil War Living History. I will be moving to the Dressmaker’s Shop. My hope is that I will be able to pull off a good program in the midst of Regents planning and field testing without breaking myself.
June – June is undecided. I’ve been asked about doing a few things. I am hesitant to commit because I will likely be taking on more additional duties during exams.
July – This month has multiple programs I am looking forward to, including Independence Day, a women’s clothing program, and a recreational clothing program.
Projects (the self accountability list)
I have several non-millinery projects in various stages, including:
The silk globes from the Solar Spectacular. I have goals for each of the 4 that are started. I would like them to make a reappearance in October.
I have slowly been assembling ribbons for a ribbon bag. This will be a bag inspired by an original given to me years ago.
I keep wanting to make some patchwork cats (or just cushions.)
I am researching local recreational clothing for a summer program. I have a good idea of what I want to make. I just need to identify which fabric(s) in my collection is the right material(s)
I am sure by now you have heard Western NY was blanketed in cloud cover for the April 8th solar eclipse. While those of us at GCVM’s Solar Eclipse Spectacular and other regional gatherings did not get to put on our glasses to watch the moon pass in front of the sun, we did get to experience the great darkening with a beautiful show of light and color.
The darkening of the Eclipse settled in as I stood between Hyde and Hamilton houses. While I originally planned to view the Eclipse from the village square, I am glad I was able to see the light and color display around the silhouettes of Hyde house and the Hamilton carriage house. My photos and video do not do justice to the dynamic &vibrant colors.
I spent the day in Hosmer’s Inn, a building I very rarely get to do programs in, working on silk globes based on those sewn by students at the West Town School, a Quaker girls’ school in Pennsylvania. These sewn, inked, and embroidered globes were a for girls to learn geography. To my delight, I met two groups of guests familiar with the West Town School, including one guest whose sister taught there.
1 Globe template. 2 Cotton lining. The original globes were lined in linen. I found my stitches are too tight for the linen I have on hand. 3 Silk taffeta. 4 Globe core filled with wool. 5 My first globe is inked in color with embroidered longitude lines and equator. 6 Second Globe in progress with lightly inked with silk embroidery started. My plan is to embroider this Globe with the paths of the sun, moon, and “visible” planets the day of the Eclipse. 7 Silk taffeta exterior I was sewing during the event.
The silk globes opened a discussion with guests about how girls and women could learn, expand, and express their knowledge through fancy work. We talked about how mathematics and geometry were essential for piece work projects and drafting patterns, and an 1870-1880s genre of fancy work incorporated flora, fauna, and an understanding of ecology.
I spent part of the morning talking with with Adriana Loh of Spectrum News. She created a nice piece on women in science during the nineteenth century: Party Like it’s 1878. This includes an article and video.
The day prior to the event, I switched my wardrobe plans upon reading an article about the colors green and red appearing brighter and darker, respectively, as the eclipse begins. I previously planned to wear my warmer, grey wool dress. Instead, I opted for my summer, wool challis. I am pretty sure excitement & adrenaline were the only things to keep me going until a fire was built.
I decided to display my eclipse themed pockets rather than wear them where no one could see them. It was nice to see how many people knew they were pockets.
Despite mother nature’s change in plan, the day seemed to be enjoyed by all. Guests had the opportunity to celebrate with family & friends while exploring the museum. They could participate in a historic look at the eclipse without being overwhelmed by crowds. I found conversations to be rich as visitors connected with little balls of silk.
They were inspired by the striped straw (and other fiber) bonnets of the 1850s.
Each bonnet is made with alternating rows of wheat straw plait and abaca plait. I tried two different techniques in stripe placement. One emphasizes the wheat plait, while the other shows both evenly. Each bonnet took about 20 hours of handsewing and blocking using an original 1850s millinery block. The natural with natural stripe is slightly smaller than the larger walnut and natural stripe.
This bonnet combines natural wheat straw and natural abaca plait. The pairing creates a light, airy look, playing the two textures off of each other. The very front edge of this brim flared up in the blocking process.
This bonnet pairs a dark walnut brown wheat plait with a natural abaca plait. This construction balances the two types of plait, playing the two colors off of each other.
I had a difficult time pricing these two bonnets. As always, I want my work to be affordable. But, at the same time, I need to stay on budget and account for the 20 hours of handwork and the materials. I settled on $200 each. If you use a coupon code in combination the Share & Save url, you can save 10% (STRAWWHIMSEY) while giving me back 4%.
I have two more stripe combinations I want to make. If these are appealing for people, I will get materials to do more.
March is coming to an end. Spring recess has started. I am home from getting my shoulder worked on. (I am trying to keep it relaxed and not pull up on it.) I am feeling pretty relaxed. This is nice.
Today, I had something fun happen. One of my Reels had a huge spike in views on FB this morning. Now that I am home, it looks like the views have slowed. As of nowish, a little over 87,000 people watched my 7 second video over 112,000 times. The vast majority of those were between 7 am and noon. This super short video was just a whim I created from the short video I did on my wool petticoats not being soggy:
That video was just a spur of the moment quick video in response to a comment someone made about petticoats getting soggy.
All in all, I am amused and pretty happy. While 112k is far from technically being viral, it isn’t bad for a little niche video.
It does make me wonder if I should post that boot scraping video from last fall. 🤔
If I Had My Own Blue Box: 