More than Just a Pretty Hat

While pretty hats were pretty important parts of the milliner’s trade, many more things were sold in a millinery shop.

Colonial Williamsburg’s Margaret Hunter shop is probably the best-known living history milliner’s shop, and they provide a nice definition and explanation of the trade. But that’s never enough: what’s the primary source information for New England milliners?

While there is documentation of a Rhode Island milliner in the 1830s, and even a thesis on her work, Sew 18th Century and I are working on an earlier shop. I started with Rhode Island newspaper advertisements, because I like the sound of “lately arrived from Providence,” and because I understand that context.

The Rhode-Island American, December 25, 1810. III:20, p. 1
The Rhode-Island American, December 25, 1810. III(20), p. 1

Here is Mrs. Sands, just returned from New York to Newport and vicinity, with a long list of things for sale, “selected from the latest European importations, an elegant assortment of the most fashionable MILLINERY.. viz,:–” (you have the love the punctuation, which is like the Chicago Manual of Style on New Republic crack)

What is she selling? In addition to what we think of as traditional millinery, the “variety of ladies’ Caps and Turbans, Straw, silk and velvet Hats and Bonnets; Straw Trimmings of various kinds,” listed at the bottom of the ad, Mrs. Sands carries:

  • Lace Shawls
  • Caps, Handkerchiefs and Whisks;
  • Infants’ Lace Caps
  • Plain and figured mull mull and jaconet
  • –Muslins, of a superior quality;
  • Handkerchiefs and Habit Shirts,
  • India and British book Muslins,
  • Plain and figured Lenos,
  • Long black, white and coloured Beaver and Kid Gloves;
  • Silk and cotton lace Armlets,
  • A large assortment of Ribbons,
  • Artificial Flowers, Featehrs and silver Wreaths
  • Tortoise Shell Combs of Various sizes;
  • Merino long Shawls
  • Worsted Tippets
  • Gentlemen’s Neck Pads

Whew! That’s a lot of stuff, and many different kinds of things, though all broadly in the ‘accessories’ or supplies range. I am delighted to see Habit Shirt on the list, as I buy my chemisettes, and I am intrigued by the range of handkerchiefs and by the Tortoise Shell combs, in part because I did not buy an assortment of them at a shop in western Rhode Island a month ago (kicks self).

Newport Mercury, December 11, 1811. L:2593, p.1
Newport Mercury, December 11, 1811. L(2593), p.1

In the December 21, 1811 Newport Mercury, Mrs Sands again advertised her goods lately arrived from New York. This is a less exhaustive, but no less interesting, list. “Ladies elegant green velvet mantles, with and without spencers” is particularly intriguing for a Spencer fan, and not particularly clear to me.

November 21, 1812. Essex Register
November 21, 1812. Essex Register

In Salem, which is where we will be in August, Elizabeth Pierce advertises her “Fashionable Goods” for sale. She, too, has a long list of things she will sell, from Canton crapes to imitation shawls, hosiery, lace sleeves and armlets, one box of English flowers, and American Straw bonnets.

I suspect that just as retailers do today, milliners of the late 18th and early 19h century probably had an assortment of things designed to bring buyers in to shop (new bonnet styles), and small items to tempt them into impulse purchases (English flowers). You can’t buy a new bonnet every week, but you can refresh an old one.

A Whale-Safe Bonnet

Complete with my interpretation of "Hat Face"
Complete with my interpretation of “Hat Face”

As promised, my interpretation of the ribbed bonnet in the 1789 engraving. There are a few problems with this beyond the model. (Which is not to say that I don’t like this bonnet– I do!)

I used the Kannik’s Korner bonnet pattern (view F, I think) as the basis for this because I already had a brim, lining, and caul cut and in a drawer. Given my current medicated state, using something pre-cut seemed advisable. That means I didn’t play with the brim to create the line of the Williamsburg bonnet, or the curve of the brim in the “Fortune Teller” engraving.

Detail, The Marquis of Grandby
Detail, The Marquis of Grandby

Is this style acceptable for the period I typically interpret (1775-1783)? Well… there are other examples of the lampshade-style bonnet, as in the Edward Penny painting of the Marquis of Granby. This painting is dated “after 1765” so there’s some room for interpretation there…too much room. But if that’s 1765-1770, and the “Fortune Teller” is 1789, I think we have comfortably covered the 1775-1783 time frame, even if it is a bit like a queen-sized blanket on a twin bed.

Front view: more lamp-shade like.
Front view: more lamp-shade like.

As you can see, the bonnet does have some lamp-shade-like tendencies on my head, which I consider a benefit. I like the way the ribs are visible, even if I remain unconvinced by the caning. I think it’s a little too wide, and lacks resiliency, though to be honest, I have only felt baleen at the New Bedford Whaling Museum, where there is a large sample on the second floor.

To compensate for the disappointing cane in the brim, I slipped a piece of millinery wire into the pocket underneath the cane. The layers in the brim are:

  • black taffeta
  • horsehair canvas
  • linen buckram
  • yellow taffeta

The channels are all hand-sewn, and then the cane was slipped in. I stitched the black taffeta caul to the first three layers, and then lapped the yellow taffeta over the raw edges and stitched it down to finish the brim/caul seam.

No, I didn’t take any in-process pictures…probably because this took considerable snake-eyed concentration last weekend. IMG_1477 IMG_1476

Usually, I line the cauls of my bonnets, but through shear laziness or distraction, I opted not to this time, and I think I’ll leave it this way for a while. You will also note that I have not trimmed this: I have some black silk ribbon coming, and I may try that. I don’t have enough black taffeta left to cut self-fabric ties, and there do seem to be some plain examples. A plainer, lamp-shade-like bonnet may be just the ticket for Bridget.

What would I do differently? Next time I would definitely play with the brim shape using a paper template. I’d like a lower, curvier, brim. Once I had the shape worked out in paper, I would use that as a template to cut the taffeta and horsehair or light buckram layers.

The Edenton Tea Party
The Edenton Tea Party

I’d also try zip ties. I know: not period correct! But short of risking federal prosecution resulting from a trip to New Bedford with some shears, I’m not sure that anything other than plastic will have the resiliency and spring that baleen has, and that made these bonnets so special. I thought of them while making this bonnet, but I think Mr S used them all at work in the past two months. A Facebook friend has been thinking of zip ties, though, and has a hankering for one of these bonnets. I can’t say that I blame her– and honestly, I think I might join her.

Hat Face

The Fortune Teller, 1789. Lewis Walpole Librray. 789.1.2.1
The Fortune Teller, 1789. Lewis Walpole Librray. 789.1.2.1

I like hats; I think it’s been made clear here before that I have a bit of a bonnet problem. As it stands, I have something in the neighborhood of a dozen bonnets, and really need to get my Etsy store up and running…

But as in life as in the Richard Scarry story, there’s always room for one more, and more to learn, so my collection hasn’t stopped me. I blame my Grandmother Elsa, who owned a dress shop, collected shoes, and had a particular face for trying on hats.

Black silk bonnet, 1770*1780. Colonial Williamsburg 1993*335
Black silk bonnet, 1770*1780. Colonial Williamsburg 1993*335

I’ve been thinking about bonnets because I lately came across some engravings showing what might be called baleen bonnets. At left above, a bonnet that is clearly reminiscent of the bonnet in the Colonial Williamsburg collection on the right. The CW bonnet (1993-335) has seven baleen bones, and a baleen rib around the bonnet brim.

It is strikingly similar to the bonnet in the 1789 engraving, down to the decoration. In “Kissing the Baby,” a lithograph in the collection of the British Museum, the older woman appears to be wearing a ribbed black bonnet in the style my friend calls “lampshade,” and that others call “bucket.”

Kissing the Child. Lithograph by David Wilkie, 1800-1841. British Museum, 1852,1211.134
Kissing the Child. Lithograph by David Wilkie, 1800-1841. British Museum, 1852,1211.134

There are more bucket or lamp-shade-like bonnets depicted in engravings and paintings, and it is possible that flamboyant style was the one that got Ann Warder in trouble in 1788. I remembered this passage on page 223 of Amelia Mott Gummere’s book, The Quaker, A Study in Costume,:whalebone quote

Whalebone bonnet? Interesting… so, having an interest but no whalebone, I send the Young Mr to the basement for the remaining stock of caning I’d used for stays, and came up with a plan to replicate a “whalebone” bonnet, which I will describe and show you next time!

Frivolous Friday: London fashionable Walking Dresses

The Ladies Magazine, v/ 4, plate 53, Wednesday July 1, 1812. Casey Fashion Plate Collection, LA Public Library
The Ladies Magazine, v/ 4, plate 53, Wednesday July 1, 1812. Casey Fashion Plate Collection, LA Public Library

I don’t know which I like best: the green and white bonnet, the green silk Spencer, or the suspicious and candid glance of the woman on the left. Perhaps its the date: mere weeks before the purported milliner’s store this coming August. Have I already purchased green silk and white cotton organza? Of course I have. Never let a fashion plate or an event keep you from a new and slightly mad project to make something new.