Straw Bonnet c.1855

When you need a bonnet display stand quickly: use an iron.

The bonnet is made from 1/2" hemp braid bonnet, worked in the Timely Tresses Lydia Alma pattern (second shallowest brim length). Materials from the same: 4" sage-colored moire ribbon ties and bavolet, purple and yellow flowers with light green velvet leaves. Lace 'cap' inside the brim is a 1" cotton lace.

This side has more flowers.

But I really like how the leaves look here.

Early 1850s cottage bonnet

Cottage Bonnet, modelled by a helpful lamp.

From Timely Tresses' "Ada Gray" pattern, using style line 1.  Custom-dyed tissue tafetta and silk satin ribbon, all hand sewn.

1855 Summer Bonnet and Pattern Review: Juliana Rose

Finally trimmed and finished the white crape bonnet I started last summer:

The pattern is the Timely Tresses Juliana Rose, which I've made twice before.  This time I followed the mid-'50s cutting line for the brim (instead of the early '60s version, which rises higher over the head).  The base fabric is an ivory-colored silk chiffon--meant here to look like period crape; vintage lace makes the 'cap' inside the bonnet, and also overlays the outer brim and edges the bavolet; vintage silk ribbon and lilacs from Nancy's complete the trim.  The functional ties are a narrow silk ribbon (not pictured).  Modeled by the iron, and some scrap fabric:

It feels weird to write a review of a pattern I've had for years and used previously; the exercise is also largely academic as the pattern itself has apparently been retired.  Nonetheless, a few remarks:

This is a good pattern.  I wouldn't have made it up three times and acquired two more patterns from the same company if it weren't.  All the previously noted high points of a Timely Tresses pattern--including illustrated step-by-step instructions, references to original bonnets, trimming suggestions, and sewing advice--are present. 

That being said, this pattern doesn't have the same level of 'polish' as the Julia pattern did.  Perhaps that's why it's not currently available.  The illustrations are mostly drawn rather than photographed, for instance; only one period picture is included where the Julia pattern had four; there were fewer color illustrations showing different trimming options, etc. The essentials, however, are all present.

The Juliana Rose is a two-piece bonnet (crown plus a one-piece brim) for the mid '50s into the early '60s. It has three cutting lines: a low one just over the head for the mid 1850s (shown above), and two progressively higher brims for the late '50s and early '60s which anticipate the high spoon bonnet.  I should mention that the bavolet in my new bonnet is longer than that given in the pattern; I cut it out intending to overlay it with lace, only to realize in the middle of construction that putting the lace along the bottom gives a more '55 look.  At some point, I should probably shorten the curtain to compensate.  I also used net instead of blocked buckram for the crown, making a flatter back than the bonnet really should have.  My black and pink bonnets both have blocked crowns (one purchased, one molded at home over a cereal bowl), which give a more rounded and less abrupt look to the back of the bonnet.  

Beginning seamstresses take note: this pattern requires a fair amount of hand-sewing.  I sewed the whole thing by hand save the bavolet edge; that and wiring the brim were the only steps that could really really employ a machine.  Stitching the wired crown and brim pieces together is always an adventure, but gets easier.

Pattern Score: 4-4.5 Stars

Difficulty: Intermediate+

Accuracy: High

Strongest Impressions: Can be frustrating to assemble the wired buckram pieces, but comes together well and makes a cute bonnet.

Original bonnets to admire:

Tone-one-tone decorations and lace effects. An apparent one-piece brim.  I originally meant to trim the bonnet after this original, but changed my mind after finding the lilacs.

Sketch from Peterson's Magazine (July 1855), showing the lace-edge bavolet:

A Regency Bonnet: Pattern Review ("Julia")

While waiting on my corset reference books (which delays both it and the gown), I decided to get to work on some headgear.

I bought the Julia pattern from Timely Tresses a couple years back in order to surprise my dear sister Red, with an appropriately red regency bonnet.  It went together very readily then, and if anything has gotten easier with practice (on a few low spoon bonnets).  Last time I used brim option #1; this time I made #4.

I used some white silk from the stash (the same that got dyed here), and lined it with white linen.  I have just enough buckram left over from my last Victorian bonnet for the brim.  Due to the extremely soft body of the silk, I decided to interline it.  I omitted this layer when previously making the pattern up with taffeta, but this light-weight silk needs some help.  I bought new satin ribbons for the project, as none of the appropriate width were on hand.

The instructions are very clear: as with all three* Timely Tresses patterns I have, the instructions are a proper booklet full of clarifying diagrams and pictures showing each step of the process--from cutting out the fabric to attaching the ties.**  The research and background information are what I've come to expect from them: accurate and edifying, yet concise. The Julia instructions include color pictures of the bonnet made up 4 different ways, as well as color images from period fashion plates.  Appropriate materials and period techniques are discussed, and different finishing and trimming options are included.  The instructions even include explanations of the recommended hand-sewing techniques (much of the sewing can be done on machine or by hand, but the trims and finishing should be hand-sewn).  The pattern pieces are of "printer paper" weight, much sturdier than tissue paper pattern.

And here's my new bonnet (expertly modeled by my iron and a piece of purple linen):

 

I'm trying to think of any drawbacks to this pattern, and the closest I'm getting is that the brim variations are overlapped: 1 & 2 share space on two "half brim" pieces, as do 3 & 4.  Since both halves are needed to lay out on the buckram, it's a good idea to trace the line you want, and not cut the original pattern (or you can cut each half-piece along a different brim line, and get good at switching them around).  I followed the pattern advice about interlining, and used a white cotton broadcloth to line the brim, and cotton crinoline for the crown.  Both worked admirably at preventing "show through", but if I were re-doing it, I would flat-line the brim interlining to the fashion fabric (since I was interlining for better structure on the silk as well as to hide the inner layers).  This is how the crown layers were treated, and it worked well.

Very new amateur milliners may have difficulty with wiring the buckram pieces around the edges.  I find hand-sewing it much easier than the machine option (half-inch spaced button hole/blanket stitches will do it, or a wide zigzag machine stitch), as I can bend the wire around the buckram as I go.  However the wire gets attached, by time the crinoline bias is over the edges, it all looks much neater and more professional than you really expect it to look.

Compared to the "big four" patterns I've tried to make, Timely Tresses millinery patterns are far superior: not only is the design documentation included in the instruction booklet, but the techniques are researched and feasible, the instruction are clear, and the pictures make a lot of sense.  It's almost like having a teacher walking you through it.  It'll also tell you which steps can be done on a machine and which need to be hand-sewn (instead of telling you to glue anything that can't be put on a machine, *cough* Simplicity*cough*). Compared to the other Timely Tresses patterns I've made, the Julia was by far the easiest, having the fewest pieces and a soft crown.

I would definitely recommend this pattern to someone looking for an authentic early 19th century, puffy-crown bonnet pattern; it would also make a good first foray into millinery, particularly for someone who prefers machine sewing (most other bonnets I've made require more hand-sewing; this pattern can go either way).  A complete sewing novice would likely struggle with this pattern, but that would be true of any attempt at stitching on a structured 3D object of this sort.  The pattern specifies the years 1800-1810, and should be made-up in silk to get the appropriate period look.

There are some very specific notions needed for a project of this sort.  I've had good luck with the buckram, crinoline, and wire included in the kits at Timely Tresses (they also have good prices on fat quarters/halves of silk tafetta and on ribbons and trims).  Do not use the "buckram" found at JoAnn or similar stores. It doesn't have the same structure and won't hold the bonnet shape (the crinoline works alright for linings).  Linen and smooth silks can be found at your fabric store of choice (if yours doesn't carry these things, see the links for on-line options).  Ribbons and flowers can be found on-line (Ebay, Etsy), at antique shops (vintage trims!) or at specialty fabric shops--the two times I've made this bonnet, I used silk satin ribbon from Nancy's Sewing Basket in Seattle and from Treadle Yard Goods in St. Paul.

Pattern Score: 5 Stars!
Difficulty: Intermediate/ Advanced Beginner
Accuracy: High
Strongest Impressions: A quality bonnet that goes together easily; no pattern modification required

*I have made up two, but have read through the third and will be making it once I find the right silk.
**This is a pattern review rather than a tutorial, because a pictorial tutorial is already included in the instructions.