A poke bonnet (sometimes also referred to as a Neapolitan bonnet or simply as a poke) is a women's bonnet, featuring a small crown and wide and rounded front brim. Typically this extends beyond the face. It has been suggested that the name came about because the bonnet was designed in such a way that the wearer's hair could be contained within the bonnet. [1] Poke may also refer to the brim itself, which jutted out beyond the wearer's face. [2]
There were many variations of the style, which remained popular throughout much of the 19th century. [3] The Metropolitan Museum of Art notes that the poke usually had a small crown combined with a large brim extending beyond the face, providing a large surface for decoration. [4]
This prominent brim shaded the face and, over time increased in size so that the wearer's face could only be seen from the front. [5] Typically, the bonnet would be secured by ribbons tied under the chin, which might also wrap around the bottom of the bonnet's crown, similar to a hatband. An 1830s version of the poke bonnet with ornate ribbon wrapping forms part of the Victoria and Albert Museum archive. [6]
The poke bonnet came into fashion at the beginning of the 19th century. It is first mentioned in an 1807 fashion report in The Times ; the report describes designs made of willow or velvet with long ribbons and full bows on one side of the hat. [7]
By the 1830s, Englishwomen had adopted the poke bonnet. The new styles became widely popular and made the aristocracy less visibly distinct from the respectable middle classes. [8] The style is modest and was in line with English fashions after the ascension of Queen Victoria. [9]
A poke bonnet features prominently in the illustrations of Beatrix Potter's Tale of Jemima Puddle-Duck . Another appears in the First World War-era music hall song "In your little poke bonnet and shawl". [10]
Victorian fashion consists of the various fashions and trends in British culture that emerged and developed in the United Kingdom and the British Empire throughout the Victorian era, roughly from the 1830s through the 1890s. The period saw many changes in fashion, including changes in styles, fashion technology and the methods of distribution. Various movement in architecture, literature, and the decorative and visual arts as well as a changing perception of gender roles also influenced fashion.
Bonnet has been used as the name for a wide variety of headgear for both sexes—more often female—from the Middle Ages to the present. As with "hat" and "cap", it is impossible to generalize as to the styles for which the word has been used, but there is for both sexes a tendency to use the word for pop styles in soft material and lacking a brim, or at least one all the way round, rather than just at the front. Yet the term has also been used, for example, for steel helmets. This was from Scotland, where the term has long been especially popular.
1860s fashion in European and European-influenced countries is characterized by extremely full-skirted women's fashions relying on crinolines and hoops and the emergence of "alternative fashions" under the influence of the Artistic Dress movement.
1870s fashion in European and European-influenced clothing is characterized by a gradual return to a narrow silhouette after the full-skirted fashions of the 1850s and 1860s.
1830s fashion in Western and Western-influenced fashion is characterized by an emphasis on breadth, initially at the shoulder and later in the hips, in contrast to the narrower silhouettes that had predominated between 1800 and 1820.
1840s fashion in European and European-influenced clothing is characterized by a narrow, natural shoulder line following the exaggerated puffed sleeves of the later 1820s and 1830s. The narrower shoulder was accompanied by a lower waistline for both men and women.
During the 1820s in European and European-influenced countries, fashionable women's clothing styles transitioned away from the classically influenced "Empire"/"Regency" styles of c. 1795–1820 and re-adopted elements that had been characteristic of most of the 18th century, such as full skirts and clearly visible corseting of the natural waist.
Fashion in the period 1795–1820 in European and European-influenced countries saw the final triumph of undress or informal styles over the brocades, lace, periwigs and powder of the earlier 18th century. In the aftermath of the French Revolution, no one wanted to appear to be a member of the French aristocracy, and people began using clothing more as a form of individual expression of the true self than as a pure indication of social status. As a result, the shifts that occurred in fashion at the turn of the 19th century granted the opportunity to present new public identities that also provided insights into their private selves. Katherine Aaslestad indicates how "fashion, embodying new social values, emerged as a key site of confrontation between tradition and change."
Fashion in the period 1900–1909 in the Western world continued the severe, long and elegant lines of the late 1890s. Tall, stiff collars characterize the period, as do women's broad hats and full "Gibson Girl" hairstyles. A new, columnar silhouette introduced by the couturiers of Paris late in the decade signaled the approaching abandonment of the corset as an indispensable garment.
The Welsh traditional costume was worn by rural women in Wales. It was identified as being different from that worn by the rural women of England by many of the English visitors who toured Wales during the late 18th and early 19th centuries. It is very likely that what they wore was a survival of a pan-European costume worn by working rural women. This included a version of the gown, originally worn by the gentry in the 17th and 18th centuries, an item of clothing that survived in Wales for longer than elsewhere in Britain. The unique Welsh hat, which first made its appearance in the 1830s, was used as an icon of Wales from the 1840s.
Headgear, headwear, or headdress includes any element of clothing which is worn on one's head, including hats, helmets, turbans and many other types. Headgear is worn for many purposes, including protection against the elements, decoration, or for religious or cultural reasons, including social conventions.
A picture hat or Gainsborough hat is an elaborate woman's hat with a wide brim. It has been suggested that the name may be derived from the way the broad brim frames the face to create a "picture".
A halo hat is a millinery design in which the headgear acts as a circular frame for the face, creating a halo effect. The design is said to date back to the late 19th century, when it was known as the aureole hat; this name is sometimes still used. It may also be known as the angel hat or bambini – the latter said to derive from Italian for terracotta plaques depicting the infant Christ.
A half hat is a millinery design in which the hat covers part of the head. Generally, the design is close-fitting, in the manner of the cloche, and frames the head, usually stopping just above the ears. It may be similar to a halo hat in the way that it frames the face and can be worn straight or at an angle.
A peach basket hat is a millinery design that resembles an upturned country basket of the style typically used to collect fruit. Generally it is made of straw or similar material and it often has a trimming of flowers and ribbons. Some models may also feature a veil or draped fabric covering. It was introduced in around 1908 and caused some controversy over the succeeding year due to its extreme dimensions and decorations. It had revivals – designs were at this stage more modest – in the 1930s and 1950s.
The Salvation Army bonnet was the headcovering worn by female members of the Salvation Army. It was introduced in 1880 in the UK and was worn as headgear by most female officers in western countries. It began to be phased out from the late 1960s.
A bumper brim is a millinery feature in which the hat brim is tubular in design, making it a prominent feature of the hat. In order to achieve this effect, the brim may be rolled, stiffened or padded. A bumper brim can be added to a variety of hat designs, from small to large.
A coal scuttle bonnet is a design of bonnet with stiffened brim and a flat back (crown). The name originates from its similarity to the shape of a traditional coal storer. It may be very similar in design to the poke bonnet – some sources use the terms interchangeably – however the poke shape had a wide and rounded front brim that extended beyond the face, according to fashion historian Mary Brooks Picken, while the Metropolitan Museum of Art notes that the poke generally shielded the face and had a wide brim that provided a large surface for decoration.
A Eugénie hat is a small women's hat that is usually worn tilted forwards over the face, or it may be angled low over one eye. Typically, it is made of velvet or felt, although a variety of materials may be used. The classic design also has a plume of feathers, although other trims may be used.
The Chapeau à la Paméla, Pamela hat or Pamela bonnet described a type of straw hat or bonnet popular during the 1790s and into the first three quarters of the 19th century. It was named after the heroine of Samuel Richardson's 1741 novel Pamela; or, Virtue Rewarded. While Pamela hats and bonnets underwent a variety of changes in shape and form, they were always made from straw. The mid-19th-century version of the Pamela hat was a smaller version of an early 19th-century wide-brimmed style called the gipsy hat.
coal scuttle bonnet.
