Bonnets are now worn quite small, though not the marvels of disolnation [sic] we sometimes hear of. They are proportioned in size to the head and features of the wearer. Where the curtain is abandoned, it is replaced by loop of ribbon and falls of lace, so tastefully arranged that the curtain, which generally gives the style to the bonnet, is scarcely missed. We cannot resist describing some charming bonnets from the establishment of that fashionable artiste, Mme. Tilman, of 148 East 9th Street, New York.
A snowflake like bonnet, suitable for visiting or reception, was of white royal velvet, with soft, drooping crown, covered with falls of marabout fringe. Inside were clusters of half-blown roses, bedded in a mass of white tulle.
Another was a puffed tulle, with hanging crown and covered with soft blonde lace, loops of rose-colored velvet, and tufts of forget-me-nots. On the edge of the front was a tulle scarf, which tied under the chin, and took the place of the quilled side caps.
A very graceful bonnet was of violin crepe, with a wreath of autumn leaves and mulberries placed round the crown, and tied at the back with a ribbon and long ends.
Another evening bonnet was very tastefully trimmed with fuchsias round the crown. The face trimming was formed of a fringe of fuchsias, falling over a plait of tulle. The effect of this was charming.
For the street were velvets of rich, soft shades, trimmed with plumes or flowers, some having net crowns of narrow velvet, arranged loosely over white crepe of silk.
The prejudice against the mixture of blue and green no longer exists, and we find this combination in flowers, feathers, ribbons, and, in fact, in all kinds of goods. (Godey’s, December, 1864)