Reclaiming a Hat Icon: How to Turn a Trilby into a Victorian Lady’s Hat Tutorial

This post is a bit of a weird ride– from Charles Dickens to Trolls to Britney Spears. But you could get a great hat out of the deal!

I should have written this post almost a year ago when I went to Dickens on the Strand with Mistress of Disguise back in December of 2018, but I really fell off the blogging wagon and didn’t. So, finally, here’s a blog post about my costumes for Dickens on the Strand 2018– beginning with my thifty hat makeover:

While it’s not the most flattering hat on everyone, the trilby (commonly misidentified as a fedora) comes in a vast array of materials and sizes. In fact, after ballcaps, beanies, and cowboy hats (here in Texas at least), the trilby is the most readily available male hats. You can even buy them at Walmart for less than $10.

via Quora

I have a massive love of hats! I have at least 30 of them, some of them vintage, some new, and many modded for costuming. Some of them are also my husband’s hats, like his tricorn, cowboy hat, and numerous old fedoras/trilbies. However, both fedoras and trilbies have gotten a sour reputation recently because of their association with internet trolls and creepy pick-up “artists.” Due to these bad stereotypes, my husband hasn’t been wearing his old trilbies as much anymore, so they were just gathering dust in my closet.

But did you know that fedoras actually started as a popular unisex, feminist fashion in the 1880s and trilbies are perfect for transforming into Victorian lady’s hats? Yes, indeed! So when I needed a last minute hat to go with my flannel 1880s bustle dress, I decided to take the trilby back from the trolls and give one of those old hats a new life.

During the 1870s, bonnets began to be replaced by hats as the fashionable form of daytime headgear for ladies. The ancestor of the modern fedora was actually created in the 1880s as a hat worn by all-around badass Sarah Bernhardt, who wore the first fedora during a play called, well, Fedora!

I couldn’t find a photo of Sarah Bernhardt in her original Fedora, but here she is in a different cool hat. You can see how you could easily make a similar hat by modifying a modern fedora.

In 1894, The Trilby hat was invented and also got its name from the hat style worn in the theatrical production, but the trilby was worn by a male actor and has thus been a man’s hat from the start. However, the shape shows up in women’s hats of the previous decade, making all our currently-much-maligned trilbies the perfect base for last-minute-panic Victorian bustle hats!

Natural Form Era hats. The Vintage Dancer has an excellent article on 19th century ladies’ hats! Click the fashion plate above to visit.

Lady’s Hat, circa 1885 via the Met Museum

I took trimming inspiration for my last-minute trilby transformation from 1880s hats like the lady’s on the left.

Unfortunately, I didn’t take any in-progess pics of my Dickens on the Strand hat because– in my usual fashion– I made it literally the night before Megan and I left for Galveston! However, I did absolutely nothing to the base hat, just trimmed it (haphazardly).

I used 1 roll of cream-colored ribbon from Walmart, a netting remnant, and pinned an antique silver dime brooch to the front.

Now, there is a secret to every successful hat…and I’m going to spill the beans just for you.

As I have stated before, this is just a plain old man’s store-bought trilby. Even under all the trimmings, it’s still very visibly a modern trilby…probably because it’s a good two sizes too big! It’s my husband’s, so it’s an XL hat made to fit a 6′ 2″ dude. If I just plop it down on my head, it’s so huge it engulfs half my noggin!

Yet, most modern hats– even ones sized correctly for your head– sit far too low on the face. If you’ve ever gotten photos back from an event only to discover your face is all shadowed over and hidden by your hat, it’s because modern hats have very wide, deep crowns to sit far enough down on your head to keep them in place at the expense of your forehead.

But don’t worry, you still look fabulous!

Historical women’s hats, however, were designed to perch on top of elaborate hairstyles, particularly buns. Often, they hardly touched you head at all, sitting entirely atop a nest of fluffy hair instead.

 

And instead of relying on a deep crown to stay in place, women used hat pins.

Call the Police! I’m Wearing an Illegal Hatpin!

Even if a hat had a deep crown, it often had an interior fabric “cap” or drawstring ring that kept the crown from swallowing your head.

Some well-designed modern hats still use this feature. This is the inside of my favorite modern “church lady” hat that I wear for Edwardian costumes. You can see the drawstring ring inside that adjusts to fit your head so the enormously tall crown doesn’t eat your face.

Any of these things can be done to modify a modern hat to fit in a historical manner. In the case of my trilby-turned-Victorian hat, I didn’t have time to put in a fitting ring, but I did have plenty of hair to stuff into it. This kept it aloft.

In fact, the true secret to historical hat success isn’t just the hat itself: it’s the hair under it!

Properly styled hair– even if it’s the most simplistic version of a period style– instantly takes you from hat rookie to hat champion!

To demonstrate this better, here is a series of hasty, terrible bathroom selfies I took.

Let’s start with a modern trilby I have that actual fits me correctly:

If you want to use a trilby to make a Victorian hat, I recommend starting with one that actually fits, or one slightly too small.

As you can see, it fits much better than my big brown one! But with the deep hat crown and modern hairstyle, the farthest back in time this hat takes me is high school in the early 2000s. No thanks!

BRING IN THE HISTORICAL HAIR!

This is my go-to basic hairstyle. It’s my collarbone length hair pulled up in a simple bun and then my beloved “curl loaf” slapped on the front. Nothing fancy.

This style is perfect for the 1880s and 1890s, but it can carry you from the late 1870s to the 1910s if you really need to. Plus, it works especially well with hats! The bun gives you something to perch your hat on so it stays off your face, and it give you something to safely stab hat pins into to keep everything in place. The curls up front also help lift the crown of the hat away from your face and, if you’ve got strong features or a large face like me, the curls peek out from under the hat a bit to soften your face. Plus, the hairstyle looks good on its own, in case you have to remove your hat.

Now that you’ve got your hair in place, you can play with how you wear your hat! To instantly take a trilby from modern to old-fashioned, wear it on the back of your head for a more bonnet-like appearance:

A fashion plate from the late 1870s showing bonnet-like hats worn on the back of the head to take trimming inspiration from.

You can also wear the trilby backwards so that the curled part of the brim is at the top of your head to help disguise the modernness even more. Covered in trimmings like puffy bows and feathers or covered in fabric to match your dress will further transform it!

Covered in lace and fabric, a modern trilby could be used as a base for these 1870s bonnets! Notice how these bonnets/hats are sitting way up high on a giant mound of hair, as was fashionable in the 1870s. The hats aren’t even touching their faces or necks. Worried you don’t have enough hair? Don’t worry! Most Victorians used plenty of hairpieces to make such fab hairstyles.

Another way to wear it is perched up on your hair completely, tilted forward a tad. Rather than disguising the shape of the trilby, this angle shows off the full shape and works well for the more tailored looks of the 1880s:

Of course, wearing it this way also puts your hair on display more, so make sure the back is nice and neat (unlike mine, ha!).

So many trim options! From the 1870s to the 1880s.

No matter how you choose to wear it, however, you will want to trim it. Depending on your trilby’s material. you might be able to get away with a few ribbons or spray of flowers, but the Victorians loved trims and, as you can see in the fashion plate examples, the base hat is often buried under a mound of bows, lace, feathers, flowers, and other crazy-fun whatnots! So get creative and go wild with the trims!

For my 1880s dress, I wore my/my husband’s giant trilby perched on top of my head. It was so huge it still kind of ate my head, but it worked perfectly for a last-minute hat with not a lick of hat blocking required! Plus, it was inexpensive. Since I recycled an old hat, I only had to spend money on the ribbon, which was, like $3. I guess if you wanted to count it, the $10 brooch was the biggest expense, though I had that on-hand, too, or it could easily have been replaced with a big button. Is this method perfectly HA and the pinnacle of design? Ha, no! But all-in-all, it worked just as I needed it to!

HAPPY COSTUMING, M’LADIES! ;)

Bonnets that Deserve Better: A Dozen Ugly Ducklings in the Met’s Headwear Collection

I love a good bonnet, even if badly photographed. <3

Museum photography has come a long way in the past decade. I remember when the only way to explore a museum’s collection was to physically travel to view an exhibit in person, be buddies with a curator, or read about them in textbooks, sometimes with a blessed-but-grainy black and white picture the size of a domino. Now museums around the world have their collections photographed and available for free online!

We have gone from this:

To this:

Bonnet, circa 1870

Huzzah! Hooray! Oh, happy day!

And believe me, I am infinitely grateful. But, I am also infinitely concerned with systematic forward progression and implementing improved standards of quality (i.e. I am demanding and persnickety). Today, I am picking on the Met because the Met is one of my favorite museums. They seem open and honest about their collections– even candidly blogging about some drawings in their collection were massively mis-attributed! You can even give them feedback about their website, rating it and saying what you liked and what you didn’t. I appreciate their openness and make full use of it. MMoA, you asked for it!

In my many invested hours of research (i.e. PINTEREST), I have discovered many beautiful Met Museum objects with hideous photos, in particular, 19th century bonnets and hats. Granted, there are plenty of hideous objects with lovely pictures as well. There is clearly a miracle-working photographer in the costume department because they made this clunky sunbonnet look so lovely I kind of want it…which is saying something because I LOATHE 19th-century sunbonnets!

Cotton Sunbonnet, circa 1860
This photo makes it look good enough to actually wear!

Now, compare that picture with this one:

Sunbonnet, circa 1838
Ah, there’s the warm, familiar hatred again. If Jedi had to wear sunbonnets, I would instantly become a Sith. No questions! Sunbonnet Crusher duty? SIGN ME UP!

Okay, so maybe I am exaggerating a little. You see, that second bonnet isn’t terrible at all! In fact, it’s actually way more adorable than the photo lets on. It’s made of a spotted calico that’s kind of polka-dotty from a distance, it’s got pinked trim, a nifty straw brim, and a sweet bow perched on top. But that photo just does not do it justice when you compare it to other bonnet photographs in the collection:

Snedden Designer Bonnet with Pearls, circa 1883
(another bonnet that has benefited from the leap in photography technology)

Velvet Evening Bonnet, 1802

Bonnet, circa 1887

“But, Liz! Those are all fashionable, fancy-lady bonnets! You can’t compare a daytime 1850s sunbonnet to a 1880s millioneress’s bonnet!”

True: there are many bonnets of vastly different styles, decades, price-points and occasions, but being fancier doesn’t make them any less likely to be photographed poorly. The Met does not discriminate based on social class! Case in point:

Which of these two photos looks like a million bucks to you?

I started making note of all the bonnets I found that were begging for a better photo. The list was quite long! However, I narrowed it down to just a few.

MOST of the bonnets are this list were not picked just because I thought they needed a prettier photo–though, confession: some are on the list because they are OMGorgeous! There are so many pretty-but-not-artistically-photographed bonnets in the Met’s collection, like this early 19th century bonnet. However, many of them, despite their flash-blasted, yellow-tinged photographs, still shine through with clear detail. Instead, I chose bonnets that I thought were actively hampered by their photo– those with great texture that was lost, fit that was hard to judge, or colors that weren’t properly portrayed, all details that are actively explored and sought after by costume and textile researchers.

THE TOP 10 BONNETS AT THE MET THAT DESERVE BETTER PHOTOS!

#10: “Ye Old Bonnet?!” circa 1799-1810

Originally #10 was this straw bonnet that I loved the shape of, but there is no view of the front. However, I stumbled upon this bonnet/headdress just before publishing my list. I was so intrigued, I knew it had to be on the list! There is no other “bonnet” like it in the Met’s collection and if that date is correct (question: has anyone seen something like this from the era?), it would make it one of the earliest pieces in the bonnet sub-category. I want to know more!

#9: “Happy Spring Day in a Dust Storm” Bonnet, circa 1860

This is one of those “It’s just so pretty it needs to be shown off!” bonnets. The layers of trimmings are so lovely, but the dingy, grainy photo does its richness a great disservice.

#8: “Black Velvet Mystery” Bonnet, circa 1850

This bonnet already has a beautifully lit, crisp new photo, yet, it’s impossible to tell how it fits! It’s listed as a bonnet, but the shape and fit isn’t obvious. Does it perch on the back of the head? Is it a child-sized cap? Or is it bigger than it looks? This is a piece that would really benefit from a display head.

#7: “Snow Princess” Lace Bonnet, circa 1885-90

Another stunner suffering from bad lighting and graininess! This bonnet is mummified in lovely lace, has a velvet edge, and a feather on top! The interplay of textures and true color are lost, though, and the angle of the two photos almost look like two different hats! Click here to see the second photo of the back. You’ll see what I mean. Also, this hat has a photo of the designer’s label, but it’s not listed in the description (J. Pendlebury / Wigan). This was a very expensive hat during its day! It would be so lovely for a bride.

#6: “Scarlet’s Envy” Promenade Bonnet, circa 1851-1862

The vast majority of the Met’s mid-19th century bonnet collection suffers from small, badly-lit photos. I imagine they must have been doing them all in a  swift batch in order to give us, the demanding costuming community, visual references. The Met has worked hard to get photos for every object’s online catalogue page! They are getting closer to achieving that goal. I am so thankful for their hard work. However, this gal is beautiful, but the silk gathers and layers upon layers of delicate trimming aren’t very well portrayed. I also think it’s later in date than listed. Any bonnet experts have a firmer date for it?

#5: “Autumnal Delight” Bonnet, circa 1864-1867

This bonnet is just fabulous! At first I thought that it was a lovely example of straw work, but then I read the description…can you believe this bonnet is made of horsehair?! I would have never guessed!  Once again, the small, grainy photos erase this bonnet’s main draw: the unique materials and lush interplay of textures. Just look at those woven plumes and tiny tassels! This is probably my personal favorite bonnet on the list. I would wear it in a heartbeat.

#4: “The WAT?!” Bonnet, circa 1800-1925

I’m calling this one that “WAT?!” bonnet not because I find it poorly designed (though the display certainly makes it look odd), but because it is in desperate need of a cleaning, some context, and a more accurate date. 125 YEARS, MET?! REALLY?! This bonnet/hat is from around 1900 and would have been paired with a Gibson Girl hairstyle, hence the shallow back (to fit around a chignon) and large forward swoop (to go over the puffy pompadour front). It even has a designer label inside that they photographed, but the cataloger failed to note in the description. It’s not a show-stopping hat by any means, but it certainly deserves better basic cataloguing in addition to a fresh photo!

#3: “Cinderella” Bonnet/Cap, circa 1845-50

Just look at that lace and ribbon! Wow! Even in that terrible lighting, it looks amazing. However, the image is small and grainy, so you can’t see all the wonderful details. This one is just too pretty not to have a better photo!

#2: “Faceplant” Poke Bonnet, circa 1840-69

This bonnet is so sad! It looks like a jellyfish washed up on the shore or a snail trying to crawl away. I suppose if you were a nice “Sunday’s best” bonnet that got labelled as a poke bonnet, you’d be sad, too. This bonnet would be so much happier if its beautiful silk satin shirring and lace were properly photographed on a stand or mannequin!

#1: “Moping Mop” Ribbon Bonnet, circa 1841

The last bonnet  looked sad, but this poor bonnet is actively trying to hide. Perhaps it’s in such poor shape that this is the only way to display it (like this crumbling 1830s straw bonnet), but it’s completely impossible to tell that it’s even a cap/bonnet. What’s even odder is that unlike many of the bonnets in the collection which suffer from dating swathes that range from a generalized 20 year period to the egregious 125 YEAR RANGE OMG MET WTF, this bonnet has been dated precisely to 1841. In addition, it was purchased with donation money in 1982, apparently by choice. Either it was part of a lot that had other pieces in it the Met wanted and the cap just came with, or they purposefully bought it, possibly with provenance granting it such a firm date, like a letter or label. And yet, here it is, just flopped on a table like a mound of seaweed.

The more I looked at these bonnets with less-than-ideal photos, the more I realized how shallow and callous it was to judge a bonnet by its photo. In our massively visual online culture, objects with the prettiest images often get sharing priority, meaning that many perfectly fabulous fashions get ignored! This affects not only personal research, but can affect the quality of conservation, too. Many objects that receive well-made professional photographs often receive special cleaning and repairs in order for them to display and photograph to the object’s best advantage. In a collection like the Met’s–with over 300+ bonnets alone– such a large undertaking would involve not only lots of time, equipment, and effort from the photographer(s), but a large investment from the conservation department– and let’s face it: we may love bonnets, but there are probably more pressing conservation projects than cleaning a common straw sunbonnet, no matter how cute it is.

Interested in seeing more awesome bonnets with horrific pictures?
Click here to view the Met’s bonnet collection online

Let me know which one is your favorite! Is it a delicate straw bonnet from the 1840s? A sky-high feathered stunner from the 1880s? A tubular Regency poke bonnet? Post a link below so I can see it!

Five Snazzy Details to Add Pizzazz to Your Victorian Costume

Full, Exhaustive Title:
Five Snazzy Details to Add Pizzazz to Your Victorian Costume

found in Extant 19th Century Garments from Augusta Auctions

I enjoy poking around on internet auction sites for extant garments “in the rough.” Museums can’t hold every original piece of clothing. There are literal tons of antique clothing sitting in private homes and shops that no one has ever seen before! We are blessed in this age of internet commerce to see some of these treasures for a few brief days on websites like eBay, Etsy, or Ruby Lane before they disappear again into private collections. Many of these amazing private holdings posess design details and quirks that are often glossed over by sweeping generalizations about past fashions. Looking through these often less-than-perfect dresses in their wrinkled, as-found condition is a wellspring of fresh sewing inspiration!
Since I can’t buy every gorgeous gown that scrolls across my screen, I have taken to collecting them digitally on Pinterest, combing through online sales pages for pieces with unusual features or appealing designs. One of the many sites I try to check regularly is the Augusta Auctions page. They are an antique/vintage textile and clothing auction house that so kindly keeps pictures of previous auction lots long after the auction has ended (so many times auction sites remove photos soon after the sale is complete). They have garments of many types from the 1700s to modern, but my research recently has focused on the Victorian era (1837-1901). Many of their items are de-accessioned from public museums which means that the Augusta Auction website is often their last accessible record before disappearing from the public view. Rifling through the auction lots has yielded some unusual and strange pieces, but it also has brought to light a few simple, unique design elements that a modern costumer could easily adopt!

1. Mix-n-Match and Matchy-Matchy Accessories
(I guess that’s really two tips in one, so this list has 6!)

Morning Glory Cotton Sateen Day Dress, 1880s
“2-piece, maroon [looks brown in the photos, but it my be more reddish in person] cotton sateen w/ blue floral print, lace trim, cut steel buttons, matching fan.” – Augusta Auctions

I’m not generally a matching maven when it comes to my day-to-day modern clothes, but making my own historical outfits means I pay a lot more attention to color, pattern, and stylish shortcuts. This dress has a classic combination of dense print paired with a plain matching color. The printed bodice and bustled overskirt are separate from the simple tiered brown cotton underskirt, so they can be mixed and matched with other pieces. The solid colored skirt would be very easy to match other bodices with and it’s likely the dress’s original owner had one or two other pieces she could mix together to create a multitude of outfits with, especially since (unlike many bustle underskirts that have plain backs) this underskirt is decorated all the way around making it extra versatile:

A very simple bustle back suitable for an active woman on the job or on the go!

But sometimes you just wanna MATCH. Some women match their shoes to their purse. Others can’t leave the house unless everything from their underwear to their earrings are all the same shade. This day dress in particular comes with a unique matching accessory, especially for such an otherwise ordinary outfit: A custom matching fan!

It matches so well it’s nearly camouflaged!

If you are interested in making a matchy-matchy fan of your own, here’s a semi-tutorial posted on La Bricoleuse:

Making a Silk Folding Fan

As an added bonus, the fabric on the fan was protected from the sun when it was folded up, so it did not fade! It gives us a clue about how much brighter this dress used to be: just look at that pop of ultramarine and hint of crimson! It was a brilliant use of excess fabric. Other ways to use extra fabric scraps to create matchy-matchy accessories include small drawstring purses and coverings for hats and bonnets.

Lined Drawstring Bag Tutorial
By In Color Order

Cardboard and Duct Tape Victorian Bonnet Tutorial
by Darling and Dash

2. Ribbon Flowers
(may be combined with the matchy-matchy tip above for decorating pretty much everything)

Detail of a Silk Visiting Dress, 1860s
“Three-piece buff changeable ribbed taffeta, trimmed with bright coral satin bands, scallops, bows, rosettes and Van Dyke points: front buttoning boned bodice with high neckline; belt with attached back peplum; trained unlined skirt, gold stamped label “Louis Hille Tailleur Pour Dames 398 Rue St Honore Paris”[…] Featured in April 1998 ANTIQUES Magazine” – Augusta Auctions

It’s fairly common to see garments decorated with ribbon bows and cockades, but when I found this dress, the big pink satin flower caught my eye right away. It is extremely similar to modern ribbon flowers that can be found on everything from toddler headbands to coffee cup koozies!

There are hundreds of ribbon and fabric flower tutorials, but for this particular design, there are three methods that will produce similar results:

Ruched Ribbon Flower
Tutorial by Nikki in Stitches

Scrap Fabric Flower
Tutorial by Melissa of Until Wednesday Calls

Round Petal Kanzashi Flower
Tutorial by A Pumpkin & A Princess

In addition to how modern the flower looks, the placement also gives it unique charm. There’s one at a fairly standard location at the small of the back, but another is placed just off the hip and another midway down the skirt. So cute!

The seamstress really liked trimming in general. Just check out the amazing design created with matching pink ribbon/fabric applied in a multitude of ways!

Rosettes, stripes, binding, applique, scalloped edging, bows… the works!

3. Embroidered Accents

Embroidered Visiting Dress, 1870s
“2 main fabrics: black silk faille & black silk satin, satin w/ narrow velvet stripe embroidered w/ wine, brown & blue flowers, polonaise bodice, cut steel buttons & lace, blue satin modesty insert, trained bustle skirt, B 36″, W 30″, Skirt L 40″-59″, provenance, Homans family Washington, D.C.” – Augusta Auction

Victorian costumes often feature lovely embroidery work. They didn’t have access to fancy in-home digital embroidery machines like we do now, but there are so many beautiful modern fabrics and trims that come pre-embroidered today so even if you can’t embroider, you can have the look! Even now, embroidered fabric can be pretty expensive. A whole gown of the stuff might be out of the question for most. A yard or two, though, is enough to add a rich touch to a dress like in this sophisticated frock:

The seamstress who crafted this dress made judicious use of the fine striped satin with embroidered flora, placing it front and center on the bodice and cuffs, but leaving the back plain while edging and gores in the skirt tie the look together.

There was quite a heated discussion on a forum about the legitimacy of using pre-embroidered fabrics in historical costumes. While handwork is always period, pre-embroidered fabric is a fantastic way to mimic the look. The embroidery on this dress in particular features a small, repeating pattern that looks very much like many pre-embroidered fabric available today.

Bonus points for the pieced front and late 18th century revival styling!

4. Bold Buttons

Silk Brocade Jacket, 1880s
“Black silk ground w/ Persian inspired brocade, small rondels in metallic gold, sky blue, maroon & yellow, fitted torso, constructed in style of gent’s 18th C jacket, black velvet trim & back pockets, cream & gold embroidered lace trim, 24 magnificent gold metal buttons inset w/ cut steel faceted beads in silver, cobalt & wine, bright yellow silk satin lining, B 32″, W 24″, L 27-30″, excellent. [De-accessioned from the] Brooklyn Museum.” -Augusta Auctions

The last dress had some pretty nifty cut steel buttons, but this jacket certainly ups the ante! Victorians loved buttons of all types and there are as many colors and styles as you can imagine. The buttons on this jacket are something truly avant-garde and different, though. They look thoroughly modern. They would be right at home on a 1930s suit or a 1960s mod mini dress, but here they sit on an otherwise unassuming brocade jacket!

Like many buttons and pieces of jewelry from the 19th century, these buttons are made of faceted steel studs riveted together. These are unusual for their added color and abstract dot pattern.

As they were 150 years ago, buttons can be an expensive investment, but they can really add a pop of character to an otherwise plain dress! Many Victorian buttons are more “traditional” than these, but Victorians loved quirky buttons of all types– from colorful lions and garden insects to distant planets and birds on a telegraph wire!
Etsy is a great place to look for unique buttons, both antique and modern.

With all the wild figurative metal buttons out there, you could probably use these awesome steampunk mechanism buttons or these ancient glyph buttons and no Victorian would bat an eye (they might even compliment you on them, considering how fond they were of industrial progress and ancient cultures). After all, they were the ones putting spiders, ears or corn, and fighting children on buttons first!

Fashionable fisticuffs, anyone?

5. Stunning Studs

Taupe Silk Tea Dress
“2-piece silk crepe, boned bodice w/ overlay of chemical lace studded w/ cut steel beads, grey velvet trim, label “Jermyn W. 45th St.”, B 36″, W 28″, L 41″” -Augusta Auctions
(This dress would totally fit me! If only I had snatched it up. It sold for only $120!)

Augusta Auctions dates this to the 1910s, but the shape, construction, and styling all scream 1889-1892, so I’m including it here.

Ah, my angsty teenage self sure did love silver studs! I treasured my gnarly Hot Topic studded faux-leather bracelet because it made me feel like an invincible warrior. Surprisingly, it’s not just goths and neo-Victorians who enjoyed being studded with glittery steel. The dresses above had silvery cut steel buttons. This particular dress cut out the middle man and has cut steel applied directly to the lace!

Cut steel jewelry and accessories have been around for centuries as a bright, sparkly alternative to diamonds. In the late Victorian period, cut steel was mass manufactured and widely popular. Steel-encrusted miser purses, opera capes, and shoes were de rigueur. While individual studs were less common, they were popular for wearing indoors because they were excellent at glittering in low light.
Studs weren’t just made of rounded cut steel. Some were spiky enough to make even the hardest-core punk rocker happy! Here are two bonnets with pyramid studs that defy the supposedly frail and fragile femininity associated with the Victorian era:

H. O. Hanlon Bonnet, circa 1887
Metal (the Met doesn’t list if they are steel or something else) studs in action. My favorite 1880s bonnet!

House of Virot Bonnet, circa 1885
Black glass pyramid beads add some fierce glitter to this otherwise plush bonnet.

Victorians loved the interplay between hard and soft surfaces and playing with textures. Some combinations are truly unusual and funky, but if done in moderation and with a careful eye for the design, even supposedly “modern” fashion elements can work in the Victorian era!