Burgundy in headdress
This exhibition summarizes the study and restoration work carried out between 2005 and 2009 on the collection of headgear of the museum of Burgundy life in Dijon, put on line on Joconde, the collective catalogue of collections of museums of France.
Credits: this content was originally published on the Mona Lisa website. It was founded in 2012 by Madeleine Blondel, Head Curator of the Museum of Burgundy Life in Dijon, Patricia Dal Prà, textile restorer, and Anne Laemmlé, conservation assistant. The records of the Burgundian Museum of Life are online on POP, an open heritage platform.
Presentation of the collection of headgear of the Burgundy life museum
In 1935, Maurice Perrin de Puycousin (1856-1949) founded a museum in Dijon with a donation of more than 1800 objects.
If the inventory of this collection indeed mentions two paragraphs concerning the caps: "bonnet holders, a cardboard head and a collection of embroidered bonnets" as well as "two painted cup boxes'the list gives no information on the context of the collections and their geographical origin.
In 1989, his grandson, Bob Putigny donated a collection of more than 950 objects from his grandfather’s collections. The collection of headgear and bonnets was enriched by more than 490 pieces. Thanks to this donation, a substantial corpus is built within the museum and allows for serial analyses.
From the 1990s, a method of analysis was developed in collaboration with a textile restorer from the Restoration Service of the Museums of France. The museum then scrupulously inventoried all the textile pieces and in particular the headgear and bonnets.
In 1992, an exhibition on gorgerettes mâconnaises gives the results of the first work undertaken.
In 2005, an exhibition presenting the work devoted to children’s hats (1st part) began a series of publications. In 2009, it was followed by a second part, devoted to the headgear of the Mâconnais and Bressans terroirs.
A third component is being developed on cups without territorial anchorage.
The virtual exhibition, put online here, synthesizes the work done between 2005 and 2009, and offers, thanks to a selection of more than 250 objects (out of the 800 headgear specimens that the museum keeps), a dive into the history of this costume piece.
Discover this collection on Mona Lisa
Children’s hats
Born with a haircut: a little story about a child’s cap
In Antiquity, Soranos of Ephesus, who practised in Rome under Trajan and Hadrian, develops in his treatise "Women’s diseases" the first care to be given to the newborn. He meticulously describes the way to swaddle it and gives four virtues to this practice: to protect from the cold, to prevent that by carrying the hand to the eyes the baby does not alter his sight, to strengthen his body by the contact with hard materials, finally to prevent deformities of the limbs. He also advises to cover the skull with a roll of tissue to protect the fontanel.
This desire to avoid distortion is taken up by medieval doctrine and illuminations provide valuable information. Danièle Alexandre-Bidon, in her study of early childhood clothes meticulously observed this iconography: "To dress the child, one folds on him the fine canvas white, then the sheet, left pan over the right pan... The head, finally, is draped in the finest of the swaddling clothes, the one placed directly on the body and a whole series of pleats must be spared under the chin to properly hold this improvised hood. The practice has a double benefit: in addition to exempting the purchase of a beanie, the neck and chest are well caulked." The term canvas refers to an armour whose ratio is limited to two threads and two strokes and in which the odd and even threads alternate at each stroke, above and below the weft; more generally used for fabrics of staple fibres; canvas of cotton, wool...
And this modelling of the body is still evoked in the investigations of the 20th century. The folklorist, Emile Violet indicates that in Lacrost, "formerly, the flag (piece of cloth used to swaddle the baby) on the head of the baby in a beanie style. Albert Colombet notes: "the child was tied in his swaddling clothes..., wedged, that is to say, capped with the hold [cap] tightening the ears so that they do not take off and that the child cannot look like an erosuèyô [oreillard]".
Traditional society adds a symbolic dimension. Thus the cap takes an essential place at baptism, for example. Imbued with holy chrism during the ceremony, he acquired a protective power. This crush, recognizable by its embroidered cross, is placed on the head of the newly baptized after the anointing of the holy chrism, hence its name of chremeau. Later, in the Auxerrois of the 1860s, it was customary for this cap to be attached to the wrist of the conscript during the draw to ward him off.
With the age of walking appears another kind of hairstyle: the child’s neck. Emile Violet described it as a crown-shaped bead around the child’s head. Generally in straw, this overflowing crown protected the skull in case of fall. But this period of early childhood marks a regression of wearing the cap. Is this phenomenon related to child turbulence at the age of learning to walk?
It seems, however, that the boy traditionally leaves his cap around the age of five, while the girls wear it until puberty, as Abbé Chagny explains in his book "Anciens Costumes de Bresse": "On the day the girl took her first communion, the cap replaced the cap, the white cap tulle (fabric consisting of hexagonal meshes, obtained by the work of warp and weft threads whose direction of movement is not perpendicular as in the tissues: weft threads loop and pull the warp threads) plain, lined with a beehive (or beehive, pleated bands or piping of fabric, tulle, chiffon or lace that adorns the headdress) very simple. But this austerity hardly lasted. The child became a young girl, the headdress all united became complicated and embellished. The finer fabric was embroidered and sequined..." The ceremony of communion thus confirms the exit from childhood, a step leading to the status of girl to be married. And this change of state materializes by the wearing of the headdress that announces the entry into femininity.
Children’s cup analysis grid
Of the 125 hats in the museum’s collection, 77 were exhibited in 2005 as representative of the diversity of the collection.
A first set of hats is related to the wearing of regional costumes collected by Perrin de Puycousin: baby hats, girls' hats and boys' hats. A second set of cups, without specific territorial anchorage, is classified by patterns: beguins, cups with a hoop bottom and cups with a round bottom.
The description is as follows: number of pieces or quarters constituting the cap, weave and nature of the fabric, mode of assembly, description of the decoration, description of the lining and description of the clamps, pullets or ribbons.
The bosses
The pattern refers to the shape of the cap and, for the lingerie cap, to the cutting of each of the constituent pieces.
There are four patterns:
- Pattern A in two parts: a C-arm bottom piece is added to the pass.
- Pattern B in two parts: a round piece at the back attaches to the long pass to the neck.
- Pattern C in three parts: two side pieces and one middle piece
It covers the top of the head from the forehead to the neck
This boss is referred to as "crush".
- Pattern D in six pieces known as "quarters": cut into orange slices with the exception of the two pieces of the neck which are more
short to better match the morphology of the head.
The guys
The type refers to the manufacturing techniques that give the cap its appearance. Three types are identified:
Type 1 : cutting and sewing from a more or less fashioned silk fabric It can be decorated with embroidery, metallic embroidery, lace, mechanical lace, braid or tulle.
This guy only refers to regional hats.
Type 2 : lingerie work in different fabrics: cotton canvas, quilted cotton...
Often decorated with white embroidery, days as well as lace, tulles etc.
Type 3 : work in mesh made from three different tools:
- type 3a: the hook
- type 3b: knitting needles
- Type 3c: knitting machine for knitting
The dimensions
- H. corresponds to the dimension of the forehead to the maxilla
- L. corresponds to the size of the maxilla at the neck
- The third dimension corresponds "from the front to the neck"
The dating
These cups stand out for the lack of dating. The wearing of regional hats, associated with the wearing of traditional costume, became scarce from the 1880s; however, Perrin de Puycousin began collecting in the 1870s.
For the other cups, it is likely that they were made and worn in the first half of the 20th century.
The regional caps
The hats presented come from the Perrin de Puycousin collection collected in the south of Burgundy from the 1870s, when the wearing of the traditional costume declined.
Les baby caps usually correspond to pattern A or C (crush).
Les little girls' hats generally adopt pattern C (crush).
Les boy caps belong to boss D (in quarter).
The crush
The pattern consists of three pieces:
- one piece in the middle covers the top of the head from the forehead to the neck and
- two side pieces, with rounded edges, frame the face and adapt to the middle piece with very flat sewn seams.
In order to tighten the circumference of the face, a link threads into a passerby, it is the cleat .
At the nape of the neck, a rectangle of fabric constitutes a passageway into which are threaded two slides (two ribbons or ties) which, once tight, gather the neck: this is the pull.
Two straps tied under the chin allow to fix the cap. A ribbon is defined as a flat, narrow fabric with edges to the exclusion of any fabric cut into strips.
Easy to make, this model appears in the notebooks that the students made during their sewing classes: indeed the making is simple and the discreet decoration of the circumference is the opportunity to learn to embroider a stitch of festoon or to sew a fine lace.
These cups are easy to maintain, so they probably served as cups of cleanliness. On contact with the skull, they absorbed perspiration. The more elaborate hats were worn for going out or at the occasion of ceremony.
This form is secular. Carlo Crivelli, of Venetian origin, painted in 1482 his painting of "The Annunciation" and encapsulates characters in a sumptuous setting of a Renaissance city. A little girl, perched above the stairs, leans down to observe the scene better and we see her blond hair held by her crush.
The crush of this museum, on Mona Lisa
Cups with a round or round bottom
The beanies with a hoop bottom
Remember that this pattern (type A) consists of a C-arm bottom piece added to the pass.
These cups are lingerie work (type 2) as well as crochet work (type 3a).
New techniques were added: knitting and knitting.
The beanies in a hoop on Mona Lisa
The round-bottomed cups
Remember that this pattern (type B) is in two parts with a round piece on the back that attaches to the ribbon that extends to the neck.
The decoration is essentially white embroidery (white embroidery on white fabric).
But the know-how is fading in favour of mechanical work and these innovations allow to put on the market less expensive products and therefore accessible to the greatest number.
The round-bottomed cups on Mona Lisa
The headgear
History of the French headgear
Geographical distribution
The geographical area of the Mâconnaise headdress, called "tieulon" by Emile Violet, corresponds to that of the hat called "brelot".
It follows the Saône, but although this cap is mainly worn on the right bank, it is also found in some communities on the left bank.
Wearing the headdress
This headdress worn far back, contains only the bun. The brelot comes to rest over it. Abbé Chagny indicates that the very smooth combed hair, separated by a median line, had to be pulled, squeezed, rolled behind the skull in such a way as to form a narrow and high bun held together by means of a braid... this kind of hairstyle was required as much by the wearing of the cap as by that of the hat". The headgear could be held by the back with a pin. The holes left by the pins are visible on several caps even if the pin has not been kept.
The contact zone of the brelot and the cap is at the top of the head, where the lace is flat. Then at the ears, this lace is straightened because of the large ribbon shells attached to the strap (small hoop of wire covered with festoon stitches, and intended to receive a button or a clip allowing closure). Also tape that is used to hold the headdress and fastens under the chin. When the person is seen from the front, he has two white fins as shown in Carteron’s table (see detail). To achieve this effect, the starch must be firm and light to keep the hive upright. The ribbon shells are connected by a ribbon that passes above the forehead. This accessory can also be embellished with tubular beads.
Maintenance of the headgear
Out of more than 251 headgear, 188 did not keep their lace: it was disjointed to wash the headgear and lace as Tortillet recalls: the headgear was washed, starched and piped (type of pipe ironing done on small flounces by means of a pipe iron) using very thin needles or pins.
At the time they were worn in Manziat, the workers went back home and received 12 to 15 cents a day. And Suzanne Tardieu explains: "This is how the hats and headgear whose tower was lined with rows of beehives were entrusted to professional ironers who were often picked up in remote villages. They had piping irons whose branches were very thin and allowed to wrinkle finely the edges of the cups. For even more delicate pleats, they used a series of very fine straws, which they placed on and under the damp and starched fabric".
Description of the household headgear
The bosses
Boss A is in one piece.
The pass (part of a cap or cap, located on the front, from one maxillary to the other ) and the bottom are cut into the same fabric, with a seam at the top of the pass.
Maconnaise type A headgear, on Mona Lisa
Boss B is in two pieces.
The pass is cut in one fabric, the bottom in another, the two pieces being asssemblées by a seam.
Maconnaise headgear type B, on Mona Lisa
Boss C is in four pieces.
The pass is in one piece, the bottom in two pieces, with a middle seam. The top is reported.
Maconnaise type C headgear, on Mona Lisa
The fabrics
The passes are made of linen (type A), cotton (type B or C) and more exceptionally of cotton, tulle or thread.
The sets
Five families of decoration are identified:
Family 1: floral decoration; bottom garnished with seedlings of knotted dots or florets.
Family 2: vegetal entanglement giving a perforated appearance to the pass.
Family 3: stylised decoration of geometric motifs and carnations on the thick canvas pass.
Family 4: decoration of stylised plants openwork by applied tulle.
Family 5: deployment of vegetal motifs on the thin canvas pass.
Many days decorate the headgear and according to Gabriel Jeanton, these aerations had a hygienic function: let the hair breathe!
Bressane headgear
History of the Bressanes headgear
Geographical distribution
The Bressane headdress is worn in the country stretching from the Saône to the Revermont hills and the Seille valley to the edge of the Dombes plateau. But it is difficult to spot all the types of headgear worn in this region because the variants that sometimes reside only in a way of ironing a background, are legion and today, it is difficult to attribute such and such headgear to a territory.
The variants are based on three elements:
- a background of light fabric, more or less decorated,
- a more or less dense hive,
- a chin strap.
The kelire headdress is usually worn with the brelot while the headdress is worn in Bresse Louhannaise with the hat in cocardiau.
The embroidery of the headdress
How does the embroiderer go about adorning these headgear?
On the tulle, stretched on a paper or a piece of waxed canvas, she draws her drawing using a model.
She makes her embroidery with plumetis (padding with cast stitches covered with flat past stitches) which gives relief to the motifs.
The main points
Bumblebee, prick and stem stitch
Start Point, Shoe Point and Run Point
The work of the ironer
She whitens, impases and ironing the headdress.
M. Tortillet describes this work: she ironing "the background lightly starched and piping the rows of the hive. The ironing machine begins to put in a mixture of cooked starch and raw starch and a little borax (...). The headgear is then rolled up and dried in a thick cloth while waiting to be ironed. The empesage is done during the day and the ironing is often very late at night, especially on Saturday evenings so that the headgear is ready on Sunday morning. The iron machine uses pipe irons (.) composed of two round rods, or tips, more or less thick and articulated like a pair of scissors. It has several irons of different dimensions. The other instruments are flat irons smaller than those used for ironing linen and with pointed tips; a shell iron or cocoon, long-handled which is used mainly for bereavement headgear and charcoal stove".
Preservation of the headdress
According to Marthe Cuzin, a woman had about a dozen headgear. This number seems high but it was necessary to ensure a roll because the caps got dirty quickly, especially with the proximity of the smoke of the hearth.
Description of the Bressanes headgear
The headgear
Two copies are kept and one of them has the label "Bresse/Pont de V.".
But is it Pont-de-Vaux or Pont-de-Veyle?
This headdress covers the ears and has a hive of two to four rows of tufted lace, one of which extends into the chin strap, the others surround the head.
Bressane headgear with earpieces, on Mona Lisa
Headgear or thatch
It was carried in the so-called "Kéli" country, that is to say in the communes of the canton of Pont-de-Vaux.
For G. Jeanton, it takes the form of a domed helmet, this shape being given to her by a braid of hair turned upside down and bandaged which inflated it internally on the top of the head.
A tufted hive surrounds the headdress and ends under the chin for married women. For young people, it stops at the ears, while a black flange connects the two parts. A velvet band, often embellished with pearls and jet, is worn on the forehead.
Headgear Kerler or Quellière, on Mona Lisa
The headgear
The latter is distinguished by a prominent bulge on the back of the headdress: it is formed by a cardboard stuffed with tow, sometimes heart-shaped and always of color (pink, blue or black).
This cardboard, named planton, is placed in a back pocket fitted for this purpose. Above the top a tight pleated gives the breadth to receive the bun that fills the shape of the cap.
Finally, a bow called mochat is placed at the front under the chin.
Headgear, on Mona Lisa
The headdress
The most widespread model in Bresse, it lasted until the first decades of the 20th century.
It is mounted from a bottom bordered by a hive of one or more rows of lace, one of which extends into a chin strap.
If no chins are present, a ribbon is tied under the chin, allowing to vary the colors according to the ages of life:
- white, colour of purity for the girl or adolescent,
- bright red, colour of life for the girl to be married,
- black, colour of mourning for the widow.
Coiffetaz sur Joconde
Appendices
Armor : method of interweaving warp and weft yarns according to clearly defined rules for the production of a fabric or part of a fabric.
Bridle : small wire loop covered with stitches and intended to receive a button or a clip allowing closure. Also tape that is used to hold the headdress and fastens under the chin.
Paperback A term used to describe a drawing effect formed by a weft that limits its use to the width of the patterns it produces. Fabric in which such wefts participate.
Fluted : ribbed armour parallel to the weft, formed by chain floats. When the word fluted is not followed by any qualifiers, it designates an armor in relation to two wires whose sides are only due to the insertion of several consecutive frame strokes in the same step.
Chain : set of longitudinal threads of a fabric. Threads stretched in the length of the loom and which are passed through the parts responsible for operating them: meshes, links or simple loops of thread in the more primitive looms. Name of a weave, followed by the word chain indicates that the chain predominates on the face of the fabric. Example: satin chain, twill chain.
Cotton : thread consisting of the hairs that cover the seed of the cotton, plant of the family of malvaceae.
Damascus A woven fabric consisting of a base effect and a drawing effect consisting of the warp and weft sides of the same base weave (e.g. 5 satin damask). They also weave using two different weaves and complete their decoration with cast or brocade wefts. In the old Damascus, the chain wires are operated by three control devices: a body of links and two bodies of rails, one of which works at the lift and the other at the flap.
Mechanical lace Mechanical transposition, by interweaving or interweaving the thread, of the manual work of lace.
Flag or sheet : piece of laundry used to swaddle the baby.
Fashioned Fabric decorated with more or less complex designs, obtained by crossing warp and weft threads and whose execution requires the use of special manufacturing processes. By these processes, manual or mechanical, wires can evolve in various ways and vary the shapes of the drawing on large surfaces. The word fashioned with a name of weave (taffeta fashioned for example) indicates that this weave forms the bottom of the fabric.
Artificial fiber A chemical fibre created by man and prepared industrially from modified vegetable, animal or mineral materials.
Cellulosic fibre : vegetable fibre such as hemp, flax or cotton.
Flocked thread : thread which has undergone only a very slight twist; this thread is often intended for embroidery.
Net : structure produced horizontally by an interlacing, an interlacing of nouds or loops that binds to the previous row.
Mechanical net : result of an assembly of intertwined and knotted threads or ropes, to form meshes.
Waffle : volume produced on fabrics by their passage between two cylinders, one in relief, the other in hollow.
Gauze : armour in which two very different kinds of yarns are distinguished: straight yarns, which may remain untied or bound by the ordinary means of the usual weaving, yarns of turns which move around the straight yarns and are fixed by the weft, on one side and on the other. The fabric thus produced is generally, but not necessarily, openwork. Fabric formed from this weave.
Yellowing: tint due to photochemical degradation (from light) resulting in loss of mechanical strength.
Shoelace : web tape that doubles the edge of the headdress on which the hive is mounted.
Wool : thread formed by the hairs that make up the fleece of sheep and some other animals.
Flax : fibres extracted from the bark of plants of the linaceae family (linum usitatissimum). Wire formed from these fibres.
Noppe or mouchot : knitting stitch forming a ball.
Pass : part of a cap or cap, located on the front, from one maxilla to the other
Dive : double-sided fabric, obtained by two chains of different tension, a bottom chain and a «stitching» chain which realizes the relief on the fabric (ribs, honeycombs, lozenges...). The needle chain, very tight, counts for 1/3; the bottom chain, more flexible, intervenes for 2/3. One side can be scratched to improve absorption, for use in lingerie or layette.
Cotton-stitched : see dive.
Plumetis : padding with cast stitches covered with flat past stitches.
Point : in the writings of folklorists, the point refers to the beehive or row of tufted lace.
Ribbon : flat and narrow fabric with edges excluding any fabric cut into strips.
Rubanerie : manufacture of narrow weaving.
Hive Pleated or piped bands of fabric, tulle, chiffon or lace on the headdress.
Ruche : part of light fabric (lace, tulle, gauze, chiffon) rather narrow, pleated or gathered. The beehive is used as an ornament when applied in one or more rows.
Twill : armour characterized by oblique ribs obtained by moving with a single thread, to the right or to the left, all the binding points at each pass of the weft. Twill is defined by a series of numbers, the sum of which determines the ratio of armour and indicates the respective length of the floats and bundles and their distribution in the ratio.
Pull Set consisting of the loop (rectangle of cloth sewn to the neck) into which the two slides (two ribbons or two links) are inserted, which, when tight, gather the neck.
Canvas Armour with a ratio of two wires and two strokes, in which the odd and even threads alternate with each stroke above and below the weft. More commonly used for staple fiber fabrics; cotton canvas, wool...
Tulle A fabric consisting of hexagonal meshes, obtained by the work of warp and weft threads whose direction of movement is not perpendicular as in the fabrics: weft threads loop and pull the warp threads.
Piping : type of hose ironing carried out on small flounces by means of a pipe iron.
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