A Staithes Bonnet
Staithes Museum, North Yorkshire

It’s quite unusual for a type of headwear to be connected so strongly with a place, but this is exactly what has happened with the Staithes bonnet.

The bonnet’s unique design developed for lots of very practical reasons and was worn for centuries by working women. In this way, the bonnet became an important symbol of the town’s fishing culture. 

 

What makes them unique?

Fisherwomen were required to carry boxes or baskets of fish on their heads, working in all weathers. The wide brim or ‘poke’ was designed to protect the women’s face from the weather – be that rain, wind or sun. The frill and bow at the back helped to prevent water running down the neck and acted as a shield from cold and rain. 

When transporting cargo on their heads, the fisherwomen often used a coil-shaped cushion placed on top of the bonnet to help even the weight and provide balance.

This example features a decorative ruffle across the crown and corded quilting along the brim. This bonnet also has a drawstring to pull the bonnet tighter around the head.

An experienced seamstress could make one of these bonnets in an hour using a yard of fabric. This example dates from around 1900 but there is still a seamstress making these traditional bonnets in Staithes today.

This example dates from around 1900. From the time of Word War One, more patterned bonnets were created out of necessity due to shortages of fabric. 

 

 

From Staithes Museum

Click on the photo.

 

Working in mourning

This bonnet also helps us to understand more about values at the time. Staithes bonnets were originally only worn in white, except for when a woman was in mourning. Full mourning required the black bonnet to be worn, and this mauve garment was made for a period of ‘half mourning’.

These customs represent the strict customs and rituals around death and grief. From the 17th century onwards, black had been associated with mourning and was often worn at funerals. Over time, practices became more standardised. The length of mourning was based on the relationship to the deceased.

A widow, for example, was expected to wear black for a year, followed by half mourning for at least another six months. A more distant relative, such as a cousin, might be marked by wearing black for three months.

People could often spend years of their lives in ‘mourning’ for a range of different family members.

 

 

 

From Staithes Museum

Click on the photo.

Talking Points
The Staithes bonnets were designed to be practical – do you think they are also attractive? Do they remind you of any other type of headwear?

Why do you think the small village of Staithes had its own unique bonnet design?

Do you have a hat? What kind do you have? Does it have practical features?

These bonnets supported the women to carry boxes and baskets on their heads – why do you think they carried these on their heads?

Do you think the bonnet would be comfortable to wear?

Can you think of another item of clothing that is worn for a specific work purpose?

Can you think of an item of clothing where the colour has wider significance or meaning?

Why do you think we know longer follow customs by wearing specific mourning clothes? 

 

 

From Staithes Museum
In the Classroom 

Hotseat

Interview a member of the class as the wearer of the bonnet. What sort of job do they do? Have they ever thought about the fact that all the women wear the same bonnet? Do they like wearing the same? What can you discover about their day?

 

Compare

Explore the life of a fisherman from Staithes in a painting from 1899 elsewhere on this site.  

Hands on History

You can explore more about our seaside heritage along this stretch of coastline at Staithes Museum, Pannett Art Gallery in Whitby and at Scarborough Art Gallery. 

You can borrow a loan box from Scarborough Art Gallery to explore the Victorian seaside and school groups can take part in a workshop exploring this topic at the gallery too. 

 

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