The state of the millinery: Poldark 1975

Demelza in characteristic hat delighted to look at a poster for a troop of actors come to Truro

Dear friends and readers,

As Anibundel suggests, the way to understand and enjoy costume dramas is to look at the costumes. What more indicative than hats?

Spurred on by her fun discoveries of who wears what hat in the 2015 Poldark, I looked at the state of millinery for Graham’s first two novels 40 years ago and found the costume-designers included many more working and lower class head scarves, mob caps, and simple bonnets and flat hats with ribbons, and specific headdresses for ritual occasions.

For her wedding day (and possibly traveling) Keren (Sheila White) has decorated a simple bonnet with lace

Our female characters moved to forms of cloth hat to signal religious sects. When it came to creating beauty, glamour, suggesting upper class decor, much more attention was paid to wigs (big hair which blended fashions of the 1970s with those of the 1780s through 90s) than hats, but these covered a wider range, from pancake, to wide brimmed decorated, to tricorn, and simply (on your wig, threaded in), feathers, woven braids, and the rare jewel. There were also scarves which fit into political headgear which may be a blend of Jacobin, Cornish and mining community.

What they all show is that in comparison to 40 years on, the earlier series was interested in historical accuracy, yet made no attempt to film and showcase hats separately; each and every still shows a woman character in the midst of doing something that is part of the story or a product of their inner life. They signal class, politics, the personality of the character, and mood of the story line.

This is for those interested in how the 18th century has been depicted and love the old familiar pictures I hope seen anew.

The first hat we see is a respectable traveling wide-brim with ribbon under the chin:

This actress would play Jane Eyre (1983, with Timothy Dalton)

This opening Part 1 (1783), coresponding to the revenant’s return of Ross Poldark, runs the gamut of Verity with her characteristic mob cap:

not much different from the servant’s, Mrs Tabb:

to the high elegance of Elizabeth’s bridal veil:

and Jinny’s imitation (bridal veil on limited budget):

And this range is echoed in Part 2, where we move from another kind of head cover, the scarf tied behind the head at the nape of the neck, with cloth fanny out behind, signalling Jinny’s place in the political spectrum:

We see it women of Jinny’s class, but not character, at a fair, in the streets:

And Keren boasts a headscarf too:

Here is another house mob cap, more elaborate as worn by Verity as she asks Ross to help her see Blamey regularly:

Demelza graduates to her first hat showing she is growing up in Part 3 (1785 or to)

echoed by Prudie’s similar number as she watches Demelza scrub a table:

For outdoors, against the wind, and to protect her ears, Demelza in a sturdy kerchief bringing out lunch to Ross and Jud in the fields.

Jud snatches an apple

Our costume designers turned the pages of their script until they reached the death of Charles Poldark requiring a funeral required elaborate headdresses from the women, of which I choose just two from our central heroines:

Verity

Elizabeth

The latter has grown intensely restless, dissatisfied, and soon after tells Ross so in an elegant wide-brim with ribbon under her chin, matching her suit-like outfit:

Meanwhile Demelza had fled home to her methodist step-mother:

who must’ve made it clear that similar attire for the head was expected of her stepdaughter:

Although the stepmother knows by this time that Demelza is with child (by Ross), Elizabeth is still dreaming of running off, and wears a fetching triangle for outdoor love-making (matching the same outfit, thrift, thrift):

A new book, Demelza, and our heroine has had her baby and there is a christening. We get some elegant headgear now:

See what you missed, Ross

A sweeter lace wide-brim for Verity reminds me of 1950s Easter hats

Unfortunately some of the women use their hats to exclude others, to crowd out and stigmatize those without these or who have not their confidence:

Following the debacle of this christening, the married lady takes heart and plots to help her kind cousin-in-law meet Blamey once again. They go off to shop: Verity in a small pancake, and Demelza in a delicious concoction of pancake, frills and kerchief:

Some time later our Cinderella goes to a ball, alas hatless, ribbonless, but not Lady Brodrugan:

who sports feathers and discreet jewels in a high class wig

Margaret with less money, makes do with a large white feather

and a clutch of pearls around the neck

Verity has gone all out (expecting Blamey):

There is too much bankruptcy and trouble to foster much millinery in the last parts of Demelza, so we have to make do with troubled women in the street:

Lady Brodrugan at Christmas in emerald green tricorn (surely meant ironically):

concluding with Demelza in one of her blends of Jacobin, working class and Cornish scarf:

plain cloth version — there is this lace one too:

After all, it’s called costume drama first and foremost, no?

Ellen

P.S. Next up wigs, and what the men wore on their heads.

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