Die kappie was ‘n onontbeerlike deel van die vrou se uitrusting. Dit was ‘n praktiese noodsaaklikheid wat haar gesig teen die son, wind en weer beskerm het. Omdat dit onder die ken vasmaak, kon die wind dit ook nie afwaai nie. Vir die vrou was die kappie baie belangrik, want sy was op ‘n mooi gelaatskeur gesteld. Dit was byna ‘n skande om deur die son verbrand te wees. Ook die babas, meisie- kinders en selfs klein seuntjies is verplig om kappies te dra. In sommige gevalle is die dogtertjies se kappies deur middel van ‘n ekstra strook material aan die binnekant van die nekval aan die rok vasgewerk om te verhoed dat hulle dié kosbare kledingstuk verloor.
Between 1835 and 1845 groups of Afrikaans-speaking farmers, or Boers, migrated from the Cape Colony into what is now the northern part of South Africa. These Boers, mainly of Dutch descent, had become dissatisfied with the British rule imposed on them since 1806.
In 1833 slavery was abolished and the annexed land on the eastern border returned to the African tribes. Both these factors contributed to the dissatisfaction of the farmers. At the time of their departure the Voortrekkers, as they became known, were wearing the fashionable styles of dress of the period. Because of the distance and poor communication these styles lagged behind what was current in Europe(1). One of the most distinctive articles of dress of the Voortrekker woman was the “kappie” or bonnet. In this paper we prefer to use the word “kappie” instead of bonnet since the bonnet is generally associated with a kind of headdress made of straw or a combination of materials and does not depict a headdress made of layers of material.
The kappie was not a new type of headdress but was adapted from earlier bonnet styles as well as the bonnet styles of the Empire period. The word bonnet came to
be used only when referring to that unique type of head covering which tied under the chin(2). In the early 19th Century classical styles became fashionable when a return to simplicity and classical lines became the universal desire.
1. D H Strutt, clothing fashions in South Africa 1652 – 1900
2. K.M. Lester & B.V. Oerke, Accessories of dress, an illustrated history of the frills and furbelows of fashion
3. BRONNE: Nasionale Museum Bloemfontein
4. Die Erfenisstigting, Pretoria
volwassene/adult - R200.00
pop/doll - R100.00