Hatstruck Couture Millinery Diamond Jubilee Hat Submission

It is almost 5:00 a.m. and I'm exhausted.  I'm babysitting Ms. E'.  She's a one-year-old teenager, stays up all night and sleeps until midday.  I've danced to  the Mickey Mouse Clubhouse song for maybe six times or more, and I've gone  through the basic colors, numbers, and shapes with her.  No she can't talk (except for momma, daddy, no, and a few other words), but she can point.  Anyway, I started this post earlier yesterday, but lost it somehow, and I dreaded doing it over again.  So here I go.

Below are a few details concerning an international millinery contest I entered.  So, if you would please, vote for me by following this Talenthouse link or by clicking on the red hat in the right-hand column.  Your vote will be greatly appreciated.  

The Details

I entered into the the international Dillon Wallwork and HATalk e-magazine millinery competition in celebration of the Queen's Diamond Jubilee--her 60 years on the throne.  The contest directive was to create a hat inspired by this wondrous event.  After a few weeks of daydreaming and purchasing materials I would never use for this contest, I finally created "Elegant in Red."

While in London in 1999 I remembered seeing Windsor Castle guards from a distance.  One of the most noticeable things, not including the enormity of the castle, was their red coats and straight backs.  From television and books I saw beautiful jewels, opulence, and elegance, all bundled up into what seemed a fairytale.  So, the hat I wanted to create had to be elegant, rich, and for me, something outside of myself--a fairytale.  I also had to represent 60 years of the Queen's reign on the throne.  I had purchased some rather nice red and blue velvet for this project, but I did not use it because I had thrown out  my original design(s).  I sketched another design and insisted to myself that this final design had to go forward because NOW!

The Final Design

As I mentioned earlier, I wanted to represent 60 years of the Queen's reign.  I didn't want to put a big 60 atop my hat because I wanted it to be a bit refined (not that she would even be caught in a dark room with it on).  I remembered from numerology that six and 60 still equaled 6.  So I sketched a stylized six and attached it to my display head.  Yes, yes that's it!  I thought.  From this point I carved a Styrofoam hat block to block my materials on.  The velvet I had purchased would not work for this project, at least not with the ease I would want it to for this shape.  With this design I needed something that was also malleable to accommodate my design.  Well, in walked Ms. Suede.  Actually she had been living with me for months and years.

I collect suede and leather scraps that are large enough to make hats.  Suede and leather are two of my  favorite materials to work with.  They can be easily shaped and manipulated, something that is not easy to do with almost non-stretch velvet.  Just a little note, I learned that leather and suede actually have a grain.  Yes, it stretches in one direction more than the another; try it.  I learned this while researching and making gloves.

I also purchased glass pearls.  Well, in one of my previous designs (I will not say how many I had) my plan was to construct an elaborate crown.  O.K., given the time I had left to make the contest entry deadline, this was just not going to happen.  Given the results of my final project, I'm  happy I didn't have the time.  So I decided to create a wire frame in the form of something.  The reason I say something is because I didn't know what I was going to construct.  All I know is that when my fingers stopped moving, I had an appropriate crown for what was to become a side-mounted cocktail hat, and atop that crown was a big diamond crystal.  Yes, I also purchased a diamond shaped crystal, but it was to be placed in that crevice you see in the bottom center of my Styrofoam block.  In that position the crystal looked horrible, but it looked fantastic atop my wire frame crown.

The Trim and Wire Fram

Although I purchased two strands of pearls in different sizes, if you will notice, I only used one pearl.  With me, less is more; less turns my head.  Actually, I've been known to put one crystal on a hat at a strategic location.  With the richness of the red suede, I had to use Swarovski crystals, but not so many as to overpower the red suede.  I wanted them to stand together equally.  I really need to take a photography class to better capture the details in my images.

For the underside of my hat I used black suede and trimmed it with crystal yardage, the same yardage I used to trim my large diamond crystal.  The crystal was supported by the wire frame crown I created, as mentioned above.  The frame was then wrapped in vintage chenille.  The wide horsehair braid complements the underside view and the outside view of the hat, yielding two themes, sort of like darkness to light.  As a child I feasted on King Arthur and Sir Lancelot novels--medieval times; that was a long time ago.  Thanks to my grandparents and aunt for letting me daydream all day, etc.  I really enjoyed this journey!

 Below is a video I've prepared showing multiple views of my hat. 





Good luck to all contest participants!

Whether You Call It a Fascinator, Cocktail Hat, or Whimsy, a Little Trim Goes a Long Way

When I published the poll results showing the tutorials you would like to see here, I was a little disappointed with the results (disappointed is too strong), although they were anticipated.  After all, how many people would like to make buckram frames and cover them--a labor-intensive process on larger hats?   As you can see, the highest score went to trim. So, for this tutorial I decided to use two things that almost all of us have access to, feathers and horsehair (crin).

I like to make flat pattern, buckram frame hats; wire frame hats, large brimmed straw hats.  I'm in a meditative state when I'm hand sewing an intricate design, or solving a design issue, or experimenting with a new technique.  I never give trim that much thought.  I put very little trim on my hats.  Most of the time I prefer to make my own trim.  Other times simplicity, line, and contrast are my friends.  Trim, in some cases, would only obscure them. This only applies to my design style, for I like many different design styles.  Thus, I was hoping that flat pattern buckram frames would be the high scorer.  So, I looked on the positive side, and I pulled out all of the stuff I continuously collect, like fabrics for flowers, leaves, feathers, etc., etc.  After all I'm always putting off making the trim I do use.  The journey will be fun.

I didn't plan to put a veil on this fascinator, only the feather.  While in class, (I've been taking classes for a few decades now), I was laughing and talking with my classmates and not paying attention to what I was doing.  I had originally planned to put the prettiest section of my swirled crown to the front of the hat.  Coming off from those swirls was a length of cascading, unraveled horsehair.  Well, I put the front to the back by accident, so I cut off the cascading horsehair and added the veil you see here. The back of the hat is where the grosgrain ends and begins.  That reminds me, I should always have you to mark the center front and center back when constructing your hats.  This is intuitive to me but may not be to someone new to millinery.

On to the tutorial....

You will need a fascinator base, of course.  See the sinamay base tutorial or the buckram base tutorial, if you would like to make your own, or purchase a read made one; horsehair, an ostrich or other type of feather, a paint marker or acrylic paint (optional), and a hat elastic; including scissors, needles, paint brush, and thread.  See last post.

The Feather

I presented two YouTube tutorials in the last post, Working With Feathers 101 and Cutting Feathers.  I added these two tutorials because they dealt with stripping and cutting feathers.  The important thing here is the cutting of the feathers.  Note that the feathers are cut from the top down, very important.

Not so noticeable in these images is the pointed tip on the feather.  So, strip the feather and leave enough on the feather for a point.  Cut the end of the feather from the top down on each side, forming a spear shape.  Pin the feather to your ironing board as shown in the image.  Now, without touching the feather, run your steam iron along the length of the feather.  After the feather has dried, remove the pins.   The feather will hold its shape.  The point here is that feathers can be shaped by bending them into position and steaming them.  Of course there are other methods, and I will address them at another time.  Plus, you may also go to YouTube or other locations on the Web for videos on the subject.  Research, practice, experiment.

 If you have a colored feather, paint its sides where the stripping has removed its color.

Because I wanted my feather to appear as if it was floating on my hat, I used a small hand drill to drill holds in its side of the feather.  After which, I painted the the holes with a marker.  I should have drilled the holes before I painted the feather sides--a senior moment.  After the feather had dried I sprayed it with shellac because the acrylic had dulled the finish.  Also, notice the transparent thread I used to sew my horsehair and feather onto fascinator base.  This would be considered unorthodox...oh well.

The Horsehair Vail

Horsehair is an amazing material that can be manipulated in wonderful ways.  It can be cut and torn as shown in this video, also from the previous post.  It can be blocked on a hat block or it can be blocked using a pressing iron.  You're only limited by your imagination.  Experiment, experiment, experiment.

Making the veil is pretty straight forward.  Simply stick your finger through the horsehair and rotate it until the hole is as large as you would like it to be.  Using your iron with a protective foot attach and steam (I use steam) or a damp pressing cloth with steam turned off, press over the holes.  They are now set in place.  For a little challenge, put in the ripples around the edge of the veil.

The point here:  know the materials you are working with so that if you don't find a technique in a book or from an instructor, you can achieve the goal you set out to achieve.  Just by knowing that it is possible to block (form, shape with steam, dry heat, hand manipulation, etc.) horsehair, it is easy to figure out how to create the holes in it.  Take note that you don't have to do something exactly the same way someone else do it.  Your goal is to achieve sound results that will hold up over time, leaving you with a light, neat, and well made hat.

The Horsehair Swirl (crown)

In order to form the crown, simply pull the horsehair down and out while pressing it.  You'll get the hang of it after practicing.  Press both edges.  Do not press the center.


Finishing Up

So, you have your fascinator base, I used a sinamay base from the last tutorial.  All you have to do now is attach your crown, veil, and hat elastic.  I'll let you figure this out.  It'll be your challenge.

Remove the thread from the edge of the horsehair.  It will not ravel!

Below is a cute video showing various ways of trimming a hats.

FASHION FEATURE (click on black box to start movie)

How to Make and Trim a Fascinator Even Kate Middleton Would Love

First, Happy Mothers' Day All!!

OK, so maybe Kate wouldn't love this hat, but I think it's cute.

Some of you still have time to rush out and purchase a few millinery supplies if you would like to make that Mothers' Day Fascinator!  Well if you need a little help, this post is for you.



When a Web surfer enters a query into Google or any other search engine, they are given a list of sites that satisfy that query.  So, over the past week my site statistics have shown that the majority of the queries that led to my site asked the questions:  "How to make a fascinator?" and "How to make a fascinator base?"  Today, since it has been some time since I've been in touch with you, I'm making a hasty post; I'll address the fascinator base (frame, foundation).



I've touched on the fascinator before when I introduced the buckram fascinator frame in a previous post, but this time I'll show you how to make a very easy fascinator base using sinamay, no traditional foundation blocking  needed.  Don't forget those fascinator tutorials published by Threads Magazine; they were absolutely wonderful.  Also, check out how to make a bow, including how to make faux feathers.  Don't leave the site until you've queried on  millinery, hat making, hat trimming, and hat embellishment for even more millinery tutorials.

If you don't want to make your own frames, besides being an excellent source for vintage millinery supplies, California Millinery manufactures buckram frames on site of all types, shapes, and sizes and at reasonable prices.  Here is a link to some of their smaller frames.  These frames do not in any manner represent what they have in stock.  You will have to call them for more information, since the site is incomplete.  It would probably be worth your while to order frames from California Millinery even if you don't live in Los Angeles, especially if you are interested in purchasing frames in bulk; they will ship anywhere.  Diego is fabulous!!!

I've just published my first YouTube video, and I'm so excited!!  The video demonstrates how to swirl grosgrain ribbon.  I've noticed that many of you new to millinery have gathers and gaps in your headbands, your sidebands do not hug the side of your hats, and the edges of your hats have the same issues.  Knowing how to swirl your grosgrain ribbon will help to solve this problem.  Also, please realize that natural materials cut on the bias can be swirled.  As a matter of fact, you may want to cover the edge of your base frame with sinamay bias strips.  Do a little homework, explore the free online millinery books listed here in the sidebar. If you are not familiar with bias, swirling the ribbon, grosgrain, etc., it can all be found here just by following the reference links in the sidebar.  I hope you enjoy the video..


Now to the tutorial....

First make a circular (or other shape) pattern and from three layers of sinamay, cut out the desired size.

Using a buttonhole or whip stitch, attach millinery wire as shown in the buckram fascinator tutorial.

Swirl the grosgrain ribbon as shown in the video below.  Note that the ribbon should be a natural fiber ribbon or at least 40 to 60 percent natural.  Here in the States, at least in my vicinity, this ribbon is called millinery grosgrain or sawtooth ribbon.  I'm sure there are other names for it.  This ribbon has a "tooth" and it is not smooth on its edges.

Using a stab or catch stitch, attach the grosgrain ribbon.  See the list of  stitch videos in the sidebar.  Sorry, I have a tendency to misname stitches; I'll correct this in a future post and or revise this one.  I just do it, no thought, second nature. 

Over a bowl or a hat block, any concave surface, steam the fascinator base using your pressing iron.  Since the sinamay is sized (don't use unsized sinamay for this project) and because sinamay is a very pliable fabric, it will form to the curve of the mold.  Also, it will be stiffer than it was before it was steamed.

Take one of your bases and trim it to your desire.  For the hat above I've sewn one of these bases inside of the hat.  Please note that you do not have to cut your bases out in the same shape.  You could cut out bases of different shapes.

I prefer a hat elastic for attaching fascinators to the head because it can be positioned to almost any position without removing it.  If you don't have hat elastics (elastics with metal points on the end), take a large eyed needle, thread it with elastic, run it through the grosgrain, and anchor it with a stitch and a knot on each side of the base.  This actually works better than hat elastics because the metal tips have a tendency to slide off the end of the elastic.  Also, to avoid the metal slippage, I will crimp the metal with my wire cutters or my jewelry crimps.

For my non-English speaking friends that use a translator on my site, I will have to explain a few things that may not be clear in the video, since instructions appear written across the video frames.  For the edges of your hats and fascinators

The Balsa Wood Utility Hat Block: My Favorite Working Block

Recently I needed a hat for a special occasion, and I was just not going to pull out the steamer, a set of hat blocks (crown and brim), millinery wire, sizing, etc.  After all, I only had an hour or so to make this hat...and it was not like I was making it for anyone but myself. In other words, I was not going to be the perfect couture milliner today.

So what was a girl to do?  Well I reached up and pull down a balsa wood hat block in my head size.  It wasn't glamorous like the ones I set out for display--the blocks I call my sculptures, the blocks I would not dare to nail  into.  Hold your head up Ms. Balsa.  All of those other hat blocks may be eye candy, but if I needed to make 100s of hats and was given the choice to choose one out of  those other blocks, it would be you, girl!

Why? Look around when you enter a store.  How many 1920s - 1940s (my blocks of choice) hat shapes would you find there.  Usually the crowns are round and the brims are plain.  Given a utility block, I can style a fedora, a pixie, a 1920s cloche, all the cocktail/fascinator hats I would ever possibly need and in any shape--well almost.  Using the excess fabric (felt or straw)  draping from the crown, I could create a sailor brim, a deep cuff brim, a symmetrical brim, an asymmetrical brim, etc., and that's without a brim block.  I could add all types of shapes to the balsa block because it's soft and easy to pin into, thus creating hundreds of hat shapes.  Just think about it!  From couture to not so couture, this block is the one.

The block shown here is my latest balsa acquisition.  It is a size 28; huge!  I'll use it as a veiling block (block used for blocking veils).  I found this one on EBay for around $39 plus shipping.  These blocks retail upwards of nearly $200.  So, before you purchase one, do some research.

So, for all of you out there that are new to millinery, on a limited budget, and feel that you have to amass a million hat blocks to start a small businesses or to make your own hats--and I've talked to some of you--start with a simple balsa block and a head size collar ($10).  The average woman's head size is 22 1/2.  If you need a larger block, say a 23 to 24, just block felt (must have wool content) over the block to increase its size....

Technique for making the finished hat?  I selected the balsa block in the size I needed, including a headsise collar (see drawing below); in this case, a straw capeline (over-sized, brimmed straw); a fine spray water mister (bottle); a pressing cloth, a blocking cord (see video below on tying your own); and an iron and ironing board.  I covered my block with plastic so that it would not be damaged by steam and/or water, misted the inside of the straw, and placed the straw on the block.  After determining my desired crown depth, I tied the crown portion of the straw to that depth using a blocking cord.  After which  a damp pressing cloth was placed over the crown and only the crown pressed.  Set the straw aside to dry.  After drying, mark the center front of your crown, remove the straw from the block, place a headsize collar inside the crown and press around the collar to set the 90 degree crown/brim angle; press the brim.  Don't forget the pressing cloth; you don't want to scorch your straw.  This straw came heavily starched; so it was perfect for a floppy brim without a wire.  I ironed the brim edges back, put the hat back onto the block to finger-set the pleats.  Finally I sewed the trim on.  Yes, that's leather on a summer hat; it was my daughter's suggestion, and I liked it.  I made the leather rose when I was teaching myself how to do bead embroidery.  Sorry, but I'll have to put the headsize ribbon in latter.


Have you ever wondered how to make a blocking card?  Well, the slip knot is my favorite method.  I tie a knot on each end of the rope so that it does not slip back through the main knot.  I use polyester clothe line rope for  my blocking cords.  View the YouTube video below.  Enjoy

Notes:  

1. Check out the Free Online Books from my previous posts for additional help.
2. Don't forget the Los Angeles County Fair Millinery Contest; you must adhere to posted dates.  More detail is in one of my previous posts.
3. If you believe in prayer, please take a moment to send out a prayer for me on Monday, the 24th, as I will be involved with serious medical issues on that day.  If prayer is not your thing, please send out wonderful positive thoughts.  At this point, I don't know how long before I will be able to post again; hopefully within the next three weeks.

Thanks, Lee




How to Tie Your Own Blocking Card:  The Slip Knot Method

Foundations for My Cocktail/Fascinator Hats

Within a few weeks I need to make quite a few hats  for the Downtown Fashion Walk this month.  The only way that I could possibly make the number of hats I will need is to make smaller hats; thus, I will be concentrating on cocktail hats.  I always have something sitting in the corner that needs to be completed.  In this case I had blocked a buckram frame that I was going to use for a draped hat.  Well I decided to make cocktail hat foundations from the frame instead.

Before I get started, I promised you more free on-line millinery book sources.  One of the most extensive collections of free on-line millinery books that I'm aware off is the University of Wisconsin's Digital Collection, The human Ecology Collection.  I have created a search for you located here.  I suggest that you read as many of these books as possible, take as many millinery classes from as many instructors as possible (even the bad ones), and finally practice, practice, and experiment, experiment.  Oh, don't let anyone tell you that something has to be done a particular way...but please don't use a glue gun!



Using a compass, I drew circles on the frame.  Because the utility block has nice curves, these curves would be realized in the small frames that I cut from my original blocked frame. I could have drawn a teardrop, a headband, or any irregular shape onto the buckram.


After cutting my little frames out I wired them using a buttonhole stitch.  To show how the wires could be finished off, I overlapped the wire of one frame and sewed it into place.  I used a millinery wire joiner on the other frame, crimped the joiner to the wire using a jewelry bead crimper.  Before I discovered this little tool I used wire cutters to crimp and secure the joiners to the wire.



Next I covered the millinery wire with a bias strip of crinoline, attaching it with a running stitch.  It's important to attach crinoline to the frame for two reasons--
 to cover the wire and to provide an anchor  for attaching the fabric.  I then covered the upper frame with wadding (not shown, see the Vase Hat post).

My next step was to cover the prepared frame with fabric.  I pinned the fabric to the frame by first pinning the right side, then the left, then the bottom, then the top.  In other words 1/2s, 1/4s, 1/8s, etc.  This causes the fabric to fit the frame better--an even pull.  Notice the curved needle at the bottom of the images at left and bottom.  I use a curved needle when I have a difficult time retrieving the needle from the fabric.

When a curved needle is used the needle exits the fabric in a curve, thus making it easier to pull the needle out of the fabric.  You could also save your bent millinery needles and use them for this purpose.  I  used the whip stitch to attach the fabric and the feather trim to the frame.

I'm such a plain Jane when it comes to trimming a hat.  I prefer very little if any trim, but I realize that many prefer a little bling.  So, I'll add some trim, put in a lining and headband, and finally add a hat elastic.  I'll post pictures after I trim this little hat.