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

Free Online Millinery Books and Other Millinery Resources

Those that are new to millinery often have a hard time finding millinery documentation, especially free documentation.  So, here are a few books and other resources, some not so free.  Some of the book resources were linked to in previous blog postings.  Although I distinguish costuming from couture millinery, I'm adding costuming links hoping that you will find some useful millinery information on those sites. 

Above is one of my feathered hats:  velvet over a buckram frame, trimmed with feather yardage.

Hat Books

Vintage Sewing Info

University of Wisconsin: Human Ecology

 Books and Many Other Resources

The Costumer's Manifesto

Hat Blocks
Hat Supplies


New 5/18/10  Jay Gerish Co. (minimum 10 dozen...but that 10 can be less than one in some places, check out their closeouts!).

New 5/18/10  World Hat Company (wholesale only; felts, straws, including great panamas).

New 5/18/10  New York Bonnet Wire Co. (also carry millinery wire; will not break up a box.  One box contain 20 60-yard-rolls of #19 cotton covered wire (you can get any size and different kinds, etc.).  The price is really, really, really reasonable..!  How many friends do you have?  Perfect for instructors.

Hat Tutorials
Blogs Offering Tutorials
Magazines
Examples of Great Couture Millinery

I will be adding to this blog, and I also invite you to do the same.  I'm looking for high profile sites offering useful information, as well as sites that have great information but would not necessarily show up in a Web search.

 

How to Make Your Own Millinery Flower Stamens

Every once in a while I'm disappointed about my ability to secure millinery-related items.  Usually I can't find a material I once used because it's not being made anymore; if I find it, it's over priced just because it's a "millinery" item (millinery is really hot now); or it's "vintage", etc.  This time I was disappointed because I purchased several separate packages of stamens from a seller on my favorite auction site; you know the one.  I emailed the seller to ask for a discount on postage, since the stamens could all be mailed in the same envelope.  I should have known better when the seller didn't email me back.  Well! I received the stamens in one package of nasty brown paper bag torn and taped together.  I would have appreciated the stamens costing more and the postage being what it should have been.  This act led me to experiment with making my own stamens.

 After experimenting with a number of things, I found that the things shown in the image to your left gave me the best results.  These included glazed hand quilting thread, acrylic paint, and fabric stiffener.  First, I rolled my flower petals and set them aside. I cut the thread into strands approximately 24 inches long, dipped them into the fabric stiffener, and then I hung them across a clothing rack to dry (do not let strands touch). The drying only takes a few minutes.  After drying, I rapped the thread around a 2 1/2- inch piece of cardboard that I used as a cutting gauge.  Next, I cut each end of the thread.  Finally, I dipped each end into the acrylic paint.

After I dipped the stamen tips, I set them aside to dry.  I used a gridded aluminum pan, but just about anything that would  allow the stamen tips to hang over without touching each other would do.

Finally, the stamens are finished.  One group of stamens on the tray below is commercially prepared; can you tell which one?  They are the stamens on the extreme left.  To the right of these are stamens that I double dipped, first in yellow paint and then in purple paint to obtain the same effect as the first group of stamens (click on the image to enlarge it.).  I used the non-gloss paint for the second dip because it is not as thick as the glossy paint.

Tips:  For a larger stamen tip, dip stamen ends several times.  The glossy paint yields a larger stamen tip because it is thicker.  Also, setting the paint aside for approximately 15 minutes before dipping will also yield a larger tip because the paint thickens the longer it is exposed to the air.

I know this is not for everyone, but for those of us that just like to make things, this will work.  Enjoy!

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.

Draped Vase Hat

I enjoy couture millinery because it's such a relaxing hobby for me.  I would prefer to hand sew a hat than to sew it by machine any day.  Most of the hats I make are similar (construction and material wise) to the hats that were referred to as "piece good hats" in earlier centuries.  These hats were made from bits and pieces of fabric that were used to cover willow or buckram hat frames.  Piece good hats are economical to make, fitting for the times we're living in today.  There are other types of couture hats that I like.  I'll discuss those in future blogs.  I estimate my material costs for this project to run between four and six dollars, not including the vintage Weiss brooch that I've attached to it. Of course the time I put into making this little cutie was priceless.  It doesn't hurt that I live near a wonderful discount fabric store either; so I don't have to skimp on fabric quality. 

Remember that vase from my last post?  Well, I felt that this extremely waisted (concave center) shape was perfect for a draping project.  I took tons of images to demonstrate the process only to scale them back so that I wouldn't bore you to tears.  So, if you have questions just leave them in the "Comments."

 First,  for those of you that are not familiar with millinery and millinery terms, Vintage Sewing.Info at http://www.vintagesewing.info/index.html is a Web site that offers free on-line millinery books.  I'll pass on the names of other sites in future posts; enjoy.   


To start, the buckram frame (see previous post) was cut from the vase using an extremely sharp knife.  

Next, the center back of the frame was sewn from top to bottom using a whip stitch.  Both top and bottom edges of the frame were wired with #19 millinery wire.  Although wire can be attached using a whip stitch, I prefer to use a buttonhole stitch because this stitch does a better job of keeping the wire on the frame's edge.

The crown tip (see the small round circle in the top right image) was whip stitched to the top of the frame.  Bias strips of crinoline were used to cover the top and bottom edge wires using a stab stitch for the top of the frame and a running stitch for the bottom edge of the frame.

Sheet wadding (quilter's batting for this project) was used to cover the buckram frame. Milliner's sheet wadding is used to pad millinery frames;  it was optional for this project.  However, if the cover fabric is thin and/or there are imperfections in the frame that affect the aesthetics of the cover fabric after it has been stretched onto the frame, the frame should be covered with wadding before draping to obtain a smoother outer cover fabric.




I prefer to use quilter's batting rather than milliner's sheet wadding because of quality issues.  Purchase the thin batting and split the single layer into two layers to make it even thinner.  Never cut the wadding/batting; tare it so that the fibers smooth together perfectly.

The tip and headsize were covered with fabric (see image at left).

The buckram frame was draped, first starting from the top center back of the frame down to the waist (middle) and then from the center back of the bottom opening up to the waist (one bias strip for the top and one for the bottom).  Six-inch bias strips should work.

The fabric was gathered into several folds.  Starting at the edge where the folds start, pin the fabric to the frame.  Maintaining the folds in the fabric, pull the fabric around the frame, pinning as you go.  After the top and bottom of the frame have been draped, place a few strategically placed stab stitches between fabric folds (see image at rite for inside view). 

The excess fabric was cut away from the waist.  A bias strip of cover fabric was placed around the center, over the draped material where top and bottom drapes meet (see final image at bottom of post).  Finally, the edges of the center bias strip were overlapped and sewn together.  This overlap was placed in front of the hat because the trim was to be placed over it, thus hiding the stitching.

 A lining was constructed from a triangle of fabric that was folded in half twice, and then the it was cut to its center along one of the folds (see dash--cut line on the right).  The two cut edges were overlapped until the square shape became a cone shaped.  


The cone shaped lining was adjusted until the it fit perfectly at the headsize.  One side of the lining's raw edge was folded under so that it would not show (see below right).  The overlapped edges were pinned together and the excess fabric extending beyond the headsize was cut away to just below the edge of the headsize opening.  The lining was removed from the hat and a circle was sewn around the tip of the cone (wrong side of fabric) and pulled together (see above right for sewing line and  below right for completed lining).  The lining was placed back into the hat and whip stitched into place one-fourth inch from the edge of the headsize opening (see below right).  This is probably the easiest lining to make.  The drape and lining are now complete. 

Next the headsize ribbon was swirled (curved).  The more times the ribbon is swirled the move it curves.  This swirling of the ribbon is extremely important because it is this extreme curve that causes the ribbon to hug the side of the hat.  After the headsize ribbon had been completed, the hat elastic was attached.  The metal pointed elastic edge of the elastic is pushed through the fabric under the ribbon and lastly through  the crinoline.

Finally, I attached the trim.  Usually I would do this before I put the lining in, but in this case sewing on the trim did not interfere with the lining. 

One more unfinished project completed! 

Hat Block Alternatives

You would think that if I started a blog that I would have projects lined up for posting; not so.  Sure I had a few ideas, but as always I'm more creative at the last hour.  As I looked around my room I studied felt, straw, and buckram material tied to traditional hat blocks that had been neglected for months, even a year or more, but the most exciting thing in the room was the the the ceramic hourglass vase covered with buckram foundation material. You see not only do I collect traditional hat blocks I also collect wooden bowls, metal bowls, ceramic vases, and just about anything I think would yield a beautiful hat.

Thrift shops, and most recently, HomeGoods--a discount store, are the places to shop!  My makeshift blocks cost anywhere from under a dollar to around $15 dollars.   A block the size of the large dark bowl above would cost anywhere between $120 and $250 or more dollars.  Additionally, I do not pin into my traditional blocks unless I absolutely have to.   These are my sculptures, my works of art..., but I will push pins into these bowls, etc., without a second thought.

My hat making material of choice is buckram (the material covering the vase).  Buckram is a heavily sized cotton material, that when dampened and stretched over a block, conforms to the shape of the block.  Of course it's also used dry for flat patterns that will be covered with various materials, as is the dampened, blocked, and dried buckram.  Knowing how to work with buckram will allow a milliner to create any shape she desires.

Sooooo, stay toned. I can't wait until I post again.  Now which one of those bowls, etc., will I use to create my next hat.