Hatstruck Couture Millinery: What If First Lady Michelle Obama Occasionally Wore A Hat?

I thought it would be fun to see how First Lady Michelle Obama would possibly look if she occasionally wore a hat.  I must say, if she would adorn her lovely head with a beautiful hat, it would take nothing away from her classy style.  Not only that, could you imagine the impact she would have on the millinery trade.  Below is a video I playfully put together showing how the First Lady would look in a few of my hats.  Enjoy.

P.S.:  I'm still working on the next post (see bottom of last post); stay tuned.  Also, leave your email in the box to your right to receive notices of new Hatstruck posts sent directly to your email address.

Hats In Vogue: A Milliner's View

 If you cannot view this video here, please view it on-site.  Enjoy hat photographs, including the entire Vogue of Hats series before you leave the Condé Nast Archive Blog.

Recycled Millinery Materials: Fur Felt

I remember reading a millinery book years ago wherein it was written that wool felt was cheap, hard to block, had to be sized in order to prevent shrinkage when moisture is in the air, and could be blocked only once.  The author went on to write that fur felt could be re-blocked over and over again, lasting for 100 years or more, as long as moths did not get into it.  So, over the years, I've never purchased--I don't remember doing so--a wool felt. 

I'm an avid thrift and antique store shopper, always on the lookout for pre-owned fur felt, among other things.  I always pass on that 100% wool felt, no matter how impressive it sounds.  So, here are two hats I've made from pre-owned fur felt; one given to me and the other I found at the Salvation Army Thrift Store.

The hat above has a velour finish.  I actually washed the felt in Woolite, blocked it over a hat block (candy bowl), securing it with push pins.  I let the fur dry, and then I lured it using coconut oil.  Luring is discussed in one of the free online millinery books located in the sidebar to your right.  I lured the felt to restore the shine that had been taken out during the wash.  I know, I know, you shouldn't wash fur felt.  No millinery sizing was needed for this hat.  Sorry I couldn't capture the beautiful chocolate color and finish of this hat.

The trim on the hat is vintage veiling I obtained from California Millinery in downtown Los Angeles.  I made the spider from vintage chenille, also obtained from California Millinery, and three vintage rhinestone (one for the tail and two for the eyes).  I don't usually block my veils because I prefer the unblocked look.

This fur felt has a beaver finish ($4!, and in perfect condition).  It has been cleaned, blocked, and lured in the same manner as the hat above, then brushed and ironed to a shinny finish.  Because this vintage felt is so soft and thin, I applied a light coat of millinery sizing to its inside.  I added extra sizing to the brim to give it extra stiffness because I left the brim unfinished.  The finish on this hat is so beautiful, I may never trim it.

Below is a cute video clip from 1942 showing  a woman making a hat from one of her husband's old hats.  I discovered this site from one of Cristina Deprada's (The Rantings of a Mad Hatter Wannabe) Hatty Tweets.  I just love watching these clips.  Enjoy!

HATS (aka MAKE AND MEND HATS)
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Accessories: Couture Millinery and Bejeweled Stockings Go Together Perfectly!

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 Back when I started taking millinery classes, summer classes were always fun because that was when we would make everything--hats, jewelry, purses, gloves, etc.   Well, we made almost everything.  Unless this was something done before my time, we didn't bejewel stockings.  So when I saw this video showing stockings being decorated with rhinestones, I thought, PROJECT!  I know that stockings like these are sold today, but they're not accessible to all of us--location, etc.  So select your secrete sauce (adhesive) of choice, purchase some stockings (experiment on old ones first), and find some rhinestones at your local craft, fabric, or WalMart store, and have fun.

Millinery Inspiration From Our Natural Environment: The Pomegranate Hat Project

In her Pomgranate Hat post mon bibi stated, "Wouldn't it be lovely to have a hat as nice as a pomegranate?" So I commented saying, more or less, yes, lets make one--a pomegranate hat.  Well she was working on another project but gave me the OK to pursue this fun task.

When I took silver jewelry making classes some years ago, I purchased a jewelry making text book, including a Dover Publications reprint jewelry making book that I believe was first published in the 1920s.  Both of these books gave examples of jewelry designs from our natural environment, from the literal to the abstract.  I used what I learned (the thought process) from these two books to assist me in creating the two hats shown in the fruit bowl above.  I must add here that I also have a very vivid imagination.


The blue hat was my first attempt at making the pomegranate hat.  I was practicing on  my straw braid sewing machine, and I was extremely excited about how easy it was to shape the Toyo straw while sewing it.  I imagined that the pomegranate had exploded, filling the black bowl with delicious, beautiful, sparkling seeds--really, really I did imagine this.  This theme was also carried on to the red hat in the bowl.  Here, rather than adding yellow stamens in the center, I added seeds (rhinestones).

The Process

Blue Hat:  The blue hat was sewn on my straw braid sewing machine.  A vintage black straw braid bowl and a piece of blue braid was sewn to side of the hat.  Rhinestones were added to the bowl using tacky glue, a sweat band was sewn in, and finally a hat elastic added to hold the hat on the head.  I hope to put together a basic straw braid tutorial soon; stay tuned.  

Red Hat:  The red hat consists of three layers (leather, buckram, and suede).  First I prepared my hat block by carving a Styrofoam bump to attached to my tomato pin cushion, using stick pins; I covered this with plastic.  Next, the suede was dampened (on the wrong side) and laid over my tomato hat block and pined while I pulled the fabric on the bias.  Each layer was done in the same manner (leather dampened on wrong side also).  

When the layers were dry, the blocked hat was removed from the block; the bump on the top was slit into sections with a razor blade; and finally, the slits were flared out by hand.  The hat was set aside and a separate bump was blocked on the same block, but only suede was used.  This time, only a small amount of fabric was blocked over the bump, with a small amount extending beyond it.  After the bump had dried, I cut around it leaving a little of the extended fabric.  I attached rhinestones to the bump using tacky glue (this is one time I do use glue).  I also put glue around the extended section of fabric around the bump and pushed this bump, covered with rhinestones, up into the center of the hat.  I did this because I did not want stitches to show on my leather.  

A note here, the edge of the hat was wired and crinoline attached over the wire as shown in my post Foundations for my Cocktail/Fascinator Hats.  However, I had to pull the suede and leather layers back from the buckram, cut some of the buckram back, and proceed as usual.  Finally, a sweat band was put into the hat, followed by a hat elastic to hold the hat on the head.

I had so much fun making these hats.  Sorry I didn't add pictures for each step, and I did this for a purpose.  Sometimes we look for things in books (blogs) and they are not there and never will be there.  People figure out how to do something, and then someone writes a book, and then this becomes the written word, and then "it has to be done that way."  So, when I want to do something that's out of the ordinary, I visualize the process before I even start it; some sketch.  What is important is that the end result is neat and lite. For those  new to couture millinery, learn hand stitching and basic millinery.  I have added links to hand stitch videos and free online books in the upper right hand side of this blog under Speedy Resource Access.  Finally, practice, practice, and practice to make it yours.

Notes:

If you have to use a glue on buckram, use rubber cement (mucilage?); it will not buckle the buckram.  I used tacky glue on the rhinestones because the amount I used would not penetrate the suede, and if it did it would not compromise this design.

Some of my couture millinery teachers would not have agreed with blocking three fabrics together, but I wanted to achieve a certain look and feel, and it was achieved by using this method. It was said that cheap hats were made this way.  Well, some of those famous designers/milliners didn't get the message, especially those making hats in the fifties, sixties, seventies, etc.

A Little Hat Fun With Rodney Dangerfield

I have to admit two things: 1)  I love hatting as much as I love millinery; and 2) I love comedies as much as I love mysteries.  Rodney Dangerfield is one of my favorite comedians; so, when I saw this clip I just had to share it.  In addition, it reminded me of when my children were very young and one of our family friends would visit us--an elderly lady that has since passed away.  My kids simply loved this lady.  She wore her hats high atop her large wig.  In other words, she really looked quite funny.  So, upon seeing her, the kids would run up to her, hug her very warmly, and then run away laughing. Our friend was really happy they loved her so much that I don't believe she ever noticed they were so amused with her wig/hat combination.  What is so cute about this story is that it is one we can warmly laugh about today.

Here is a clearer, longer un-embeddable version of the clip (opens in another window).  I hope you enjoy this clip while I'm busy working on hats for my next post.

Millinery Inspiration From Our Built Environment

Sometimes it appears that everyone is interested in becoming a milliner or hatter, and that's a good thing.  But I also feel that those new to hat making only take inspiration from that that already exists (I'm also guilty), thus many of their designs look the same or very similar to existing designs.  So, after viewing this video I thought that, just maybe, inspiration from another source would inspire more creative designs from those new to millinery and hatting.

How many of us actually stop and look around at our physical and built environments when we leave our homes.  I mean really look around, take a deep breath, and take in our surrounding environment.  Check out this video; I hope it will inspire you to look at environmental sources for some of your design inspiration.  Enjoy!

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SKYSCRAPER MODES

Vintage Millinery: Building an Idea Book

While surfing the Web for vintage millinery images, I came across a photography blog, Paul Ryan Bohman: Fine Art & Photography. Needless to say I was extremely impressed by his photography skills.  Although I loved all of his fine art image categories (portraits, commercial, maternity, etc.), I tried to stay focused on the  fashion photography section of his portfolio, in particular, this vintage fashion show.  Remember, I was not looking for a photographer, but for vintage millinery images.  Still, I lost focus.  After all, this post is about creating an idea book.  But then I realized how elegant these ladies were in their hats.  The hats weren't funky, just elegantly simple and classy.  These were not the types of hats I wanted to use as examples for an idea book; but then, maybe I was taken to this site for a purpose.  Maybe these images were telling me to be true to myself.--to create elegant, creative fine art regardless to trends.  After all, I only have to make what I like.  How liberating!  Now, on to the idea book.

One of the requirements for my first millinery classes was to compose a millinery idea book.  It was explained that the purpose of the book was not to copy the collected designs but to improve on them, to "make them your own."  The book was also to be used for designer's block--just by looking at a design could spike one's creative juices.  Today, my idea book resides on my computer.

I have noticed that some "designers" are so accustom to copying others' designs that they are paralyzed until a creative designer creates.  So what happens to the brain when it's not exercised, not pushed to its limits?  It does not grow, and thus the copier will always have to copy. 

I link to or follow a site because I feel that its content offers fine examples for additions to an idea book.  So, for those new to millinery, check out the links to the right on this site, and also check out some vintage millinery books.   You may find that the saying, "There is nothing new under the sun." is true.  To prove this point, check out some of the fashion plates from the 20s (perhaps even several years before) and 30s--top hats, picture hats, caps, cloches, beret, turbans, and more.  However, this does not stop one from creating something fresh from something old, vintage or not.  Do the research; have fun.

Jasmin Zorlu Making a Hat With Paris Cloth

For some of us here in the States new, exciting, and exotic millinery materials are hard to come by.  We usually lag behind--sometimes years--when it comes to the acquisition and training in the use of these materials.  So, when I saw Jasmin Zorlu's video on Paris Cloth and its manipulation, I was extremely excited.

Thanks for sharing!

If you are looking for a place to purchase Paris Cloth, visit the Torb and Reiner site mentioned in the video.

Classic Millinery

I guess I should create more contemporary hats, but somehow they just don't excite me as much as classic millinery.  When I see an old hat in a thrift or antique store, the first thing I do is turn it over and study how it was made.


Check out these free online books to learn more about classic millinery techniques.

Archive.Org

Vintage Sewing Info

University of Wisconsin: Human Ecology

Above is a draped cloche.  The foundation material is buckram, draped with stretch velvet, and trimmed with a vintage brooch.  The folds of this hat are very fine and classy.  The drape ends in a scarf  that wraps around the neck.




To your right is a draped fringe hat.  Again the foundation material is buckram.  Rhinestones in the same color of the fringe have been added for a little sparkle. 

Both hat frames were wet blocked:  the cloche over a cloche balsa block; and the fringe, over a basic balsa utility block.



Below I show how I lined the hats.

The Bentley of All Church Hats: The Fully Rhinestoned Crown

The hats I make are a bit conservative; I'm just not one to add a lot of trim to my hats. Until I met Carole Boyd six years ago, I didn't think that I would ever consider rhinestoning a hat, but Carole's "crowns" were so lovely, I couldn't resist their beauty and workmanship.  You see, Carole's hats are works of art.  I'll introduce Carole and her crowns in an upcoming post, but I just had to show you this little hat she rhinestoned for me recently.

Now I'll make it clear that this is a doll hat.  I asked Carole to show me how she added  rhinestones to her hats.  So, I blocked a felt doll cloche and purchased some cheap but very impressive rhinestones for Carole's demonstration.  Carole uses Swarovski brand stones on her hats, costing hundreds of dollars to complete one hat.

For this post I took almost 100 images trying to capture the brilliance of my little hat under the sunlight.  I could'nt quite capture its brilliance until I darkened one of my out-of-focus images; that is what you see in the first image. Simply lovely!

Happy Mother's Day...Everyday!

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!

Allison Parson's Bes-Ben Collection

On Saturday, Allison Parson of Allison Parson Design was gracious enough to share her Bes-Ben millinery collection.  Allison gave a talk on milliner Benjamin B. Green-Field and his label, Bes-Ben, including how she acquired this amazing collection.  You would have thought that these little gems were walking the red carpet at the Oscar Awards.  Observers surrounded Allison's collection capturing images with their cell phones, in most cases, and cameras. We were mesmerized paparazzi.

I always get excited when I have the opportunity to view vintage millinery.  I'm amazed with the workmanship found in vintage couture millinery.  These vintage hats really represent the art of millinery; they represent a time in history before couture millinery and glue gun was not mentioned in the same sentence, and before imagination and copycat didn't mean the same thing.

I learn so much when I turn over a vintage hat.  I learn millinery techniques such as stitching, various ways of securing hats, trimming, finishing techniques, and how various foundation materials were utilized.  Finally, I receive fresh ideas, not to copy but to build upon.  Look beyond the style of these hats; look at the workmanship and learn from the past.  Enjoy!

To view more Bes-Ben images, follow my link under Millinery-Related & Other Links of Interest in the right sidebar.  For more information regarding the Bes-Ben label and the milliner visit the Benjamin B. Green-Field Foundation site.  Also, sit in on a taped interview with Raymond Hudd; see sidebar.  Hudd was influenced, in part, by Bes-Ben.  Please, you have to see Hudd's work; this is the dessert!

Simply Beautiful--The Omo People Adorned

I first saw this slideshow on milliner Jan Wutkowski's blog.  By the end of the show I was totally relaxed and at peace.  Also, I could not get the music and images out of my head.  If you have not seen these slides, I hope that you enjoy them as much as I did.  I'm inspired to do three things:  live a simpler life; add more color to my life; and lastly, add more color to my millinery.  So turn up the sound on your computer and enjoy.

Teaching Myself How to Sketch

My method of designing a hat is to mentally visualize it and work from there.  The problem is that when I try to recall multiple designs, most of the time my memory fails me.  So, I spent a few hours yesterday trying to teach myself how to do a little millinery design sketching.  I gave up on trying to add detail to the eyes, nose, and mouth and opted for what you see in the image.  I guess I'll take a fashion design sketching class when I retire.