Foundations for My Cocktail/Fascinator Hats: Part II, Including Blocking Suede and Other Millinery Materials

I have a nasty habit of giving things away.  I picked this up from my grandparents, two extremely generous people.  I guess this is a good thing, after all I've gotten back more than I've ever given away.  You see, back in February of 2010, I brought you Foundations for My Cocktail/Fascinator Hats and promised, I think, to post a followup showing how to put the lining in the hat.  Well, someone wanted the hat even before I finished it, so I gave it to them.  Since that time I've received a number of emails asking me how to put a lining in a fascinator.


Since I haven't had any sleep in over 24 hours, I'm asking you to forgive me in advance for my more than usual number of typos.   Please read over Foundations for My Cocktail/Fascinator Hats and I'll start where I left off, almost.  Rather than working with a stretch material I will be covering this hat with two layers of suede, one of which will have to be blocked before it is sewn to the buckram foundation.  I will also block the lining.  


I'm growing tired of wining about seeing millinery fabrics that don't hug the frames they cover.  So, I can either stop wining or do something about it.  I have to tell you that every time I see fabric that does not fit a frame correctly, I have an internal tantrum, especially when I see it in a high fashion magazine!  I'm working on this.  If you ever want to cure yourself of something like this just listen to someone else complain about something similar without helping or offering a solution.  Not so cute is it?


When I started taking millinery classes we had to steam and block everything.  We had to block the buckram, the lining, and all fabrics that were not stretch fabrics.  To your right is an image that shows suede that has not been blocked.  This does not look professional at all.


To block suede or leather, mist the inside of the fabric with water.  I use a very fine mister.  Stretch the fabric over a hat block and let it dry.  To stretch fabric that has a bias, stretch the fabric on the bias over a block and steam it, readjusting the fabric re-pinning as you steam.  It's just that simple.  See lining, below right.  I don't steam buckram anymore.  I prefer to mist it or do a very fast dip in water and work the moisture three the fabric in my hands.  This way the buckram appears to dry harder than it was originally (same as steaming it).


Using a glover's needle (leather needle) sew the suede to the frame catching only the crinoline.  The second layer of suede, the black mesh, did not have to be blocked because it automatically hugged the frame.  However, I blocked the lining.  


Note:  If you are adding trim to your hat, sew the trim on before the lining is attached, if possible.  Use your best judgement.


After the lining has dried, lay it into the crown and pin it to the suede using fine quilting pins or millinery pins (fine quilting pins are easier for suede and leather).  Stitch the lining to the suede about  1/4 th inch down from the edge of the hat.  Trim the lining; it is not necessary to turn the lining under. 
  Note:  Every layer of fabric, including hat band, diminishes or adds to the inner or outer  side of a hat.  Although turning the lining under does not affect this type of hat, it will affect a full crown hat. Remember, by turning the fabric under you will have an additional layer of fabric.   I prefer to trim the lining down rather than turn it under no matter what type of hat I'm working with.
Swirl your  grosgrain ribbon (petersham in some places, sawtooth to some), pin it to the suede (remember that the lining is 1/4 th inch down).  stich it into place.  




Additional Images

Adding support wire for feather:  Added feet to the wire and stitched them under the black suede mesh.


































Feather Trim:  Feather curled in opposite direction of curve, using  my thumb's nail to pinch the spine approximately every 1/4 th of an inch.








Lining Fabric:

Lining Fabric:  Design created using my logo in graphics software and printing the fabric on my Epson printer  (fabric will have to be attached to paper before printing).


O.K., the label is a bit overkill!


Final Notes:  Please take advantage of the free online resources in the sidebar of this blog.  Also, purchase a reference book.  My first millinery book was "From the Neck Up." You can find it on the author's site, on Amazon, Ebay, etc.  I didn't go into detail as far as stitches, etc., are concerned because I really feel that if you are new to millinery, you should do some exploration and experimentation on your own.  If possible, take a class.  


If you do not have a block, purchase a wooden bowl of similar shape and block and make frames using the bowl.  

Have fun!!

How to Make a Couture Leather and Suede Flower for Your Couture Hat

I've chosen to make the suede and leather flower because there is so much information out there on French silk flower making.  All you have to do is peruse the Web, and/or check out vintage millinery and flower making books  (see sidebar for links to free online millinery books).

Of the few flower making irons I have, the rose petal iron is by far my favorite.  With this one iron I can make small to large roses just by varying the size of the petal and cutting small imperfections into the leather before the shape is pressed.  Actually, in the real world of flower making, you would have petal irons in various sizes  to make a single rose, including cutters for those shapes.

My original idea was to use my leaf irons, but in the end I used vintage leaves and stems to complete my beautiful roses.  This is not a comprehensive tutorial, but one to get you started.  Observe, research, and experiment.  Have fun!

For fun!  I also made a hatpin by pressing aluminum and brass into the same flower mold I used to make my flowers. I'm not sure if this was a good idea, but I had fun.

Technique

Please note that this tutorial is only for the type of flower irons shown here and not the ball irons.  Although you can make suede and leather flowers with ball irons, that technique will not be discussed here.  

1.  Create a template for your fabric by pressing a piece of paper towel--I use Viva because it does not tare--between the male and female iron mold parts.  I don't have a cutter (for every flower shape/iron, there is a cutter), so I have to manually create and cut the pattern and the fabric (leather and suede).

2.  Now that you have a petal shape; cut away the excess paper towel.

 3.  Flatten the paper template, glue it to cardboard, and cut the shape out.  For smaller petals, cut smaller templates based on where the curves of the iron fall.

3.  Cut out leather and/or suede petals using the templates you have created.  I didn't count the number of pieces; I just cut them out.  The fuller you want your flower, the more petals you cut out.

4.  Dampen the back of the fabric with water mixed with fabric stiffener (I use Stiffy) and set the petals aside for a minute or so until the mixture soaks in.  Do not over dampen the fabric.

5.  Placing this fabric between the flower press, press down firmly for a couple of seconds and release--the more pressure, the more detail.

6.  Gently remove the petal from the mold and set it aside to dry.

7.  Watch the YouTube video below showing how to put together a paper flower.  This same method can be used for leather flowers.

Please note that the petals (red flower) for this project were made using two methods.  Some petals were cold pressed (using no heat) and some were heat pressed--the mold portion without the handle was placed on a warmer and then pressed using the mold portion that has the handle attached.  Both methods worked very well, although I preferred the cold press because it was easier.  The dark petals were heat pressed.  

I have no idea how the professionals make leather flowers.  When there is little information on a subject, I just experiment until I get it right for me.  This experimentation is continuous, regardless of the project I'm working on.

Because I did not take pictures of all the stages I went through while making these roses, I'm including three videos below:  One for inspiration and study (actually all of them should be studied), one to show how flowers are cut and shaped with dies; and one to show how flowers are put together--included in the paper flower video.  Following the videos are resources where you can buy flower making tools--the same tools are used-- and instructional videos for making silk flowers.

 If you need some inspiration, check out Legeron for some of the most breathtaking flowers I've ever seen!


Ets Legeron, Paris: a tour from Lexy Hulme on Vimeo.

COTTON FLOWERS 

Resources for flower making tools:

I have flower irons that are manually heated, as well as an electric set of irons (attachments are inserted into an electric element).   Both has its advantages and disadvantages.  Over time, if you own both types of irons, you will come to have a favorite. 

Waltraud Reiner (Torb&Reiner) offers millinery supplies. I purchased my set of flower making balls and a flower making video from Waltraud's site.

Lacis offers millinery supplies and other supplies, including books on just about anything relating to the textile arts.  I purchased my electric set of tools from  the Lacis site.

For all of you that are like me that just can't wait to get something in your little hands to practice with as soon as a thought runs across your brow, Clover offers a ball adapter for its Mini Iron II.  I actually I use the tips I purchased from Lacis in this iron, because I burned my electric cord while making flowers.

The flower irons used in this tutorial are vintage (maybe antique).

Threads Magazine: How to Make a [Facinator] Hat Base

There are certain magazines that I have to pick up every month, depending on their content for that month.  Threads Magazine is one of those magazines.  I've been loving it for years, and now even more so.  You see, Threads is featuring millinery tutorials, and from what I've read there will be more such tutorials down the road.  Millinery information is in great demand today, so take advantage of every source you come across.  There is always something to learn.

The image to the right, from the Threads' site, is just one example of what is being offered.  Check out how to make the bow for this hat, including how to make the faux feathers.  When you're on the site query on millinery, hat making, hat trimming, and hat embellishment for even more millinery tutorials.

Please note that, in the sidebar to your right, there is a link to Threads noting to check out their stitch videos.  Just query on your stitch of interest.  Have fun!

How to Sew Millinery Straw Braid by Machine: Tips and Results

When Rose, one of my blog followers living in Texas, commented on my post, How to Sew Straw Braid by Machine, that she had completed her first straw braid hat just by following the instructions given in the post, I had no idea that she had sewn such a complicated design.  Rose is definitely on a mission to conquer the iron monster.  She told me that her braid machine had been collecting dust since May, with very little progress sewing braid, until she read the tutorial.  She also credited her husband for his support and help.  Rose later shared with me another project she was working on using another material.  She shared what she had learned, and she taught me a few things I didn't know.  I asked Rose's permission to showcase her hat in this post.  She gave me her permission and offered some words of encouragement:

"I would advise anyone not to be afraid of trying [to sew straw braid]... The reward of seeing what you can do by practicing and patience is paying off." 

I would say that Rose's diligence has already paid off.  Rose has used her hands and imagination to produce a very ornate straw sculpture.  Think about it!  I've heard of people taking months or years just to sew a straight round crown and brim!  Most of the time people just don't know where to start.  It's interesting that most of the manuals associated with "trade secretes" have virtually disappeared....  Thanks for sharing Rose.

Now, here are a few more tips I would like to share with you.

The Machine Tension 


Before you go further, take the time to familiarize yourself with the tension mechanism on you straw braid sewing machine.  Here is the patent for the Willcox & Gibbs straw braid sewing machine tension mechanism. I can't stress the importance of understanding this.  Most of these machines are similar, but this one may be the most popular.

Adjust Your Braid Spacing

I adjust my braid spacing by sewing-in-the-round (practice rows).  Here is an image; I've offset the top sewn braid from the bottom single braid for clarity.  After you become familiar with the placement of the braid guide in relation to where the needle penetrates the straw, you will be able to judge the braid overlap better.  I've noticed that most of these antique machines are missing the numbered measuring guide.



 The Button

Just follow the images.   Click on images for larger view.  Note that there is an oblong button; this will give you more of an oval shaped crown.  Study other hats to familiarize yourself with this type of button.  Remember that the button is first sewn by hand and then transferred to the machine.

.

Straw Preparation

If you are sewing a dry natural straw like the one above, you will have to dampen it.  Otherwise, the machine feed will literally ear the button!  The straw should be damp, not wet

Machine Oiling

If you are practicing or sewing braid for hours, you will have to oil this machine daily.  I use regular sewing machine oil.  It's up to you to research if there is another, more appropriate oil to use.  Unfortunately there is very little information on the straw machine.  I also have a regular Willcox & Gibbs sewing machine, so I use the manual for that machine as a guide for oiling, threading, etc., my braid machines.   There are many of these manuals located in the Smithsonian archives, probably because this manual belongs to a home machine. Yes, the machines are slightly different, but use your imagination.  Again follow the images.  Note that there are moving parts at the back of the braid machine.  So, where there is a hole, drop a bead of oil.  Never put oil in or on the machine's motor!


Machine Threading


Notice the difference between the tension device on the machine to your right and the braid machine above.  This does not affect the threading method of the machines.  Just follow the directions (numbers) to your right.  However, on the braid machine the thread goes between the disks.  Also note that the thread crosses over and goes through the loops on the braid machine (actually both machines).

For additional research go to the Smithsonian Institute located here, and go down to the bottom of the page to select Willcox & Gibbs.  If you have a different machine, I can almost guarantee you that your straw braid machine will work very similar to the one above.  There are zigzag machines, invisible stitch machines, etc., but you can still learn something from these instructions, if you do the research and practice.

A Few More Tips

1.  Go to the Smithsonian site and find the parts catalog for the braid machine (yes, that still exists).  Notice the feeds in the catalog.  There are different feeds for different straws; there are even different foots for different straws--fine milan (right), etc.  The milan feed is finer.  You can learn a lot from the parts catalog.  For example, one of my machines, see first straw post has an attachment that holds the straw firm to the machine (not the hook but another attachment--the outer edge plait guide--see below left image), see the patents, see the catalog.  I could go on and on, but it depends on how much research you are willing to do at this point.

2.  When the tipper is engaged, slow the sewing speed of the machine.

3.  Hold the lower single braid between the second and third fingers.  Hold the upper sewn braid between the thumb and the second finger.  So, with practice you will be able to guide both the upper (sewn) and lower (single) straws.  The left hand guides the crown.  Practice, practice.

4.  When all fails, read the patents.  It will be much easier now that you know more about the braid machine.

5.  Practice making different shapes.   Read how it's down in the first post.  After you have learned to make a full-size hat, practice by making smaller hats with various shapes.  By doing this you will save on supply costs.  Below, notice that only one side of the form has a brim. 

Show us your creations.  Good luck!

How to Sew Millinery Straw Braid by Machine

Note:  In order to keep my promise of creating a straw braid tutorial in a timely manner (actually not so timely), I'm issuing this post in DRAFT form, and I will be adding to it, hopefully, on a regular basis until it has been completed.  Of course I will add more images, but if you have resources that are relevant to this post, please share.

Let me assure you that I'm not an expert when it comes to sewing straw on the straw braid sewing machine, but I'll share what I've learned over the years.  I've picked up the machine and put it down over and over again until one day I decided to "just do it."  What I found out, is that it was quite easy.  I had been led to believe that that little machine was some big monster and that it would take years to learn how to operate it; no way!

Note:  If you do not have a straw braid sewing machine it is still possible to sew straw braid on a regular sewing machine.   A free-arm sewing machine would be ideal, but a regular flatbed will work also.  Of course you will not have the straw guide and the sewing area will be larger.

When I decided to "just do it" several things had occurred:

1)  I had purchased two straw braid sewing machines, and totally refurbished and added a base with motor to one.  As you may see, these machines are portable.  I don't have the room to accommodate a commercial machine setup.

2) I had collected patents for the straw braid sewing machine and its accessories.  You would think that a lady with a graduate degree would have had more success at deciphering that stuff--boringgggg!  I'm the type of person that will try to put something together before I read the instructions.  Yes, I had put that machine together, parts from here and there, filing metal for a week with a tiny Dremel tool.  I thought I had really accomplished something;  the machine worked perfectly.  I should have been learning how to stay focused while not understanding old 1800s patent language.

3) I had practiced on the machine and made cute LITTLE HATS.  No matter what I did, my hats always came out tiny. 

4)  I had asked questions concerning sewing on the braid machine and had either been given vague answers or had been outright insulted.  I love insults; they help me to succeed succeed.  Thank you.

5)  I emailed a very accomplished straw braid sculptural artist, Ignatius Creegan.  I had read his story in a magazine, and I became absolutely fascinated with his work.  I hadn't been so excited about straw since I first saw Patricia Underwood's hats a couple of decades ago.  Ignatius sent me an email describing, in detail, how to solve my small hat situation.  So, because he had been so wonderfully generous in sharing this information with me, I emailed him and asked for his permission to published it.  A few months after he had emailed me two years ago, I learned how to solve the small hat situation using another method, pulling the braid--not pushing it as I had read earlier.  So, I let Ignatius know that whatever he decided was OK with me; I was so thankful for his generosity.  Ignatius said that it was OIK with him to publish his email; so here it is in it's entirety:

On the machine there is a tipper that is just above the needle on the right side of the needle bar, there is a straight wire spring that is sticking out of a little hole, the whole tipper pulls out, and when you sew it raises the foot a little every stitch and allows you to make that tight curve around your hand sewn button.  If it doesn't pull out right away turn the flywheel till it does.  Or lower the foot. If you have trouble figuring out what I am talking about just feel around about two inches or so above the needle and to the right for a part that will pull out  (it is a sort of odd lever shape)  it pulls out about a quarter inch or more toward you,  that should help you sew the tip. Also, you will note that when the tipper is pulled out there is a hex screw that the top of the tipper hits against. You will turn the hex  screw out, or extended, for a thicker straw, that will give you a higher raised foot, or turn the screw up, so it will jump less for fine straw.

Now, I have to point out something here.  Given the information above and the fact that the same thing can be accomplished by pulling the straw (I'll explain later),  I now had everything I needed to know about sewing straw braid.  So, understanding this bit of information propelled me to the finish line (well, I'm still no expert, but I do OK), a very short time--an hour maybe.  So lets get started.

Preparing to Sew the Braid  (more detail will be added in the future)

1. Familiarize yourself with the materials I've provided  you below--books, videos, patents
2. Set up your work area*
   
3. Adjust the braid spacing by adjusting the straw braid guide
4. Sew the button by hand (approximately 1" inch wide--I prefer a little wider).  Read Straw Hats, Their History and Manufacture:  Chapter IX, Hand and Machine Sewing
5. Read Ignatius' email above
6. Pull the tipper out to sew the tip (top crown) of the hat
7. Sew the crown tip
8. Push the tipper back in after the crown tip has reached your desired width
9.  Push the tip down vertical to the floor (see videos) and continue sewing
10. When the side crown has reached its depth, turn the crown horizontal to the floor and pull the edge of the crown.  It will begin to flair out forming a brim
11. After the brim has reached the desired width, pull the lower single braid to decrease/curve (if desired) the brim after you have reached the desired width
12. Study better straw hats
13. Observe
14. Practice
15. Practice

*The Spool (...work area)

Actually I don't know what the rotating contraption is call that the professionals hold their braid on, so I'll call it a spool.  I created one by simply placing a Lazy Susan (one of those circular rotating things that is placed in the middle of a table) on my work surface and placing my camera tripod on it.  The Lazy Susan has ball barrings under it, so it will move freely without securing the tripod to it.  As the straw is taken up while sewing, the Susan and straw moves very smoothly.

Where to Purchase a Straw Machine

eBay:  This is where I purchased my machines, including additional machines for parts.  Search on Willcox & Gibbs and hat sewing machine.

City Sewing:  Sewing machines, parts and services.

Note:   These old machines are mechanical; so, more than likely, your local sewing machine repair shop can repair them, if you decide to purchase a machine off eBay.  Make sure that you study images of complete sewing machines before you purchase one from anyone other than a sewing machine shop. 

Where to Purchase Straw
Sun Yokos Enterprise (USA), Inc.:  Straw braid and other millinery supplies.
Manhatco:  Straw and other millinery supplies.  Old fashion in a good way; nice people; located in New York, (212) 764-2218


U. S. Patents (there are others)

Improvement in Machines for Sewing Straw, Straw Hat Sewing Machine, Guide for Straw Braid Sewing Machines, Sewing Machine Tension, Guide for Straw Braid Sewing Machine, Presser-Foot-Lifting Mechanism,Tension Apparatus for Straw Hat and Other Sewing Machines

Helpful Videos

We all learn in different ways; some of you will look at these videos and see nothing; others will see plenty.  Play certain segments over and over again.  Maximize the screen to get a better view of video.
Sewing Straw, The Hat Makers, Straw Boaters, Jack Straw Comes to Town, Caught by the Camera


Free Online Book

In order to achieve some of the shapes you may try in the future, it's important to study books that teach how to hand sew straw.
How to Make Hats; A Method of Self-Instruction Using Job Sheets:  Unit III, Straw Work
Straw Hats, Their History and Manufacture:  Chapter IX, Hand and Machine Sewing

I Little Advice

Practice, observe, research, practice.

Accessories: Couture Millinery and Bejeweled Stockings Go Together Perfectly!

(click image to start video in separate window)

 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.

How to Copy a Hat Block

I spend more time experimenting with prospective millinery materials and techniques than making hats.  So, when I had the opportunity to work with a material I had read about in a costuming book, Fosshape, I just had to get my hands on some.  Just by accident a couple of weeks ago when I was out and about, I ran across a costuming supply store, Richard the Thread, located in Culver City, California.  I had seen their Web site some time ago while looking for millinery supplies.

Inside the store there were very large rolls of fabrics used in costuming: buckram, Fosshape,  Miracle Net, Ice Wool, etc., stuff I'd never heard of before.  To make a long story short, I purchased the Fosshape and went on my merry way.  Around  the same time Mrs. King, one of my millinery teachers--on and off for the past 25 to 26 years--brought a hat block to class that I absolutely adored.  So, with Fosshape in one hand and the block in another, coupled with a little steam, my copy of this fabulous block was born.

I'm short and full figured, so although I loved the block I knew that the shape, as it was, would not look well on me.  I blocked a straw hood over the block and formed the rounded edges into sharp edges by shaping in the hand (pinched the folds between my fingers) after the fabric had been removed from the block.  The result  was stunning.

I had a black vintage blimp (very large hood) fur felt that I was itching to block on this gorgeous block.  The hood was dark black, soft, very thin; simply lovely.   This time I did not manipulate the folds on the hat, but I was very pleased with the results.

The Technique

My first approach was to steam the Fosshape and then pull it over the hat block.  This is how I would approach felt, straw, and sometimes buckram.  This did not work for me--I never read instructions.  So, my next approach was to pull the fabric over the block and then secure it to the block as usual. After the material was secured with blocking cords, I steamed it.  When Fosshape is steamed, it becomes hard.  After the Fosshape had dried, I finished the copied block as I finished the Styrofoam block I carved (wood filler, white glue mixed with acrylic paint, etc).  However, my final step for this block was to paper  mache its inside to give it extra strength during blocking.  At this point I've only added one layer of paper mache, but I'll add additional layers after each layer has dried.

The more experienced milliner may ask, "how is it possible to remove the felt and straw from this copy?"  Well it depends on a number of things.  In this case, although the straw was blocked on the original block, I did not take the block apart.  Why, because parasisol is very flexible, and unless it is heavily sized, it will not hug the block tightly.  The vintage fur felt was also very flexible and did not hug the block tightly.  The final factor is that this block sloped forward.  Usually when a block slopes forward, it is usually made into a two-section block rather than a five section one, as this original block.  Also for those of you that may have a paper mache hat block from the 30s/40s that slope forward and flair out at the front, it's easy to understand how this works.

Notes:  
Hat blocks are usually made into sections when the head size is smaller than the tip. 

The straw hat was sized on the outside with millinery sizing after it had dried.

Check out the following resources, and find others on the Web.  Experiment, Experiment!

Fosshape Tutorials:  Cosplay Supplies, Richard the Thread
Hat Block Tutorial (video):  Torb & Reiner
Hat Blocking (video):  Flat Felt Felt Pillbox 1 and 2
How to Block and Drape Felts and Straws (slow to load, but worth it)
How to (video) Make Paper Mache Paste
How to (video)  Paper Mache