Wednesday, September 23, 2009

Another old hat makeover




This cute 40s 'doll' or tilt hat was in fine shape when I got it, but I added a few things to it to match an outfit I'm planning. I bought some yardage of silk taffeta on sale at Britex a while back, in a black and white windowpane pattern that matches the ribbon- sometime, maybe this winter, I'll make an 1890s-style dress out of it, and the style of the hat is similar to little top hats ladies were wearing at the time, so I thought it might work.

Saturday, September 5, 2009

Old Hat Makeover

In addition to making new hats, I collect vintage hats, but until recently I've always been more of a wearer of them than a museum-style collector- In the last year, I've bought a few things (mostly older pieces) because I wanted to study them, or just to own them, but with no intention of wearing them, which is new. I'll more post about those treasures another time.

Every once in a while I come across a hat that is damaged or has missing parts that just screams to me for a makeover. (Those of you with museum sensibilities, never fear- no museum-quality pieces were harmed in the making of this post- anything attached is not sewn directly to the hat and can be removed anytime without damage). Here are a couple of my favorites.

This sweet little Edwardian straw boater was in terrible shape when I found it. It was really dirty and had a real bird body tacked to it that was disintegrating into disgusting dusty pieces. A big patch of the straw around the crown was missing entirely, exposing the interior buckram frame. It had remnants of a tattered silk band, but not enough was left to repair into a full band again. Did I mention it was filthy? I wished I had a hazmat suit every time I opened its box. It had a nice shape and size, though, and I liked that the crown and brim are made of a different weave, which seemed unusual. I cleaned it up to reveal a beautiful shiny black straw with cherry red undertones, and added a ribbon band and cockade to cover the hole. Now I'm not even afraid to touch it anymore.




The next hat is a 1920s style cloche, but based on the tags and the fit through the crown, I think it's actually from the 1960s. When I bought it, it still had the curled feathers (which I love), and a band, but also had a large patch of loose threads to show where some decoration had been removed. I made a big cockade to cover that spot in ribbon matching the band, and voila. It's become one of my favorite hats, I wear it a lot.




The last hat is also an Edwardian boater. It has maker's stamps from Italy inside. It was actually in pretty good shape when I purchased it, but it was dusty and lacked a hat band. The proportions are a little strange- the crown is taller than boaters usually are, and it's too small to fit down onto a head (even a kid's), so it wants to perch at a jaunty angle, and the brim is bigger than your usual boater. It's a bit saucy, and needed something dramatic by way of decoration, so I made a big black and white striped cockade, and wore it with my matching striped Dark Garden corset to the Edwardian Ball in January 2009. I felt like a million bucks.




Thursday, September 3, 2009

Great Victorian Womens Hats

I was looking through my collection of hat pictures this morning and wanted to share a few of my favorites from the 1880s and 1890s.

The upsweep to one side on these is very dramatic, I love the movement in the design. Something about the first one is very Alice in Wonderland.






This whole outfit on the lady in the next photo is great. Love the menswear look, with jacket, hat, watch chain and umbrella over that big skirt. Very dapper. Not sure what the hat is called, but it looks kind of like a 'Tyrolese' from The Mode in Hats and Headdress by Wilcox.





The last are homburgs or fedoras. Worn for sportswear at the time, apparently.


Monday, August 31, 2009

Wayne Wichern, Milliner

Last weekend I took a 3-day felt and straw blocking workshop with fantastic milliner Wayne Wichern. Wayne is a spectacular teacher- knowledgeable, generous, patient, thorough, plus just a nice person. Here's a photo of Wayne at work.


He has a lovely millinery studio in Redwood City, filled with amazing supplies and equipment- if you're a gear hound like me, it's irresistible. The size of his block collection was astounding- the closet through the doorway to the right is chock full of blocks, also:



I was too busy blocking my heart out to take more photos than these, but here are photos of a couple of the hats I made during the class. I've got several more to put the finishing touches on and will post photos of those as they're ready.

I made this straw hat to wear to the upcoming Gatsby Picnic. The crown is one of many kooky 1930s blocks Wayne has collected. Very Ninotchka. Hopefully I'll finish the matching dress in time to wear to the event(!):




Here's a pirate tricorn in straw. I'll be selling these on Etsy soon. Maybe I'll add some feathers.



This one has been christened "The Lisa" for my friend Lisa Connelly (of the petite fashion blog Serafina), because she has dibs on the next one I make. I own the crown, but need to find a similar brim, then I'll be selling them on Etsy also:



Wayne also teaches courses in sewing and millinery at CaƱada College and the Sewing Workshop. I highly recommend him!!

Thursday, August 13, 2009

Buccaneer Hats


New listing on my Etsy page: Buccaneer hats, like the crazy hat I wore to Pirate fest back in June. I'm making them custom for each order, so they're customizable- see the Etsy listing for more info.

Wednesday, July 29, 2009

The History of Cockades, Part 2: Revolution

Click here for The History of Cockades, Part 1.

At the beginning of the American Revolution, General George Washington had a problem. The Continental Army did not have uniforms, which made it hard to tell the officers from the privates, to tell who was in charge, and to tell who was doing what job.

The English military was fully outfitted, though. And boy, did the English officers look good. Officers were wealthy by definition, so they could afford to buy fantastic uniforms. It's hard to imagine now, but at the time, officers wore bright colors so that other people would avoid shooting them. It was an agreement between the officers of opposing armies- officers can shoot the troops, and the troops can shoot each other, but nobody shoots officers. Luckily for the Americans, who had no such scruples, the British red coats made excellent targets.


In the Prussian Army, as in the military of the other European powers, the types of soldiers were differentiated by their outfits, and especially different hats, necessary to tell who was who at a glance during the confusion of battle:


So George Washington came up with an idea:

"As the Continental Army has unfortunately no uniforms, and consequently many inconveniences must arise from not being able to distinguish the commissioned officers from the privates, it is desired that some badge of distinction be immediately provided; for instance that the field officers may have red or pink colored cockades in their hats, the captains yellow or buff, and the subalterns green."

Basically, he put little flags on everybody's head that said "I'm this guy," "I'm that guy." It was like semaphore on a hat. A whole uniform was condensed into a little bit of shorthand that was cheap and easy to see in a crowd. Brilliant.

Once the Americans had time to design and make actual uniforms, theirs were never as opulent as European ones, but they served the purpose of telling people apart, and did look pretty snappy in a more understated way. Here's Captain John Paul Jones, American revolutionary hero:


The Americans' use of colored cockades on hats to signify status wasn't an original idea, as the Europeans had been using cockades to the same purpose for a while, but it did mark a jump forward in the politicization of the wearing of cockades: here, they weren't just being used as a frill to decorate your hat, or a code to designate your rank, but also as a badge of rebellion. Using the trappings of the established European military culture to make farmers into soldiers, to organize the revolution, to break away from the mother country by imitating it, to put a legitimate face on what was, essentially, an act of collective crime on a massive scale. It was a big job for a few bits of fabric.

But this wasn't the first time, even, that cockades had been used to signal rebellion. In the mid-18th century, Stuart heir "The Great Pretender" Bonnie Prince Charlie and his doomed Jacobite followers wore white cockades to signal support for his claim to the British throne. Jacobite women (like the lovely Flora MacDonald, below) had their portraits painted with the emblem of the Stuarts, a white rose, and white cockades were worn by guys for the same effect. Different colored roses and other plant-based emblems had been used to signify family associations for centuries, but this was unusual in that it was one of the first times (if not the first) that cockades were worn to signal a political association, rather than mere military rank- and an unpopular and technically illegal one, at that.




Toward the end of the 18th century, cockades were taking on more and more force as a symbol of political allegiance. And when the Sneeches start taking their starred or not-starred bellies so seriously, things get ugly.

Next up: France goes cockade crazy.

References:
http://en.wikipedia.org/wiki/Cockade
http://en.wikipedia.org/wiki/Charles_Edward_Stuart
Fashion in the French Revolution by Aileen Ribiero
Queen of Fashion, What Marie Antoinette Wore to the Revolution by Caroline Weber

Tuesday, July 28, 2009

Pixie Hats!

Had a great time at the Renegade Craft Fair! I didn't have a booth this time, but it was fun to walk around and talk to other crafters.

I happened to be wearing one of my favorite hats that day, a pixie hat from the 1950s.

I had attached a feather and one of my cockades at the last minute before walking out the door, and everybody kept asking me about it at the fair, so I decided to duplicate it in fabric that evening.

I made up a pattern and produced two prototypes, one in in pink and red striped velvet, and another in black silk satin.