Leanne – Hattin' Around & Leanne Fredrick Millinery

Fabulous Straw Hats at Worthing Exhibit UK

My quest to Hats off to Hats! Revisited in Worthing, UK. October 2022

After a year since returning to California from London and 6 months since the National Association of Wheat Weavers (NAWW) conference in Folsom, CA USA, I was desperate for a full immersive hat experience, particularly straw hats. So when a friend suggested a hat exhibit in the seaside town of Worthing on the south coast of England, I was excited.

The Worthing museum is a little museum and claims to have the largest costume collection of everyday wear in UK. They lent 70 hats to a Switzerland museum in 2018, after 620 hours of conservation work, on 21 of the hats. The hats have since returned home and Worthing is exhibiting many of the the pieces, in Hats Off To Hats Revisited.

Exhibition: Hats off to Hats! Revisited

Open until 13 November 2022

I counted 51 hats on exhibit and more in the general collection displays. Several straw hats were a feast for my eyes, despite those frustrating glass cases that reflect the light, I captured a few good images.

The entry display demonstrated various techniques of conservation. I particularly enjoyed seeing the methods employed to safely maintain and store hats. This is where my favourite hat of the collection was displayed.

Several hats at first glance were uninspiring, the 1970s red floppy brimmed felt hat for example. However there were some real gems.

My favourite hat was the schnürli hat, that’s what I called it as that is the Swiss straw name for the twisted straw threads used to make the scallops all around the hat. I would have liked to see this on a person. It looks like it wraps around the face.

The description said, “Swiss straw braid bonnet, c. 1840-45. Made from fancy straw braid strip woven with a scallop shape. The 1840s saw the introduction of Swiss straw braid, innovative weavers create fine, lace-like straw braids, often in combination with horsehair or cotton thread.”

My second favourite was in the general display collection. The straw work was lovely and I particularly liked how the hat design created a space to pass the ribbon through so the wearer could easily change the ribbon.

Other straw, plait and braid hats were on display.

Pointed conical ‘Pagoda’ shape, c.1960.

Wide brimmed natural straw hat trimmed with garden roses c. 1900.

Hat in raspberry pink straw in a flat style trimmed with a whorl of small pink flowers on long stems, c. 1900.

Raffia Straw with Silk chiffon 1905

Bonnet, striped straw plait c.1830-39.

Bonnet in natural straw lined with cream silk c.1870, displayed upside down, but can be seen right side up on the Hats off to Hats Revised banner.

Bonnet with cream ribbon and flowers

Conical natural straw hat, c.1950.

Open Weave Straw braid w raffia flowers c 1910-1920

The journey there was a bit more of an adventure than I’d expected, such is travel. The schedule was tight. I arrived in London on Monday, took the train to visit my daughter at university in North Wales on Tuesday, enjoyed a wonderful but far too short visit of 24 hours, then caught the train back to London on Wednesday, so I could train down to Worthing with my hat friend, Clare, on Thursday.

All was going smoothly until Wednesday afternoon. Despite checking on the train strike I thought I was safe, but alas the northern England trains were on strike and although I could get from Bangor, Wales to Chester, things went awry and no trains were running. I briskly walked across town to the bus station. Although it would be twice as long of a journey than by train, it would get me to London late Wednesday night to allow me to meet up Thursday morning for the hat exhibit.

This too was not to be. Both buses to London the 17:30 and midnight buses were fully booked. I was essentially stuck in the middle of my journey.

Just then the heavens opened up and it bucketed down rain.

I admitted defeat and called my daughter. I asked her to find me a hotel near the train station, which she did. I would get the 7:55 am train on Thursday and have to delay my meet up with Clare until 11:30. No stopping to drop off my things at the London Hotel, just straight through from train in Chester, to Crewe, to Euston, tube to Victoria, train to East Croydon, then on to Worthing. Luck was with us when Clare jumped on the train at East Croydon exactly at the car door near where I was sitting. All went smoothly from there.

Good Bye London, For Now.

Dear London,
Your grey skies and brick buildings welcomed us to city living. We landed here in 2011 and only meant to be your guest for a couple of years, to enrich our lives with your worldliness and history. Little did we know your beguiling ways would enchant us for a surprising ten years and we would become part of your family.

The Anchor Pub — Pub on Bankside along the Thames

Chainmail and helmet try on — 2012 my youngest daughter (L) and youngest son (R) enjoy the interactive attractions at one of the many museums.

Thank you for sharing your people. Friends who have welcomed us into their hearts and homes. Diverse communities that have expanded my children’s minds and attitudes towards others. Hardy companions for my husband to stand out in all types of weather for a round of beer.

2016 Eldest daughter wears a hat I made.

I appreciate, all the people who taught me to make hats within the context of a city and country were hats, history and craftsmanship are so intertwined that it is impossible to tease apart the individual fibres that create the most enchanting headwear.

London Hat Week, Hat Walk with Elly and Ana — 2016 London Hat Week – Hat Walk with Elly Stemerdink and Ana Pribylova

London, you have changed our lives immeasurably for the better. I hope that in some small way that I have given back to you, my adopted city and country. I will strive to be an ambassador of craftsmanship and tolerance, by embracing uniqueness in people which makes their art and their communities special.

For all that you have given me, I am thankful.

Man with hat and bike at Covent Garden — Man on the street at Covent Garden

Tricorne in art at National Gallery — Hats in old art at the National Portrait gallery

Hat in new art at National Portrait gallery — Hats in new art at National Portrait gallery, by John Borowicz

It is with a heavy heart and a fair amount of tears that I say good bye, at least good bye for now.

Love,
Leanne

As of October 2021, I will be settling into a new reality of making, teaching and writing about hats from Santa Cruz, California. Please, sign up for the newsletter to hear about new workshops and events.

Bonus photos — A lovely find at a charity shop in Balham, London yesterday.
A Top Hat and Box that I over heard a charity shop manager discussing with a member of her staff and she allowed some photos.

Grey silk top hat — Beautiful grey silk top hat.

Top hat silk lining, wide leather band, crest and initials

Willcox & Gibbs S200

Introducing my new baby, a Willcox & Gibbs S200 straw plait (braid) sewing machine. Here are some pictures of the machine and interesting links to 17 Guinea, Hatlines #71, Straw hats, Alex Askaroff, Mad Hatter Blog, and how to lock a Chain Stitch.

Willcox and Gibbs S200 Straw plait sewing machine — Willcox and Gibbs S200

I have had two big ticket items on my millinery wish list for a while now. One is a hot block hat stretcher and the other is a Willcox & Gibbs straw sewing machine. I can now check off one of those items after winning an eBay auction a few weeks ago.

Treasures from the little tool box. Spanner (wrench), needles, tweezers, screw driver and oil bottle.

I was first introduced to the idea of a straw plait (braid) sewing machine while working at Edwina Ibbotson’s. There was one that sat in the corner with a clear upturned box covering it to protect the 17 Guinea, as she calls it, from being knocked about and keep the dust off.

I am not sure where the term 17 Guinea comes from as the Guinea was replaced by the Pound coin in 1816 and these machines are later 1800s and early 1900s. According to Wikipedia a Guinea is worth 1 Pound & 1 Shilling. The National Archives estimated the value in 1880 as equivalent £69.49 as of 2017. At the time it was worth 1 stone (6.35 kg/14 lbs) of wool or 3 days wages for skilled tradesman, which doesn’t seem like very much for a sewing machine.

I have looked on and off over the years for a “17 Guinea” with no success. Not long ago the Hatlines magazine published by the Netherlands Hat Association, had an article about these old sewing machines. The article did a great job of showing how to clean and maintain the machines. It gave the names of several brands that I believe would fall under the name 17 Guinea and also gave me a sense of confidence in finding one.

Straw plait bonnet — Straw Plait Bonnet by Leanne Fredrick Millinery

Straw Plait hat in progress by Leanne Fredrick Millinery

I made several straw plait hats after taking a class from Jane Smith at Morley College, London and loved the process and the results. Jane’s class taught how to make the straw hats on a standard home machine. It is a bit tricky getting around the crown, but it can be done. Ever since I’ve desired to work with a proper straw plait machine.

W&G S200 logo button – Look close, notice how the needles make a W for Willcox and the machine makes a G for Gibbs

I don’t buy on eBay very often and even more rarely do I win, but I had been watching this machine and another on Gumtree. It was a Friday night and the auction ended at 8:15 pm. As the last few minutes of the auction approached, I entered my highest price, into the bidding system on eBay. It automatically bids in increments only until you are one increment above the last highest bidder, then stops. To my excitement, shock, amazement and delight. I won.

Although we have stayed very close to home in London since March, due to Covid, my husband and I adventured to Eastbourne to pick up the machine from Alex Askaroff. Followed by a stay at the Hydro Hotel. It was a good weekend.

It doesn’t look like much, but the new tensioner was patented around 1875, so my understanding is that this machine was made around 1880.

The video of my machine being demonstrated by Alex Askaroff.

Alex Askaroff’s YouTube Channel has some great videos if you are interested in vintage sewing machines. I love this kind of stuff.

Another nugget was in the little wooden treasure box was a print out of the following blog post by Mad Hatter, Cristina de Prada from 18 April 2009. The link to Jane Smith’s straw hat e-book is not longer active, but she has many of the patent illustrations which I think are fascinating.

These early machine made a chain stitch, rather than a lock stitch of the current sewing machines. A chain stitch doesn’t require a separate bobbin. The underside can be used as a lovely decorative stitch but the chain stitch is know to easily unravel if you break a stitch or don’t lock the end.

Great video on how to lock a chain stitch.
It is a different model machine but the concept is the same. Go to video at 7min 20sec for how to easily lock the chain.

Me and my “new” machine are still getting to know each other. I love the way it sews and sounds, but so far I’ve only used up a lot of thread and made a little navy blue straw plait bowl, perhaps it will become a cocktail hat. I am excited to get a bit more time with my new W&G S200.

I found it…Trip to Luton Blog Post

It was autumn 2013 and I was surprised with an invite to join Edwina Ibbotson and another apprentice, Mee on a field trip up to Luton to visit three millinery suppliers.

This was originally written years ago. I am delighted to say all three vendors are still trading in Luton, UK. Why am I posting this now? I was working on my latest article for The Hat Magazine #86 about the differences between how Hatters use hat blocks verse how Milliners use blocks and I needed images. Photos have been trickier to get during the Covid lockdown.

I knew I had images of the Boon & Lane block makers, but I could not find them. Crazy frustrated, I let it go and waa-laa, like magic, a few days after the finished magazine* arrives in the post. I stumbled across the blog post about my trip to Luton, UK on an old neglected website I wrote prior to Hattin’ Around. There was also an embarrassing early attempt at a podcast, but I am going to leave that behind for now.

I hope my reminiscing about hat related discoveries in Luton will bring you joy as it did me. I also don’t want to lose it again.

Back to the original blog post…

Boon & Lane the block makers, Baxter, Hart & Abraham suppliers of felt, straw, and petersham, and Randall Ribbons suppliers of feathers, flowers, an endless array of sinamay colors and much more.

Mee, Leanne, Edwina arrive in Luton — Just arrived in Luton, Mee, Me and Edwina

We drove to Luton in Edwina’s light blue vintage Mercedes. That is an experience unto itself. It took me a while to figure out how to do the old hook and magnet seat belts. The journey to Luton is about 40 miles through London and took nearly 2 hours, but we arrived mid morning at our first destination, Boon & Lane.

Edwina with vintage blue and her hat block proto types

Boon and Lane are the block makers. This was an experience to remember. There were two men working in the block factory that was filled with wood and sawdust on one half and different types of sand on the other. They make both wood and aluminium (also spelled aluminum in the USA, so the reason we pronounce this word differently is that it actually spelled differently in the UK vs US) blocks. The aluminium blocks are used for industrial use, where they are attached to a heating device and there is a top and bottom piece that clamps together to form the hat shape all at once.

Steve Lane Aluminium hat block sand — Steve Lane tamping sand for Aluminium hat block cast

Alan Davies and Steve Lane make everything. When I was there, Alan was working on wood blocks while Steve handled the sand packing in preparation for the molten aluminium. They were welcoming and generous with their time. Explaining what they were doing, the stages of making a hat block and showing Mee and I the various pieces of equipment.

Alan Davies talking with Edwina about her latest shapes

Thus far in my hat career, I’d done very little blocking, but I was completely seduced by being there. As you are sure to have guessed, today would be my first custom made block purchase.

stages of finish of a wood hat block — Stage of finish of a wood hat block, R>L

I choose a large downward flat 45 degree brim block and an oval head shaped flat topped crown block with slightly rounded edges (known as a square crown), to contrast the domed oval crown block (known as a round crown) I had in my very limited collection. It took a couple of months for the blocks to be made. Shortly before Christmas, Edwina came back one day with her new blocks along with my freshly varnished crown and brim blocks.

crown brim collar hat blocks — My new blocks from Boon and Lane. The crown has a felt on it, to take it up a hat size to fit my larger than average head.

They were beautiful shiny golden yellow with my name and the year stamped into them. The excitement was only dimmed a bit as I tried to figure out how I was going to get this massive brim block home on my bike. Alas, I could only manage the crown block that day on the bike, I’d have to wait and bring it home on the bus a couple days later.

treasures from BHA — My treasures from Baxter, Hart and Abraham. Hat box, felt hood, capeline and petersham.

Next stop –Baxter, Hart & Abraham, suppliers to the millinery trade. This place is tidy and well organized. The textile junkie in me thrilled to touch the various different felts. Wool felt, fur felt, and the really furry felts called Melusine. Then there was the colors. My shopping strategy goes, walking around and gather everything I want. Then doing a mental subtotal of how much it will cost. Feel anxious about how much I have. Then putting back some of my treasures, until I don’t feel the sense of financial panic. I bought several wool felts to practice on without too much financial impact, but my prize purchases were a yummy small (cone) cognac (gold) and a beautiful large (capeline) grey fur felt. It was glorious and I was so nervous at messing up the fur felts. I envisioned a gray (grey) large brimmed hat with a fairly simple crown that I could wear all winter. However, it wasn’t going to be that winter that I’d get to wear it. [Update: I made a trilby with the cognac and fedora with the grey, which I still wear today]

Last stop- Randall Ribbons, the makers of all things feathers and flowers. They had a minimum order. Their website says a minimum order of £30. I did not spend anything at Randall Ribbons.

Feather samples — Feather sample board at Randall Ribbons

I think I was a bit overwhelmed by this point. I had placed a rather sizable order at the block makers, and purchased enough felt at the millinery suppliers to keep me busy for a while. And honestly I just could not envision how I would trim these new hats of mine. I would have bought a simple hat pin or something, but with a minimum order, I left with nothing. I cannot say the same for Edwina or Mee.

Boxes of silk flowers — Just a small portion of the boxes of flowers.

We only went to three places, but it was a full day. Many thanks to Edwina for the tour of Luton and Mee for being a newbie like me. It was nice to be able to listen to someone else’s questions.

Prior to moving to the UK, I’d never heard of Luton. Since the field trip, I’ve heard Luton mentioned several times in relation to the hat making and millinery industry. Luton was very active in the making of straw hats in their hay day. Which became more real to me because I have just begun taking a strip straw class at Morley College with Jane Smith.

…The end

It has been a pleasant walk down memory lane. I admit to making a few revisions.

*Many thanks to Elly Stemerdink for the fabulous photos for the hat block article.

The Hat Fairy & Live Virtual Workshops

Late at night when everyone else has gone to bed, I get into the hat zone. I work until the wee hours and occasionally into the next morning. Recently this has been while having a great time learning from and teaching Live Virtual Millinery Workshop .

When I get to a stage where I am tempted to start taking things apart and redoing the whole thing, that signals bed time. I set down the scissors and back away. Ideally, I do a quick tidy of the work space and put the hat on a poupée, which doesn’t alway happen but is always appreciated by my future self when it does happen.

Then it is off to bed for a few hours of rest before the next day begins in earnest.

In the morning when I get up I say, “I wonder what the hat fairy brought last night.” Making my way to my home studio, I look at my piece with fresh (overstatement) eyes. There are three possible reactions.

Reaction one, is joy and delight, it is beautiful and well worth the loss of sleep, maybe even a little pride in the thought “I made that.” Which is followed by me wearing the hat around the house while still in my nightgown. I feel fired up and want to make another hat.

Reaction two, the big let down of disappointment followed by why did I invest so much time into that awful looking thing. I should just throw it away. Followed by, I can’t throw it away that is wasteful and it may be a useful sample of a technique or I might be able to fix it. The reality is there are so many unfinished hats and so many more yet to be created.

Reaction three, which is by far the most common one, which is in between the other two. Pleasure with a tinge of disappointment. I like it in general but something isn’t right.

The current problem by far is the multitude of unfinished hats.

The red Swirl Sinamay and red Floating Quills just need the labels, the green Macintosh Rose need a lining and the label, the grey Kakadu Lily needs something in the centre, and the label, the white Veiling Brim with Crinoline Roses needs the trimming sewn down, the base attached and the label. The giant blue Silk Abaca Bow needs a whole hat to put it on, as do the Silk Abaca Lilies.

These are only a few of the hats that I have made in the B Unique Millinery Virtual Live Workshops which started shortly after the Covid-19 Lockdown. The workshops have been a safe haven of creativity and camaraderie.

Please keep in mind that these pieces do not reflect the skill of the tutor, only my interpretation during a 4 hour workshop.

Workshops
Red Swirl Sinamay and Red Floating Quills with Rebecca Share
Grey Kakadu Lily with Sandy Aslett
Blue Silk Abaca Lilies with Tracey Wells
Blue & White Bows with Neil Grigg
Electric Violet Free Felt with Katherine Elizabeth
Veiling and Veiling brim with Jenny Roberts and
Crinoline with Alison Clark

Green Macintosh Rose by Me, Leanne Fredrick
Next workshop on 31 May/1 June 2020

Rolled Edges and Rouleaux by Me, Leanne Fredrick
next workshop 9/10 June 2020

There are more Virtual Live Workshops on the B Unique schedule.

And Live Virtual Workshops with Me, Leanne Fredrick coming soon to Hattin’ Around.

p.s. Live Virtual workshops are working out really well. Although nothing beats human connection, there are some elements that make the Live Virtual workshops even better than in person.

Travel is cheaper
Workspace is tailored to personal preference
A close up camera is great for small details
Mute and unmute for noise control
Step away without disturbing the rest of the class
and you still get to know others in the workshop

It’s About Time AW20 with Stephen Jones

I attended the Stephen Jones AW20 It’s About Time collection launch at his showroom on Great Queen Street in Holborn London with Greg Commons of The Hat Magazine on 15 February 2020.

The collection celebrates Mr. Jones’ forty years of hats. The digital invite was simply and cleverly animated. The party flashed, Annette Bening winked, the feathers waved and the Underground hat changed colours. Which was obvious enough for me to look closer at the other images. It was like a little treasure hunt. The invite features four magazine covers a 1982 Tatler, 1992 Vogue Paris, 2003 Time Style and Design, and 2013 TimeOut London. Mr. Jones’ collection reinterpreted the glamorous 80’s, the sharp shapes of the 90’s, the frivolous and embellished 00’s and the magical 10’s.

We were greeted at the door, then made our way through the public showroom, past the reception desk and into the private showroom. I’ve been to the public showroom a few times, but never past the reception desk. I was excited. Most people were stylishly dressed, but not everyone. Many were young, but not everyone. Some wore hats, not everyone.

Relieved of our, Storm Dennis, winter outer wear at the cloak room, then primed with some Moët & Chandon champagne, the focus turned to Mr. Jones and the hats. The mood was light festive and fun a delightful contrast to the windy blustery and rainy Saturday night. Cameras were out and snapping. Staff would help people try on hats and pose for photos. It is great fun to watch Mr. Jones select a hat for a specific guest who wants to be photographed then cock his head, then give it a tilt or remove the hat off and choose another one. I wish I could hear his thoughts.

Suzy Menkes being fitted with a winged head piece by Stephen Jones.

A fun combination of people; stylists, photographers, models and media mixed and mingles with a several of Stephen Jones Millinery staff. Mr. Jones is a brilliant host and speaks to his guests with humour and kindness.

Erin O’Connor in Stephen Jones Millinery headwear

Not every milliner can have a famous personality or model appear at their events but Stephen Jones can. The excitement and buzz that these people brought with them could be felt as a physical wave of energy through the room. I do not have an eye for the famous or trending people so I had to rely on asking those near me, whose who. A few of the evening’s guests who caused a stir were Erin O’Connor (runway model), Miss Fame (RuPauls Runway), and Suzy Menkes (Fashion Editor).

Although there was excitement about the people, the hats were the stars of the show. Here are a few hats from the collection.

I love the details, from embellishments, to stitching and trims. The way hats make an outfit, the details make the hat.

Loads of embellishments on a trapper hat.

Gold stitching on the brim, subtle and just right.

Grey silk velvet trimmed in gold feathers. Elegant!

I hadn’t really thought I’d be one of the last to leave, but was enjoying a lovely chat with workroom manager and her partner. Only to look around and notice everyone was heading out the door. I went to say my good byes and Mr. Jones said,”We haven’t had a chance to talk.” With so many people, it was lovely he noticed.

There was a simple gift bag offered when we left with marketing materials pertaining to the collection.

Thank you Mr. Jones, Stephen Jones Millinery team and Greg Commons for a nice evening.

Poupée in a Pinch

Having a poupée, while working on a hat is extremely helpful, most professional milliners would say essential. What is a poupée? It is a French word for doll, but when speaking of millinery it is a hard buckram head and neck shape that is covered in batting (wadding) and mid weight calico. An authentic millinery poupée is hard to come by and often expensive. I learned to make a Millinery Poupée from London milliner, Edwina Ibbotson. She learned it from Rose Cory, a former miller to the Queen.

If you are just getting started with millinery, picking up an inexpensive styrofoam head from a wig shop is often a good short term solution. Despite having a few proper millinery poupées, on occasion I still need styrofoam heads for display or teaching workshops. They are utilitarian but not attractive.

A while ago I saw a styrofoam head covered in off-white paper at a local shop. It looked much better than the plain styrofoam. I love découpage, the art or craft of decorating with cut out pictures, but had not done it in a long time. One evening armed with a pot of watered down white glue (~1:1), a stack of magazines, a small paint brush, and a movie on Netflix, I set to work. I was all over the map with ideas of what to do…flowers, greenery, random collage, sheet music, body parts? There seemed to be a fair bit of tans and pinks in the magazines, so I went with the idea of doing it in what I thought of as a range of light neutral tones. Midway through I decided to add more color for the hair, eyes and lips.

It was getting late into the night. I had tried a few different things and was tired. I try not to judge my own work when I am tired. I set it aside to dry, hoping that in the morning I would be delighted with my arty efforts.

I came out the next morning with excited anticipation and looked. I was not excited after I saw it. “Maybe I am being too hard on myself,” I wondered. I asked my youngest (a teenager) what she thought. She paused and said regretfully, “It’s scary.” I felt disappointed, frustrated, and regretful of the “waste” of time. In that moment I found it difficult to see it as a learning opportunity. I set it in a corner and left it for a few months.

Finally, I needed to fix it or toss it. Back to the drawing board. I thought about flowers, etc. again. I have seen foam heads covered in floral cottons and although cute, I think it is a distraction from the hats, so I wanted something simple, neutral and less personified than my first attempt. I had a pad of black paper. I hadn’t thought about black before, but there was enough paper to cover the head and maybe having a darker head would be great for the light colored hats that seem to disappear against the calico.

Again, a pot of diluted glue, paper, brush and this time the Audible book, Born A Crime by Trevor Noah, which was very good, by the way, I set to work doing paper mache. A few hours later, with sticky fingers stained an odd blue-y-black, I left it to dry.

The next morning with guarded excitement and blue fingers, I took a peak. She was lovely. I adore flat black. She looked sleek and elegant. I will call her Trevi.

I have since tried putting a few pins into her. The several layers of paper and glue give the pins a little extra bite for blocking or shaping something. I will always cover her in plastic wrap (cling film) while blocking, to protect her and just incase the black decides to bleed if it gets wet.

I encourage you to not give up the quest for an authentic millinery poupée as they are lovely to work with, but a découpage or papier mâché head can keep you working, while you save your pennies.

Tips for découpage or papier mâché. Thinner paper is more plyable. Thick paper needs to get moistened and soft to contour well. Tear paper rather than cut for smoother edges. Tear smaller pieces to use around the curve of eyes and nose will prevent pointy bits. If your fingers get too sticky, wash them and start again. Let the top dry before doing the bottom, as you don’t want it to stick to the table.

I would love to see or hear about your poupée projects. Please send me photos or post a comment.

Fisherman’s Hat

Making a Fisherman’s Hat has been on my list. I am delighted with my results in denim, a soft red leather, and I even tried it in cork.

I usually make my own hat patterns, but this time I used the Vogue V9044. I did take some liberties with the pattern.

Simple Fisherman in grey denim and pretty much to pattern.

Fisherman in red leather with interfacing only in the band but generally to pattern. I might end up keeping this one. Love it.

Fisherman in cork going seriously off piste. I have a vision of this in a high fashion photoshoot.

Custom cord, covered buttons, and likely some tassels will trim these beauties. If you are interested in how to make these things, I will be teaching various Passementerie techniques at a workshop during London Hat Week in April 2019.

A slight diversion, my husband said the leather hat looked like a motorcycle hat. Search “bikers hat” for lots of variations. He mentioned Marlon Brando’s hat in particular. the View B crown of the Vogue pattern is closer in shape. Perhaps a mash up of the view B crown & view E band. I find commercial patterns more of a suggestion or starting point. If you give it a try, I’d love to see what you come up with. Happy Fishing.

Viennese Delights

Quintessential spring time in Vienna includes sightseeing, cakes, coffee, music and of course hats & their makers. With so many different delights in Vienna, it was hard to decide where to start, but Szaszi Hatters was a real gem.

Szaszi Hatters since 1858 specialize in high end Gentlemen’s custom made hats.

We showed up without an appointment and were loitering outside the door after pressing the door buzzer when Mr. Shapira walked up behind us. He was stern but welcomed us in through the door, down the hall, into a courtyard of sorts. We waited a moment for him to drop off some keys.

My friends, Andy & Rebecca (who thankfully speak German) and I gawked at hat blocks through the window, and when Mr. Shapira returned, he led us into his workshop.

There is something magical about being in a craftsman’s space, an energy, a vibe. I can feel it. Old wood, used tools, pots, and tins of various concoctions. He showed me a pot of actual shellac which is rarely used in hat making any more, at least within the group of milliners that I know. It appears that Mr. Shapira does everything the old fashioned method and there was even a conformature on the side of the blocking table. His hats are made from very fine straw or rabbit, beaver, or mink fur. I desperately wanted to ask where he gets mink felts, but didn’t want to overstep my welcome. I do feel that I was of some help, as he showed me an unfinished top hat for Royal Ascot. I mentioned that Royal Ascot was in just a few weeks. He seemed pleased with the reminder that the deadline was coming up soon.
When traveling with friends, I have to be mindful that I cannot expect them to be as keen on hat shops and workshops as I am. Some basic sightseeing is required before the hat seeing can begin.

Rum, wine & water on roof top of Ritz at sunset

First there was rum, wine and water on the roof top of the Ritz at sunset, then Sacher Torte at the Sacher Hotel, Mozart’s Requiem at Karls Kirsch, Nache Markt for a Viennese lunch, coffee and cake at Demel’s, and finally some Art Nouveau style art & architecture to admire. I was elated to be in the presence of Klimt’s art as well as learning about Egon Schiele and Oskar Kokoschka. As you can see my interests are mostly food, art and craft, however I appreciate that it takes the history of a place to glue it all together.

One of the hat shops was at the Karlsplatz subway station, Collins Hut & Mode.

Conflicted, is how I felt when stumbling across this hat shop as I dashed to meet up with friends. Despite not being able to have a proper look about, I did snap a few photos through the window. I wonder how the crushable red hat looks and feels while wearing it. I was concerned about their signage for a natural straw hat. I know that Panama hats are made in Equador, but just because it is made in Ecuador does not make it a Panama hat.

Ah, Vienna, nibbling an apple strudel, while admiring hats on the run to meet friends. It was all good.

Mühlbauer have been hat makers in Vienna since 1903. The shop was airy and modern. The lovely woman running the shop at Seilergasse was generous in letting us try on hats and take pictures. There were many inspiring styles. I loved a navy beaver fur hat in a simple shape. The straw cap with a peak has been on my “to make” wish list for years. I liked that their hats have a tags signed by one of their milliners. Another nice touch, is how they indicate the front mark with a stitched arrow, which is simple and effective. They have another retail shop and actual workroom in Vienna. If I make it back to Vienna I will definitely go visit them.

Next door to Szaszi Hatters was Pelzhaus Fuss. Discovering something wonderful along the way is one of the best parts of travel. Pelzhaus Fuss specialize in fur and leather, however Spring hats are generally straw and cloth, and it is Spring, so only a few fur pieces were on display. The real highlight for me was the mural, freizes and the ceiling decorations. I was told they have been there 100 years.

I am such a hatter/milliner fan girl, it is a bit ridiculous and thankfully my friends were kind and generous to embrace my excitement and delight in meeting Mr. Shapira and visiting his workshop as well as the other lovely hats and shops in Vienna.

by Karl Karger, ” Arrival of a Train at Vienna’s Northwestern Nation” 1875

by Josef Danhauser, “The Game of Chess” 1839

by Johann Peter Krafft, “Rudolf von Habsburg and the Priest” 1849

by Jacques Louis David, “Napolon at the Great St. Bernhard Pass” 1801

by Freidrich von Amebling, “Rudolf von ? and his Children” 18??

Gustav Klimt is one of my favorite artists and it was a thrill to see The Kiss and Judith up close. I also enjoy capturing the hats from hats painted through the centuries. Napoleon’s bicorne is magnificent.

A train ride to the lovely village of Melk on Monday afternoon allowed for dinner in the square. The next day was a visit to the Melk Abbey which has the library of my dreams and two gorgeous globes. One globe shows California as an island off the west coast of North America. I wish I had a picture. They also had a couple special exhibitions on color and texture. Both were enjoyable and interesting.

After visiting the Melk Abbey we hired bikes and rode through the Wachau wine region and along the Danube to the village of Krems.

We had intended to ride along the south side of the Danube, but the path was closed. We had to go along the north side and I am so glad that we did. The villages and the vineyards were lovely but most importantly we rode into the village of Willendorf where the Venus of Willendorf was discovered nearly 110 years ago on 7th of August 1908. They estimate her date at 24,900- 23,900 years BCE. In real life she is 11.1 cm (±4 inches), but they’ve placed a much larger statue of her at the discovery sight, and she looks over the Wachau valley and Danube River. I would do that cycle ride again, but with a little more time to allow a few stops for some tasting along the way.

I hope you enjoyed Hattin’ Around through Vienna with me. If you’ve been to Vienna, what were some of your favorite things?

Author: Leanne