Research Dissemination

As part of my HE work we have to undertake research work. So back to work and the second week I had to present my research practice along with several other tutors to our peer group. No pressure.

One of those late nighters later - I didn't fall flat on my face and my USB stick had saved the images in the right format. The presentation seemed to go well and it has given me the confidence to apply to present at more academic conferences and appreciate that the work I have done has value and relevance.

J Smith Esquire - Illuminated from Hot Heads Exhibition, Hat Works.

The Art of Exhibition Labelling

My wonderful and talented (step) daughter, Agatha kindly joined my volunteer status for the exhibition and agreed to get into my head to decipher what look the exhibition graphics should have.
As a designer one is always aware of how difficult it can be to get the information from a client as to what they actually want. We all communicate in different ways and miss communication often happens, we are all too aware of that facial expression if our reading is slightly off course.
So it was really interesting to see how differently the process can be with a relative who can be on the same wave length and has the same visual language reference points, it is far easier.

Agatha had seen the space when visiting The Finishing Touch so knew the constraints and what the space was like.

The Finishing Touch Introduction Panel

 We had a title - Hot Heads - Inspirational British Millinery and a mission to create a cutting edge exhibition so wanted the graphics and look emulate this but also not scare off regular museum visitors. Colour schemes were looked at and agreed quickly then it was the typeface.

Working in an art college and having relations in Graphic Design I understand the nuances of type to a degree, so I am fortunate, often one forgets that we are in a privileged space as many don't and graphic designers walk a fine line. I loved the font that was purchased for the logo, others were not so convinced.

Hot Heads Graphics  - copyright Aggie Bainbridge

 I am so glad that they let us stick to our guns and that I was dogmatic in that this was right for the exhibition look, as it does work in putting across what the exhibition is about.

A great result down to a lot of very hard work and late night emails as the quality of images wasn't always right and some images were over deadline, a few more grey hairs!! A huge thank you to Agatha as she was incredible in her approach and determination and her wonderful designs.

Noel Stewart panel - design Aggie Bainbridge

Next Stage of the Exhibition Process

Not the new exhibit, just more preparation.

Setting up Hot Heads was an exciting process, daunting in that we didn't have all the hats! Being on the phone to one of the designer's PR's to check for the arrival of the hats, to be told that they were about to be selected and could we send a car to collect them, (from London)! Was definitely a surreal moment, especially when working so well with other designers. All a very interesting learning curve.

What shall we put where?

 We had quite a few of the hats, just three designers absent. Good to evaluate afterwards as to how to do it better next time and manage the process in a different way.  Yet there will always be personalities to deal with.

so much to do

Karen Henriksen box of stunning headwear

A fascinating opportunity to look at other people's work

Working out the best cases for the work - Zara Gorman

Zara Gorman - sculptured wood

Checking the locations for Edwina Ibbotson

Close up of rolled fine straw flower - Rachel Trevor-Morgan

New Exhibition Begins

' I hold in general a belief that courage is the shortest route to the good life. As a matter of fact I believe courage is synonymous with the good life. I see fears as normal and rational in my life, but fear does sometimes try to hold me back and try to stop me from actions that make life rich and rewarding. To live a fully engaged life I feel I need to exercise some measure of courage. Courage to me is a willingness to try.' Waltraud Reiner, Australian milliner and inspirational tutor.

These words echo exactly how I felt when I drove to Hat Works ready to begin the next installation. Knowing that 'sticking one's courage to the sticking spot' (Macbeth) is so important to help us grow and learn, and as I have been rereading the Twyla Tharp book again, 'What was the worse thing that could happen' my family would still love me.

empty cases at Hat Works, Stockport.

Deciding where we need to put the cases

Quite a strange feeling to have the technician ask me where I wanted the cases to be? I realise that I am not quite there with the confidence of curator just yet as I didn't have a vision for it all. Or was it that my occasional feeling that winging it does sometimes work and gives new ideas take over. Cases were moved, lights installed and stripes painted. Our only real dilemma was that three of the milliners hadn't sent their hats..........As I reflect on this now after a very successful opening it seems quite funny because it did work out and you realise that there is usually a solution somehow, even if it had been to borrow a certain hat from Leeds Museum Archive.

Phew we have some of the hats - William Chambers - Latex Flower Head Piece

Our stunning colours - courtesy of Graphic Designer Aggie Bainbridge

Hats delivery from Rachel Trevor-Morgan

 

End of an Exhibition

I have written little on this blog about my work at Hat Works as Guest Curator, due to a variety of reasons. This began when on my MA helping out answering research questions and being an extra pair of hands, then led to a project for my final course work to curate an exhibition on Trimmings for millinery. It was a fantastic experience so as it all comes to be taken down before the next one is put up it was a good time to reflect on what I had managed, with that fear that i wouldn't be able to do as good a job next time.

Items from the Ribbon Case - hat from Hat Works archive

Ribbon trims from Marie Kay

A selection of ribboned hats from the Hat Works museum

Stunning wood pieces from Emma Yeo in the New Materials case

Rebecca Thomas, William Chambers and Marisa Groom, one of my favourite cases

Fabric Trims a selection from the museum and Claire Spooner - Quaintrelle Millineryturban piece

Mitzi Lorenz - Cloche

Mitzi Lorenz - Orange melusine felt

Vintage feathers - Hat Works collection

Flower case

Graham Smith Feathered bomb hat

Audio coverage panel

My exhibition opening - very proud -

What's Hot - Hat Works - Milliflorae

I am always surprised by how fast time marches on. It felt much less than 3 months since we had up dated the What's Hot case at Hat Works with the fabulous work of Jen Scott-Russell of H'Atelier, now we were taking it down to be replaced by the next up and coming milliner, Kate Jones.

H'Atelier Showroom, Manchester

Kate works under the name Milliflorae by Kate Jones and I have been fortunate to know her for a few years as she originally trained at Leeds College of Art completing her BA in Fashion and doing millinery as an elective. Kate has the skill to produce strong millinery forms that are eye catching, dramatic and yet wearable. She came to prominence last year in the Stephen Jones competition with Vogue on line with a stunning wood laminate piece, which justly placed her in the top four of this international milliner search. the piece is in the exhibition for closer perusal.

Stephen Jones competition piece

Since her initial experiments with this new material for millinery Kate has really progressed this and the full collection designed specifically for the What's Hot exhibition is a joy to behold. The exhibition is on until the end of August.

Kate with Stephen Jones at Hot Heads launch Hat Works

Rachel Trevor-Morgan - An Interview

After my diversion to the most wonderful museum in the world, I was back to St James' to meet the elegant, inspirational and down to earth milliner to The Queen and many more Rachel Trevor-Morgan.

Rachel's atelier is hidden down a quirky alley running parallel to St James' Street and backs onto Lock's hatters. As you go up the windy stairs it really does feel like going back in time when craft skills were revered and milliners were more abundant. Ushered into the showroom by Rachel's lovely assistant I sat amongst a garden of exquisite head wear, trying to stop myself from picking them all up and looking closely at all the workmanship! Stunning, simple and all collectable.

I hadn't met Rachel before though we had been in touch regarding the last Hat Works exhibition and the Worshipful Company of Feltmakers Competition so I was looking forward to finding out more about her and her millinery career. Rachel has been in millinery for 22 years, I loved the fact that she began as she and her friend at the age of 18 came to London with this idea that they could make Clown costumes and sell them. Thankfully for the millinery world this didn't take off and she contacted lots of milliners to see if she could get work experience with them, renowned London milliner Graham Smith took her on and she began in his workroom.

Rachel talks with reverence of her time with Graham Smith and how he embedded her passion for the importance of good workmanship above all else and that a hat or headpiece should always flatter the wearer. Working in his workroom meant these skills are without question though she felt she needed the skill of working with a client, which she went on to do with Philip Somerville, honing her skills for setting up her own label. Rachel only makes bespoke, couture pieces for clients. Each year she creates a collection taking reference of the seasons colours and textures, these are the starting point for the customers that visit the atelier for a consultation.

Rachel Trevor-Morgan in her atelier

One of the things that I had to ask Rachel was what it was like to be synonymous with making hats for Her Majesty The Queen. I loved that she walks passed the palace on her way to work each day and still pinches herself that she visits there and that she makes hats for Her Majesty. Rachel is a wonderful advocate for millinery its place as an artisan craft and the importance of ensuring these skills are passed onto new generations of milliners, even more so as milliners businesses are no longer large concerns and able to offer apprenticeships. I left feeling even more inspired to continue my own mission to show how important the making of hats is and that it isn't some hobbyist craft that doesn't fit within fashion, couture and art and design world.

  Three of Rachel's hats are in Hot Heads - Inspirational British Milliners at Hat Works until January 2013 and you can listen to the full interview.

A trip to London

June 2012
Strange how things all happen at once, sods law I think its called! We are all accustomed to it i think. End of Year Shows on the horizon and the next exhibition that I am guest curating at Hat Works, plus the everyday work stuff all piled in front of me.

Part of my teaching/research work and the Hat Works exhibition was to do some interviews with key milliners in London. Excited - terrified - all in the mix.

As I walked down St James' to Lock and Co the Horse Guard Cavalry riding be seemed like a perfect good omen.

Workroom of Sylvia Fletcher, the couture milliner at Lock's

First up was a meeting with Sylvia Fletcher at Lock's. Praying that I would work the recorder properly and that I would ask the right questions. Sylvia is often overlooked in the millinery world of excess and brashness, her work has a simpleness and effortlessness that is always wearable and adds that something special to the wearer. This had been shown earlier that week at the Jubilee Pageant on The Thames when the Duchess of Cambridge wore one of Sylvia's creations, a striking red beret.

Duchess of Cambridge

When asked about how it felt to see the Duchess in one of her hats Sylvia could say just one word 'Delighted' she was really thrilled. In a glittering millinery career she has had many highlights this being one of them.

Pages from Sylvia's book 'Headfirst'

 Sylvia began her millinery career at 16 joining a large workroom, where apprentices were allotted certain tasks as they learn their craft, she rose quickly in this environment and was designer at 18. Listening to Sylvia you realise how quickly the millinery world has changed, not so long ago your training began at the atelier not in the college and now there are so few ateliers left to enable the college graduate to cut their teeth and learn those skills.

Ladies Department at Lock's

Other changes we talked about were materials the loss of esparterie and the beautiful silk veiling and linen like straws. Not that the changes in materials affects the stunning headwear that could be seen the showroom. As Ascot was approaching there were still customers arriving hoping to find the right hat and that usual expectation that a hat could be made in a day or two! The team at lock's were fantastic and one could see why the ladies' keep coming back to this most elegant shop.

Lock and Co, St James, London

Hat Works - A museum for all?

When I volunteer at Hat Works, i am often there when it is closed which for a museum geek like me is truly brilliant. Equally I love being there when the public are and listening to their comments and thoughts. One frequently heard is the 'I haven't visited before and am really pleasantly surprised" often the expectation that its just pretty ladies' hats ... my old gripe of hats' for the races! When in fact the hatting industry is a plethora of skills, techniques, materials etc. and was not an easy industry to be involved in.

So a brief look at the blockmakers, in many ways my favourite bit.

Manager's Office

Lathes and those gorgeous blocks

William Plant donated aspects of the factory to hat Works when they closed down.