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 -

Close up of Mr Treacy's hat

I have spent many a lovely morning at Leeds Archive, it makes you stop and think and invites so many thoughts about the origin of objects and the lives they have had. I was invited to join the evening class students as they looked at feathered hats within the collection and were shown the damage the many bugs and creepy crawlies can do to feathered objects ( one of those itchy moments) a fantastic opportunity.

A flavour of the archive a place of magic and dreams

 I had seen the Philip Treacy hat that the museum had had commissioned for their Ruffled Feather exhibition in 2010 and knew how much it had cost and the trials and tribulations. It was still a privilege to see it so close and more importantly for myself to see its construction, how was the wire inserted, what was the ribbon that had been used? ( A stretchy velvet) How were the feathers added? Smaller quills support the main plumage. and what was the twist made of? It is so strange that the hat will never be worn, just live i its grandiose box and come out for exhibitions, an intriguing museum conundrum.

The underside of the Philip Treacy hat-key for every milliner to see how it was done

Close up on centre twist - Philip Treacy feathered hat

Ostrich feathers on Victorian Bonnet

My Ruffled Feather hat Property of Leeds Museum and Galleries - Very strange to have one's hat brought out to be examined.

 I was very fortunate that when I designed a piece for the exhibition I was approached along with Justine Bradley-Hill for the museum services to purchase my hat for the collection, a real honour.
But a funny feeling to have it there for others to critique and examine, all god experience.

hat by Justine Bradley-Hill

One so much wants to put the Philip Treacy hat on your head, strange that it will never be worn.

Stunning feathers - though not quite sustainable