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In This Month's Hatalk Issue 56, November 2010 Next issue due 17 November 2010 HATalk the e-magazine for those who make hats In this month’s HATalk... Millinery in Practice People at work in the world of hats. This month: Alison Bailey Smith - working with recycled materials. Hat of the Month A delightful sinamay hat by Sheila Shannon. Focus on... The inaugural Bridport Hat Festival; N and O in the A to Z of Hats. How to… Use crochet, trim hats with zippers and try alternative hat bands. Plus – Letters to the Editor, this month’s Give Away and The Back Page. Published by how2hats.com click here to turn over i Issue 56 Contents: November 2010 Millinery in Practice People at work in the world of hats. This month: A look at the work of Alison Bailey Smith, milliner extraordinaire and recycling queen. Hat of the Month Learn about this lovely hat and something about Sheila Shannon, its creator. Focus on... The Bridport Hat Festival and competition - the first event of its kind in the UK. The A to Z of Hats Needle, Newsboy, Optimo and more - learn hat words that start with N and O. How to... Use millinery crochet to add texture to your hats. Something new to try... Make a multi-coloured zip and use it as a hat decoration. Another Way... Two more alternatives to the classic petersham hat band. This Month’s Give Away We’re giving you the chance to win an old How2hats classic in a new form. Letters to the Editor This month: When can you call yourself a milliner? The Back Page Interesting hat facts; books; contact us and take part! 1 previous page next page Alison Bailey Smith Recycling Technology Alison Bailey Smith, the self-proclaimed Techno Cannibal, has been making hats for over 20 years. The materials she uses are found inside old television sets and on rubbish piles. Using copper wire, sweetie and crisp packets and other recycled materials, she creates one of a kind hats and other wearable art. “Hats were the main thing I made initially when I started working in wire in 1989,” says Alison. “I was allowed to finish my jewellery degree if I made jewellery as well. I have always loved hats and was going to study costume but fell in love with the jewellery department at Edinburgh College of Art.” After completing her studies, Alison (pictured below) began exhibiting and selling her work throughout the UK. She was named Scottish Fashion Designer of the Year in 1991 and UK Recycling Designer of the Year in 1992. Following her marriage in 1990, she spent time living in Australia, Canada and the USA. Each new location gave her the chance to develop and expand her work in new ways and find fresh influences. In 2002, Alison moved back to the UK and is currently living in the Wirral, in North West England. The wire that Alison uses comes from televisions that are at least 20 years old, as newer models don’t contain enough. The televisions are left unplugged for a few days before she begins work on them, to make sure that any stored energy has been released. She then takes the back off the TV, removes the circuitboard and breaks into the glass TV tube, exposing the lacquered copper coil of the TV’s neck. After pulling off the coil, Alison removes it from its plastic casing and cleans it with soapy water. She also utilises the smaller coils which are found in other parts of the TV. The coil is usually golden or coppery in colour, but over the years Alison has found more than a hundred different colours of wire. After much practice, it takes Alison about an hour to take a television to pieces. 2 previous page next page Taking a television apart is one thing, turning a pile of wire into a hat is quite another - most of us would not have a clue where to begin! Yet this is exactly what Alison does, coming up with stunning designs which the most discerning of fashionistas would be proud to wear. So, how does she do it? Using her jewellery training as a springboard, Alison has developed her own unique techniques for working with wire and the other unusual materials she unearths. As you can see from these photos, she creates intricate and beautiful patterns and textures which she describes as “reminiscent of brocade and filigree work”. These particular designs were made, respectively, with television wire and toothpaste tubes (top right), sweetie wrappers and television wires (middle right) and varying colours of wire (bottom right). To create hats like the one pictured below (modelled by Anh), Alison manipulates wire by knotting and looping it. She starts with one loop and the piece develops from there. The wrapping technique which she uses to incorporate sweetie wrappers and crisp packets is done as one continuous coil, starting at the top, a series of coils joined together or a combination of the two methods. To shape, or block, the crown of her hats, Alison uses all kinds of objects, including her head, the floor, a metal hat block and a bedpost. Sometimes the hats are all one piece, with the brim being made as an extension of the crown. For other designs, the brim is made separately and then joined to the crown by overstitching it with wire. 3 previous page next page Linings, one of which can be seen inside this wire and peacock fringe hat (right), are sewn in after the hat has been completed and can be made to accommodate special requirements. When creating a hat for cabaret star Holly Penfield, Alison designed a removable lining to allow the singer to perform in her various wigs or with her own hair. Panne velvet is Alison’s first choice for linings, as it allows for stretch and manipulation, but she also works with more structured woven fabrics. Masterpieces like this Peacock Feather Hat (left) and Phoenix Hat (below) take Alison about one week to complete. She told us, “It’s a very creative, organic process with decisions being made constantly about which direction to take the shape. I can work to design and often do designs for clients beforehand, as it is often hard for them to visualise, although generally they try on the many hats I have and say what they like and don’t like about each hat.” In a society where the cost of materials usually determines the value of an object, Alison is determined to prove that it is possible to create highly desirable art and fashion objects using materials which are deemed by most as completely useless. She also makes sure that her hats are both durable and wearable - except, she is quick to admonish, in a thunderstorm! As well as hats, Alison also creates wire jewellery, corsets, waistcoats and even shoes. She continues to show her work in exhibitions and teaches workshops on creating art with salvaged materials. She also runs an agency for other artists. To see more of Alison’s work, visit her blog or website, www.abscraft.com. Her hats are for sale on Etsy and Folksy. 4 previous page next page Hat of the Month by Sheila Shannon Many milliners were creating some form of art long before they ever made their first hat. Whether sculpting, painting or working with textiles, any type of creative work can form a brilliant foundation for making hats. Sheila Shannon, who lives in County Wicklow in Ireland, has always had a keen interest in anything artistic. As well as working as a nurse caring for elderly people in a local hospital, she has sold many of her original paintings over the years. In 2007, she was looking at the headpiece she had purchased to wear to her son’s wedding and was unimpressed with the way it was made. Sure that she could do a better job herself, Sheila enrolled in some day courses in Dublin to learn basic hat making skills. Working hard since then, Sheila has continued to develop her millinery skills and is now making hats to sell. She mainly caters for mothers of brides and grooms and takes orders for other special occasion hats. All of her hats are one off pieces, with no designs repeated. Sheila recently finished a painting based on one of Claude Monet’s water lily pieces. Monet is her favourite artist and doing the painting inspired her to try and create the same scene on a hat. A friend had brought her some sinamay and abaca, also known as medley tuft or tangle tuft, back from the Philippines and this seemed the perfect use for it. 5 previous page next page The headpiece itself, which represents the ‘pond’, was made from two layers of sinamay, one green and one blue, covered with red abaca. These colours were chosen to depict vegetation in a pond. The layers of material were sprayed with water, pressed together, wired and then trimmed with a piece of blue sinamay which was about 1/2 inch in width. No blocks were used. This section was then attached to a circular base, about 6 inches in diameter, made from three layers of sinamay. Sheila then created a ‘bank’ for the pond, using red sinamay trimmed with blue abaca, and attached it to the hat. Green and red coque feathers and cerise ostrich tips became the ‘overhanging foliage’. Red and blue beads were added to complement the feathers and achieve the effect she wanted. Sheila had a clear idea of what her water lilies should look like but wasn’t sure how to go about making them.
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