EVOLUTION OF A HAT

Bay of Plenty Beacon, Volume 11, Issue 94, 31 October 1947, Page 3

EVOLUTION OF A HAT

FROM SHEEP’S BACK TO WOMAN’S HEAD

One of the most heady exhibitions held in London last month was the collection of millinery sponsored and presented by the British Millinery Journal, states a style newsletter recently received by Miss D. Staff of the New Zealand Wool Board. Thousands of women visited the hat show, which began with the felt hat as it looks in its “natural” state —just a pile of greasy wool straight off the sheep’s back. Stages in the evolution of a hat had a perpetual, and perpetually absorbed audience at the demonstration stand. Here, the manufacturing processes which turn wool into a material* that is neither woven nor spun, but consists of a compact mass of tightly pressed or “felted” fibres was shown in detail, right through to the birth of the capeline ready for modelling, trimming and price-tagging by the milliner. Wool is still the only material in

the world, natural or synthetic, possessing the unique trick of being able to interlock its fibres under the stress of moisture, heat and pressure, until it matts into felt. Ancient Tibetan Method

Certain in Tibet are still using the primitive manufacturing method discovered thousands of years ago by early man. They spread out layers of wool to the desired thickness. Then they add water, with grease or oil, and roll the whole thing up under firm foot pressure. The rolling routine continues merrily for about five hours. When the fibres are firmly matted together the felt is unrolled for the last time, washed, stretched, and dried in the sun. Today the general method remains the same, but 'Selected materials, specially designed machinery, a research laboratory, and an engineering staff, are regarded as necessary additions. With these modern supplementary the uses of felt as a covering for anything from coiffures to water pipes, carpets, tennis balls, conveyor belts, cuddly toys, and piano key dampers, have become legion.

Its adaptability was underlined at the hat show in the hypo-assorted styles created by forty British millinery houses for autumn and winter wear. Dorland Hall, in the heart of London’s West End, housed this display, extensive, comprehensive, and the first event of its kind. Delicate Pastel Shades

After the drab “serviceable” greys and browns of the past years it was refreshing to see delicate pastel shades and vivid violet and green. Edwin Nott had blended these colours startlingly but well in one model of wool felt strip. Hats sit deep on the head this season. They have a pronounced side slant, giving the crown an elongated shape instead of the round baby connet. Large brims flare into an elipse. Whether hats for the coming season are off-face, upward, or forward in trend, they are all head fitting, and follow the line and flow of the hair.

Mitzi Lorenz showed a daring creation in a wool tartan cloth, a skilful blend of. both an up-to-date and an old-fashioned tam, finishing with a shoulder drape. This was matched with an outsize . shoulder bag.

With Sam Scott Ltd. fashion went deeper than the mere changing shape and colour of a hat. One of his most outstanding designs was a violet wool felt tilted hat of sophisticated simplicity enhanced by a side cluster of ice-blue ostrich feathers.

There was an elaborate display of fine felt flowers used as trimming for many hats—ranging from an entire bouquet of mixed wild flowers to a blush pink rose. Many evening hats were made entirely of wool felt flowers carrying the scent of each particular bloom.