EVENT
Rachel Frost showing the bow felt technique
employing skilled milliners have largely disappeared, while suppliers, specialist materials, and traditional techniques have steadily declined. He warned that without allied crafts such as block making, felt production, flower making, and straw preparation, the wider hat trade itself cannot survive. Particularly concerning is the state of block making, with only a handful of block makers remaining in the UK.
Much of the symposium focused on the importance of safeguarding these interconnected skills. The British Hat Guild has been working together with Heritage Crafts on initiatives connected to the UNESCO Living Heritage framework, aiming to raise awareness of endangered hat-making crafts and strengthen support structures for future generations. The programme itself reflected the
breadth of specialist knowledge still present within the industry. On Saturday, Lucy Barlow and Veronica Main opened the day with Straw Plaiting and Strip Sewing – A Perfect Synergy, exploring traditional straw techniques and the continuing relevance of historic machinery and processes. Throughout the day, Jo Willis demonstrated straw plaiting live, giving visitors the opportunity to observe the precision and intricacy of the craft at close range. Several presentations focused on specialist decorative techniques and materials. Jaffe et Fils offered a rare glimpse behind the scenes of the UK’s last remaining plumassiers, while Ian Bennett explored the continuing use of feathers within contemporary millinery. Paul Stafford and Bridget Bailey demonstrated
the sculptural possibilities of hand pleating, followed by Rebecca Gray, who combined millinery and puppetry in an imaginative presentation exploring hats through marionette performance. Mavi Tzaig of The Panama Hat Company traced Britain’s enduring fascination with the Panama hat, while Rachel Trevor Morgan concluded the day with Flowers for the Queen, offering an insight into the craftsmanship behind hats created for Queen Elizabeth II. The second day continued the
symposium’s emphasis on education, preservation, and the transmission of skills. Sarah Cant from The King’s Foundation and Vesna Pesic from Morley College discussed the importance of teaching, mentorship, and accessible training opportunities in sustaining heritage crafts. Harvy Santos and Claire Strickland followed with a live demonstration of the historic 17-Guinea straw hat machine, highlighting the technical knowledge required to operate and maintain such equipment. Rachel Frost’s presentation on bowed-
felt hat making stood out as a particularly significant contribution, documenting her research into reviving a nearly lost British craft. Catherine Morse-Brown of Guy Morse-Brown Hat Blocks highlighted the often-overlooked importance of traditional hat block making, describing it as the hidden foundation behind millinery itself. She also addressed one of the central challenges facing heritage crafts today: not only finding people willing to continue these skills, but also making it financially viable for them to do so.
Ian Bennett demonstrating feather techniques
Traditional flower making returned as a theme later in the day, with Edwina Ibbotson, Giulia Mio, and millinery supplier Petershams discussing the artistry and continued relevance of handmade silk flowers within contemporary millinery. The symposium concluded fittingly with Ben Dalrymple and Paul Hier of Lock & Co. Hatters, celebrating 350 years of one of Britain’s most enduring hat-making institutions. The response from attendees to
the Heads Up symposium was, by all accounts, overwhelmingly positive – described as educational, thought- provoking, and inspiring. Beyond the symposium, London
Craft Week also saw hat making celebrated through a series of intimate masterclasses organised by Odette & Elliott, London and NLDQ Millinery, who ran three sessions teaching couture millinery techniques – specifically the making of dancing ribbons in sinamay – at the Oriental Club. The workshops attracted a varied audience, including medical professionals, club members, and complete beginners, many of whom described the process as therapeutic and highly engaging.
More information
www.londoncraftweek.com
august 2026 | 15
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