REPORT
Buckram patterns on blocks Ilona Ames
Ilona Ames’s love of vintage hats began well before her formal millinery training, sparked by an early fascination with historical construction methods. A pivotal discovery was the use of pattern shapes to segment buckram into sculptural headpieces – a technique she continues to refine today. Her interest in half hats
Flat pattern buckram block
Judy Bentinck
The flat pattern method is especially valuable when working with unusual proportions. “The flat pattern method is very useful for creating a hat for a person with a small or large head, or when creating a hat with unusual proportions such as a very tall crown or oversized brim,” says Judy Bentinck. The technique, which Judy learnt from milliner to the late Queen Mother and renowned teacher Rose Cory MBE, allows flexibility in both design and fit without the need for costly equipment. The process typically involves three layers of buckram.
For example, when making a pillbox shape, one piece of buckram is dampened, overlapped at the ends, then ironed until dry and firm to form an oval. The shape is reinforced with wire at the top and bottom edges, which helps it hold structure before being joined with a wired oval tip. Rope is glued inside the inner edge, and the entire piece is then covered with further layers of buckram, smoothed, dried and stitched in place. Once complete, the block is stiffened inside and out with undiluted water-based stiffener. After a buckram block has been tested and used, it can
be sent to a block maker to be reproduced in wood. “If it is a popular design, it is definitely worth having it made in wood as it will last so much longer,” Judy suggests. Buckram blocks, however, do have their limitations. With
repeated steaming and ironing they may develop dents or dips. These can be repaired, but each repair gradually weakens the structure. For a step-by-step guide to the flat pattern technique, see Judy’s Workroom Technique in Issue 93 of The Hat Magazine.
More information
www.judybentinck.com
was ignited by a vintage guidebook, How to Make and Trim Your Own Hats by Vee Powell. “Chapter six, on half hats, absolutely fascinated me,” Ilona recalls. The book recommended blocking a rectangle of buckram and cutting the shape afterwards – a method she found less effective for achieving symmetry. “Pre- cutting the buckram gave me better control, especially for swirled shapes,” she explains. Ilona’s process begins with a single
layer of buckram, carefully cut to the desired silhouette. “I steam the buckram over a dome block – sometimes even a poupée head – and pin it in place until dry,” she says. Once set, she wires the edge, noting that “the more elaborate the design, the more challenging the wiring becomes.” A layer of domette or flannel is then added for softness, followed by the fashion fabric. While silk velvet remains a favourite, Ilona has also used pleated silk dupion, feathers and modern 3D lace appliqués to striking effect. Despite their versatility, there are limits. “They don’t lend themselves to three-dimensional shapes,” Ilona admits. “I’ve tried adding padding and wadding, but the finish is never smooth.” Through extensive research into vintage styles, Ilona has developed a range of patterns she refers to as calot forms. These compact designs have proven especially popular with bridesmaids and first-time hat wearers. “They’re easy to wear and style, almost more like headbands than hats,” she notes.
More information
www.byilona.co.uk
november 2025 | 47
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