REPORT
Buntal mats Louise Macdonald
While developing a series of buntal pieces, Australian milliner Louise Macdonald found herself producing a run of Breton-style shapes for her customers. She had previously devised and shared a technique on Hat Academy that transforms buntal mats into classic brims without the use of a traditional block. Originally designed for creating one-off shapes, the method was not adaptable for repeat production. Louise reflects: “Rather than going through the whole process that is designed to make a one-off piece from a buntal mat, I transformed one of my teaching aids into a block to allow me to get a consistent shape.” The process drew on her understanding of sparterie block making, a technique she studied under Rose Cory. Once the buntal mat shape was finalised, Louise reinforced the form with strong wire
around the
edge and collar. She then applied two layers of dampened paper sparterie, moulding it to the buntal shape and machine-stitching the layers together for stability. A window sash cord sewn around the outer edge provided a firm surface for pinning, and the entire block was sealed with non-toxic gesso for added strength. “A buntal mat is ideal as a base; it has body, strength and a bias weave that allows for hand-shaping,” Louise notes. Sparterie complements it well as a support material, offering similar flexibility and the ability to be shaped by hand. Offcuts of buntal mats or other straw materials can also be used to support the form. She now uses this block primarily for other buntal mats, which respond well to its shape. However, with sufficient stiffening and reinforcement, the block could be adapted for other materials, including felt. “Practise creating different initial buntal mat shapes and take it in a different direction,” she encourages. For Louise, the greatest challenge lies in developing the initial form and cultivating an eye for balance – meaning, seeing if things are even and where the curves need to sit.
More information
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Paper card Edwina Ibbotson
At her Battersea studio in London, couture milliner Edwina Ibbotson has developed a practical and surprisingly durable method for extending and shaping hat blocks using layered paper card. Renowned for her exquisite craftsmanship, Edwina employs this technique both to adapt existing wooden blocks and to create small, standalone forms. “It is definitely my go-to method for simple extensions,” she explains. “I do also sometimes use this along with sparterie.” The process involves layering thin, lightweight card, cut with scissors and glued together with PVA. “They become incredibly strong with just a few layers, surprisingly,” she adds. Once built up, the form can be sanded to round off edges, avoiding the sharpness that often results from flat materials. Edwina applies this method to modify
and extend existing shapes – for example, transforming a slightly angled downturned brim into a coolie shape, or adding a pointed top to a square or round crown. She also uses it to create simple standalone forms such as cylindrical, square and rectangular blocks. The process relies only on lightweight materials – thin card, PVA glue, scissors and sandpaper – making it both accessible and efficient for shaping and refining designs. The technique grew out of the card cut-
and-slash method Edwina learned during her training with Marie O’Regan. She has since adapted and expanded it to widen the possibilities of her block work. “It is just a case of working out how you can get the end results you need, and trying different things until you get there,” she advises. While the method is best suited to
straight-edged forms, given the limitations 50 | the hat magazine #107
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