REPORT
papier-mâché can be combined with existing blocks. Irene recalls one example where she first blocked and heavily stiffened a felt, then layered papier-mâché over it to develop new hybrid shapes. While papier-mâché blocks are more fragile than wood and must be handled with care – particularly when pinning – Irene has found that adding fresh layers and sanding restores their strength and prolongs their use.
More information
www.ivvhatsandbags.com
Cork Cristina de Prada
selected by Stephen Jones as his Patron’s Pick in the Millinery Australia Design Award 2022. The success of that piece led to further experimentation, including the creation of a convex block and two upturned forms. Though EPS foam has a limited lifespan – pinholes and dents accumulate over time – it remains a valuable tool for prototyping and pushing creative boundaries. “It can be time-consuming,” Chris admits, “but I want to create something that is totally different.” For more on foam block
making, see Ian Bennett’s Workroom Technique featured in this issue.
More information
www.chrismullanemillinery.com
In her Barcelona studio, milliner Cristina de Prada has embraced an eco- conscious approach to block making using compressed cork, a sustainable by-product of the wine cork industry. Unlike solid bark from the cork oak (Quercus suber), this material is made from granulated cork, pressed into sheets that are lightweight, workable and surprisingly resilient. While cork block making is not new, Cristina’s introduction to the technique came through her friend and colleague Nina Pawlowsky, who worked with the last active cork block maker in Barcelona until his retirement in the early 1990s. Nina had long commissioned cork dolly heads and custom blocks from him, but when he declined to pass on his tools or knowledge, she taught herself. At first, she assumed cork blocks were carved from solid compressed pieces – a method that proved both wasteful and difficult. She soon discovered that layering thick sheets of cork was far more effective. Nina later passed this technique on to Cristina, who began making crown and brim blocks using layered cork. As her designs evolved, Cristina adapted the process. “I wanted to create more
delicate, flowing shapes,” she explains, “so I began using thinner, more flexible sheets of cork, adapting the process for sculptural hat forms.” In both cases, the method involves pre-cutting the cork, gluing the layers together with contact adhesive, and sculpting the form with a rasp, file and sandpaper. Though cork lacks the strength of wood
and can be fragile due to its particulate structure, it excels in millinery applications. Pins can be inserted easily and the surface can be hardened with a layer of varnish if required. Cristina notes that while cork is not ideal for sharp edges or pointed features, it is well suited to soft curves and organic forms. This technique offers milliners a
sustainable alternative to traditional block making, combining practicality with environmental awareness. As Cristina’s work demonstrates, innovation often begins with material – and cork continues to shape her creative process, one layer at a time. To explore this process, see Cristina’s
Workroom Technique in Issue 78 of The Hat Magazine.
More information
www.cristinadeprada.com
november 2025 | 53
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