INTERVIEW
3D sketching From industry to millinery
“The company was founded in 1945, so exactly 80 years ago, by my grandfather,” Julian begins. “He had training in foundry models and casting models, which is why he started designing machine parts and producing wooden patterns for anything that needed to be cast. At the time, hats were enormously popular, and he realised the skills and tools of a foundry workshop could be applied to hat blocks as well, as both are essentially forms.” At first, his grandfather continued with industrial blocks, but soon he saw the potential in millinery. “Because ladies’ hats were in such demand, he began making wooden blocks as well. From a manufacturing perspective, it is the same principle: to produce a model in aluminium, you first make a wooden form. Adding hat blocks to the assortment was, therefore, a natural step. The market was strong, and orders came quickly. The rest is history.” That pragmatic approach to
materials remains the defining characteristic of the business. “To create something in a hard material, you always begin with a softer one,” Julian explains. “In the past, wood, wax or plaster was used for the cast model. Gypsum was also common, particularly for tippers. We still use it today; we pour a gypsum mould, then cast it in aluminium to make a tipper or counter form. These counter forms are the exact shape of the wooden block.” While focusing primarily on wooden
hat blocks nowadays, the company continues to make aluminium blocks as well. “Some castings we produce in-house, but many we commission from the local foundry in our hometown – the last one still operating. Whenever the form requires very high precision, we prefer to do it ourselves. Otherwise, we work with
them because the demand for aluminium blocks and tools is considerable. These blocks and parts are shipped to factories in Europe, the United States, the Middle East and beyond.”
Craftsmanship meets high tech
Kacprzak Hat Blocks has increasingly incorporated digital tools, though handwork remains at its core. “In the past, customers might send us a finished hat to copy, a drawing or even a homemade plaster block. Now they can also send 3D files,” says Julian. “We don’t produce 3D printed blocks for sale, but we use 3D printing internally. The scanner has also become an essential part of the process, as it is really just a very advanced ruler. We sometimes scan blocks to capture precise measurements, after which I retouch the digital files. When customers send me sketches, I can quickly produce a 3D rendering, place it on a virtual mannequin, and return it to them. In minutes they can see if the proportions work. My father used to sketch by hand; I do it digitally. The conversation is the same, only the tools have changed.” Alongside these digital methods,
the workshop also makes use of more traditional machinery. “We use a special industrial copy machine, an old mechanical system that allows us to reproduce a wooden pattern quickly in different sizes. The result is only a rough outline, so each block still requires manual sculpting and finishing, but the machine shortens the process considerably. This copy machine was built entirely by my grandfather, who designed it specifically for hat blocks and machined all the metal parts himself. More recently we have begun investing in CNC technology, because unlike the older machine it can produce blocks more precisely with less finishing, helping us keep prices affordable without compromising craftsmanship.” Such improvements have become increasingly important as demand has
grown. “At the moment, delivery times reach up to ten weeks. A year ago, it was six to eight,” Julian explains. “When my father used to complain about too many orders, I told him to raise the prices. But when I joined the business, I realised I didn’t want to increase prices, as I wanted more people to be able to buy our blocks.” The solution, he says, lies in constant
refinement. “I focus on making production faster and more efficient rather than hiring more people to make them. Wooden blocks are still made by hand, but we are developing more templates and guides. My goal is to bring blocks to customers at the lowest possible price, without compromising quality.”
Designing and creating
The workshop today is a three-man team: Julian, his brother, and their father. “Each of us can produce a block from start to finish,” Julian explains. “My father and I usually take care of design work with customers. My brother is a tireless worker with great strength for sanding and finishing. Personally, I enjoy variety. I like that each block is different; it keeps the work interesting.” Like all block makers, Kacprzak must
navigate questions of originality. “If a client sends us a very distinctive design, we reserve it for them alone and never offer it to others,” says Julian. “But sometimes a customer asks me to hold a shape that is widespread, such as a fedora that differs only by a millimetre or two from another. That is difficult. I explain that I cannot guarantee exclusivity for such classic shapes.” For couture-level designs, the boundaries are more precise. “When a designer creates something truly original and asks me to make a block, I will not put it in the shop or sell it to anyone else. It becomes a matter of professional ethics. Legally, no one would sue me for making a shape, but it would damage our
november 2025 | 59
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