Select Page

Straw hat maker Lucy wins President’s Award

Lucy Barlow with Heritage Crafst Co-Chairs David Clarke and Jay Blades MBE

Lucy Barlow with Heritage Crafts Co-Chairs David Clarke and Jay Blades MBE

Straw hat maker Lucy Barlow has won the 2023 President’s Award for Endangered Crafts. The prestigious award, and £3,000 bursary, was initiated by Heritage Crafts’ President the former Prince of Wales.

Heritage Crafts was set up 13 years ago as a national charity to support and safeguard heritage crafts skills, and has become well known for its Red List of Endangered Crafts, the first research of its kind to rank traditional crafts in the UK by the likelihood they would survive the next generation.

The President’s Award trophy was presented to Lucy at a special presentation at St George’s College, Windsor Castle, on Wednesday 15 November 2023.

President's Award 2023 made by Eddy Bennett

President’s Award 2023 made by Eddy Bennett

Lucy apprenticed with Phillip Somerville of Bond Street in the late 1970s and then went on to Paris to assist master milliner Jean Barthet on the collections of Yves St Laurent, Chanel, Balenciaga, Karl Lagerfeld and Claude Montana. Recently completing an MA in Menswear Millinery at the Royal College of Art, Lucy’s dissertation ‘The Last Straw?’ looks into strategies for the regeneration of the stitch straw industry in the UK. She is a 2019 QEST Garfield Weston Foundation Scholar.

Lucy plans to use the prize to equip her garden workshop so that she can teach machine sewing of straw plait into hats. She would repair historical machines and also invest in new machines that are easier to acquire spare parts for. She plans to focus on finding ways to bring the skill to future generations and involve more diverse communities.

Judges for the Award included Heritage Crafts Co-Chair Jay Blades MBE, Kate Hobhouse (Chair of Fortnum and Mason), Patricia Lovett MBE, Simon Sadinsky (Executive Director of The King’s Foundation), and Johanna Welsh (2022 President’s Award winner).

Klay Evaori by Lucy Barlow

Klay Evaori by Lucy Barlow

Winner Lucy Barlow said:

“Its now up to me to take the baton of support and recognition for this wonderful craft and use this to power for the good and for future generations.”

Heritage Crafts Executive Director Daniel Carpenter said:

“Many people know the former Prince of Wales as a long-time supporter and champion of traditional craft skills, and his passion is all too evident through initiatives such as the Heritage Crafts President’s Award. Lucy is an immensely deserving winner and we know that in her hands the prize will provide a massive boost to the outlook of this endangered craft.”

The two other finalists for the 2023 President’s Award were Michael Johnson and David French. Michael, the UK’s leading artisan coppersmith operating from Newlyn Copperworks in Cornwall, was awarded a finalist prize of £1,000 donated by former Heritage Crafts Chair Patricia Lovett MBE. David, a fifth generation withy crab and lobster pot maker from Devon, and one of only about ten remaining in the UK, was awarded a finalist prize of £1,000 donated by President’s Award judge and Chair of Fortnum & Mason Kate Hobhouse.

President’s Award 2023 finalists announced

President's Award 2023 finalistsThe three finalists for the fourth President’s Award for Endangered Crafts, established by Heritage Crafts President The Former Prince of Wales, have been announced. 

Each year the President’s Award presents £3,000 to the winning heritage craftsperson who will use the funding to ensure that craft skills are passed on to the future, with an additional £1,000 for runner-up bursaries provided by Patricia Lovett MBE and Kate Hobhouse.

The three finalists for 2023 are (in alphabetical order):

The winner will be announced at a prestigious Winners’ Reception at the Vicar’s Hall, St George’s House, Windsor Castle on 15 November 2023.

The finalists were selected by a panel of judges made up of renowned advocates of craft skills:

  • Jay Blades MBE, Co-Chair of Heritage Crafts;
  • Kate Hobhouse, Chair of Fortnum and Mason;
  • Patricia Lovett MBE, former Chair of Heritage Crafts;
  • Simon Sadinsky, Executive Director of The Prince’s Foundation; and
  • Johanna Welsh, pargeter and 2022 President’s Award winner.
Jay BladesKate HobhousePatricia Lovett MBESimon SadinskyJohanna Walsh

 

 

 

Straw hat making

The Radcliffe Red List of Endangered Crafts

 

Straw hat making

 

The making of straw hats and boaters including the stitching of straw plait or braid, using a hat block to create the shape and finishing. See also straw hat plaiting, hat making, millinery, hat block making.

 

Status Critically endangered
Historic area of significance Luton
East End of London
Area currently practised Luton

There are one or two people in Luton still able to machine-stitch straw and a few individual hat makers. More makers are able to hand stitch, but do not due to time and cost

Origin in the UK Machines for stitching were introduced in the 1870s

The dates for hand stitched straw hats are unclear but they are documented in pictorial sources from the 13th Century.

Current no. of professionals (main income) 5-10 individual full and part-time makers using hand and machine stitching.
Current no. of professionals (sideline to main income)
Included in figure above
Current no. of trainees 0
Current total no. serious amateur makers
Unknown
Current total no. of leisure makers
Unknown

 

History

Before the introduction of the sewing machine in the 1870s plait hats (also called strip straw) were constructed by hand stitching. There were two main methods of hand stitching:

  • Overlapping then stitching the length of plait into the rough shape of the hat being made.
  • Stitching the plait together edge to edge (remaille).
  • When overlapping the plait, sewers often used a back stitch using specific millinery (straw) needles and a variety of types of threads.
  • The shape must be sewn to the required head-size.

After the introduction of a sewing machine capable of stitching plait, and with the growth in size and number of factories, hand-sewing decreased and became more associated with model hats. Much of the factory work was undertaken by home workers who were supplied with a machine and received deliveries of work to be completed each week.

There were different types of machines, some only stitching straw as a flat sheet, or stitching from the brim in towards the crown. There were visible stitch machines, including a zigzag-stitch machine introduced in the 1920s and concealed stitch (box) machines. The Willcox and Gibbs 17-Guinea machine is the most well-known but the same chain stitch machines with similar configurations were made by other makers including Grossman and Singer.

With the introduction of ‘endless’ man-made fibres in the early 1900s, machine stitching increased in popularity. From the 1980s the introduction of sinamay fabric and cheaper hoods meant sewing skills began to die. New machinists were no longer trained and outworking decreased. As the industry declined in Luton and hat factories closed, many machines were disposed of or left in factories and the homes of outworkers. These are the ones that are now available.

New machines specifically designed to sew plait or braid into a hat are only available from China. The alternative source is to find an old machine and set it up with a motor or treadle and dedicated workbench. Many machines appear on selling sites but not all are suitable for stitching straw. Machines were used in hat manufacture to complete a wide range of production processes. Spares including needles are no longer available in the UK, the specialist machine repair companies having closed as the hat factories closed.

 

Techniques

The process for a factory-based operation and millinery studio are very similar but will vary slightly according to the design and materials used.

A hat can be sewn on a flatbed domestic machine into panels which are then assembled into a design, however this was not the method used in wider production. Traditionally sewing the hat would start at the top centre of the hat crown (the button) and spiral outwards to form the crown and then the brim. According to some designs, gussets (gores) might be added to the shape and for other designs the hat was made with a double brim.

Stitching straw plait:

  • The plait (handmade) is checked, damped, wound onto a plait winder.
  • A button (top centre crown) is created either by hand or machine (according to the design).
  • Sewing – the process involves matching the hat to the design hat block checking both size and shape.
  • Creating the shape – some hats are created free-form, the intended shape develops without a block.
  • Finishing – the remaining processes of blocking, stiffening and finishing are the same as those used for hat making and millinery.

Stitching braid:

  • Sewing – the processes are the same as for stitching straw plait, but according to the type the braid may not require damping. When using a zigzag-stitch machine, the plait or braid are stitched together edge to edge.
  • Shaping – the braid can be stitched free-form without reference to a hat block or matched to the block.
  • Finishing – the processes are the same as for other forms of hat making.

Hand stitching:

  • Sewing – the initial processes of preparing a button and damping if required are the same as when machine stitching plaits or braids. The plait or braid is either sewn together by overlapping or edge to edge to form a hat shape. Plait or braid may be stitched into filigree patterns.
  • Shaping – while most hats are made by matching the shape against a block, the shape can also be formed by working free-hand and letting the shape develop organically.
  • Finishing – the processes are the same as for other forms of hat making.

 

Local forms

 

 

Sub-crafts

  • Straw hat plaiting
  • Hat block making
  • Bleaching and dyeing
  • Millinery
  • Hat making

 

Issues affecting the viability of the craft

  • Access to machines: Machines are no longer made in the UK and those that were in educational establishments have been removed.
  • Repair and maintenance of machines: Spare parts are not available in the UK.
  • Market issues: Effects of Brexit affecting European trade and import from Europe.
  • Competition from overseas markets: There are now only one or two people in Luton still able to machine-stitch straw and a few individual hat makers. The skills are being lost to producers in other countries.
  • Decline in skills: there are now only a few people left with the skills to make straw hats and few opportunities to pass on their skills.
  • Market issues: Rising prices for materials/supplies.
  • Training issues: Lack of apprenticeships/training within college courses.
  • Courses: Lack of availability of specific courses due to lack of machines.

 

Support organisations

  • The British Hat Guild
  • British Millinery Association

 

Craftspeople currently known

  • Lucy Barlow – 17-Guinea machine and hand stitch
  • Harvy Santos – Chinese and hand stitch
  • Jane Smith, using a flatbed machine and hand stitch
  • Bridget Bailey – hand stitch
  • Justin Smith – hand stitch
  • Veronica Main – hand stitch
  • Rachel Frost – hand stitch

Note: There are other milliners who are able to hand sew strip straw, but are not currently using the technique.

 

Training providers

There are no training providers for straw hat making including sewing straw plait. There are a number of opportunities and short courses to learn hat blocking techniques with straw and sinamay.

 

Other information

 

 

References

  • Evidence for straw hats in the 13th Century: Pierpont Morgan Library, MSS 638, folio 17 v, reproduced in Charles Freeman, Luton and the Hat Industry, Luton Museum, 1953.
  • The history of straw plait in Herefordshire http://www.hertfordshire-genealogy.co.uk/data/occupations/straw-plait.htm