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Panama – The name given to a straw woven in Ecuador, as well as Peru and Colombia. Read more about it and other millinery terms
Interviews – Barbara Feinman
Year – 2005
How did you become interested in millinery?
It was serendipity. I was always involved in fashion, sewing, art, making things, collecting bits and pieces of decorative stuff, etc., but never thought of hat-making as a career. Then, when I was at a transition point in my life, fed up with the corporate world, my best friend registered for a textile design course at the Fashion Institute of Technology (FIT) in New York City. She learned of the millinery program and decided that it would be perfect for me. And she kept nagging me until I registered for a course. It was love at first sight. The moment I walked into that millinery studio, I felt that I had come home.
Where (and when) did you learn millinery?
I took the 4-part program at FIT and got my certificate in 1992.
How long have you been a milliner? Where else did you work?
I actually sold a few hats before finishing the FIT program. After getting my certificate, I worked for a short stint at Eric Javits.
After working for Javits, I started selling wholesale, working out of my apartment. A big help at that point (around 1993, 1994) was a very large wholesale order from Barney's, for which I was fortunate to get paid, as they were on the verge of bankruptcy. I was able to keep most of that money, as my overhead was nonexistent.
For 2 to 3 years prior to 1998, I shared a studio in the East Village with an associate, and sold my hats in her shop. Then in 1998 I opened my own store in the East Village. Since then, I have sold mostly retail, with a smaller proportion of wholesale.
Where do you get inspiration for your designs?
Everywhere – movies, the street, old photos. Often, a design will be inspired by a new trim or a new material which I can work with in a different way. Of course new blocks inspire new designs, as the more blocks you have, the more ways you can combine them in different shapes. Mistakes are often a great impetus – you end up with something accidentally, or wind up creating something new by correcting or covering up something you did wrong. Finally, just playing with materials, colors, and so forth.
What has been your most enjoyable commission?
I can't really think of one commission. In general, I'd say a very enjoyable thing is creating a hat for someone who is difficult to fit – someone who walks in thinking no hat looks good on her and walks out feeling beautiful.
But the most gratifying thing is making a hat (or several) for a woman who is undergoing chemotherapy for cancer or is losing her hair for some similar reason. Most of what's available to such women is not very chic, but I've had a fair amount of experience with what looks flattering on someone who is (or will shortly be) bald, and creating a hat that makes them feel feminine again is enormously gratifying emotionally. I've had women return months or years later to thank me for helping them through a devastating period in their lives. Now that really feels good.
How would you describe your style of hats?
Simple, chic, somewhat trendy but not faddish, with a strong retro influence. I especially like cloches influenced by the 1920s.
Who do you make hats for?
My store is in a very young, trendy part of town. I'd say my average customer is a woman in her 20s or 30s who wants to look stylish, and understands the value of a handmade hat. The hats are mostly for everyday wear with a smaller percentage of dressy styles like cocktail hats, wedding hats, etc. I occasionally do hats for brides, but it's not a big part of my business.
What materials and techniques do you favor?
I love doing hand-draped styles in velour and hand-sculpted trims in felt. Those are my favorites and, I think, my trademark.
