I’m currently (Fall 2016) studying across the pond in London at Shakespeare’s Globe Theater, under the direction of Michael Pavelka. He set up an absolutely incredible opportunity, working with acclaimed milliner Sean Barrett (Alice in Wonderland, Downtown Abbey, many many more). One of the films this ball of sunshine worked on was Crimson Peak. Of course I want to cosplay Lucille, but I didn’t have much of a clue as per how to make that hat. So what better to do than to ask the man himself?
Well, he said he had a “much more beautiful” hat designed, so of course I leaned in and said, “tell me more, friend~”. Well, he said he had designed a more feminine face for the hat, an elegant death mask of sorts, lending to the movie’s other themes. Layers of beautiful lace and tulle, over a woman’s face rather than the Deku Tree-like face in the film, trimmed with leaves just gracing the features, like an overgrown grave. He also mentioned they had planned to acquire some taxidermied Death’s Head Hawkmoths and include them in the design.
I did it. I made Sean’s version of the hat from a lovely sketch he did right in my sketchbook! I looked into the Hawkmoths, but they’re somewhat pricey for me, and I wasn’t sure how I felt about a deceased insect on my head, so I decided to forgo it, and made one out of pieces here and there, mainly feathers! The translucent leaves were a gift from Sean as well, and I feel absolutely honored to have worked with him, even for such a short time. He’s actually digging through some old files to see if he can find any more of the original design work from Kate Hawley!
Snowden-Gray House_DSC0896 by William Dougherty Via Flickr: Snowden-Gray House 1852 Italianate. The home was built in 1852–1854 by Philip T. Snowden and his wife Abigail. He, a successful dry goods merchant and she, a successful milliner (hat-maker). From 1862–1864 it was the home of Civil War Governor David Tod. From the end of the Civil War until 1922, the family of Columbus philanthropist David S. Gray occupied the residence. Since 1922 it has served a variety of uses, including the headquarters of the Columbus Women’s Club.
Christophe Coppens is a man of many loves. He started
in the theatre and studied at the Brussels conservatory. During this period he
directed something like five productions. One of these productions needed hats,
so he took lessons in making hats from an experienced milliner. Fascinated, he
went more deeply into the hat-making business. In no time at all he had
finished his first collection, which attracted the attention of individuals
such as Kaat Tilley and the press generally. A show in Paris followed.
As time went on, he started to distribute his
collections round the world; innovative materials, structures and the use of
colours became his trademark. Even famous fashion houses called on his
The making of hats continued to interest him, but as
time went on Coppens’ attention was drawn in other directions. For example, his
deco-line was received more than enthusiastically. He always uses the very best
craftsmen for this work. The theatre too is never far from his thoughts. From
time to time he still works on a production (e.g. The House of the Dying Mermaid at the K.V.S. in Brussels) and is
regularly called on for costumes. Because he is busy with so many different
things at the same time, Coppens has developed a style that is entirely his
own, in which one activity constantly fertilises another and the boundaries
between his different activities become increasingly vague. It seems highly
likely that his future activities will range yet more widely.
trouble, music, art a
kiss, a frock, a rhyme — I
never said they feed my heart, but
still they pass my time. — Dorothy Parker