German Tall Hat

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My version of a German tall hat


German tall hat as seen in Janet Arnold's book: Patterns of Fashion: the cut and construction of clothes for men and women 1560-1620

Definition:

In this paper I will discuss the German style tall pleated hat, which can be seen in a variety of portraits from Poland, Germany, Sweden, and the Low Countries. This particular hat has a flat tip over a tall stock and a flat brim. This is a foundational hat meaning that it has a solid foundation under the fabric.

Origins and spread of the style:

One can trace the origins of the wearing of hats as far back as primitive man. Historical evidence has shown that some form of head covering was used for protection against the elements.

During the late 14th and 15th centuries hats played an important role in men's clothing and were considered an important fashion item as well as a status symbol. I suspect they were rather like Jimmy Choo shoes of the period.

As hats gradually grew in popularity during the 15th Century, an increasingly diverse range of materials was used for their production. Silk, velvet, taffeta, leather, and felted wool were used on the outside of hats and a variety of stout foundation materials were used. Some of the most popular foundation materials included hairy paper, thick paper/cardboard, heavy glue sizing over burlap, and other materials with glue sizing.

During this period too, there was little difference in the hats worn by men and those worn by women. As with so many clothing items of this period, we see them on men first and then they are usurped by women.

As this period was drawing to a close, we see religious fervor showing itself in dress and style. Some Germans  tended towards more flamboyant styles whereas others were all about "plain" clothes and personal repression. I suspect that in the period, one could know what one's religious views were simply by what and how they wore clothing and accessories.

In Germany, as with most other regions at this time, hats are a testament to wealth and status. The use of expensive fabrics and large hats seems to suggest a more wealthy status, rather like cars today.

An SCA interpretation:

The following table compares some of the differences between how a German Pleated Tall hat was typically constructed in period and how I construct my German Pleated Tall hat.
  Period materials/Techniques My Variations
Fabric Wool, silk, leather same - silk "velvet"
Thread Silk or wool threads Cotton thread
Foundation materials Hairy felt, felt and paper combined with glue sizing. 2 ply buckram
Backing Linen same
Lining of hat Silk same
Interior of hat Hairy wadding Cotton wadding (French fleece)
Finishing touches Jeweled hat band, feather, brooch, etc same

Tools and Materials
  • Fabric: 1 yards of 45-inch silk velvet
  • Thread: Use a good quality thread - silk is best if you can find it, a cotton thread will work too.
  • Millinery needles #14 #16
  • 1 yard of 2 ply buckram
  • Millinery wire #8 or #9
  • Cotton wading or French fleece
  • Chalk or tracing paper
  • Manila paper for pattern

Construction process for German Pleated Tall Hat:

For the most part, I used the directions from Janet Arnold's book to construct my hat. However, I did make some changes:

  • I choose to use 2-ply buckram rather than felt and paper with glue sizing as other hats I have made with the felt/paper combo ended up very heavy and uncomfortable. I liked the use of buckram to make the hat a little lighter and more wearable for someone who does not wear hats all of the time.
  • I wanted to use silk velvet, but the best I could find was what they call silk velvet, which is really silk foundation fabric with rayon pile. It seemed to have the right hand though and had a great "glow" to it so I went ahead with it and was pleased with the results.
  • In the original, they used a glue between the velvet and the linen underlining. I used a lightweight "stitch witchery", as I didn't have the right kind of glue.
  • In the directions, the head brim and head plate are both round. Most folks have a slightly oval shaped head, so I made my hat with a slight oval to it.

I decided to use Janet Arnold's measurements as an outline for the hat, as I had not made this type before.

In order to use buckram rather than a molded crown of felt/paper, I used the directions for making the linen lining and made the same thing from buckram I them sewed the buckram back together near the top in order to create that slightly rounded top edge then I added the flat tip.

In order to make the hat have a more crisp line; I added millinery wire around the tip and around the head plate of the stock.

I cut out the brim using the same proportions as in the book, but with an oval head plate. I like to use two pieces of buckram for brims. One is cut on the grain and the other on the bias. Since this type of buckram has glue sizing in it, I simply steam them together and have a much firmer brim. To help with the longevity of the brim, I added millinery wire around this piece as well.

I added French fleece to the foundation to smooth the look. (French fleece is also known as cotton wadding and is used in hats to smooth the lines and keep the foundation from seeming lumpy)

Once the foundation was complete, I was ready to add the hat fabric.

I began with the brim.

  • I added French fleece on the top of the brim.
  • I cut out the brim fabric using the brim pattern I had made and added 1/4 inch for seam allowance around the outer edge.
  • I sewed the fabric edges together using an #16 hand needle and set the brim to one side

Next came the stock and tip

  • I added French fleece to the tip and stock
  • I cut out a circle using the pattern from Janet Arnold
  • In the directions, she discusses using a linen interlining behind the silk velvet and a glue sizing between the two fabrics. I chose to use a lightweight stitch-witchery between the silk velvet and the linen lining.
  • I drew guidelines on the back of the fabric and put in a long running stitch to help make the pleats.
  • My thread around the top broke after the hat was almost finished, I added the stitches back in from the outside, they are not as even as they were originally.
  • I put the fabric over the stock, pinned it quarterly and then began pleating around the bottom of the stock. I held it with pins until I was ready to sew it.
  • Once I was satisfied with the pleating, I sewed it down using a stab stitch.

Putting it together:

I now had the brim and stock completed and was ready to make them into a hat

  • I cut the center oval in the brim leaving 1/2 inch seam allowance
  • I graded the seam allowance and cut down to the seam allowance.
  • Folded the tabs up ( if you fold alternating tabs, the line will be more crisp)
  • I placed the stock on the brim and sewed it together, again using a stab stitch.

Adding a lining

Now that the hat was looking like a hat, it was time to add a lining.

In Janet Arnold's book the directions call for a bright pink silk lining. I like to use silk dupioni for linings as it has enough body of its own to stand up inside the hat without flopping down. I cut out a lining and added a flat tip inside then sewed it down at the brim join using a stab stitch.

While the directions did not call for a sweatband inside the hat, I always like to include them simply for the wearer's comfort and longevity of the hat itself. I added a pink ribbon for this.

Construction Tips:

 
  • When buying buckram, make sure you get "2 ply buckram" I like to get my supplies from California Millinery in Los Angeles.
 
  • I used a regular thread for the guide threads and one ended up breaking. Next time I'll use a heavier thread such as quilting thread.
 
  • Be patient when pleating, they have to be small pleats or it won't work.
 
  • I like to use a steamer when steaming pleats rather than an iron that can flatten your pleats and silk pile.

Bibliography:

Arnold, Janet: Patterns of Fashion: the cut and construction of clothes for men and women 1560-1620 -- Macmillan 1985. Revised edition 1986.

Boucher, François; 20,000 Years of Fashion The History of Costume and Personal Adornment. (Library of Congress # 66-12103).

Starkey, David: Elizabeth the Exhibition at the National Maritime Museum; Chatto & Windus, London - 2003.

Permission granted to use these materials for non-profit, educational uses.