Making Twists, “Tails,” or Switches—Back and Side Plaits—Chignon
_Universel_—The Zephyr Coiffure—Semi-waved Curled Chignon—A Novel
Chignon—Of Chignons in general.
Twists, “Tails” or Switches are made first into sections or stems, and
two, three, four, or five, are required to form a complete twist, or
“tail.” The word “tail” is used more as a trade term than anything else,
although I have seen it written upon tickets attached to long pieces of
hair, exposed for sale in hairdressers’ shop-windows. It is not by any
means an elegant way to indicate the article, and “_torsade_” or
“twist,” is, to my thinking, preferable. The number of stems employed
is, generally, three, and they may be long or short, according to the
length of hair; the purpose for which the article is designed; and last,
but not least, the price. And here, again, the price, as well as the
style of manufacture, admits of great variety. A twist can be made to
sell for pounds, or shillings, according to the colour, length,
thickness, quality, and workmanship. These are matters with which
persons engaged in the trade are well acquainted, and I need not further
refer to them.
[Illustration: Fig. 6.]
Here is the method of making a twist. Take two ounces of twenty-inch
straight hair, and divide into three parts, but one part is to be
thicker than either of the other two, so as to allow for a top row, in
addition, being made from it. Having done this, tie each lot,
temporarily, so as to keep it intact. Fix the weaving frame, and three
silks, as on previous occasions. Put the thickest portion into the
brushes, and weave a very fine top row of “once-in” weft, about three
and a-half inches in length. This is not to be cut down, but go on
weaving the remaining portion of the tress of hair; the only difference
being that it is to be coarser. The weaving should be graduated, as it
were, so as to avoid an abrupt thickness of the weft, for it would,
doubtless, spoil the appearance of the work. Plait up in three, and
twist the weft round the weaving peg. Leave a space of about four or
five inches, and then resume. Commence with a very fine weft, and weave
it in the usual manner, taking care to secure it firmly to the silks by
a little extra-close weaving. There is a special way of doing this which
an expert can easily show, but it is difficult here to describe. Another
way of proceeding is to press the first portion with warm irons, cut
down, and then begin again, of course without making another top row.
Weave the third and remaining tress in the same way, and the work then
is ready for sewing up.
[Illustration: Fig. 7.]
To sew up, take a rather short but plain weaving peg, and bore a hole in
it about five or six inches from the top. Through this hole pass a stout
wire, bend it down to keep it in its place, and form a hook at the
bottom; turn the other part of the wire in a corresponding direction,
but leaving a piece standing out to form a handle. If this is designed
properly, it can easily be turned round and round without becoming
detached from its position. Take a piece of black tape, Russian cord, or
some other suitable material, about the length of the weft; tie a knot
at top and fix it to the wire hook. Commence about an inch from the
bottom, by sewing the thick end of the weft to the lower part, and
having done so, break off the silk. Begin, then, turning the handle of
the wire above described; this will cause the tape or cord to twist, and
when sufficiently twisted, it will be proper to roll the weft upon it.
Having done so for a little distance, turn the wire again, so as to keep
it firm; continue this till the end of the weft is reached, and then
fasten off. (See the accompanying illustration of one of the stems, Fig
6.)
It will be necessary to observe that each row of weft should lie close
to and above the preceding row, and when there is much weft to be rolled
or twisted up it ought to be stitched in several places. Now, having
completely made two of the stems, make the third one, _i.e._, the one
with the top row attached. Sew this up as before instructed until you
come to the top row, when stop. Take the other two stems, and place the
free ends of the tape, cord, or whatever may be the material used, with
that which you are now working, and stitch them all together. Having
done so, begin sewing the top row, neatly, and well, but having started
it, take sufficient Russian cord to make a loop, put it in its place,
cover all with the top row, and finish off securely. Each stem is to be
pinched separately, and pinched again when completed. (Fig. 7.)
These twists are exceedingly useful, and if well-made, with hair of good
quality and length, they can be applied to a number of purposes in
connection with the coiffure. They may be twisted up with the back hair,
made into a plait or plaits, used as a solid twist or a light _torsade_
for a coronet, or back hair dressing. Speaking of a _torsade_, the
following instructions, taken from “Lessons in Hairdressing,” will
doubtless prove acceptable. That which I am about to describe is known
by the names of _Torsade Dondel_, _Torsade Repoussée_, _Torsade
Gouffrée_. It is made “with a long thin strand of hair, and is hollow
when completed; consequently, where lightness is required, two or three
of these may be introduced with charming effect. Proceed to make it in
the following manner:—Take a piece of hair from twenty-four to thirty
inches long, and separate a thin strand, which afterwards serves as a
‘draw.’ This put on one side till wanted. Divide the hair into two equal
parts, and friz well upon the inner side, at the same time spreading out
the hair so as to make it wide and flat. It may then be compared (for
further illustrating my instructions) to a long and somewhat wide strip
of cardboard. Hold the end in your left hand, and turn upon the thumb of
the right hand, which, for the purpose, should be placed near to the
top, or roots. Having given it a bend, it then forms a ‘hollow,’ which
is to be so twisted upon itself, and in a spiral direction to the end.
Then either pin down temporarily or get the lady to hold it. Proceed in
the same manner with the second portion. Having done so, take one end in
each hand and twist both together, being particular to pass that held by
the left hand over that held by the right. Take then the little strand
of hair, and pass it round the _torsade_ in such a manner that it falls
into every second space. Hold the end firmly, and push up the frizzed
twist; fasten off, and place in position.”
[Illustration: Fig. 8.]
It will be seen that when neatly done the whole forms a hollow and
“puffed up” twist, light in construction, full in appearance, and very
suitable for a coronet or as an embellishment to the chignon.
In the hairdressing business there are innumerable changes of fashion,
while the various requirements of different individuals continually make
demands upon the practical knowledge of those who carry on the trade.
Some articles that I have spoken of, and others to which I shall have
occasion to refer, are “not in fashion,” but there is an occasional
demand for something or another that would puzzle many who profess to
know how to make almost everything. It is the duty of a hairdresser to
assist nature in matters appertaining to the _chevelure_, for thin locks
have to be supplemented by artificial aid, and bald heads not
unfrequently require to be covered. It is not at all times pride and
vanity that causes people to resort to the use of “false hair,” as it is
termed, any more than it is pride and vanity which _compels_ some folk
to use spectacles, wear false teeth, or have recourse to surgical
mechanicians for their especial aid and comfort. I could laugh at the
remarks occasionally given expression to, for “goody-goody” people seem
inclined to condemn in others that which they can dispense with
themselves.
To resume. A back plait with a flat top can be made from any quantity or
length of hair. It may be wide or narrow as circumstances require, and
although the twist before described is in general requisition, yet there
are occasions when a flat top is most convenient and suitable. Take
half-an-ounce of twenty-inch hair, and two ounces of eighteen. Close, or
“once in” weft, throughout. Weave the long hair moderately fine for the
top row, or rows, and the eighteen-inch hair should be woven rather
coarse, but uniform from beginning to end. There should not be a
“break,” for all the weft must be in one piece. Pinch, temporarily plait
in “threes,” and cut down. Decide upon the width the plait is to be
made, and sew up firm and regular.
Side Plaits are made with sixteen or eighteen inch hair, after the
manner of closely-sewn ringlet bunches; two or three loops are attached
to each bunch through which a piece of wide galloon or ribbon is passed.
This serves to fasten them to the head, and as they are made to slide,
the width apart can be adjusted according to the discretion of the
wearer. I have also made side plaits on combs, after the method adopted
for making curls on combs, leaving the ends of the plaits to be fixed by
the wearer, or by “tacking” them to the combs after being plaited. The
ends of these side plaits should be securely fastened by means of black
thread, and the whole neatly covered with a piece of ribbon.
Concerning the plaiting of hair, the reader is referred to “Lessons in
Hairdressing,” wherein copious instructions are given.
[Illustration: Fig. 9.]
The “Chignon Universel,” as it is called, is a clever arrangement for
making good a deficiency in the back hair; it is most convenient, and
unmistakably “defies detection.” To be made with smooth hair on the top,
with the underneath hair either _créolé_, or plain. If fulness be
desired the former plan is most expedient, or else long frizzettes
should be introduced. But much depends upon the length and thickness of
the hair and the way it is going to be arranged. To manufacture the
_Chignon Universel_ proceed as follows:—Take half an ounce of twenty-two
inch hair, and having previously selected a comb, weave sufficient “fly”
weft to make a top row, pinch, securely fasten off, and cut down. Then
take two ounces of twenty-inch hair, which is to be woven rather coarse,
and I need scarcely add, close, or “once in” weft; the object being to
get as much hair as possible into the smallest compass. Sew up as though
you were going to make an ordinary back plait according to the
instructions previously given. Pinch, and make it as flat as you can.
Cover the top of the comb with a piece of strong net, such as is used in
wig-making, and do all the sewing on the front part of it, so that when
finished it shall present a neat appearance, as shown in the
illustration.[5] Securely stitch the piece made with the twenty-inch
hair to the net, at the top part of the comb, and in such a way that it
lies flat. Then take the piece of “fly” weft, and (putting the roots
underneath) sew it on the top, so as to cover all. Press, and comb out
the hair. When completed, the work ought to look as compact and pretty
as it does in the wood-cut annexed.
Ability comes with practice, and as I am writing for the benefit of
those who desire to improve, I would just hint that they need not be
afraid of doing their work _too well_. At the outset inferior
productions might reasonably be expected, but, as the apprentice or
improver advances, better work should be forthcoming. There is an old
saying that “practice makes perfect,” and that is exemplified in
numberless instances every day.
[Illustration: Fig. 10.]
Some few years ago several of the leading hairdressers met together, by
arrangement, and discussed the necessity which then existed for the
introduction of a new style of coiffure. The once-fashionable chignon,
with its accompanying plaits and twists had disappeared, and the
coiffeur’s art began to decline in consequence. Besides, ladies
complained of the meagre fashion which succeeded the more elaborate
style of hairdressing, and a change, for more reasons than one, was
considered necessary. I need not pause here to discuss the importance of
the coiffure, or the pleasing effect which is produced when the hair is
arranged in harmony with the features. All ladies’ coiffeurs are well
aware of it, and at the meeting in question it was decided to introduce
something new and of almost universal application in reference to
ladies’ hairdressing. But the time was not sufficiently ripe for a
change—the little knot and the fringed brow had taken too great a hold
of the popular fancy. However the innovation was of a tasteful and
serviceable character, and in expert hands could be made to assume a
number of charming designs.
It was called “The Zephyr Coiffure,” and is made as follows:—Take some
tapered curled hair from sixteen to twenty inches in length, and about
an ounce and a quarter in weight. Weaken the curl to within six inches
of the points, and sew up on three separate pieces of galloon or net,
about a quarter of an inch wide, keeping it flat and soft. The stems may
be four or five inches in length, or longer, according to circumstances,
while another description is made of a lesser quantity of hair, shorter
in proportion, and sewn up in the usual way of making twists or “tails.”
(See accompanying illustrations.)
The first pieces described can be arranged in puffs, undulations,
_rouleaux_, knots, or twists, but those made upon the last-named
principle are more suited for plaits, but leaving the ends curled.
[Illustration: Fig. 11.]
The experienced coiffeur will see at a glance what can be done when
these additions are introduced. With the lady’s own _chevelure_, and the
use of two or more of these pieces of hair, a dressing can be devised at
once light and elegant, high on the head as with a long coronet, by
inserting the stems one into the other and concealing the loops, or low
on the neck with tight or fluffy curls. Again, the stems can be
incorporated with the back hair, and the curled ends arranged over and
upon the forehead. Should the head of hair be of a poor description,
through its being short and thin, then three, or at most four, of these
tresses will probably be required. The following headdress has been
executed to give the reader some idea of the adaptability of these
pretty additions to almost any style of hairdressing, while the
advantages to be derived from the curled ends may readily be discerned.
[Illustration: Fig. 12.]
In presenting this description of the Zephyr Coiffure, I would remark
that not one, but at least twenty different styles can be executed with
the help of these necessary adjuncts, and, further, the chignon can be
made large or small according to the taste or requirements of the
wearer, as can easily be imagined.
[Illustration: Fig. 13.]
While speaking of taper-curled hair, I am reminded of a semi-waved
curled chignon which is light in construction and produces a very pretty
effect. Of course it can be made either large or small, thick or thin,
with longer or shorter hair, and a practised hand will see at a glance
its general utility. This _cache-peigne_ can be worn with a comb, or
embellished with flowers, and, moreover, it presents a most natural
appearance. (See Fig. 14.)
[Illustration: Fig. 14.]
To make the chignon, take about 3½ ozs. of taper ringlet hair, a part of
which is to be twelve inches, another part fourteen, and so on up to the
longest, which should be about twenty inches. Instead of weaving upon
three silks in the usual manner, fine wire is to be substituted for the
centre one. Let the weft be very good, and sew up into a diamond-shaped
foundation. (Reference to Chapter V. will show what is meant.) With this
quantity of hair the mount should be, when completed, about four inches
wide and seven inches long. The weft required is about three yards, and
must be so arranged that the shorter hair is kept at the top, while the
longest comes to the bottom. To make the wavings, undo the curl a little
here and there and friz underneath, or it can be weakened by means of a
warm iron. Another _cache-peigne_ I have made on a similar principle,
but very much lighter, and, with proper dressing, it appears to be
nearly as full. Take ¾ oz. or 1 oz. of taper ringlet hair, twelve,
sixteen and twenty inches long. Weave and sew up as before directed. In
dressing, each curl should be very carefully frizzed in the inside, and
disposed _without_ the aid of the curl-stick, if possible. By adopting
this method, the curls will be very thin and light, and obtain, through
frizzing, all the fulness required.
A novel chignon was designed, some time ago, by Mr. Joseph Kubelka
(Vienna), which consists of the ingenious combination of two ordinary
“tails” or “twists,” and is worthy of reproduction here.
Its formation will be seen at a glance,[6] and the method of arrangement
is first made upon the hand (the tops being held by some person, or else
temporarily fixed to a table), and a “bodkin” must be employed in
working the design. This bodkin can be made of tortoise-shell, ivory, or
bone, but it must have an opening sufficiently large to encircle the
free ends of the hair. (The illustration given below indicates very
clearly how the plait is to be made.)
[Illustration: Fig. 15.]
By means of this contrivance the hair is drawn through spaces easily
made by the fingers, and, as can readily be discerned, the plaited
chignon well holds itself together. The final disposition of the ends
must be completed upon the head, when they (as well as the natural hair)
should be made into _rouleaux_, etc., as may be found most convenient
and tasteful. Where lightness has to be considered, perhaps two
well-covered inserted stems might take the place of a quantity of hair—a
hint which is not likely to be overlooked by clever hairdressers.
[Illustration: Fig. 16.]
Probably, at this juncture, some remarks on chignons in general will not
be thought out of place. Chignons may be considered as “old as the
hills,” for the word simply means as I interpret it—a back hair dressing
without reference to any particular shape. Were I to designate the mere
“knot” at the back of the head a chignon, perhaps my meaning would not
be clearly understood, but it is in reality as much a chignon as the
most elaborate one could be. In the ordinary acceptation of the word,
however, a fanciful style of dressing the back hair is meant, and
“Board-work” would not be complete without special allusion being made
to chignons, seeing that their manufacture a few years ago gave
employment to thousands of people of both sexes.
M. Alphonse Bouchard, writing in THE HAIRDRESSER’S CHRONICLE on the
subject of “False Hair,” says that “the compilers of the General
Catalogue of the Universal Exhibition, 1867, have given us figures,
which it would be very difficult to check; but they, no doubt, used the
same sources which I have had recourse to, and to prove the exactness
and authority of this essay, I shall quote a few data.
“This official document reports as follows:—The manufacture of hair is
to-day of very great importance. Paris is the place where the hair is
well prepared, and where the headdresses arrive at the highest degree of
perfection. The price of raw hair, says this catalogue, is about 50
francs on an average per kilo. It was 65 francs in 1865; and it is said
to have been sold even at 100 francs. The price of prepared hair is 140
francs the kilo. The price of _postiches_ is about 40 francs apiece; the
prices of the fashionable coiffures, called chignons, range from 15
francs to 200 francs, and even as far as 500 francs apiece. In France
about 70,000 kilos. of cut hair are sold. Of this quantity 40,000 kilos.
are French, and 20,000 kilos. are imported from Italy, Belgium, Germany
and other countries. 8,000 kilos. are collected in the workshops and
other places; this is called ‘waste.’ America, England and Prussia buy
30,000 kilos. of hair of us; 25,000 kilos. are used in France in the
manufacture of _postiches_; and about 13,000 kilos. are exported to
different countries. Marseilles is next to Paris in importance for the
hair trade. M. Joseph Mathieu has given us some curious details on the
hair trade in Marseilles. He tells us, that the statutes of the
wig-makers of Marseilles date from 1696. Their number was for a long
time limited to twenty. In 1760, the master-wigmakers of Marseilles,
seeing that a large number of ladies’ hairdressers established
themselves in that city, commenced an action against them. But a decree
of the 20th June, 1761, rejected these pretensions, and gave full and
entire freedom to the ladies’ hairdressers to exercise their calling.
“In 1789, the number of hairdressers and ladies’ hairdressers of
Marseilles was considerable. It is well known how complicated the
headdresses of that period were, and according to the records of that
time, Marseilles was one of the first cities in France for elegance and
good taste.
“After the Revolution the number of hairdressers increased gradually,
but it is more especially during the last ten years that this increase
has been mostly noticed, and to-day we have at Marseilles 397 coiffeurs.
“Four houses, employing about forty workmen, hold the monopoly of the
hair trade. The trade has increased fourfold during the last thirty
years. The houses in the trade receive together annually 6,000 kilos. of
hair, from the Tyrol, Bohemia, Dalmatia and Italy. Having been worked,
3,000 kilos. of this quantity is sent to the provinces and to foreign
countries, and 3,000 kilos. remain for town consumption.
“It is estimated that of these, 500 kilos. are used for men’s wigs, and
2,500 kilos. for _postiches_ for women. The _postiches_, chignons,
_cache-folies_ and false plaits are employed to such an extent, that
there are at Marseilles actually 75,000 women, or the whole grown-up
female population, who wear false hair. This observation applies equally
to Paris and to some large towns abroad. All coiffeurs at Marseilles
trade in chignons more or less, and their annual production of this
article amounts to 55,000. Of these, 30,000 are sent to the provinces,
and 25,000 are sold in the city and its suburbs.
[Illustration: 1. Coiled Chignon, measuring thirty-six inches, or more,
when undone. 2. Pair of side Frizzetts. 3. Seven Strand Double Plait. 4.
Marguerite Plait: This can be plaited in 4, 5, 6, or 7 strands, as may
be decided upon. 5. Bertha Frizzett (set of three), for Plaited Chignon:
The stems are made with straight hair inserted, of medium thickness, and
seventeen inches in length.]
“Corresponding with the advance of education in France, the difficulty
to find young countrywomen who are ready to part with their _chevelure_
increases. Nowadays it requires a sum of money to induce a girl to
undergo the ordeal of the cutter’s scissors; consequently we have been
obliged to go elsewhere in search of this article, principally to
Germany, Austria, Italy, and more particularly to Sicily, the Neapolitan
provinces, and the former Papal states. The large religious communities
of women furnish also great quantities of hair. In certain Catholic
countries the hair of the novice who enters a religious order is sold
for the benefit of the convent where the vow is taken, and those
beautiful tresses, sacrificed at the foot of the altar by virgins who
renounce the world, return to it again other heads to adorn. The Italian
hair is imported into France viâ Marseilles, and the figure of this
importation reached in 1865 17,367 kilos.
* * * * *
“In 1830, the value of raw and manufactured hair exported from France
amounted to 104,488 francs; in 1865 it had increased to 1,206,605
francs. Numbers of people at Paris, at Marseilles, and in other large
towns, have realised fortunes in the hair trade. Let us mention one
house in the Palais Royal quarter which, in 1868, did business to the
amount of 1,552,000 francs. We may safely say that the French
hairdressers sell annually 68,000 kilos. of hair, which, made into
plaits, curls, crape, etc., represents a sum of 80,000,000 francs. Let
us further mention that another house sold, within sixteen months, in
1871 and 1872, 16,000 chignons, at prices varying from 12 to 70 francs
each, but of course there are much more expensive ones sold, chignons of
a natural red or golden tinted hair, which is principally imported from
Scotland, being the most expensive.”[7]
From the foregoing, the reader can learn what the trade _was_ a few
years ago; but what it _is_ now, his every-day experience can answer.
Undoubtedly the manufacture of chignons was a thriving trade so long as
it lasted, and we have it on record that of a certain dyed material
termed “hair” (which it greatly resembled) “hundreds of thousands of
tons” were used in the making of frizzettes, pads, etc.[8]
It would be useless now to enter upon the method of constructing
chignons, for their patterns are almost endless; but with inserted
stems, or pads, and suitable hair, an ingenious hairdresser ought to be
able, after what I have already said, to make several of neat and pretty
designs.