General Observations on the Manufacture of Partings and
Crowns—Non-transparent Partings; Silk and Skin—Transparent Partings;
Net, Gauze, Yak, and Human Hair Foundations—“The Genealogy of
Implantation”—Knotting, and some remarks thereon—Single
Knotting—Double Knotting.
Partings, no matter for what use they may be intended, are either
transparent or opaque. The foundation of transparent partings is
invariably net, gauze, yak hair, or human (white) hair, the two latter
substances being specially adapted to the purpose. Indeed, anything that
will enable the worker to imitate nature so closely as to defy
detection, might be employed, if it be durable and impervious to the
effects of perspiration—two points never to be overlooked. The great art
of parting-making is to cause the joining (where it comes in contact
with the forehead) to be so exquisitely well done, that it passes
unnoticed even by a keen-sighted and critical observer. Now is a chance
for some ingenious young man to make himself famous, as perfection is
not yet reached, I venture to think in this respect. True, the “fringe”
goes far to produce a natural appearance in those who are still young,
but a “fringe” is out of place altogether upon the brow of a matronly
dame, or attached to the parting of a gentleman’s wig; therefore I
repeat there yet remains something to be done in the matter of partings,
and probably a fortune awaits the lucky inventor. But there are
professed patent parting makers, and, as a rule, it is most advisable to
purchase this portion of the work ready made, or have it done to order.
When convenient, especially if a hairdresser resides at a distance from
London or certain provincial towns, it is expedient to keep a small
stock of such goods in the house, for occasionally it happens that an
order is wanted in a hurry. Most in request are partings of three, three
and a-half and four inches deep, made with hair sixteen or eighteen
inches long, and, I may add, common colours. Here then is a little
“stock-in-trade” which is sure to come in useful. Should the reader,
however, wish to make the parting himself, I will merely say that
“foundations” of the usual length and width can be obtained through the
usual trade channels, but I may hazard an opinion, which is, that very
few hairdressers execute this kind of work themselves.
Non-transparent partings are made upon silk or skin, the latter
consisting of a very thin skin upon white or pale-pink silk. I have
known other substances used (more by way of an experiment than anything
else) but the foundations named are, so far as I am aware, universally
employed. Silk partings are the cheapest, skin partings and net partings
come next, and so on, the price per inch being regulated according to
width, foundation, length and quality of the hair, workmanship, &c.
It is worthy of observation that fronts, in years gone by, were almost
universally worn by married women. “The first grey hair” gave the
signal, and a visit to the hairdresser followed shortly after. His aid
was invoked, and, if holding a good position in the trade, his design
was to produce a front natural in appearance, and sufficiently open in
the parting, to suit the expression of the features. But since the
introduction of silk and skin partings (which occasionally show a
division little more than a straight line) the aim seems to be
different, and a parting is produced thicker and closer than would be
seen on a young girl’s head. The result of this is to impart a heavy
aspect to the countenance, which is at all times undesirable, and will
account in some degree for their discontinuance. These unnatural-looking
partings are sometimes demanded by persons who make no pretension to
good taste, and they will not be advised by the tradesman, who knows
full well what is likely to suit them best. Partings which require the
most skill in their manufacture, if the aim be to produce a good
article, are silk and skin partings, and to make the first of these
proceed as follows:—In proportion to the length of parting required
prepare a stout wire frame—say six inches long, and four inches wide,
and that you are going to work a three and a-half inch parting. With the
help of a needle and stout cotton, stretch the silk firm and secure in
the centre of the frame, so that it is immovable and longer than
required. Weave the hair in “close,” or “once in” weft, keeping it free
from grease or dirt lest the foundation be soiled. Attach the weft to
the back of the silk, and draw a few hairs through at a time by means of
a small hook made for the purpose. Work regularly and methodically,
bearing in mind the width and length required. The centre portion must
be done very fine, while the sides may be coarser, a somewhat larger
hook being used. Having drawn all the hair through to what is now the
top, take a comb and “make a parting” the same as you would upon a
lady’s head. Comb the hair smoothly on each side, warm the
pressing-iron, and press into shape. Cut down, and the parting is made.
It is not reasonable to expect first attempts to afford much
satisfaction, but procure a well-made parting and strive to imitate it
by all the means in your power. With a good pattern, you may observe
what _can_ be done, and if you desire to enter the foremost ranks, you
_must_ endeavour to equal, if not excel others.
Skin partings are made the same way, but, as I have before said, a thin
skin (sold for the purpose) is laid upon the silk before working.
Transparent partings are to be made upon a net, gauze, Yak-hair, or
human-hair foundation. Professed patent-parting makers no doubt use a
frame, but a hairdresser would, in all probability, make the parting
upon a block, and in its proper place. Of course, it is best to do the
parting as a separate portion, because it can be easier pressed into
shape, and the piece of thin skin (previously sewn underneath) for
preventing the effects of perspiration, will escape being punctured by
the knotting needle. However, this is a matter for consideration by the
worker, who must necessarily be somewhat experienced before venturing to
knot partings. The kind of net used for partings can be purchased at a
hair merchant’s; it is made of cotton, and should be fine, smooth, and
as regular as possible consistent with durability. Gauze is much finer
and closer than net, being manufactured expressly for the purpose. It is
largely used for scalpettes, gentlemen’s scalps, and fine knotted work
generally. _TulleYak_, or Yak-hair foundations, are made abroad, and
well suit the purpose for which they are intended.
Like other work of this description, the meshes vary in size, and can be
had either open or very close. But the best foundations are made of
white human hair, with a square, round, diamond, or diamond-barred mesh;
the foundations for crowns, and crowns and partings, being specially
prepared. Speaking of the Yak-hair manufacture, a recent writer says,
“there is a large quantity of good lace made in the mountain villages of
Saxony and Bohemia, and thousands of hands are thus constantly employed.
This industry has of late received an addition in the manufacture of a
peculiar lace or _tulle_ made of white hair. It was introduced into this
district a few years ago by a Normandy lady, and has since then extended
to such a degree that now in one town (Rothenkerchen) alone several
hundred persons live by it. The lace is made of white human hair
procured from all countries of Europe, but principally from Italy. The
price paid for it ranges from one penny to two shillings per _gramme_,
according to quality, and the fine lace made out of it is used as a
foundation for wigs.”
To give completeness to my work, a short account of “The Genealogy of
Implantations,” from the _Moniteur de la Coiffure_, will, no doubt,
interest the reader, for it has a direct bearing on the subject.
The journal named had the following under the heading of “Croisat and
the 101 Coiffeurs.”
“In 1805, Leguet, hairdresser at Lyons, invented the flesh-coloured
hair-net. _Postiches_ had hitherto been so coarsely made that this
improvement in the manufacture of wigs caused quite a sensation. The
fame of the inventor soon reached Paris, and M. Tellier, hairdresser at
the Palais Royal, tried to buy Leguet’s patent. In 1810, Leguet, who had
found that his wigs did not keep the desired firmness (the hair being
badly knotted), easily agreed to cede his patent to Tellier. An English
firm having heard of Leguet’s invention, procured one of his wigs, which
they imitated and improved. This came to the knowledge of Tellier, who
went to London to study the improvements. Meanwhile, Carron, another
coiffeur at the Palais Royal, bought from a Lyons silk weaver the
process for the implantation on silk of a different kind, which, though
less suitable for men’s wigs than that of Leguet’s, gave much neater
partings for women’s work. Tellier, on his return to Paris, intending to
considerably extend his novel industry, associated himself with a
stocking-weaver of the Cevennes. Hence arose a law suit between Carron
and Tellier. But, contrary to the ordinary rule, this law suit, instead
of ruining the parties more immediately concerned, helped to make their
fortune. All the papers were full of this suit, and every
baldhead—feminine or masculine—in the kingdom was eager to see and
perchance try to rejuvenate itself by the novel inventions. The poor
Lyons weaver, who had parted with his patent, being unable to witness
others amassing fortunes by its means, while he remained in misery, put
an end to his days. In the law suit M. Tellier, having produced the
patent bought of Leguet, got the best of it.
“Michalon, a weaver, invented the silk parting, produced with a long
piece of silk without head, which he put on his shuttle. Dufaur invented
the knotted hair foundation, knotting the hair by means of a gauze
needle. Then a workman established himself in the Faubourg St. Denis,
who made partings in the way Carron made them. He was the first to make
partings in heart shape. The brothers Lavacquerie perfected the work of
the latter. Valon, one of Dufaur’s workmen, further perfected the wigs
by giving a tighter and better fit.
“In 1822, Souchard took out a patent at Bordeaux for implantations made
with an embroidery needle, and having in the course of time perfected
his invention, he tried to implant hair on a pig’s bladder, which, being
lined with _gros de Naples_, made an excellent bald-wig for theatrical
performances, and produced a very good effect.
“In 1823 Souchard went to England, to study the manner in which the
English made their silk net wigs. He found the English silk net
infinitely superior to the French, and be adopted the former for his
wigs.
“This genealogy of M. Souchard’s was written in 1836, and since then
implantation has made immense progress.”
Enough, perhaps, has been said about the manufacture of partings to
acquaint the reader with the manner in which this kind of work is done;
but I regard parting-making as a separate branch, and only those who
have constant practice can expect to become proficient.
Knotting, however, lies more within the hairdresser’s domain, and to be
a clever knotter the worker must be patient, careful, have good
eyesight, and bring to bear sound judgment in the arrangement and
execution of his work. In parts not seen, or rather where knots are
concealed through being covered with the hair above, they may be
somewhat coarsely done, but in conspicuous places, such as partings or
crowns, the greatest skill must be exhibited, and Nature copied as
exactly as possible. I have had occasion to refer at different times to
knotting, and it will be well, perhaps, to speak of it in general terms
before dwelling upon any class of work in particular.
In preparing a mount for knotting (no matter whether it be for a
_bandeau_, front, scalp, scalpette, or what not) you have to decide
first whether there is to be weft upon the edges of the net, and
likewise upon the galloon. If so, the net need only be cut off as before
mentioned; but when the mount is to be knotted all over, the edges of
the net must be allowed to extend the eighth of an inch or more beyond
the whole of the galloon. Here is the reason: in order to knot over the
galloon and close to the edges of it, that portion of the net which
projects must be turned under and in upon the galloon, to which it
should be neatly and securely sewn. Indeed, the net must be sewn to the
galloon wherever edges occur, for it not only holds the net firm and
tight, but when taken off the block there are no ugly openings visible.
Bear in mind the net is to be put on firm and tight, the meshes well
open, and no “bagginess” in any part. There are different kinds of net,
and you will have to select particular sorts for special work, about
which experience—if no other instructor can be approached—must be your
guide.
[Illustration: Fig. 30.]
Knotting needles are, as the accompanying illustration shows, small
hooks set in wooden handles, and can be purchased where the trimmings
for wig-making, etc., are procurable. These needles are fine, medium,
and coarse, each one being employed according to the kind of work
required to be done. For instance, in knotting over galloon or ribbon,
where the knots cannot be seen when the mount is examined, they might be
coarsely done, especially if thickness of hair be required. Upon net,
perhaps the medium-sized needle had better be used, but a needle
sufficiently fine to carry only a single hair will have to be employed
in partings and crowns if you attempt to “defy detection.” Care is
necessary in the selection of a needle, the point of which should turn,
as it were, into the neck of it, otherwise, in drawing back, the hook is
likely to catch the net, and your handiwork stands a chance then of
being spoiled before it is completed. Let me here give one word of
advice. When you have obtained needles to your liking, take the greatest
care of them, for if you are proud of good workmanship they might come
to be regarded as “little treasures.”
The first thing a learner should do is to make a “single knot,” and I
would recommend that a mount be put on the block, say similar to that
here shown, merely for the sake of practising.
[Illustration: Fig. 31.]
Take some straight hair about six inches long;[18] put it between the
drawing brushes, and place a weight thereon as though you were going to
do weaving. Draw out a weft and double it over at the roots, leaving
them (the roots) rather long. You have now made a loop, which is to be
held firmly between the thumb and finger of the left hand. Take the
knotting needle and hold it with the thumb and finger of the right hand;
insert the hook in one opening of the net and allow it to pass out at
the next. By this movement you have taken up a thread (or line) upon
which you are going to knot the hair. Now bring the looped portion of
the hair forward and hook it with the needle; Fig. 31 clearly indicates
the position. Turn the open part of the hook downwards, but keeping firm
hold of the hair (by a little dexterity you may avoid catching hold of
the net) and draw the needle back again. Let the open part of the hook
now face the weft, and by a slight movement of the needle the loop will
slip back a little towards the handle while you catch hold of or hook
the weft again. This is well shown in the following illustration.
[Illustration: Fig. 32.]
You have now to give it a turn (which to a certain extent secures the
hair), draw the hook (with the hair) through the loop; let go the hair
from the left hand at the same moment, and pull rather tight. The knot
will then be upon the net, and if the roots are long fairly secure. Of
course there is a difficulty in describing these technicalities, but I
think with a little practice there need not be any trouble in mastering
the details, at least so far as I have gone.
With regard to single knotting, I would observe that it is not so secure
as double knotting, but the knots can and should be made much finer. In
single knotting, the roots ought always to be long, much longer in fact
than when the knots are double, and ought only to be done with a hair or
two at a time, such very fine work being necessary in the middle of
partings, the centres of crowns, etc. When single knots are coarsely
made, they are liable to be caught by the comb when arranging the hair,
and, as a consequence, the weft pulled out; but if finely worked this is
not so liable to occur. Single knotting can be done rapidly with short
hair, as in gentlemen’s wigs, but it is somewhat insecure, and,
therefore, best avoided. Better be “slow and sure” at your work, than
spoil it altogether merely to be quick. Strive at all times to execute
good work, so that your employer may depend upon what you do, and all
that emanates from the shop will, in consequence, bear the stamp of
excellence.
With regard to double knotting, I wish you to turn to the instructions
given on page 153, and, to avoid recapitulation, begin with the words,
“Take some straight hair,” etc., and follow on till you come to “draw
the hook (with the hair) through the loop,” then stop for a moment and
take up here. I repeat—“draw the hook (with the hair) through the loop;”
let _that_ slide back a little as it did before, take hold of (or hook)
the weft again, giving the needle at the same moment a turn; draw
through the loop once more, and pull tight down upon the net. In other
words, proceed as though you were going to make a single knot, but
instead of drawing it through at once, make another knot upon the hair
itself, and then draw through. Thus you have made or tied a _double
knot_, and there need not be any fear of its coming away, for it is too
well secured. These double knots should be made where they are best
concealed, but ought not to be coarsely done, otherwise they will appear
unsightly when the workmanship is examined. Practice, with attention to
details, will soon enable you to become expert. When the job is
completed, (if it be a front, or a band, or anything of that
description), have ready a top row of weft, and sew it on as before
instructed, press, and finish off in the usual way.