Saturday, March 29, 2014

Who Made That Chef’s Toque?

Photo
CreditJens Mortensen for The New York Times
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“I’ve long wondered how to change the way we wear our cotton hats,” wrote the French chef Antonin Carême in his 1822 manifesto on modern cuisine, “Le Maître d’hôte Français.” While working for the British ambassador in Vienna in 1821, Carême got the idea to insert a round piece of cardboard inside the floppy cap that was then standard headgear in the kitchen. “A cook should present as a man in good health,” he explained, “and our regular hat suggests a state of convalescence.” His illustration of the new style in his book’s frontispiece had two chefs standing side by side: Both wear floppy hats and double-breasted coats, aprons tied around their waists. On one chef, the headgear seems to have more poof — courtesy of the cardboard insert — but it’s nothing like the pleated toques, at least eight inches high, that have since become iconic.

So what was the romantic school of cooking and why would its adherents wear muslin cylinders on their heads? This remains a mystery. Some scholars have suggested that the toque derives from the headgear of Ottoman soldiers. A military model does fit with the fact that hat size in the kitchen connotes rank. “Only the highest people in the hierarchy wear the toque, not the prep cooks and the dishwashers,” says Amy Trubek, author of “Haute Cuisine: How the French Invented the Culinary Profession.”
Wherever it comes from, the toque appears to be in decline. Major vendors of chef’s clothing now sell beanies, head wraps, skull caps and baseball hats. Traditional toques are more common in formal cooking schools than in working kitchens.

Friday, February 28, 2014

INDIGO- maybe the most gorgeous of the blues

I have always loved the word INDIGO. In fact, I think that is would be wonderful to be called Indigo. Alas, that is not to be. There is something warm, with an old world charm, about indigo.

Indigo is an ancient color, a natural dye extracted from a plant of the same name, and the only true blue dye in nature. It's been found in ancient Egyptian mummy wrappings and was so valued by the Romans as a luxury product, the story goes, that the only people who knew how to dye with indigo were hidden away in the forest.


indigo the plant
 I was recently visited the mountainous area of SAPA in NORTHERN VIETNAM, where the local HUNG tribe, although living in abject poverty, use locally grown wild indigo to dye the most beautiful fabrics.

Winter indigo plants in Sapa.

Who knew that such a weedy looking plant could profuse such beautiful blue dyes.
man made ladder stairs from a solid tree trunk and bamboo water pipes
wooden shingled roof

corn drying from the house ceiling 

interiors are cold and dark

But when you see the beautiful work that these ladies do, hanging from outside the houses, it is just gorgeous.
The patterns are painted before the dyeing with bees wax. The wax is removed after the dyeing process to reveal the original background color.

an artist happy at her work
The initial color, when removed from the dye vat is teal but the fabric turns to classic indigo as it dries in the air. I suggest that you boil the fabric with white vinegar to "set" the color. Do not wash which light colors. 


Now for a bit of a science lesson: In order for indigo to release its dye molecule, and attach itself to fibers and bond, excess oxygen must be removed from the molecule; this particular vat uses the chemical reaction between a mineral alkali and a natural reducing agent to do so (a process called reduction). Based on recipes used in Morocco, India, and Provence, and Northern Vietnam,  this vat recipe uses natural agents such as dried and fresh fruits, minerals, and flavonoids (the natural pigments in plants).


a pot of Indigo dye

So if you can't make it to SAPA and you want to try this at home, here is a a great recepi that I picked up from www.gardenista.com

DIY Indigo Dye

Materials:
  • 1 part natural indigo in powder form (100 grams of Organic Indigo is $19.50 from Botanical Colors)
  • 2 parts calcium hydroxide, also known as pickling lime, cal, calx. (250 grams of Calcium Hydroxide is $7 from Botanical Colors)
  • 3 parts fructose crystals (250 grams of Fruit Sugar Fructose Powder is $8 from Botanical Colors)
  • 2-quart Mason jar or heat safe container (or larger if you are making a larger vat)
  • A non-reactive cooking pot for your vat 
  • Natural fabric (wool, silk, cotton, etc. work best)
  • Rubber bands OR bees wax for your designs.
(If you're interested in one-stop shopping, an Indigo Shibori Kit with all of the necessary ingredients to get started on your own indigo vat is $49.95 from Botanical Colors.)
Instructions:
Part I: Mixing an Indigo Stock
Decide how much indigo to use based on the shade of color you want to achieve. For reference: 2 tablespoons (25 grams) of powdered indigo will make a vat that will dye around 2 pounds of fabric a light to medium shade of blue; 4 tablespoons (50 grams) of powdered indigo will make a vat that dyes the same amount of fabric a medium to dark shade of blue; 8 tablespoons (100 grams) yields a dark blue, with enough leftover indigo to dye a few other pieces of fabric a lighter shade. After you've decided on the amount of indigo, you can calculate how much you'll need of the calcium hydroxide and fructose crystals. 
Next, create a stock in your Mason jar. Pour your indigo powder into the jar (we used 8 tablespoons), and add a bit of warm water to create a gritty paste. Add about 2 cups of hot water (heated to about 120 degrees) and stir; the solution should be dark blue. Add the fructose crystals and stir well. Slowly add the calcium hydroxide and stir so it is well incorporated. You want to get out the lumps without beating too fast, to avoid adding air to the solution.
Top off the jar with additional hot water after the calcium hydroxide is incorporated. The mixture should look greenish and murky. Let it settle for an hour, giving it a stir every 15 minutes. The chemical reaction works best if the solution is warm, so feel free to place the glass jar in a pot of hot water. The stock at the top might look yellow-green or brownish red—this is normal. After 45 minutes, give the solution one more stir and let it settle for 15 minutes. 
When a layer of copper colored scum develops at the surface, you know your stock is ready. At this stage, you'll notice the liquid in the jar has divided into two sections: a layer of sludge at the bottom and a thin liquid layer on top (similar to when you mix oil and vinegar). Your stock will look yellowish green or brown. 
Part II: Preparing an Indigo Vat
After you've got your stock, you are ready to make your indigo vat. Fill a non-reactive dye pot about 2/3 full of hot water (heated to approximately 120 degrees). Carefully pour all the stock (including sludge) into the pot and stir gently. Allow the vat to turn a yellowish green color (this takes usually from 15 to 30 minutes). After the vat has a yellowish and coppery scum on top, it is balanced and ready for dipping. Keep it over a low heat to maintain the temperature. 
Part III: Preparing and Dyeing Fabric
Meanwhile, prepare the fabric. Fabric should be thoroughly soaked in warm water before folding and dipping. There are many different techniques to create different patterns. One we like: fold fabric like a paper fan into 1- or 2-inch increments, and then tie it with a rubber band or string.  You can dip fibers for from 30 seconds to three minutes; after you remove the fabric, let it drip into a container (later you'll pour the liquid  back into the vat). Continue to dip until the fabric is two shades darker than you want it to be—after you rinse it, it will lose some of its color. 
This next step is where the magic begins. When you take your fabric out of the vat, dip it in cold water. Then, undo the folds and the ties. Let it air for at least 30 minutes. You will want to rinse your fabric out a few times with cold water; you should wash it separately, so that its color does not stain other garments.
After the vat turns from yellowish-green to blue, you will need to reheat and add a generous spoonful of fructose crystals. This is called rebalancing the vat. Wait for from 15 to 30 minutes for the vat to turn greenish yellow again; if it doesn't, add a level spoonful of calcium hydroxide and wait. You may need to repeat this process.
You can keep an indigo vat active for up to six months, as long as you rebalance each time you reheat it (always to 120 degrees). You may also need to replenish the vat when you're ready to use it again, if it's lost a lot of its color potency.  To replenish the vat, create a new jar of stock and add it to existing vat. Store your vat in an airtight container with a lid.

Sunday, February 23, 2014

MILAN FASHION WEEK. BIG TREND, BIG HATS

The fashionestas are certainly shying away from the ubiquitous small brimmed fedoras that are now the derrière cri of yesteryear. The head of the class is now a BIG AND BOLD LOOKING CROWN.
It started with Louis Vuitton over-sized clocked styles from 2012.


Le baton was handed to PHARREL, when he wore his Vivienne Westwood,  Arby INSPIRED BIG CROWN.


And at Milan fashion week the torch has been passed to EMPORIO ARMANI, who put his models in over sized bowler looking hats, which looked delightfully elegant, when accessories with his gorgeous tailored suits.




How do you say "sexy" in Italian? BELLISIMO

We even see the return of BIG RUSSIAN  FUR TOQUES


BRADGLEY MISCHKA

Even the hat brims are starting to become over-sized.

CONCEPT KOREA



NUN'S WIMPLE INSPIRATION

Thursday, February 20, 2014

FALL 2014 HAT TREND- SANTA FE COUNTRY CHIC

New York and London Fashion Weeks–Designers are pulling blankets, throws and even carpets into their designs this season. With a mix of graphic prints, abstract plaids and literal Santa Fe and Moroccan-inspired motifs, the look is easy, comfy and casual.


BURBERRY PROSUM, TOMMY HILFIGER, BURBERRY PROSUM
This will be such an easy DIY look. Ladies just grab that "thow" from your couch and work it!!

I am know to snuggle in this one from time to time.
BURBERRY PRORSUM, BCBG, POLO RALPH LAUREN

CALLANAN MILLINERY HAS YOU TOPPED OFF WITH THE PERFECT SANTA FE INSPIRED HEAD WEAR FOR FALL 2014.
LV223 AND LV318

A raw cut edged hat is the perfect look to enhance this gaucho blanket trend, in rich burgundy, emerald and tan colors.
LV316-BROWN
This American Eagle style (no it is not real, which would be illegal) side feather trim, is so apropos for the blanket trend. This felt is hard to find. The mottled look is achieved by mixing 2 colors in the felting process.
LV318-TAN
LV335-ASST
The frayed finish on the grosgrain ribbon also elands itself to the tasseled poncho look.

Hat pics by koitz.

Wednesday, February 19, 2014

RED VELVET - FASHION TREND FOR FALL 2014

New York and London Fashion Weeks–Did designers load up on Red Velvet cupcakes while planning their lines. Head-to-toe sexy, rich and luxurious, red ensembles are showing up all over the runways, but they look particularly fresh when covered in velvet accents. From velvet burnout to solid configuration, this rich, royal material is making a major comeback, capturing both a regal feel and more bohemian gypsy ideas.

JOHN ROCHA, DONNA KAREN, JOSIE NATORI


MARQUES ALMEIDA, TOCCA, OSCAR DE LA RENTA
At CALLANAN MILLINERY we have your velvet trimmed crown, in the waiting for milady.

LV333 AND 334
Grosgrain ribbon accented in velvet.

LV332 AND 338
Gorgeous luxurious black satin and coq feathered trimmed cloches would look divine with any red velvet coat.
Or for a more sporty look with a touch of velvet and red felt, may we suggest.

LV328 AND 331


Hat pictures by koitz

Friday, February 14, 2014

HATtitude ArtsWestchester, White Plains, NY

Exhibit Cops a Positive “HATtitude” Toward Headwear

Volendam mask hat by Jasmin Zorlu
White Plains, NY—For aficionadas, you can’t get enough of them, much less walk out your door without one on—hats that is.
But for those who say “I just can’t find a hat for me,” then it’s time to visit “HATtitude: The Milliner in Culture & Couture,”  an exhibition at ArtsWestchester that opens Tuesday, featuring more than 160 hats from 40 contemporary milliners and private collections.
Hats are Art with a capital “A” as demonstrated by the selections picked out by ArtsWestchester. “The exhibition will prove what the Duchess of Cambridge and Lady Gaga already know–that hats are more than mere accessories, they’re the crowning glory of any fashion statement,” says Kathleen Reckling, gallery director.
HATtitude consists of functional hats, whimsical hats, hats from bygone eras and from different global cultures, providing context for contemporary designs while examining the hat’s enduring social significance.

‘Stand Out in a Crowd, Wear a Hat’

“According to an old saying,” says ArtsWestchester CEO Janet Langsam, ‘If you want to get ahead, wear a hat.’ That’s particularly true in today’s day and age as hats are becoming more like works of art and fewer people are wearing them. So to stand out in the crowd, wear a hat.” A well-designed hat is as much a statement about its maker as is it about its wearer.
“John Deere” by Joanne Mooney
In addition, the exhibition contains a mini-exhibition-within-the-larger show, namely “One Block, Many Milliners.” Here, the 40 different hats on display in this area were all formed from the same basic hat shape. The collection emphasizes the creativity of milliners, who see endless artistic possibilities in a simple form. “One Block, Many Milliners” is organized by members of the Milliners Guild, an organization of small millinery business owners and milliners who specialize in the design, production and promotion of handmade headwear.
“HATtitude: The Milliner in Culture & Couture” is curated by Kathleen Reckling, MA; Judith Schwartz, PhD; and Thomas VanBuren, PhD, and is presented thanks to support from the New York State Council on the Arts and the New York Council for the Humanities.
Additional hats on loan from the collections of: Ballet Folklórico Acuarelas del Perú, Sana Musasama, Judith Schwartz, and Louise Green.
HATtitude opens Tuesday and runs through April 12. Gallery Hours: Tuesday to Saturday, 12 to 5 p.m. at ArtsWestchester, 31 Mamaroneck Ave., White Plains, NY. Check www.artswestchester.org/hattitude for additional information and the schedule for lectures by fashion and art historians as well as hands-on workshops lead by exhibiting milliners.

Thursday, February 13, 2014

TARTAN HAT TRIM FOR FALL 2014

New York Fashion Week–Designers are going mad for plaid this season, and not just your basic, traditional tartan, either.
BLACK AND BLUE ALL OVER
 Black-and-blue shades factor in prominently, while red is being done in new ways.

 From apparel to accessories, from grungy to glam, this is a hot print to watch.
CALLANAN MILLINERY has you covered with this delightful highland cloche

LV312I HIGHLAND CLOCHE


Or for a more sporty look try

TARTAN FLEECE CADET
We also have some tartan look in our scala collection.