As a recent intern at The Mill, I’ve had the privilege of meeting over 50 different artists and getting to learn about their creative practices, and deep within his studio nestled between eclectic bird feathers and vintage cowboy memorabilia lies Blake, a hatter.
Blake, most commonly known as Blakesby Hats, has been a resident at The Mill for the past four years, beginning in 2019. Having an interest in textile and vintage aesthetics, Blake fell in love with hat-making after learning the process as a personal skill to create hats that he couldn't find. I had the privilege of interviewing Blake and touring his studio at The Mill, where I got a glimpse of his craft and artistic identity.
“I wouldn’t describe myself typically as an artist. I tend to think of myself more as a craftsman.”
Blake tells me that he wouldn’t consider himself part of the arts industry, nor part of the fashion industry either, but rather lies somewhere in between. His craft allows him to do something practical while also giving the opportunity to experiment with different styles and processes.
When asked about the hat-making process, Blake explains his conflicting feelings for the hat-distressing technique. “Distressing has become a trendy, gimmick thing,” he states.
“Rather than getting something new and wearing it for a long time so that it develops that character over time, it's putting that character in from the start. Which is an art form in and of itself, but like a lot of gimmicky things in hat making, it’s cool, and then there’s not necessarily anything wrong with it, but it has become a bit of a red flag.”
Blake is passionate about upholding the traditional hat making process, valuing the quality and authenticity that it brings to his work.
Blake’s studio at The Mill has been hugely beneficial for his hat-making, allowing him to have a dedicated space while also providing him with support and networking opportunities,
“I’m glad I have a space at The Mill, because it's been great for work-life balance to have a dedicated space outside of home.”
“They have a lot of connections within the arts industry and a lot of knowledge of the ins and outs and how to apply for grants and so on.”
Being surrounded by a variety of creatives makes him feel inspired, and he is grateful for the opportunity to have a studio alongside such talented artists.
I was intrigued to know what his favourite hat was, and without hesitation Blake tells me that it is the one he is currently wearing. Sporting a brown beaver-felt fedora with a turquoise ribbon at the edge of the brim, with pyramid shaped ventilation holes and a vintage bandana.
“The one I’m wearing is probably my favourite at the moment. I like doing ventilation details to my hats, it’s an aesthetic detail primarily.”
During my tour of his studio, I noticed an array of hats with ventilation holes, almost acting as a trademark stamp. Blake explained that he’s currently practising star-shaped ventilation holes, a new design that he’s been keen to try out.
Alongside his favourite hat, I was also eager to find out who his dream client would be.
“I really like making hats for inspiring, interesting and creative people.”
Although Blake finds it difficult to just name one, he eventually decides on Jeff Goldblum,
“There was a while where I was like, it would be cool to make Jeff Goldblum a hat.”
Besides experimenting with different designs and materials, Blake also wants to expand his clientele. Although he agrees that Adelaide is quite small, he feels that it provides the arts industry with an advantage due to the ability to get easily connected with artists across the state.
“Adelaide feels small, which doesn’t seem like a good thing, but it is a good thing when we get things like Fringe, Womad, and international acts. Adelaide is so small that the idea of being able to be in contact feels more attainable,”
“I would love it if any artists from WOMAD or the Cabaret Festival would like to get in touch, to talk to me about making hats for artists.”
Words: Ivana Bogosavljevic
Photos: Marina Deller