What makes a truly great summer hat?
I think my Sirocco fedora fits the bill for a number of reasons and here they are:-
With a smile,
As a hand-maker, I appreciate the time and skill that goes into making a hand-made product. Whatever the craft, there's so much more to it than initially meets the eye and if you've never tried it, then you'll never have an inkling of just how difficult it is.
It takes years - years of motivation and dedication to the particular skills to make the individual product, then development of quality, speed, consistency that enables you to produce at a commercially viable level. And then, if you want to be an innovator, that's another level of achievement again.
So, I loved learning about a 'new' fabric that I'd never even heard of until recently. It's Jamdani and I'm already hooked.
It's the lightest most coveted fabric for saris. Made from the finest of cotton muslins, Jamdani fabric creates the ultimate in luxurious saris - a garment that is perfect for the hot and humid climates of the tropics, yet in a fabric with intricate woven designs that also holds a glorious richness of colour.
While Bangladesh is often associated with cheap clothes produced for the mass market, the delicate and costly jamdani fabric is also made here.
Jamdani was originally known as Dhakai named after the city of Dhaka, one of many ancient textile weaving centers in Bengal region. Under the Mughal Empire the Persian term Jamdani came into popular use - from the Persian 'Jam', meaning flower, and 'Dani', meaning a vase or a container. And the "dani" also relates to the decorative floral patterns found on Dhakai textile. There you go!
"On the banks of the River Lakshya - just outside Dhaka, Bangladesh's capital - the sun is heating the tiny corrugated iron factory I am standing in to oven-like temperatures.
Inside, under a string of bare light bulbs, six master weavers sit in pairs, barely breaking a sweat at their bamboo looms.
The men are shirtless. The women wear neon-coloured salwar kameez - a traditional South Asian garment. All of them rest their arms on cheap white cotton, protecting the delicate muslin they are working on.
This dirt-floor workshop might not hint at luxury, but the special jamdani fabric made here is highly coveted and incredibly expensive.
The factory owner, Anwar Hossain, walks me past the looms. Whiplash thin and just over 5ft (1.5m) tall, he doesn't disturb the workers as he pauses to let me admire the work of one young woman who sits below us.
Her hands, spinning like furious atoms, interlace silky gold thread into a sheer muslin cloth the colour of oxblood.
"Jamdani is expensive since it requires dedicated work and special skills," Hossain says, flicking a bejewelled hand over the peacock feather motif that the young woman works on. "My weavers don't use patterns, they create only from memory."
I first heard the word "jamdani" across the border, in India. On a sticky pre-monsoon night in the south-west state of Kerala on the Malabar Coast, a retired Keralan banker called Harry told me how he missed his old job in Calcutta, almost 1,500 miles (2,500km) away. How he longed for the poetry of Rabindranath Tagore and tangy Bengali street food. But most of all, how he missed the Dhaka-made saris that he would buy his wife from Calcutta's markets.
"She loves jamdani saris," Harry said, "and I do too. They are so light it is like they've been woven in air. I would save up to buy them for her."
It is the detail of the motifs - the intricate jasmine flowers, marigolds and geometric patterns - that are neither embroidered nor printed, but which are painstakingly sewn in by hand when the fabric is still on the loom, that really ups the price.
The very finest sell for hundreds of pounds in Bangladesh and India, often to brides."
Around us turquoise, yellow and white expanses of the finest gauzy muslin billows in the breeze that - like a cool blessing - comes off the river through the latticed bamboo walls.
A bead of sweat rolls down my face and I am struck by the silence. There are no factory sounds. No shuttles zooming back and forth. No machinery of any kind.
The air inside the factory is hushed and filled with concentration. It is a stark contrast to the chaos and din of Dhaka - a raging bull of a city that forces visitors to adapt or perish.
The people who weave the material are highly sought-after employees. Hossain tells me that his workers are the most celebrated craftspeople in the riverside settlement of Demra. Below them are the dyers, the spinners and the makers of the looms. They all live together in this community, much as they have done for hundreds of years.
His weavers, he tells me, benefit from the pride and identity their work gives them, unlike the workers toiling over cheap ready-to-wear clothes in Dhaka's often dangerous garment factories. "My weavers are in charge, not me," Hossain chuckles. Jamdani expertise is a dying skill and factory owners like Hossain know that to keep these workers on they have to offer benefits.
It is no accident that the jamdani weavers live in the settlements of Rupshi and Demra right on the riverbank. The saturated soil is particularly fertile and during the British rule - in the 19th century - the villages here produced the finest of cottons.
Today, huge jute mills dominate the area, but a few factories like Hossain's still remain.
Luxurious it is not, but this gentle environment is worlds away from Dhaka's dire mass-market sweatshops that churn out fast fashion for High Street shops all around the world.
In Hossain's labour-intensive workshop - where each sari takes three to four months to make - female weavers are able to work flexible hours to collect school children, and there is no exploitative child labour.
Emerging from the workshop, I ask him what makes a master jamdani weaver. "Firstly," he begins, "they must be children of the loom, taught by their fathers. Secondly, they must also have strong backs and dedication. "Lastly, and most importantly of all, they should possess magic fingers - and that is very, very hard to find."
That's all for now!
"When you buy something from an artist, you're buying more than an object. You're buying hundreds of hours of errors and experimentation. You're buying years of frustration and moments of pure joy. You're not buying just one thing; you're buying a piece of a soul ...a small piece of someone else's life."
Artisan, Artist or Craftsperson - if you are not someone who makes things with their head and their heart and their hands, then you may not have ever given all this much thought.
But for people who strive to create art or products or goods based on an original idea that sparks up in their mind, or a long-history of traditional skills and the gradual learning and refinement of historical skills, this will all ring so true.
For creative types and creators, my feeling is that the receptiveness to your craft never turns off. The more you do it, the more creative you become. Of course - it's the practice of creativity. The more you let your mind dream up ideas and think them through, then the more these ideas bubble up and you are itching to try them all. Every day brings a flow of impressions, colours, lines, shapes, thoughts - a multitude of moments where inspiration strikes.
But there's a reality to working as an artisan. We have to decide which ideas are worthy of investing our time. Which ones do we have a significant likelihood of actually pulling off in reality? And are we operating in a zone of commercial-reality? Will this product ever sell and can we make it for a realistic price? Can we access the materials that we envisage? And do we know how to use the materials? Or do we have start a process of experimentation - for days or weeks or months? That can be really costly when it doesn't work out!
It's the inspiration that keeps you going at such times. The inspiration and the vision in your head drives it all.
As a hatmaker, for me that motivation is all about beauty and the Cinderella moment - the moment when someone tries on the hat that you have designed and created and they see that they are transformed. I guess it's an advanced case of the Fairy Godmother Syndrome.
We all buy on price to some degree or another - we have to of course. In a world that churns out so many products that bring no beauty and precious little function, I'm keen to support the creators!
So to those who can and do buy any product of original creation or hand-made effort - no matter what it is - I hope you recognise the full breadth of what you are really supporting. And thank you from one of the creators!