Ancestors

My first hat/headdress/mask collection:

Mesozoic

This mask/headband was one of the first ideas of the collection, in fact it sparked off the idea for collections name of 'Ancestors'. Mesozoic is the era that encompasses the Triassic, Jurassic and Cretaceous periods where Dinosaurs existed.

Pounce

This hat was to make the link between the Dinosaur design and those that are bird or feather based. The name inspiration is obvious, even more so when worn as the lizard is very animated.

Majesty

 Inspired by the diverse range of headdresses from the Democratic Republic of the Congo, in particular those of  the Yaka and Pende people as well as the Bwami society of the Lega. The name signifies the importance of head wear as a representation of power.

Ara

Ara is the genera of parrot that the scarlet macaw belongs to, the same species that these feathers belonged to. Using them in head wear is reminiscent of South American styles where the macaws are naturally found.

Trove 

As the name suggests this is intended to be a a treasure pile of kinds but also a nest. Much like the magpie or the bower bird who collect coloured/shiny objects to adorn their nests/bowers.

Wildnernis

The German and Dutch variation of the world 'wilderness'. This piece is a combination of British and European birds and butterflies, combined with the famous Mohawk hairstyle which has been in existence from around 392 B.C. to 201 B.C. with a mummified corpse discovered in Ireland to back this up.

Pelt

The first of two masks, Pelt highlights the habit of animal print being associated with African mammals (except Tigers). There are also links here to the DR Congolese headdresses and their use of animal skin or parts. 

Era

 A collage of fossilised creatures with the name 'Era' being self explanatory.

Skulk

Apart from sounding extremely similar to skull, the most prominent material used, 'Skulk' is also the term for a group of foxes which the skull happens to belong to. I found, cleaned and treated it myself then wore it to the private view of Open Close pop up exhibition I shall blog about shortly. It's the only hat to feature a mammal part.

Slumber

 The second piece that deals directly with dead animal, 'Slumber' of course means sleep which is what some consider death. The way in which the sparrow is preserved allows it to sleep amongst the feathers of others. The sparrow itself was a present from when I left Southampton.

Images and Headwear by KLV

Trove, Wildernis and Majesty

With the 'Open/Closed: A pop up gallery' coming up fast, I've decided to make a selection of hats and headdresses to be suspended from the ceiling/beams and hopefully to be interacted with by the private view guests. The latest additions to the collection are:

Trove

The original idea was to create a nest like base however I combined this with the cocoon habits of the caddisfly (in particular the project of the Hubert Duprat). Another influence was the bower bird, who collects coloured items to decorate a small area for the purpose of courtship, leading on to other birds with similar habits such as magpies. 

Wildernis

Dutch for Wilderness, this piece is a composite of large European bird feathers and pre printed butterflies from a book of cut out DIY mobiles.

 

Majesty

Majesty was made during my weekend stay in Southampton, though the influences for the piece can be found as far as the Democratic Republic of the Congo. Feather trim, leopard print button and gold chain form the majority and hopefully it's vaguely reminscent of a central African headpiece.

 Images by KLV

Made in the Congo

The images and quotes below are from my newly acquired copy of 'Royal Museum for Central Africa - Collections of the RMCA. Headdresses'. (Thanks again Katie)

As the 11th biggest country in the world, it is no surprise that the range of traditional headwear in the the Democratic Republic of the Congo is as vast as the place itself. As with other cultures, headdresses in the DRC are symbols of power and an accumulation of wealth with materials such as cowries, which arrived from colonial exchange, being displayed on the person to indicate their value. Materials used varies incredibly from feathers to hides as well as bone, teeth and hair, presented as tribute to chiefs and kings of various hierarchies. This book doesn't merely show examples of DR Congolese headdresses but gives details of their significance to the wearer, as well as specific back stories where available. These headpieces are then grouped by material, ethnic group/religion, region and context. 

Lega - The Bwami society

The eastern DR Congolese Lega people often belonged to the political, religious and social structure known as Bwami, the initiation ceremony of which was 'viewed as an organised form of resistance by certain colonial administrators.' The basic materials worn by entrance level initiates of Bwami consisted of fibres, cowries and leather but these caps were worn underneath more complex headdresses as the candidate progresses through the initiation. The spectacle of the final rank in Bwami society fascinates me, as the 'Kindi' (highest rank) are the only members permitted to wear elephant tail, hornbill beak and possibly eland hide. Infact at this level of Bwami, it's possible that personal taste defined the selection of adornment.

 

It appears to me that the more complete and grand the animal part used, the closer the wearer is to the force of nature and therefore to power. This book confirms this as well as delving into more specific symbolism for example the elephant tail which being 'a herd animal, symbolised solidarity among Bwami members.'

 Feathers

Unconfirmed origin but almost certainly from the DRC, red jungle fowl feathers used. 

This headdress was worn for Likita dances and ceremonies. The feathers are fishing owl combined with rhinoceros beetle thorax

Giant blue turaco and hornbill feathers worn by men of the Mungongi society amongst the Yaka and Pende peoples

 Luba grey parrot/grey woodpigeon headdress. This piece is particularly interesting due to the sheer volume of parrot feathers for a start, over 500, which would have used the tail feathers of around 50 birds. Though frequently used, Luba headdresses like these are rarely photographed. The unobtainability of the materials used benefited the courts of the Luba Kingdomthrough use of ritual and sway over conquered regions and trading partners.

Luba grey parrot/assorted goose and duck feathers (left), Mangbetu headdress with various guinea fowl and eagle owl feathers

Animal hide

Goat hide Ngundu headdress and silver monkey Egbaka headdress

Leopard scalp headdress, possibly from Bwami society

Pangolin headdress, DRC

Though I have posted some of my favourite animal based headdresses above, 'Royal Museum for Central Africa - Collections of the RMCA. Headdresses' contains many more. Details of the collectors are provided alongside the controversy of their collector or looter status, combined with information of the 'Scramble for African Art' to give readers another dimension to the collection. Not only does the book touch on animal symbolism it also delves into anti-colonial headdresses that contrast with western influenced designs. This publication is ideal for anyone interested in anthropology, hats/headdresses or many aspects of African culture.

The Christmas Post

Belated Christmas wishes!

Island famous Christmas lights display, around the corner from my house and visited on Christmas Eve.

 Izzy enjoys her presents

 Mum models her hairband, handmade by me of course!

Drinks at the pub with the family

Presents! Including.. Harrods tea, ciders, animal print bedding, peacock feather cushion, Russian doll candle, bag made out of a zip, book about African headdresses, sewing kit, bracelet and much more not pictured. Very grateful.

Images by KLV