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.

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.

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.

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.