I now approach the second and, perhaps, most important part of my work, viz., the art of Wig-making, and under that heading I intend dealing with the manufacture of Ringlets; “Tails,” Twists, or Switches; Plaits; Bandeaux; Fronts; Chignons; Scalpettes; Fillets; Scalps; Wigs; and, in short, everything which appertains to this branch of the business. Weaving is one of the first lessons which a boy has to learn in a hairdresser’s shop where “a knowledge of board-work is required.” No matter whether he is employed in a first-class establishment where superior work has to be done, or in a shop of less pretension, good weaving should be aimed at, and demands primary consideration. In some of the principal houses, professional weavers are engaged, who take the hair home with them, and bring it back when completed, receiving so much per yard for their labour, the price being regulated by the kind of weft made. This practice is generally pursued, for assistants have not much time or inclination to weave, their services being more valuable, so this operation is confided to other and less skilful hands; but whoever does it, or wherever it is done, excellence should always be aimed at.

Every hairdresser is more or less acquainted with the weaving-frame, therefore I need not give particular instructions in reference thereto. Besides, the accompanying illustration indicates nearly all that I would say about it.

From the above it will be seen that the hair to be woven is placed in the brushes which lie upon the table; the roots allowed to project a little, and convenient to the workman’s hand. The three “strings” as they are sometimes called, are in reality silk, one skein of weaving-silk being wound round each groove of the weaving-peg. The silk can be had either fine, medium, or coarse, according to the taste or requirement of the user. A tack is generally driven into the other peg (to which the “silks,” by means of a loop, are attached) and around it the weft is wound as it increases in quantity, or occasion may demand. When the “frame” is in position, all the silks ought to be of an equal degree of tension—neither too tight nor yet too slack; and a “jockey” should be provided in the event of its being wanted. Do not bear heavily upon the silks in a clumsy manner; avoid weaving too much in one place, and as the weft lengthens, work higher up, towards the weaving peg. By observing these rules you may escape the annoyance of the silks breaking—a vexatious mishap, which sometimes necessitates undoing that which is done, and re-weaving it. Should a silk break, however, you must tie it close to the last weft, but there is a particular way of fastening which can easily be shown but is awkward to describe.

“Once In” weft, which has several designations, and is also indicated by the letter N, is chiefly used when a moderate quantity of hair is required to be put together in a small compass. It is employed for “top-rows,” “bunches” or “tufts,” “twists” or “tails,” plaits, chignons, etc. To enable the reader more easily to comprehend the modus operandi, I will for the sake of convenience number the silks 1, 2, 3, beginning at the bottom. On the next page an illustration of the weft is given, to do which proceed as follows. Draw out a weft and hold it firmly between the thumb and finger of the left hand. Also, gather the silks together as indicated in Fig. 1, and with the index finger of the right hand push the roots between 1 and 2, and draw them towards you between 2 and 3. Turn the root over the top silk; draw it between 3 and 2; pass it under 1 and 2, drawing it through 3 and 2 again. Finally, turn the roots over the top and draw them between the two lower silks. Then hold the longest portion of the hair with the thumb and finger of the left hand, firmly hold the roots in a similar manner with the right, and draw them up as close, i.e., as short as possible to the silks, at the same time sliding the weft down to its destination, as shown in the first engraving. Push up close with the thumb and finger of the right hand, and, should the hair be stubborn, it will be necessary to use the “jockey,” of which I spoke before. This procedure appears somewhat difficult to the uninitiated, no doubt; but I think that persons in the trade will find it tolerably easy. If properly executed, the work will be regular and smooth—not “gouty,” as it sometimes appears when done by a careless person, but firm and compact. This kind of weft, or, indeed, any kind of weft, can be made coarse or fine, according to the purpose for which it is intended; but however thick or thin it may be, the work must be uniform and evenly set.

“Twice In,” or Front Weft (Fig. 3), somewhat resembles, when the silks are open, the letter M, and to do this properly the weaving has to be increased so as to keep the wefts farther apart, and withal, firm. Should the weft be loosely done, it will be unpleasant to sew up, and the job when completed is not likely to be durable or satisfactory.

Follow the directions previously given, until you come to “drawing it through 3 and 2 again.” Having done this, continue as follows:—Pass it under 1 and 2, draw it through 3 and 2, turn it over the top, and end as before by bringing the roots through (or between) the lower silks.

This kind of weft can be executed by an expert both rapidly and well, but perhaps a yard an hour would be considered satisfactory, especially if it were found perfect when completed.

“Thrice In,” Crop, or Wig Weft, should be very finely made, taking about six or eight hairs at a time to make a weft, depending of course on the quality of the hair used. Each weft should be tolerably wide apart, and firmly woven, if durability in a wig be required. When it is remembered that twenty or thirty yards are wanted in the manufacture of a gentleman’s wig, my reason for saying that the wefts should be fine and well-set must be apparent, for were it otherwise, the article would be heavy and uncomfortable to the wearer. Lightness ought never to be lost sight of in matters of this description, neither should strength and durability be forgotten. Bearing these instructions in mind then, proceed as though you were going to make “Front weft” but giving the hair a turn or two more, and end by drawing the roots through between the lower silks. Nimble fingers can do this kind of weft in a very expeditious manner, and I have heard of regular weavers making about three yards of wig weft in an hour—so much for constant practice.

“Fly” weft, for top rows, lies very close and compact; the roots fly apart or separate from the other portion of the hair, and they are either to be removed by the scissors, or else pressed downwards with hot pinching-irons previous to cutting down the weft. Indeed, it would be advantageous to “pinch” all pieces of close weft, where flatness and neatness are desired. “Fly” weft covers work very nicely; it should always be finely done and pushed up close. It is made the same way as “once in,” but with this exception, namely,—instead of drawing the roots “between the two lower silks” at the last movement, draw them again through the top ones. The roots will stand out or “fly” in an upward direction, and it may be necessary to use a “jockey.” By preference, press the roots with hot irons instead of cutting them off, for a weft or two might come out in wear, and then, to say the least, it would look unsightly, and jeopardise the rest.

I shall have occasion to refer again to weaving, but enough has been said for the present.

“Ringlet bunches” applies chiefly to side curls made of ringlet hair, irrespective of the length of hair, or quantity. They can be sewn up close, showing a back as well as front; with all the weft concealed except that upon the top, or in diamond shaped-openings, as shown in Fig. 4.

The illustration represents one of a pair of “bunches” made with three-quarters of an ounce of fourteen-inch ringlet hair. To begin then: separate the hair, putting the curls which turn one way together, and do the same with the others. All curls which come from the hair-merchant turn both right and left—two ringlets to one lock of hair. In making up either, always remember that the curls should be so arranged as to “turn to the face,” for if you do not attend to this at the beginning, the curl is not likely to form or droop properly, and there will most likely be a “cramp” necessitating its being rolled up again and heat applied. With new work this is best avoided, and by attention to the instructions the curls will be made “right and left” as they always ought to be. Next weigh the hair, putting an equal quantity into each scale. Tie up each lot; card it properly, and it will assume almost of itself, or with a very little help, a curl. Now you have two curls, tied at the roots, and inclining one to the right and the other to the left. Take one of them, place it in the brushes, and weave (see Fig. 2); when woven, comb it out carefully while on the frame, and form several ringlets all turning the same way. Cut the middle silk six or eight inches from the weft, tie it to the others, and fasten off securely. Now weave the other tress, making the weft to correspond, so as to resemble the first piece as much as possible, in every respect; the curls of course being all turned in a reverse direction. Fasten off and cut down as before. You have now the weft for a pair of curls, and it has to be sewn up. Take one of the pieces, and double it, pressing the fold with your thumb and finger so as to temporarily mark it. This will give the centre of the piece. Fold one of these halves into three (so as to get at the width to make them) and then let the top one go loose. You are now holding between the thumb and finger of the left hand two rows of weft. Sew the end to the adjoining row with silk specially made for trade use, and the stitches are all to be in one spot. Then sew at a proper distance again and again in the same manner, and this will complete the two lower rows of weft. Take up another row, so arranging as to bring the stitches exactly in the centre of the “diamond” until you get to the end of that row. Do the same with any other rows until completed. Pull into form with the thumb and finger; slightly damp the weft, and press into shape with warm pinching-irons. The other bunch, of course, is to be made to match. If intended for stock they had better be attached with the needle and silk, so as to keep the “bunches” together, otherwise they will get mixed and cause confusion.

I must here observe that the experienced eye will notice a slight difference between the letterpress description and the illustration. I did not perceive the error until too late, but for the sake of accuracy I think it necessary to draw attention to it. The weft as shown in the engraving passes from bottom to top and vice versÂ, whereas in the description it is in rows—one above the other. The artist has in the main given the design correctly enough, but the modus operandi by which it is produced is not so clearly indicated as I would desire.

Sometimes the weft is sewn up close, and that is more particularly the case when space is taken into consideration. If the work has to cover a rather large surface, it is best to sew it up in diamond shapes, but if it is to be condensed, then the wefts should be fine, close, and made up in as compact a manner as possible. Take, for instance, another lot of hair, the same in weight and length as the preceding. Observe the instructions given concerning its division, and weave as before. Measure off as previously described, and supposing that you allow for six rows of weft, proceed as follows:—Fold back one over and above the other, and securely stitch the end by way of a commencement. Push the needle towards you through the centre of the lower row of weft, and from you through the upper row of weft. Avoid sewing “over and over.” Keep all the stitches small, and the sewing-silk is not to be doubled. Having worked in this way from end to end, take another row of weft, and put in position over the lower row. Sew it as before described, and so on until the whole is completed. The weft will be seen at the back, occupying, when made up, about half the depth required in Fig. 4. The worker must be particular in keeping the rows of weft straight and flat, which he can easily do with attention and the proper use of his thumb and finger. I say “finger,” because curled hair should never be held in the hand, for the warmth of the hand is likely to cramp or weaken the curl. Comb out, press, and dress as before described. Another way, so as to hide the weft altogether, excepting the top row, can be done when required. Take a similar lot of hair, and weave it. Commence sewing up as before, and when the two rows are done, instead of turning the weft backwards and forwards so as to show the work, turn it round and round in order to conceal it, still sewing-up flat as previously described.

Tufts of hair are side pieces or curls, and the weft is wound round a side comb instead of being sewn upon it, as will presently be mentioned. The word “tuft” may be applied to almost any small piece of postiche hair, whether it be upon a comb or a hair-pin, as “pin-curls” are made. I have seldom heard the designation of “tuft” applied to any piece of hair in a London shop, though I have known it to be common in some parts of the country, therefore it may be taken to be a provincial more than a common term used in the trade. Tufts, then, can be made of any length and thickness, depending entirely upon the use for which they are intended. Two tufts, i.e., two bunches of lightly-formed ringlet curls, might be employed in a lady’s coiffure with considerable advantage. They could be placed behind the ears, or so arranged near the tie (or knot) as to form a pretty cache-peigne, while “pin-curls” could be put wherever fancy might direct. To make the tufts, take fine weft, and side combs with rather open teeth. Arrange both hair and combs for the right and left sides. Fasten the weft to that part of the comb which is intended to go nearest the forehead, and let the hair hang towards the face. Having secured the weft with needle and silk, cut the silk off, leaving only the weft upon the comb. Then commence winding up the weft around the back of the comb, keeping it firm, and allowing one row of weft to go between each tooth. Each layer of weft conceals that which precedes it, and the weft should all be used up before reaching the top. About two-thirds of the back of the comb might be covered, and when this is reached finish off with the needle. The hair will be found in a rather rough condition, but that does not much signify to a patient workman. It will be necessary to get some one to hold it (which must be done with both hands, to prevent any undue strain upon the comb) while you disentangle the hair, turning the curl over the work on the back of the comb. Put it on a block, press the work with warm irons, and dress out in the form required. “Pin-curls” are simply pieces of weft of short curled hair, and made up after the manner just described.

Curls on combs, when nicely made, are very effective, being intended to wear at the sides. Tortoise-shell combs should be used, rather open teeth, and “grailed,” of a pliable quality, and those known in the trade as “rights” and “lefts” I have always found to be the best for this kind of work. Divide, and prepare the hair as in the previous instances. Weave one row of “fly weft” out of each piece, and this should be as long as the fine teeth of the comb extend. Begin and finish this weft in a secure manner, and let each piece be distinct from the other. Pinch, and cut down. Weave the other two pieces in the ordinary way, beginning and finishing off each one separately. Comb out, pinch, and cut down. You have now four distinct pieces of weft, a long and a short, fine piece for each comb. Take the longest piece of weft and fold it into two, three, or four lengths (as the case may be), each length being at least a quarter of an inch shorter than the fine-toothed part of the comb. Sew it up close, because, in this instance, the work has to be “condensed.” You cannot make the weft too flat, and, of course, the weft is to lie upon the comb. Comb out and pinch. Take up the comb, say, for the right side, and the “fly” weft for that side also. Hold the curls drooping in your left hand, and the comb (the concave part uppermost) in your right. Pass the teeth of the comb through the hair nearest the weft, and then pull it gently into its place. Take your needle and silk and, as needle-women say, “fasten on.” This part of the job is to be done carefully, taking one stitch to each tooth (the weft being down towards the points), the reason for this is to avoid breaking the teeth. Bear in mind to make the stitches loose, otherwise the weft will not fit into its right position close to the top of the comb; but if they are too slack the work will not keep in its place at all. This important point, like many others, can only be gained by observation and practice. The “fly” weft, remember, is in the concave or hollow part of the comb, while the “twice in” weft is to be on the convex, or upper part. Take this part, then and put it into its place. Incline it towards the points to allow the needle to pass through easily. Fasten on, and make a stitch to every tooth as before. Push it up close to the “top” row, and with two or three small stitches taken at random connect the whole together. Pursue the same plan with respect to the one intended for the opposite side, when, of course, they will form a pair. Comb out, press with curling irons, and arrange. I may say, inter alia, that while the hair is in a rough, dishevelled state, a little—only a little—of the very best olive oil, nicely perfumed, should be applied. It facilitates the action of the comb, renders the hair easier to dress, and adds a gloss to it which, if not overdone, heightens the effect. Pomade of any kind should not be used to curled, or, indeed, to any kind of “false” hair. My reason for saying so is, that it tends to “clog” the hair, does not impart such a fine gloss, and causes it sooner to become sticky.

“Alexandra curls” form a very pretty addition to the coiffure. The curl or curls are occasionally made with a portion of the back hair set apart for the purpose, but it sometimes happens that there is not sufficient in quantity or length, or that it will not retain the curl, and then the necessity arises for artificial aid. The long ringlet curls here represented, were named after Her Royal Highness the Princess of Wales, and for a great length of time remained in fashion. Sometimes two or more are worn, and in that case, they would be so disposed as to fall in front and behind the shoulder. They add a charm to the coiffure, and impart a nice finish to the whole. They are made as follows:—Take three-quarters of an ounce of eighteen-inch hair, or an ounce of twenty-inch hair, and so on in proportion according to the length. The hair must be specially prepared for the purpose, otherwise the curl will be too heavy, and “break” towards the top. To prepare the hair for Alexandra curls take, say, half an ounce of twenty-inch, and a like quantity of twelve-inch hair, curled. Card and mix the two lengths together, which, if properly done, will form a long curl, and light at the bottom as it should be. But Messrs. R. Hovenden and Sons, as well as other hair merchants, keep “taper curled hair for Alexandra curls” in stock, of divers lengths and shades of colour, and it is much better to obtain the hair already manipulated, than to do it oneself. The mode of making these curls is similar to that adopted for making hair-twists, and fully described in the next chapter. Having been sewn up, the hair must be carefully combed out, pinched at the top where the work is, and dressed. A long stick, termed a “curl-stick,” is generally used for the latter purpose; the hair being adroitly put round it (commencing at the top, not at the bottom) and brushed; the stick is then withdrawn and the curls remain as shown on the previous page.