Before i proceed here, too, i should say that this esparterie is not for resale. It was provided to us as a tribute to Madame Sheeta, and is to be used for theatrical and educational purposes only. My millinery students will have the opportunity to work with it, and if we host any future workshops with it which might be open to more general enrollment, i will post about that here inlabricoleuse first.
For now, though, I'm starting out by writing about the material from an investigative standpoint, to document techniques for others who might acquire or currently possess sheets of it on their own recognizance. Inevitably when i talk to fellow milliners about esparterie, there are a few folks who say they have a sheet (or five, or a dozen) but are waiting to use it, or afraid to use it because it's so rare. And friends, I HEAR YOU. Back when i made my block in 2010 with it, i was terrified. It was worse than cutting into a piece of $500/yd lace because of the rarity of the material. A mistake with esparterie isn't just costly, it might be irreparable. Now though, i have the luxury to experiment. I can practice with it. I can learn from the material, and i can document it here.
Well, i can tell you that if you want to practice a skinned join but don't want to use your actual esparterie to do it, you can spray-starch a layer of lightweight buckram (the kind you get at JoAnn's or Hancock Fabrics) to a layer of raffia cloth or sinamay or toyo or similar straight-weave straw, then use that. It will give you a similar experience in the practicing, that you can then feel confident about when making a skinned join in actual willow.
Here's some visuals for what makes a skinned join:
I started with a 2.5" bias strip of esparterie, which i misted with an atomizer of water and wiped with a damp cloth on the esparto side, to moisten the material. Then i carefully separated the crinoline from the esparto on either side of my join, as above.
Here you see what's going to be my overlap for the skinned join. The crinoline layer is pulled back on each side, and i'm about to stab-stitch through the two layers of esparto, backstitching for strength. Once you do that...
...you smooth the crinoline layers back down over top of your stitching (here i did it in black thread so you could see it, because this is meant as a teaching tool). In this way, you wind up with a really smooth join.
A few more bonus images...
Box of esparterie when i first opened it.
These 30 coils of millinery wire were included in the box! What a wonderful acquisition.
Madame Sheeta in the 1940s, making a wire-frame headdress for the Sheffield Pageant.
Isn't she inspirationally fabulous?!
That's it for now. As i said, this is to be the first in a series, with future installments to include using esparterie to do something called "taking a print," forming esparterie in the hand, and a biographical profile of the extraordinary Madame Sheeta.
 I realize there's "paper esparterie" coming out of Japan now, and i admit i haven't worked with it, so it may or may not compare to the old-style esparterie in which one layer is crinoline and the second is esparto grass.