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10 aprila, 2018

Agata Tomažič: Čajanka pri klobučarju

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Če povem po pravici, so me pri klobukih že od malega navduševale škatle zanje. Medtem ko je bila večina škatel dolgočasno kvadratastih oblik (česa drugega od različno debelih kartonov navsezadnje ne gre pričakovati), pa so bile te za klobuke elegantno zaobljene in opremljene z najrazličnejšimi čudovitimi vrvicami za prenašanje. Odkrila sem jih, kakopak, v babičinih omarah, po katerih ne bi smela stikati, a je bila zvedavost močnejša od mene …

Okrogle škatle za klobuke so podobno kot vsa embalaža imele samo eno poslanstvo: poskrbeti, da so klobuki v njih udobno potovali. Klobuki, ne le slamnati, temveč tudi tisti iz polsti, so namreč tako prefinjeni in prevzetni, da se ne dajo zložiti in potisniti v potovalko. To se mi je zdelo še bolj imenitno kot same škatle: da greš na potovanje in poleg cele kopice kovčkov sabo vzameš še nekaj okroglih škatel. Na lastne oči sem videla, kako to poteka – v starih hollywoodskih filmih!

In tako kot v življenju napoči trenutek, ko se človek zave, da filmi niso resničnost, večina pride tudi do točke, ko spozna, kako pomembna je vsebina okroglih škatel. Da ti klobuk lahko reši življenje, recimo. Sploh na kakšen poleten dan, ko v sončni pripeki raziskuješ otok, obrasel z bore malo dreves ali sploh kakršnegakoli rastlinja, ki bi metalo senco. Tako so klobuki postali moji nepogrešljivi spremljevalci na vseh obmorskih počitnikovanjih. Nič pa nimam niti proti tistim iz polsti, ki pozimi grejejo glavo in včasih tudi izrastka ob straneh – uhlja.

Vrste izdelovalcev klobukov, modistk in modistov, so bile v Ljubljani v drugi polovici 20. stoletja krepko zdesetkane. Nekaj gre pripisati modi, ki se je nad takšnimi pokrivali zmrdovala, nekoliko pa bržčas tudi pridihu, ki je obdajal klobuke: pridihu nečesa žlahtnega, nečesa, kar ni namenjeno vsakomur. Mi pa smo bili vendar vsi enaki. Kakorkoli je že bilo, tretje tisočletje je dočakala le peščica klobučarn. Eno teh prodajaln si je mogoče ogledati v tistem ljubljanskem predmestju, ki je za Prešerna imelo tako nesrečen prizvok. In izbor besede »ogledati si« ni naključen, saj gre res za skorajda muzejski objekt – v najboljšem pomenu te besede.

Klobučarski salon obiskovalce vabi v času odpiralnih ur, a bolj zanesljivo je, če svoj prihod napoveste po telefonu. Gospod klobučar, seveda pokrit s klobukom, se pripelje s kolesom in odklene vrata. Samo za vas. Potem se v maniri najboljšega trgovca preobrazi v stojalo (recimo za klobuke) ali kak podoben kos pohištva, ki samo nemo čepi in ne moti. Tudi ti samo nemo stojiš in odprtih ust vsrkavaš vtise. Nebroj klobukov razprostrih po stojalih in policah. Od elegantnih črnih melon, kot bi jih z glave pravkar snel Charlie Chaplin, do cilindrov, izpod kakršnih pravovernim brooklynskim Judom silijo črni kodrčki, in klobukov s krajci za Martina Krpana ali Zahija Hawassa. Da o ljubkih čepicah za dame, tudi klobučkih s pajčolanom in ogromnih pokrivalih za vrtne zabave sploh ne govorimo. Potem zagledaš kup kvadratnih – o kakšno razočaranje! – škatel. V njih so klobuki za slovenske gasilke, ustrežljivo pojasni klobučar. In jih pokaže. In potem še vse ostale. Klobuki skačejo s stojal in pristajajo na tvoji glavi. Vešče klobučarjeve roke jih znajo zasukati točno tako, kot je treba. In spet in spet. Niso zaman vsa tista mojstrska spričevala, ki krasijo stene salona.

Kdor pri njem kupi klobuk, ne dobi le po meri narejenega pokrivala, temveč nekaj, kar je danes najti le še redkokje: čas in pogovor, ki ga ne odmerjajo urni kazalci. In škatlo za klobuk.

Piše: Agata Tomažič

Riše: Milanka Fabjančič

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