A hat is the most noticeable fashion item anyone can wear.
The old saying goes 'if you want to get ahead and get noticed, then get a hat'. Indeed the word 'ahead' means just that one head further forward.
Milliners create hats for women; hat makers make hats for men.
The term "millinery" is derived from "Millaners," merchants from the Italian city of Milan, who traveled to northern Europe trading in silks, ribbons, braids, ornaments, and general finery.
The first celebrated "Marchande de Mode," or "modiste" as they were later called in France, was Rose Bertin (1744-1813).Her name is linked with Queen Marie-Antoinette of France, the most extravagant and illfated fashion icon of the eighteenth century.
During the nineteenth century, bonnets and hats were not only fashionable, but essential in any woman's wardrobe. Bonnets were romantic and coquettish and thus the perfect accessory for women of the era. Millinery flourished, led by a strong force of Parisian "modistes," who set the tone for high fashion and demanded to be addressed reverently as "Madame." Famous names were Madame Herbault, Madame Guerin, and Madame Victorine, who created Queen Victoria's bonnets.
Caroline Reboux, at the Maison Virot, was the first legendary Parisian couture modiste, making hats for the French Empress Eugénie in 1868. She reputedly created individual designs by cutting and folding felt or fabric directly on the customer's head. Her famous salon in the rue Saint Honoré survived until the 1920s.
Elsa Schiaparelli, the Italian-born couture designer and friend of Salvador Dali, also created surreal hats in the 1930s.
Other famous Parisian modistes of the 1930s and 1940s included Maria Guy, Rose Valois, Suzanne Talbot, Rose Descart, Louise Bourbon, and Jeanne Lanvin, who like Chanel expanded her millinery salon into haute couture.
Lilly Daché, a Viennese-born, Parisian-trained milliner, settled in New York and led the way for talented American designers. Having opened her first tiny studio in 1926, Lilly Daché built a millinery emporium.Her devotees included the Hollywood stars Carmen Miranda, Betty Grable, and Marlene Dietrich.
Sally Victor and Mr. John of New York later took over the reign of Lilly Daché and maintained the importance of American millinery design.
In Europe, the most notable milliner of the interwar years was Adele List in Vienna, whose hats were an expression of aesthetics and art. She was a highly disciplined, austere-looking figure and created hats with masterly craftsmanship.
Youth culture and the social liberation during the 1960s and 1970s brought a demise in the fashion for hats and with it a steep decline in business for milliners. John Boyd, Graham Smith, and the royal milliners Frederick Fox and Philip Somerville, a quartet of hat designers during the 1970s and 1980s, managed very successful model millinery as well as wholesale businesses in London.
The 1980s heralded a brief revival, which was partly due to Princess Diana, a fashion leader and icon of the British hat industry.
During the 1980s, a new generation of millinery designers graduated from London's Fashion and Art Colleges, creating hats as pieces of art. David Shilling was the first, Patricia Underwood was a star milliner in New York during the 1980s and 1990s,Stephen Jones, a New Romantic of the 1980s.
Philip Treacy, an internationally awarded accessory designer, graduated from London's Royal College of Art in 1990 and immediately hit the headlines with his flamboyant and unmistakable hat creations, lifting millinery to an even higher level of art and design. The meteoric rise of the Irish-born young designer was also much celebrated at Parisian catwalk shows, staged by top couture houses like Dior, Chanel, and Givenchy. Philip Treacy even created his own millinery show in 1993, when supermodels paraded wearing show-stopping creations, acclaimed by the fashion press. One of his famous, much-photographed pieces was a hat with a black sailing ship, which might have been inspired by Rose Bertin's design in the late eighteenth century. A true and devoted lover of his craft, Philip Treacy personally makes many of his masterpieces. His label has become a status symbol and some of his celebrated hats are collector's pieces, treasured by museums, like the Victoria and Albert Museum in London.
It is unlikely that the hat will ever die as an accessory as it offers far too much potential for drawing attention to the face. Fashion designers are aware of this and every so often exploit this fact in the hope that fashion followers will adopt the hat.
Part of the text from :http://fashion-history.lovetoknow.com/fashion-clothing-industry/history-milliners
Photos from: Pinterest
The old saying goes 'if you want to get ahead and get noticed, then get a hat'. Indeed the word 'ahead' means just that one head further forward.
Milliners create hats for women; hat makers make hats for men.
The term "millinery" is derived from "Millaners," merchants from the Italian city of Milan, who traveled to northern Europe trading in silks, ribbons, braids, ornaments, and general finery.
The first celebrated "Marchande de Mode," or "modiste" as they were later called in France, was Rose Bertin (1744-1813).Her name is linked with Queen Marie-Antoinette of France, the most extravagant and illfated fashion icon of the eighteenth century.
During the nineteenth century, bonnets and hats were not only fashionable, but essential in any woman's wardrobe. Bonnets were romantic and coquettish and thus the perfect accessory for women of the era. Millinery flourished, led by a strong force of Parisian "modistes," who set the tone for high fashion and demanded to be addressed reverently as "Madame." Famous names were Madame Herbault, Madame Guerin, and Madame Victorine, who created Queen Victoria's bonnets.
Caroline Reboux, at the Maison Virot, was the first legendary Parisian couture modiste, making hats for the French Empress Eugénie in 1868. She reputedly created individual designs by cutting and folding felt or fabric directly on the customer's head. Her famous salon in the rue Saint Honoré survived until the 1920s.
Elsa Schiaparelli, the Italian-born couture designer and friend of Salvador Dali, also created surreal hats in the 1930s.
Other famous Parisian modistes of the 1930s and 1940s included Maria Guy, Rose Valois, Suzanne Talbot, Rose Descart, Louise Bourbon, and Jeanne Lanvin, who like Chanel expanded her millinery salon into haute couture.
Lilly Daché, a Viennese-born, Parisian-trained milliner, settled in New York and led the way for talented American designers. Having opened her first tiny studio in 1926, Lilly Daché built a millinery emporium.Her devotees included the Hollywood stars Carmen Miranda, Betty Grable, and Marlene Dietrich.
Sally Victor and Mr. John of New York later took over the reign of Lilly Daché and maintained the importance of American millinery design.
In Europe, the most notable milliner of the interwar years was Adele List in Vienna, whose hats were an expression of aesthetics and art. She was a highly disciplined, austere-looking figure and created hats with masterly craftsmanship.
Youth culture and the social liberation during the 1960s and 1970s brought a demise in the fashion for hats and with it a steep decline in business for milliners. John Boyd, Graham Smith, and the royal milliners Frederick Fox and Philip Somerville, a quartet of hat designers during the 1970s and 1980s, managed very successful model millinery as well as wholesale businesses in London.
The 1980s heralded a brief revival, which was partly due to Princess Diana, a fashion leader and icon of the British hat industry.
During the 1980s, a new generation of millinery designers graduated from London's Fashion and Art Colleges, creating hats as pieces of art. David Shilling was the first, Patricia Underwood was a star milliner in New York during the 1980s and 1990s,Stephen Jones, a New Romantic of the 1980s.
Philip Treacy, an internationally awarded accessory designer, graduated from London's Royal College of Art in 1990 and immediately hit the headlines with his flamboyant and unmistakable hat creations, lifting millinery to an even higher level of art and design. The meteoric rise of the Irish-born young designer was also much celebrated at Parisian catwalk shows, staged by top couture houses like Dior, Chanel, and Givenchy. Philip Treacy even created his own millinery show in 1993, when supermodels paraded wearing show-stopping creations, acclaimed by the fashion press. One of his famous, much-photographed pieces was a hat with a black sailing ship, which might have been inspired by Rose Bertin's design in the late eighteenth century. A true and devoted lover of his craft, Philip Treacy personally makes many of his masterpieces. His label has become a status symbol and some of his celebrated hats are collector's pieces, treasured by museums, like the Victoria and Albert Museum in London.
It is unlikely that the hat will ever die as an accessory as it offers far too much potential for drawing attention to the face. Fashion designers are aware of this and every so often exploit this fact in the hope that fashion followers will adopt the hat.
Part of the text from :http://fashion-history.lovetoknow.com/fashion-clothing-industry/history-milliners
Photos from: Pinterest
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