Stephen Jones—Hats: An Anthology

Though photographs by Lee Miller, Dora Maar and Man Ray are the most discussed within the subject of fashion and Surrealism, they are but a glimpse of the topic. There is also Elsa Schiaparelli’s collaboration with Salvador Dalí, which was one of the most daringly creative haute couture collections of the 20th century. Dalí, however, was not the only surrealist artist to have exerted his creative influence on the skill and finesse of Schiaparelli’s designs. Indeed, British surrealist artist Eileen Agar sported myriad hats to the delight of many, one of which featured gloves made by Schiaparelli. This paper will focus on two accessories whose significance has yet to be discussed: Eileen Agar’s Glove Hat and Ceremonial Hat for Eating Bouillabaisse, both at the Victoria and Albert Museum. Glove Hat’s importance relates to the concept of wearable art, which was much beloved by the surrealists. Agar also wore a Schiaparelli hat to the opening of the 1936 International Surrealist Exhibition at the New Burlington Galleries in London. These hats bore witness to some of the most significant moments in the history of Surrealism as well as a symbol of the subtle ways in which women were creating their own artwork and defying their prescribed roles as muses and lovers. Furthermore, the Ceremonial Hat for Eating Bouillabaisse serves as a fascinating example of Agar’s work in evolution. From its conception in 1937 until its accession at the V&A, the towering hat took on many personae, as seen from the pictures which document the piece in 1938, 1948, 1991 and 1995. In each of the images, the hat appears slightly different, demonstrating Agar’s influence on the evolution of the hat as a wearable piece of art. These hats display the inextricable link between Surrealism and fashion; the influence that the movement had on style on both a conceptual and sartorial level allowed wearers to become living works of art whenever worn.

Fashion Theory, 2020

A cartoon, accompanying an article in The Spectator magazine on the economic effects of the coronavirus, shows fat men in top hats tumbling down a collapsing graph. When did you last see a banker in a top hat? Nonetheless we get the point-but not without the hats. Drake Stutesman's book sets out to show how the hat is-and always was-of primal importance. The book is attractively if unpretentiously produced, and, while wide-reaching in its scope, admirably concise. Though a cultural rather than a historical study, Stutesman's narrative covers Now retired to the West of Ireland,

Modern Women and Parisian Consumer Culture in Impressionist Painting (Cambridge Univeristy Press), 2007

Degas, Impressionism, and the Paris Millinery Trade, ed. Simon Kelly and Esther Bell, 2017

In the popular imagery representing the modiste, les petites mains (the little hands) of this premier artisanal worker complemented a performative flirtation. " Real " skills and handiwork with raw materials combined fruitfully with a reputation imagined and developed over time as a coquettish seductress in order to market fashionability to an expanding consumer class in nineteenth-century France. 1 And as the epigram illustrates, even in a manual that acknowledges the desperate situation of fashion workers, the actual labor and status of the modiste vanishes behind a popular conception that took hold in the era of high fashion. Parisian modistes have a long and storied history. It should properly be called a mythology, since the history of the modiste has yet to be written, and most of what we know can be gleaned primarily from popular representa-tions—both visual and literary—of this figure who was central to the identity of Paris as the capital of luxury fashion S u S a n h i n e r

These notes should not be taken as the presented results of superior insights, let alone of science, but as the desperate confessions of a seeker after salvation, who tells of the inexorable link by which the upward striving of the mind remains tied to the compulsion of projecting bodily causes. 1 (Warburg, 1923) The Purloined Hat

Tournaments Illuminated, 2020

This paper is a survey of the identifiable motifs appearing on 16th and 17th century English embroidered coifs, forehead cloths, hoods, and nightcaps. The data is based on photos of 186 women's caps and 73 men's nightcaps.

Masaccio who frescoed some of the most famous scenes in the early 1400's. The chapel is dedicated to Saint Peter, the patron saint of the Brancacci family who commissioned the paintings, and most of the larger frescoes depict stories from Saint Peter's life. While much is known about St. Peter, Jesus, the disciples, and some of the more major people in the frescos, little is known about the identities of the other figures. Many of these figures wear hats or adornments on their heads and their purpose in the paintings is unknown. This essay argues that these hats signaled the social class or identity of those wearing them. Masaccio painted halos to illustrate the holiness of Jesus and disciples, small caps or no hats on the poor, and extravagant, colored hats on the heads of the political elite. The elite often disliked Jesus and his disciples because their actions disrupted the social order. In the Brancacci chapel frescos, men that are indifferent or oppositional to Saint Peter wear the most fanciful painted hats.

Journal of Roman Military Equipment Studies 20 , 2019

The term 'Pannonian Caps' (pilei pannonici) is often found in discussions of Late Antiquity relating to imperial statues, Christian sarcophagi or military equipment. The term is known to us through the late 4th-early 5th century author Vegetius from his work 'De re militari'. Vegetius wrote: Almost down to the present day the custom survived whereby all soldiers wore leathern caps which they called 'Pannonians'. This was observed so that the helmet should not seem heavy to a man in battle, who was used always to wearing something on his head. 1

The major part of Kurdish arts has been traditionally created by women. These women have inherited old distant memories generations after generations and will also leave them as inheritance to succeeding generations. The most significant of these arts is the art of knitting which bears significant importance amongst women. The Milli hat is one of the most elaborately hand-woven crafts created by Kurdish women in Makriyan region. They use diverse ways of symmetry to bring graceful and exquisite reliefs into being and present them to their men. The present study aims to collect, identify and visually analyze the compound recurring reliefs on this type of hat. The research was initiated with the question "What are the visual structure and visual characteristics of compound reliefs applied on Milli hats by men in Makriyan region?". The descriptive-analytical method is used. Therefore, the reliefs were firstly collected and identified based on field-study method, then they were separated and analyzed in terms of visual structure of reliefs. The results showed that most decorative motifs used in this type of hand-woven craft had geometric structure. They were generated using diverse methods of symmetry and created various and beautiful reliefs with live geometric structure. The compound reliefs were mostly created by translational symmetry. The data were collected using field-study method, written sources, library as well as a global information network (Internet).