HAT AS OBJECT AND EXPERIENCE

WHAT DO YOU SEE WHEN YOU CLOSE YOUR EYES AND HEAR THE WORD "HAT"?

The argument for object as art has been made through the ages: Decartes, Hussserl, Hegel, Heidegger ruminated and philosophized about the nature of art and it's "thingly" character. What makes an art object? Art theory will always touch upon form, context and the nature of an object, but it is left to the beholder and the artist to define what art is. A hat is an object, either made as a protective or a decorative thing. Wearable, and by definition, an object. But elevate its character to a more creative level and it can be art.

Hats lend an element to the wearer and depend upon personality, personal style, the fashion of the hat, the world view of the wearer. In the past, hats denoted not just style but status. They were and still are a uniform depending upon definition. Geography mandates the shape, the form and the material. A hairdo limits or includes. In the 1930 photograph taken by Margaret Bourke-White, not a head was seen without a hat.


This was NY, in the Garment District and was taken for an article in Fortune Magazine entitled "Cloak and Suit". Cloak and suit is a good place to start. A hat protects the wearer from the elements, and suits the framework that the face provides. Or it should. It should flatter and excite. It should speak volumes about the person, and live not just in the moment, but carry an element of timelessness .

In Lussac-les-Chateaux, in Central France, there are 15,000 year old rock drawings depicting people with hats on their heads.

Hats are part of the universal language of costume. Who, what, where becomes more easily translated with something as simple as the right hat.

Historically, we owe a debt of gratitude to St. Clement somewhere around 750 AD-818 AD. He gingerly placed a piece of carded wool into his shoe and lo and behold, felt was made! Hatmakers everywhere could now use that spontaneous discovery to fashion hats to protect the head. Jump 1000 years ahead to a burgeoning industry in Europe. We, the people, as a colony of Great Britain became both very important, and very disruptive all because of a hat. One could almost say that the American Revolution happened because of a hat. The beaver population of Europe was almost extinct, but we had the in over here. Beaver skins were the first great American Trade commodity.
We supplied Britain with pelts for their hat industry. From 1700-1770 21 million hats made from beaver pelts were made in Britain and shipped throughout Europe. And so, to protect this very precious cargo, the Hat Act of 1732 was passed in Parliament. Limiting the number of workers, apprentices and slaves in the colonies employed in our own hat industry, this Act was the first rumble of discontent within the American colonies. We couldn't make our own hats. Imagine how that went down.

Hats and wars have always gone hand in hand. The Revolutionary War may have happened because of a hat. And the Civil War helped create what is now widely known as the western hat. After the war, as displaced soldiers found their way across these vast United States, appetites whetted for adventure and new horizons, they took with them the remnants of their uniforms. Many a farmer wore basic shaped felts on their heads, the classic floppy style we all know and love today. Mr. Stetson lent a hand and created his own shape, loved it so much that he founded a hat empire because of it.

Military styles always cropped up in female fashion. The hat was the final accessory to mimic shapes seen in uniforms throughout WWI and II. But after the war, when lifestyles changed, styles in fashion changed as well.

WWI brought us the suffragettes sometimes tricorne shapes. The undressing of the 1920's style with the new flapper mentality eliminated the architecture of the Edwardian era from fashion and substituted Art Deco. WWII brought the ode to the ration book, and with it, tiny perchy hats. Dubbed "Doll's Hats" by Elsa Schiaparelli in the late 1930's, while European fashion houses succumbed to the ravages of the limits imposed upon them by dint of war. The proportion worked with the reduced yardage now permitted in garments.

After WWII, when America returned home, home was often a shiny new car. Headroom in the 1950's vehicles was shorter than in vehicles of the 1930's and 40's. Fedoras became not as de rigeur. Costume had bowed to the new carefree vision of fashion, with more outdoor living and less indoor life becoming popular. Hairdos changed. For men, mimicking the pompadours of the early rockers and rebels was much more important that the color of a new fedora. And so, we have what we have. Do take history into account, and look around you. As America grew, New York City blossomed. We welcomed the felted shapes of the Jewish Community on the Lower East Side. We celebrated with our ethnic diversity as more and more cultures brought with them their culture, their joy, and their hats.

Where some of us wear hats for sports, some wear them for events, or protection, there are those who will always wear them for glamour, and a certain note of mystery they add to their wardrobe every day. Hats define, underline and help you to shine in a city that today finds itself often wearing a uniform of conformity. Since the first Kentucky Derby in 1875, fancy hats come out of their boxes . Since the Royal Wedding, fascinators have hit their stride. There is always a new reason to wear a hat to the hatlover. Hatters and milliners follow this simple recipe, put forth by Cheri Bibi, a milliner in Paris: Take some straw, felt, velvet, leather Add a healthy helping of grosgrain Trim with flowers, fruits or anything unusual you may have in hand Add a zest of know how Throw in a pinch of humor

And you have a hat!

Back to September 2011

Seems like a million miles away, last September. Last September the show: "Hats: an Anthology by Stephen Jones" opened at the Bard Graduate Center. Wotta show it is. Still going on through April 15, so if you haven't seen it, please take advantage of having this wondrous installation still here in NYC.

A Prelude.

Much to my surprise, I got a PM on FB from Rod Keenan. Those of us in the industry/metier who are in NYC certainly have come across Rod or his hats at some point. I was luck to be on a panel with a friend of his a while ago, and that, I believe, was our first meeting. the message from Mr. Keenan said something like: I've recommended you for the show (oh, yes, I knew which show he meant), so expect to receive a phone call or an email shortly. From the curator. As it turned out, shortly was enough of a lapse for me to have let it sit on a back burner. But lo and behold, one Saturday morning, as I was in the studio early, and alone, the phone rang. "Hello, Stephen Jones here."

Pause.

WTF, as they say in the street. We all get wacky phone calls, but this one took the cake.

"Hello" again.

"Stephen Jones calling."

Well , with that I just had to say something. And what should come out of my mouth but a typical Ellen-ism: "Get the ef out of here!" No, I'm not kidding. I thought it was one of the wacky stylists I work with kidding me. But no, it was truly Mr. Jones, and he wanted a hat from me for his show. "Only one?" says she, as realistically as ever. "Yes, just one. Difficult, I know, but one that would be totally you."

Well, what a gig. How to dream up just one hat? Oh, the conversation was a tad longer, but the gist was that I would design a few things and send them to Oriole Cullen, the curator. And then we'd see. Because I'm well known for my 1920's pieces, and beadwork, I thought one of the piece would have to be a cloche. And to torture my entire crew, we'd bead it completely in different beads from our archival collection. And the other piece would be one of my feather dusters. Headpieces, that is, plumed, birded, in flight.

As it happened, Mr. Jones himself decided on the beaded cloche, when it was only partially completed. Oriole and Mr. Jones loved the prep work we had done on the cloche, that would be named "La Marianne", and decided to add it half-finished to the show. But, oops, but the time that message reached me, we had completed the beadwork on the rest of the piece. And so, it's covered in every bead I loved from the 1920's, or earlier.

Our concept:

As a modern day "flapper", more like an independent modern young lady, this customer lives well in the future, and has a yen for drama. think of it as a cross between the Great Gatsby, The French Revolution, and Mad Max. Some of the beads are from the early part of the 20th Century, made in Czechoslovakia, as most good glass beads were, and coated with an irridescent finish. Bits of broken jewelry and Swarovski crystals cut a swath across the crown of the headpiece, as a sort of dynamic tiara. Look closely and you will see a dress clip from the 1930's, and bits of neckaces from the 1950's in there , too. We love our found /recycled/repurposed art at Ellen Christine.

Please say hello to our headpiece when you're at the Bard, and say "Thank you" to Stephen Jones and the Victoria and Albert Museum for making it all happen.

The photograph of the lovely Faye Brandt wearing La Marianne was taken by Sandy Ramirez.

Hayley in November

One of the delightful things that happened to Ellen Christine in November was the appearance of Hayley Griffiths. She covers stories for a news service, and came to our loft to do a piece on our work. Taking pictures of the showroom, and of the workspace, Hayley was fascinated by the overview she achieved that day. In her blog, http://www.hayleygriffith.com/Tuntu/2011/11/22/ellen-christine-nyc-milliner/ she includes pictures of our work-in-progress, and covers the interview side with alacrity.

Questions aside, the interesting thing for me is that every interview we do seems to amaze the interviewer. Maybe I'm just too lost in my world o' hats here, but it seems to me that people know so very little about the process. It's really isn't like going to a supermarket and picking up the ingredients for a pie. Hat making is an intense and often thwarting business . Often, the materials you've just used in your collection are dicontinued, so all the designs must be changed. Even buyers don't really know what we go through as milliners/hatters. Striving for perfection, and often needing to allow the customer to go only half way can be frustrating to say the least. The customer may be a lovely lady from Minsk, or a store who wants to carry your hats, but hasn't a clue as to how to market them. Ah,the joys of a design life. And lifestyle.

And I wouldn't have it any other way.

But more on that another day.

The Travelling Hat

David Widjaja is a friend of mine. He came into my life as a stylist, and he has given Ellen Christine such grand exposure in magazines that are seen all across the country. Literally. For example, this one, CS (chicago) and Angeleno (Los Angeles) are both under the publishing wing of Modern Luxury. There are also issues in Atlanta,Dallas, Miami, Wash.D.C. and New Yodk city, to name a few of the covers. For their 2011 Holiday Wish List, published in November, we bagged the cover of the Chicago issue. Thank you, David!

David is all about color. He makes me work in brights, primary tones,and things outside of my normal comfort realm. This is good. With his eye for luxurious fabrics and exotic sets, David works magic with our hats. Also seen in the pages of internationally acclaimed mags, he styles luxe far and wide, and he loves hats.

When a stylist has a natural affinity for an accessory, they approach their composition from a different point of view. Sometimes it's the photographer who requests our pieces for editorial shoots, and then the stylist works with them to co-create a look. But with David, it's always his idea. I know when I get that phone call that I have to do something in silk. Like a turban. Or colorful like the little "Flying Saucers" we did for this cover. He drapes his models over staircases, wraps them around chairs, poses them on balconies, swimming pools, and keeps that hat on their heads at all costs.

Thank you, David, for your years of bright looks, and demanding ways. May we continue to work together for many ,many years. Here's to the next cover!

P.S. Not all publications that our hats appear in find their way to my doorstep. The editor of this particular magazine sent us two copies, one of CS, and one of Angeleno, in a magnanimous gesture. We thank him. Believe it or not, most times it's one of our friends, colleagues or clients who do the Ellen Christine spotting!

Hats Across the Miles of Internet

Been a long time. Since all the s/s (Spring/Summer to novices) has been there and done that, we're now onto the new S/S 2012. Normally, wayyy before Christmas, designers have done with their new collections for the next year. Resort happens somewhere in there as well, and Fall? Fall is a state of mind until it's time to design the new F/W (did you get it yet?:Fall/Winter), for next year. Yes, it's all pretty confusing, but then again, it's just another cycle. It's why bikinis are in shop windows in January. And Vogue is showing "pre-Spring" in December.

Our seasons are not the same as real seasons. Then again, our entire point of view is skewed towards one reality: design. Design factors into every sense of what material to use; what "theme" pervades; where the muse comes from. To be a designer, or an artist, usually means that everyday bits and pieces get taken care of by someone else. The moment you live in is all important, and the current project is the major focus.

Focus is compartimental in design. Like Bill Clinton, a designer puts it all into proportion: open one door, close another one. It's almost like living in a big house, with each room done in a different color. The pattern of your moment changes with the light and shadows of each room, and you change focus, according to the immediate environment.

If none of this makes sense, feel free to ask about art, or design to the next person you meet. Hopefully, they will have a different take on it all. For one, I tend to get wrapped up in many projects at once, but always looking backwards and forwards. Backwards, because a hat I designed many moons ago shows up on the pages of Vogue months after the shoot has happened. Forwards because vision is perceptive: it carries you forward into the next project with no help from you.

With this blog, I shall attempt to catch you up to now. We have had many wonderful ,breathtaking projects this year,and I hope to finish the recap before it's ended in a few weeks!

Thanks for coming along for the ride.

Above, see The Olsen Twins in two of our hats in the Vogue special issue for December: Best Dressed. It's always a thrill and an honor.

Ellen Christine Walks down The Aisle

Ellen Christine joins the ranks of fashion favorites on The Aisle. The trend-making designer leads the millinery field with landmark editorials in Vogue, W Magazine, Elegant Bride, Martha Stewart Weddings. Currently seen on David Tutera’s “My Fair Wedding”, Ellen Christine concocts headpieces for couture runway shows, and private collections for well-known retail venues around the world.

The collaboration with The Aisle stems from her reputation in the world of fashion. David Yassky , co-founder and co-president of The Aisle knows Ellen Christine from his time at WWD. This is to be an accessible collection, using the familiar elements so recognizable in Ellen Christine Millinery. Artful draping, precious handmade flowers, and fanciful featherwork lend an old Hollywood feel to this group. Inspired by contemporary bridal wear, but rooted in the glamour of red carpet close-ups, this collection will add to the look and the feel of brides around the world.

For the thousands of eager members of The Aisle, the sale begins on April 19^th. Coming just before Easter, and the imminent Royal Wedding, these headpieces will lend the perfect note to the hat mad, in this season of hat frenzy. Ellen Christine has never before offered headpieces in the wholesale Wedding market, and The Aisle is the perfect venue . There are eight custom designed pieces, offered no where else. And there’s only one week to shop!

www.theaislenewyork.com

ellen christine chelsea says "Hello, soho"

Here's our last window, just in time for the new snow. A celebration, a new beginning, with a Snow Queen to inspire and lead us into 2011. Ellen Christine Millinery is now in Soho. We've been there for 25 years, but now we're open to the public, not just to the designers, editors and stylists.
Whew, what a move. Days of boxes, and days of construction, and at some point, we'll be pretty enough for receiving guests again.

At the studio/loft/showroom in West soho, we are already booked through January for brides. Nothing deters the brides, boy. Nothing. And we thank them for their determination and undaunted spirit in search for the perfect headpiece and veil.

May we serve you all, with more fun, less agravation, many good vibes, and tea. Because here, we have a kitchen!

Appointments can be made via internet, or phone. We welcome all .

Thank you for your support, and may it be a year of blessings for us all!

Ellen Christine

99 Van Dam, 4E

212-242-2457

ellen@ellenchristine.com

Phot by Sandy Ramirez

Veuve Clicquot Hats Off!

Hats and the Veuve Clicquot Polo Classic go together like Princes and Polo ponies. The estimated 12,000 plus crowd on Sunday's Governor's Island match between Black Watch (Nacho Figueras et cie) and Black Rock (Prince Harry and co) were extremely happy for their hats in the heat of the day. The temperatures rose, but the breezes held back, so to cover heads, horses, and happy picnickers, umbrellas floated in the Veuve Clicquot yellow along with the tented areas reserved for the very VIPs who came over on their launches and ferries.

Movie stars, celebrities local, international, and hitherto overlooked regaled each other and the hordes of press who came to shoot the wealthy and the fans who cheered on the teams from the newly improved sidelines. The $50,000 tables were full, the $250 picnic tickets were sold out days before the event, and the bleachers were stacked with freebies. Ferries from Manhattan and Brooklyn came and went all the day, with crowds not so used to having a Royal on their very home turf.

The hats made the scene, but by and large, Americans don't yet dare to outdo the Ascot crowds of England's horsey set. We tend to stay safe, so lots of practical, pretty, and sane headgear made it's way to Governor's Island. Yes, off in the crowded tent I did see a Phillip Treacy butterfly hat, and a red satin satellite. Lots of Ellen Christine out there, too, but we haven't beaten them yet. On the hat front, that is. Nacho did beat Prince Harry this year, in a 3 1/2 minute overtime.

The horses kept their sleek haunches in tight formation, as the game kept it's pace with the expectation of the crowd. Dust rose as the riders swung their mallets, and forced the Veuve Clicquot signature ball back and forth across the greensward. At the divot stomping break, the public gamely joined the tradition of milling about and crowing about the Prince, while settling the erstwhile clump back into it's manicured place. Excitement mounted when Prince Harry took a headover tumble, and Black Watch may have suffered because of that fall, even if the young Prince did not.

A day in the sun, with a Prince on an island, surrounded by happy, familiar folk and lots and lots of champagne. Ah, life.

Sentebale was the recipient of this good will, and hopefully the charity, dear to Prince Harry's heart, benefitted enormously from the souvenir sales, the gate, and the publicity.

Champagne flowed, the hoi-polloi mingled with the corporate, and the day was a glorious exercise in American:"See-What-We-Can-Do?!".

Thank you, Veuve Clicquot. I'm already planning my hat for next year!

And thank you, Mario Diab, for making me beautiful all day long.

photo courtesy of Veuve Clicquot

Tokyo Does Ellen Christine

We're all over Japan this Spring, with our first wholesale customer touting our wares from coast to coast, Japan-style. The very wellbred store chain: "Iena", has now added Ellen Christine Millinery to their roster of retail wares to tantalize their customer base. With 43 stores, and a great eye for collection pieces, Iena presents a Francophile outlook on young fashion in Japan. They chose a clean cut natural panama straw fedora, edged in navy blue, for their Spring cover. Inside the catalogue, one of our parasisal cloches is perched jauntily atop a headscarf. Styled, appealing, and ours!

May they sell out in one week. Wait until you see what's in the stores for Fall 2010, Japan-fans!..

For Japanese speakers, go to their website for updates , trends, and products: http://iena.jp/new_arrival/original75.html

HAT TALES EPISODES ARE BACK

News on Ellen Christine's myspace :

Any day it's not raining, new Hat tales episodes are posted online so come and tchek our myspace to see the new episodes !

http://vids.myspace.com/index.cfm?fuseaction=vids.channel&channelID=120167646