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.

Something for The New Year

Who can remember just when Will from W Magazine asked me to make this hat? This vinyl hat has been part of our collection for ages...since we work on Spring so far in advance. this particular hat, not that you can tell from this beautifully stylized picture, is transparent. Transparency was the lead story for this Spring, so I guess you could say that because of Will and his directives, we were ahead of the game. Way ahead. And what an adventure this little hat has had. It lived at W for a while, and somehow wound up requested by Lady Gaga's stylist for an appearance. The run at W didn't get used, and Gaga didn't wear it, but we did it again for Malan Breton's runway show at Mercedes Benz Fashion Week. Along with the rest of the collection we designed for him, again, transparency was the theme.

Back again in the studio, but only for a visit, because Edward Enninful requested it for another story he was preparing for W . This time, with a nod to Erte, as shot by Nick Knight, the hat finally ran!

And here it is: conceptual, and how incredible is this composition? Edward used it as an idea, and sometimes hats are just that: just an idea. Without imposing itself into the shot, this hat became a halo of light around the model's head. In the photographer's capable hands, a hat made of vinyl became part of an Art piece.

Now, it's once again at W, and we'll see what happens next. Thank you, Will, for the original push, and Edward Enninful for the concept, and Nick Knight for the interpretation.

the Metropolitan Opera Shop

In October, we went live with the collection we did for The Metropolitan Opera shop , inspired by the season's production of The Enchanted Island. While the costumes of "Enchanted Island" are fantasy, period, lush, exotic, they beg to be worn! Costumes have always appealed to my inner design self, so this would be a difficult task, to design something that could be worn by a "civilian", and yet carry echoes of this magnificent baroque production. Feathers were the solution: use the feather theme that is displayed in Sycorax' hat, in her hair, on her cloak. Add a great common ground with a lush creamy velour felt, and you have our hats. We did a basic cloche, because it's a great shape for many, many faces. With a hand -blocked brim and crown, here in our studio, this cloche assumes many personae. The block itself is from the 1920's, so that it gives a full, oval shape. Oval, as opposed to the round shape found in most hats on the market today. Oval because the head is oval, and rarely round. This is one of my favorite blocks, and it has been in my collection for decades. We have one client who it works for in every hat we design for her, so we fondly call it by her name. But that little tidbit is in-house, I'm afraid. I chose shades of camel and taupe, because Sycoraz goes from a swamp/jungle existence, all grey and monochromatic, to emerge as a Phoenix in glorious browns and golds. Taupe is my preferred "non-couleur", and works from a sophisticated point of view, to a work-a-day frame that pairs with black, khaki, navy, brown, greens and winter whites. The trim on the cloche is a captured exotic animal, like the creatures on The Enchanted Island: a bit of a bird, a petal of silk in leopard, a vintage button in buffalo horn. Not too much, just a hint of the glory that lies within.

For the "Pamela" Biba, we hand-blocked a face-framing shape that would work for Sunday best, or Tuesday on the town, going to luncheon, on a shopping spree. The Biba is so named because of a particularly inventive shop in London from the 1970's, where free-wheeling fashion made it's home. We've loved the spirit of Biba for inspiration, and we do this hat as a classic in all seasons. Wrapped around the sloping crown, is a wonderful vintage velvet ribbon that we have in our archival collection of trims. It's a really rich , deep brown, and works as a foil for the hand-curled pheasant feather. The pheasant feather is prominent in the wardrobe/headwear of Sycorax in this production, so it was a natural choice. Held onto the hat with delicate stitches, the feather seems to want to take flight!

And finally, to round out this capsule collection, a fascinator. After the Royal Wedding in the Spring, America has taken note of this little shape, so often seen at weddings throughout Europe. Our hand-blocked teardrop shape is one of our most popular , and the trim is a coalition of vintage bits and bobs from our archives. With the pheasant feather as the focal point, and a wayward gold threaded butterfly captured in the mix, the velour based hat is a whimsical composition. Picking up on the Steampunk aspects of the set and costume design in this Pastiche, we added a bit of gilt chain, and some antique buttons, and of course, some Victorian trim. Because the trim is all unique, each hat we sell is an original composition, quite one of a kind.

There are always surprises in the collections we do for The Met Opera Shop. It's a constant source of inspiration, and delight.

Come to the MetOperashop site, and see for yourselves. Ellen Christine hats are available, and sometimes, we sneak in different productions, as we create!

Met Opera Shop | Opera Hats and Opera Hair Accessories | Enchanted Island Cloche by Ellen Christine.

www.metoperashop.org

All pictures of our hats above are by Tom Bloom, photographer extraordinaire.

November Again/ Italian Flair

In my ongoing retrospective of this past year's goings on, the press played a huge part in our reality. Italian Flair asked us to do a hat that would be reminiscent of Cardin, or Courreges, very 1960's in flavor. What do you do when you don't own the block? It's called millinery, my dears. You swan it. That means, with a bit of steam, one of our vintage crown blocks, and lots of hand manipulation, it happens. This is actually two hats in one, as some of you may realize. Because the height necessitates an interior elevation, we build a solid foundation from the same felt, to accomodate the head, and have the "opening" sit in perfect position. I'm always amazed at the shots: photography, lighting, and styling all combine to create a beautiful picture. The model is posed in that very cheeky Atomic 1960's way: all swagger, all attitude.

It can be daunting to attempt a recreation, or to do a hat that carries with it a scintilla of past glories, but since I'm all about vintage, somehow it always works. By osmosis, I would expect. We don't have any originals to use as research, so we invent our own modern take on the look. The result: Space Age. Sputnik. And a really great shot.

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.

Peachy Deegan, our own Hedda Hopper

Whom You Know: Top it Off with Ellen Christine, Official Milliner of Whom You Know, and Keep America

www.whomyouknow.com

Peachy Deegan has a brilliant column online that covers things high and low all over Manhattan. She loves things made in America, and spotlights new restaurants, and the most excellent of choices for your shopping pleasure. All in Manhattan, sourcing for the coolest shoes, the nicest dentist, the most chic, the most hip. Peachy tells us which restaurants are hot, new, or just plain good. In her column, she can cover beauty as delightfully as the latest fundraiser she has just attended.

Be there or be square, basically, since "Whom You Know" lays out the facts of life for those coming to New York, or those of us who live here.

Peachy began working with Ellen Christine on a sultry summer's day, when she happened upon us when we were in Chelsea, in the retail space. That summer, Peachy wore an Ellen Christine hat to the Veuve Clicquot Manhattan Polo Classic, a yearly event on Governor's Island. The girl can wear a hat! Nowadays you may see her in one of her feathered fascinators, which have become part of her public persona . In November, WhomYouKnow.com published an update of our story, slanting it towards the "Made in America" point of view. Patriotic, Peachy appreciates a good thing when she sees it, but loves a good thing when it's provenance is local/USA, and never hesitates to cover that fact. It's an honor to be part of the "Movers and Shakers" roster, along with such luminaries as Liz Smith and New York City's Mayor Mike Bloomberg. And it's more than fabulous being the "Official Milliner" of WhomYouKnow. Along with lots of superb purveyors of excellence, our hats have received a warm and friendly welcome chez Peachy.

For Hedda Hopper fans, Peachy may be a throwback, a new and exciting insertion into the world of the web. Hats go great with poise and character, and Peachy is just that personified. As a point of exclamation on a might slip of a girl, her hats are becoming seen around some of the finest establishments in town. Look for her, and look for WhomYouKnow.com to be in the know, and on top of the brightest and most beautiful here in town.

Thank you, Whom You Know, for giving us such great coverage,and for looking so resplendant in your plumage!

Photo courtesy of : WhomYouKnow.com

Christmas Present 2012: Roberto Alagna

It’s Christmas 2012, it’s NYC, and our Christmas present this year is Roberto Alagna! Faust is once again at The Metropolitan Opera, and Robertino is here for two glorious performances: last night, and next Wednesday, the 28^th of December. With his whirlwind press tour for the newest CD “Pasion”, behind him, and a jam-packed (until 2016) schedule ahead, this beloved tenor will have a brief respite from life for a sojourn of one month in New York City. Not that we take care of him here: he’s suffering from a sore throat, and today was in the emergency room for an ankle damage. It must have been that cartwheel in Act I last night!

Last night, Roberto demonstrated his consummate professionalism as he regaled a cheerful Christmas audience in spite of a sore throat, and as we have just learned, an ankle injury. Dancing, and playing the flirt in the part of the young Faust, Roberto demonstrates his acrobatic abilities as well as his winning ways.

This new production, by Des McAnuff places the opera in WWI-WWI-II era, with brilliant costumes by Paul Tazewewll. The excitement in the house is palpable: Roberto is in the house. The Met Opera shop is 4 deep at the counters, as Roberto’s CD “Pasion” flies off the shelves. And Carmen is playing on the big screen, in honor no doubt, of his presence.

Stepping into Faust’s shoes once again (Mr. Alagna was here in 2005 in the previous production, complete with top hat and cane) as a dandy, he brings to the Met stage his buoyant personality, and emotive portrayal of a man gone mad with self-doubt and guilt.

Like a 1920’s melodrama serial, this production begins with a black and white palette. The visage of Faust covers the enormous scrim of the Met stage, and like the Veil of Turin, speaks volumes before one single note of music is played. Robert Brill, set designer, Peter Munford, lighting, and Sean Nieuwenhuis, in charge of video design, collaborated on mood, before all else. The black and white overtones are dissipated in the opening scene as the lugubrious metal framework of the set is awash in fog. Lost souls wander aimlessly across the laboratory setting. Two definitive spiral staircases mark the boundaries between life and death. The elder Faust, in homburg and greatcoat (Wait! Could that be Roberto????) tells us by stance, posture, pose, of his exhaustion. One single red rose brings a spark of hope to the monochrome. Faust, aged, stooped is soon joined onstage by Mephistopheles. Sung by the fantabulous Rene Pape, our favorite devil, Meph is a cartoon icon of a bad boy. From this point onward, the costumes of Mephistopheles and Faust, the Younger, will mirror each other – the dichotomy of the psyche defined in the language of costume.

The rear of the stage is set with a screen that projects the faces of Marguerite, and at times, hope via a floral bower, or despair, as marked by the grey passage of time itself. As the young Faust emerges from the mists of time, the scene shifts onstage to a WWI pastiche: soldiers crowd everywhere, mingling with the bevy of fashionably dressed “camp followers”. Brian Mulligan, baritone par excellence, plays Valentin to the hilt, delivering a “Avant de quitter ses lieux” to a bravo’d, heavy applause. I did say a very enthusiastic crowd.

Mephistopheles uses chicanery, sorcery and cheap thrills to wheedle the wills of men, and bend them to his vision. Where Faust is flirtatious, Roberto gives us all the vigor such a cad could carry. Where Faust is touched by the raw innocence of his “conquest”, Marguerite, Roberto gives a seductive, moving, perfect “ Salut, Demeure chaste et pure”. He carries the entire house with him on a perfect note, heart -stopping and ethereal.

Our Marguerite, Malin Bystrom gives her Jewel Box song with a delighted, girlish enthusiasm. This is Ms. Bystrom’s Met debut, and she has moments that sparkle, like the tiara she gleefully models in the mirror, and yet falls into the arms of Roberto with trepidation.

A pink glow falls on the set, and changes us from severe “chaste et pure” to the warmth of a burgeoning love affair. Roberto does his thing: seduction in progress, by a master of the genre.

Although the Met here announces that “Mr. Alagna is not feeling very well, but he will attempt to finish his performance”, Roberto dives into the swordfight that kills Valentin with brio.

The danse macabre that may indeed translate into Walpurgis (we were missing the usual feminine demonic hovering ballerinas) proceeds the final denouement of Marguerite. The fires of Hell are now poison apple green , and her “pure radiant angels” is a relief from the demonic activity and the loss of Faust’s soul. Marguerite climbs the stairway to heaven, and our once- again aged Faust succumbs.

Throughout this well-directed, very smooth pacing, Rene Pape lords over the world weary reality that is Gounod’s Faust with aplomb. He is witty, slimey/suave and superlative in his white leisure suit. Both he and Roberto man it up in suit after resplendent suit, complete with spats and bon vivant boutonierres. The adept millinery department of the Costume Shop at the Met give us hat after hat, all phenomenons of height and drama, very WWI. The chorus is covered in perfect period ensembles that run the gamut in inspiration from “ Alice Blue Gown” to Irving Berlin.

Well done, and a Merry Christmas indeed!

Faust runs through January 19^th