How did you become interested in millinery?

During late high school, I was a bit preoccupied with Victorian fashion. When millinery was mentioned at a careers evening, millinery sounded like the perfect job. I was told “Nobody wears hats! Choose a modern career!” That fired the spark even more!

Where did you learn millinery?

The Hat Factory in Auckland. When I learnt there, I was taught by old school milliners – wonderful ladies!

How long have you been a milliner for? Where else did you work?

Ten years, a couple of years while studying at university for a BA (Soc Sci). I also trained first as a florist, which I have found fabulous for developing a knack for line and composition.

Where do you get inspiration for your designs?

Sometimes I like to work by taking hats from other decades and modernising/putting my own spin on them. I get ideas all the time from colours, shapes, images that make an impression. The main thing is to make a hat that looks good with a particular outfit and the person’s face shape, cheekbones, jawline and shoulder width. Headgear is very subjective.

What has been your most enjoyable commission?

For an international dance group, I made up petal comb headpieces to go with their funky 60s style outfits. The colours of the outfits and the headpieces were really out-there and inspired. It’s always a kick to work on something completely different.

 

 

Stephen Jones established his own millinery company in 1980. His hats have been described as eccentric and quirky, and they invariably make witty or idiosyncratic visual statements.

He was born in Liverpool, England in 1957 and graduated in 1979 from St. Martin’s School of Art in London.

His asymmetric and outrageous hats quickly became popular with designers such as Jean-Paul Gaultier, Claude Montana, Thierry Mugler and Zandra Rhodes. He also designed for singers such as Madonna, Boy George and George Michael. The Princess of Wales branched out from the traditional royal milliners, choosing Stephen to make some of her hats.

He is credited with helping to revive millinery during the latter part of the 20th century, and is still going strong. In 1990 he launched a number of new accessory and diffusion lines.

How did you become interested in millinery?

By chance, I was a tailor’s apprentice and the millinery workroom was next door.

Where did you learn millinery?

At Lachasse Couture house in London, England, by a milliner called Shirley Hex, who subsequently taught many milliners including Phillip Treacy.

How did you become interested in millinery?

I was Period Costume Designer for National Historic Sites Branch of Parks Canada (a Canadian Government agency that runs many historic sites across Canada). My job required me to research historic clothing cut and construction and create historically accurate reproduction costumes that were then worn or exhibited in these sites. Naturally, hats are part of a complete costume. Before I worked at Parks Canada, I had no special interest in headwear. I crocheted my winter hats to match my coats. However when I began creating reproduction costumes, I was fascinated by hats – their design, materials and construction. I found the sculptural quality of a hat intriguing.

Where and did you learn millinery?

I studied on the job under Senior Period Costume Designer, Theresa Ingram, at Parks Canada and at Richard Robinson’s L’académie des Couturiers Canadiens, Ottawa, in the 1970s and early 80s. I continued studying historic millinery by research and observation of examples in collections throughout Canada and the United States.

How did you become interested in millinery?

I was a fashion/tailor student in the fashion school of the Hague. A friend of mine who was studying costume knew a milliner and asked her to teach us millinery for fun. I enjoyed it and continue to take lessons with this lady. I was impressed and enthusiastic about millinery. I continued from there.

Where and why did you learn millinery?

When I finished the fashion/tailor school, I took lessons with Rose Cory (London) and started my own business. Every summer I took lessons at the London College of Fashion in summer school and master classes taught by Susie Hopkins (London).

How long have you been a milliner for?

I have had my own business for more then 10 years. In the beginning the company name was “Head and Housetrends”; at that stage I designed/made a lot of things. I made baskets for old-timers, soft furnishing articles, slipcovers for furniture. I worked together with a firm that produced suede/leather clothes and I designed hats for them. A few years ago I decided to specialise in hats alone even though Holland is not known for hat-wearing! I changed the company name to Berry Rutjes Jr. (my own name), chose a new logo, brief paper/envelopes, creating a whole new house style. I also rebuilt the shop, like a French hat shop/atelier (a little bit of Paris in Gouda).

How did you become interested in millinery?

I’ve been wearing hats as long as I can remember. As a kid, I was always running around with something fun and crazy on my head. As I got older I started collecting vintage hats and clothing, it was a natural progression I guess.

Where and did you learn millinery?

In the summer of 1998 I got a loft in New England’s largest artists community in Boston. There aren’t a lot of schools offering millinery courses in the States, so I decided to teach myself the art of millinery. I got my hands on a couple of old millinery books and de-constructed some vintage hats to see how they were made. I resolved myself to learning the classic techniques first with the hopes that the rest would come later. It was then I found my true passion… hats!

How long have you been a milliner for?

I was confident I could call myself a milliner when I won 1st Runner as The Hat Magazines, International Hat Designer of the Year in August 2001. I worked in retail management and designed women’s accessories until 1998.

Where do you get inspiration for your designs?

Inspiration for me comes from all directions. Oddly enough, I get great inspiration from the mistakes I’ve made. Sometimes the best creations are stumbled upon by accident. My Hat Studio, which I designed and decorated, abounds with colour, light, pictures, music, books and rolls of fabric. Music and movies are a big inspiration as well.

My greatest inspiration, however, was my grandmother Mamie, who passed away in 1998. She was an amazing self-taught designer and seamstress. With her passing I felt an epiphany to explore my creative desires, which further allowed me to pursue my dreams.

Doris is one of Australia’s most experienced milliners. While some hatmakers boast their extensive range of blocks, Doris claims the smallest number, yet produces the most exquisite and creative hats! Her block “collection” consists of a dome crown and an upturned wok! The hat shapes she produces are gently hand moulded using a pressing pad and iron.

How did you become interested in millinery?

I’ve always been very creative and have always liked hats, but never made them or wore them. Last year, through a relative, I got in contact with a milliner who gave workshops. Making a hat myself sounded fantastic, so I decided to take a two-day course. It was great indeed! I made my first hat: a fuchsia coloured sinamay hat with a large brim, three large leaves and a huge handmade rose. I was immediately hooked on hats! Designing and creating hats is a great way for me to express my creativity.

Where did you learn millinery?

I try to take lessons on a regular basis with Marianne Jongkind, a well-known and very experienced Dutch milliner. For the rest it’s just a matter of experimenting a lot and trying things. Practice makes perfect!

How long have you been a milliner for? Where else have you worked?

I have been a milliner since September 2002 and combine this passion with my “regular” job as office manager and personnel officer of a telecom company. I present my hats under the name “De Mooie Hoed” (which is Dutch for “The Beautiful Hat”).

Where do you get inspiration for your designs?

Almost anything can inspire me: nature, a piece of cloth, a colour, a shape, fashion, art, places I go, things I see on television, music… you name it. And quite often a great idea for a hat just comes up.

How did you become interested in millinery and flower making?

I always had a fascination with hats. I loved looking through family photos to see the styles change through out the years. As a textile designer, many of my first pieces, both screen printed and woven, were made into children’s hats, adorning many of my family members’ heads. As a child I made flowers out of any material I could find. Now I’ve taken the next step with my flowers, by using handcrafted tools along with modern fabrics and have been able to realize my dream.

Where did you learn millinery and flower making?

While I was studying studio textiles in Warrnambool I stumbled across a six-month course at the Melbourne school of millinery. As a budding milliner I wanted desperately to join the profession. I was then fortunate to be offered a position with Waltraud Reiner. While working with Waltraud a large portion of the curriculum was focused on the skill of French flower making. Yet many other traditional millinery techniques were taught, enabling me to combine the established techniques with contemporary fabrics and designs.

How long have you been a milliner for? Where else did you work?

I have been a milliner for roughly 9 years. While working with Waltraud I also taught at her millinery school, The Caulfield Milliner, Kim Fletcher Millinery Art. Over the last 4 years I have been working extremely hard on establishing my own range.