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Hat

ca. 1965 (made)
Artist/Maker
Place of origin

‘Balenciaga’s hats are an integral part of his fashion,’ reported the French fashion review Jardin des modes in 1961. They ensure ‘that volumes are balanced and the silhouette is perfectly finished off.’ Fairly conventional ensembles were often paired with a striking hat which lifted the whole look and made it appear more avant-garde. The client could buy the whole ensemble or leave the hat if it was too daring. The designs for hats were as fiercely protected as those for dresses. The police commissioner stamped the official sketches of the hats to protect them from being copied.


Object details

Categories
Object type
Materials and techniques
Suede
Brief description
Suede hat, designed by Cristóbal Balenciaga, Paris, ca. 1965
Physical description
Brown suede hat trimmed with a suede bow.
Production typeHaute couture
Marks and inscriptions
'BALENCIAGA, 10 Avenue George V, Paris' (Label)
Credit line
Given by Mrs Loel Guinness
Object history
Worn and given by Gloria Guinness
Historical context
Gloria Guinness (nee Gloria Rubio y Alatorre, 1912-1980) was an elegant socialite and writer of the mid 20th century.

Her third husband, whom she married in 1951, was Group Capt. Thomas Loel Guinness, a Member of Parliament (died 1989) and an heir to the Guinness beer fortune.

She was voted 'Best Dressed Woman' in the world by Time magazine in 1962 behind Jackie Kennedy in first place. (See Time magazine Jan 26 1962)

She owned seven homes, with a full wardrobe in each so that she would never have to pack or wait at customs. She spread her patronage widely, and amongst donations to the V&A of pieces by Dior, Balenciaga, Givenchy etc., are pieces by lesser known couturiers such as Chaumont and Lafaurie.
Associations
Summary
‘Balenciaga’s hats are an integral part of his fashion,’ reported the French fashion review Jardin des modes in 1961. They ensure ‘that volumes are balanced and the silhouette is perfectly finished off.’ Fairly conventional ensembles were often paired with a striking hat which lifted the whole look and made it appear more avant-garde. The client could buy the whole ensemble or leave the hat if it was too daring. The designs for hats were as fiercely protected as those for dresses. The police commissioner stamped the official sketches of the hats to protect them from being copied.
Bibliographic reference
Fashion : An Anthology by Cecil Beaton. London : H.M.S.O., 1971
Collection
Accession number
T.65-1974

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Record createdMarch 14, 2005
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