ROSA GIL/ ÁLVARO FERNÁNDEZ-ESPINA
Christian Dior launched 22 fashion collections between 1947 and 1957, and in all of them the hat was the star accessory. His successors at the head of the maison followed that golden rule: Yves Saint Laurent designed them to match haute couture silhouettes, Marc Boham distinguished them with floral touches and Maria Grazia Chiuri, with feathers; Gianfranco Ferré preferred them majestic and wide-brimmed and John Galliano, extravagant, as he was.
Cover 'Dior hats'. /d.r.
The magnificent volume Dior hats (Rizzoli, on sale in September) compiles the most brilliant creations from the house of Dior over 70 years and highlights the role they have played as trendsetters.
No wonder: Christian Dior wrote that the headdress is “the best way to express personality”, and literature and cinema corroborate its descriptive power. Can we conceive of an Audrey Hepburn in My Fair Lady without her spectacular racing headdress, a Faye Dunaway without her beret in Bonnie and Clyde, or an Indiana Jones without her battered hat?
Faye Dunaway in a still from Bonnie and Clyde (1967). /d.r.
Perhaps for this reason, these accessories make a comeback every time we believe they have been forgotten and the catwalks and collections remind us that there is no complete outfit without its corresponding headdress.
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