Hoed van gevlochten zwart raffia met platte bol en aan de voorkant opstaande rand, versierd met een lint zwart satijn c. 1950 - 1955

Curator: Here we have a hat designed by Jeanne Lanvin, sometime between 1950 and 1955. It’s described as a hat made of woven black raffia with a flat crown, and a raised edge at the front, decorated with a black satin ribbon. Editor: Ooh, gothic garden party! It has such a structured, almost architectural feel to it, but in miniature. I can almost feel the cool satin ribbon against my cheek. There is something both imposing and vulnerable. Curator: Exactly, the contrasts at play here are fascinating. The choice of raffia, traditionally associated with more humble crafts, elevated by the high fashion design. Also the hat points to the labour involved, all those woven strands, likely machine made. It really challenges ideas about "high" and "low" art. Editor: Absolutely. I can picture a worker carefully feeding the raffia into the machine. Did the worker think about whom it would end up dressing, and what role in society that lady occupied? I mean, wearing this implies a specific social function. But thinking about the wearer as an individual, it speaks to understated power. It does not scream “look at me” yet is sure to stand out. It says she makes subtle, complex choices. Curator: Indeed. We need to remember Lanvin, a house built by a woman, designed for women. The hat reflects the brand values by utilizing craft to showcase the elegance of simplicity. This isn't about flamboyant ornamentation. It is an intricate and disciplined exercise in design and material. Editor: It's so true; the monochrome palette focuses all the attention on the texture and form. And perhaps it speaks to the restraint expected of women in that era—power presented within defined social parameters. The weaving of the raffia itself almost mimics societal constraints. Curator: Well, I'd argue that's exactly what makes it so subversive. By embracing and manipulating traditional materials, Lanvin redefines expectations, all while giving agency to its female clientele. The hat isn't a cage. It’s a shield, armour, and statement. Editor: And who knew raffia could be so very cool? Now, if you will excuse me, I must leave in search of more fabulous hats. Curator: And I'll go back to deconstructing material culture.