Cloche van blauw haarvilt met een dubbele ripsband in groen en blauw c. 1958 - 1965

Editor: Here we have a 'Cloche van blauw haarvilt met een dubbele ripsband in groen en blauw', a felt hat with green and blue ribbon, dating from the late 50s to mid-60s. It's deceptively simple. The curves are so smooth and refined, yet there is a clear geometric intention. What are your immediate thoughts about this piece? Curator: My eye is drawn immediately to the interplay of textures. The soft nap of the felt contrasts strikingly with the sharp, clean lines of the ribbon. Furthermore, consider the chromatic relationships; the saturated blue of the felt is echoed, yet subtly offset, by the twin shades in the band. Editor: I notice that! The darker ribbon almost swallows the green at first glance. The composition leads the eye in a circle. Curator: Precisely. Note, too, how the curvature of the cloche is mimicked by the gold ring detail. Does it act as a focal point, drawing together the visual elements into a cohesive whole? Or do you see it as a disruption, an alien form introduced to an otherwise seamless design? Editor: I think it cleverly interrupts the smoothness. Without the ring, the band would have less visual impact. Do you think the hat's functionality is as important as its appearance? Curator: The aesthetic success relies, surely, on an intrinsic formal resolution—a perfect marriage of form and implied function. It suggests the fashionable silhouette of the era. The question of *wearability* ultimately gives way to the piece's symbolic weight. Editor: It's amazing how much can be communicated through such seemingly simple shapes and materials! The interplay of these forms clearly transcends function. Curator: Indeed. An object becomes art when it exceeds its mere utility, when its formal arrangement invites sustained contemplation. It provokes discussion of colour theory. The cloche certainly achieves this.