In talks 'Head On' curator: Gemma Williams

Ahead of Head On, the forthcoming exhibit (February 6th) to be showcased at the Fashion Space Gallery, whereby the two colliding worlds of millinery and fashion, in all their history and symbiosis, are explored through a display of works: including both

leading names such as Stephen Jones, Giles Deacon and younger talent such as Noel Stewart, FashionUnited caught up with co-curator Gemma Williams to delve a little deeper into this fascinating story and how she has intended it’s positioning.

In this

exhibit which explores the interaction of the millinery and fashion worlds, what direction are you taking in the curation?

When millinery is displayed for exhibition, it is typically displayed on it’s own, as an object of independent fascination, or as part of a period ensemble –where the garment and historical content lead and the hat is an additional detail, like a pair of gloves or handbag or even a signpost or chair in the mise-en-scene. In this instance, we wanted to place more emphasis on the hats, and how they consciously impact on how an outfit can be perceived – how the hat can, in many ways, shape the scenario. This is done very dramatically in the exhibition through collaborations between Philip Treacy and Gareth Pugh, or Stephen Jones and Giles, where the hat-ensemble could only feasibly be worn on the catwalk or a very specialised context. Other collaborations, like those between milliner Stephen Jones and Donna Karan or AF Vandevorst, demonstrate more accessibly how a hat can be incorporated effectively into a daytime or evening ensemble.

What message are you trying to convey to the viewer? What do you want them to take away from the exhibition?

It seemed to us that hats are usually treated today as an afterthought or object of total fancy, rather than a considered object of design, as important as a pair of shoes, a handbag or even the right dress. Historically this was not the case; daily and occasion ensembles developed out of a considered dialogue with the milliner. In the last few seasons we have certainly seen a re-emphasis on hats, both on the catwalk and in editorial/advertising. As curators, we similarly hoped to re-emphasise the hat within the fashion silhouette by displaying some of the most successful and memorable examples of millinery on the catwalk in the last ten years. We also selected four examples of avant-garde works by artists and designers who expand the definition of millinery through their experimental approach to materials, construction, and the human form.

And what was the main criteria in choosing the designers included?
The emphasis is on contemporary designers. We wanted to show work by milliners at the top of their field –Philip Treacy, Stephen Jones, Noel Stewart, House of Flora, Katsuya Kamo- alongside new and emerging talents –Zara Gorman, Paul Stafford, Lara Jensen. As the emphasis of the exhibition is on how millinery can be used to reframe the body, our emphasis was on successive collaborations between fashion designers and these milliners. We were also able to include fashion designers who produce their own millinery in house, such as John Rocha, who really demonstrate the relevance of millinery in fashion today.

Why do you think millinery has come back in such a big way with a flurry of emerging hat designers?
In many ways, it can be seen as a trickle-up effect from the street. In the early-2000s bowler, trilby and fedora hats became popular accessories amongst young musicians and their followers, and were thus an integral component of a specific style of dress. As we all became more accustomed to seeing young, fashionable people in hats, of course they found their way into fashion. Younger fashion designers, who are closest to these street styles, often play a large role in pushing new styles, including headwear, through.

And how do you think our new wave of milliners differs from the established set – how are you aiming to position them together in the exhibit?

Often their work is more avant-garde, and perhaps less easily translated into merchandise. You can see that the look from Donna Karan is in many ways our most saleable. However, in the curation of the exhibition, we do not plan to make much of a distinction.

What for you is the standout piece/collaboration in the exhibit?

It is difficult to comment, as all of the individual pieces and collaborations are really remarkable. The Philip Treacy collaboration with Gareth Pugh collaboration is perhaps the most standout, as the face is entirely covered in a dark purple teardrop headpiece. Zara Gorman’s collaboration with Fyodor Golan pushes the relationship between millinery and fashion in an exciting new direction.

Images: AF Vandervorst A/W 12