Straw was a great material for create the extravagant fashionable hats from the 18th Century since it’s light, durable and flexible, so you can have made a hat with the shape and size you needed.
The fashion of straw hats appeared from the aristocratic “love” for the simple live of the shepherdess in the countryside.
Little by little the hats became more complicated, bigger and more decorated than the simple original idea (well, a simple straw hat was not trendy enough, right?).
The Bergére hat has a small crown and a relatively big brim, it sometimes was covered in fabric, and usually people added ribbons, flowers, bows and/or feathers. It could be flat (that would be worn with small hairstyle) or with the curved brim on the back (with taller hairstyles).
The Leghorn hat makes reference to the place the straw came from: Livorno, Italy. The hats were made with a pleached straw and thanks to the Duchess of Devonshire in England this straw hat was bigger and wider. Sadly I’m not 100% sure this big style was called simply Leghorn, or if it was a variant of the Portrait Hat (which was also made of straw but painted black) and it was called that or Devonshire Hat, but in France it was an Anglomane hat (like the one Keira Knightley wears in the first photo) or a hat à la Genlis.
A bergère hat in the portrait of Madame Bergeret by François Boucher, 1766.
“The young Englishwoman (…) coiffed in an anglomane Hat surmounted by Plumes over her hair, falling down over the forehead à la Jaquet”, 1787.
Portrait of Georgiana, DUchess of Devonshire by Thomas Gainsborough, 1785-87.
“A young Lady in a Winter Redingote and a Hat à la Genlis” from Le Magasin des Modes, February 1788.
If you happen to know the difference and names of these hats, or if I wrote something quite wrong, let me know! Maybe in a reblog or ask ;)
Don’t forget to write the reference of your information!
Photos from top:
Keira Knightley in “The Duchess”, 2008.
“The Honorable Elizabeth Ingram”, John Hoppner, 1789.
Joely Richardson as Marie-Antoinette in “The Affair of the Necklace”, 2001.
"Emma Hart in a Straw Hat”, George Romney, 1782-84.
Keira Knightley with my favourite hat from “The Duchess”, 2008.
“Portrait of Marie-Charlotte Bontemps, Comtesse de La Châtre”, Louise Élisabeth Vigée Le Brun, 1788.
Still from Marie Antoinette, 2006.
“Self-Portrait in a straw hat”, Louise Élisabeth Vigée Le Brun, 1782.
Kirsten Dunst as Marie Antoinette in “Marie Antoinette”, 2006.
Straw hat, 1750-60, National Trust Collections, Gloucestershire.
Still from “The Duchess”, 2008.
“Portrait of Marie Gabrielle de Gramont, Duchesse de Caderousse” (detail), Louise Élisabeth Vigée Le Brun, 1784.
Hat made of raffia with silk decoration, British, ca. 1760, The Metropolitan Museum of Art, New York.
Keira Knightly and Hayley Atwell as Georgiana and Bess in “The Duchess”, 2008.
"Eleanor Frances Dixie”, Henry Pickering, 1753.
Ryan O’Neal and Marissa Berenson in “Barry Lyndon”, 1975.
Exclusive behind-the-scenes images showing Stanley Kubrick in production on his lavish 18th-century period masterpiece Barry Lyndon. Still photographer: Keith Hamshere. Credit: With thanks to the SK Film Archives LLC, Warner Bros. and University of the Arts London. Courtesy of British Film Institute.
Barry Lyndon was shot in Waterford in October 1973. The set was closed to the press, but local man Pat Heavin managed to get on to it as they were filming near his house. […] During a break in filming Heavin approached O’Neal for a photograph. “I was a member of the Waterford Camera Club at the time. I was conscious that no press were allowed on set so I kept it very low key. I asked Ryan O’Neal if I could take his picture. He was extremely friendly to me.” Then he spotted Stanley Kubrick, taking a break. “I said ‘To hell with it. I’ll go for broke.’ I asked if I could take his picture and with a bit of encouragement from Ryan O’Neal, Stanley smiled and I had my picture.” […] Heavin says he respected the circumstances in which he was allowed to take the photographs and has never released them publicly before now. However, when he heard Ryan O’Neal and producer Jan Harlan were coming to Dublin for a 40th anniversary screening of Barry Lyndon, he decided to release them. “It was a moment of trust and I never showed the picture to anyone except family. I want the photographs passed on to him [O’Neal] to thank him for his kindness on the day,” he says.