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Picture hat
Picture hat
Picture hat
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Camilla, Duchess of Cornwall (left) wearing a Philip Treacy picture hat, while Catherine, Duchess of Cambridge sports a hatinator in 2012

A picture hat or Gainsborough hat is an elaborate woman's hat with a wide brim.[1] It has been suggested that the name may be derived from the way the broad brim frames the face to create a "picture".[2]

This is a very broad category of hat; some versions may be similar to the halo or cartwheel hat. This style featured in virtually every decade of the 20th century, and has a history dating back to at least the 18th century.[3][4]

History of the hat

[edit]
Thomas Gainsborough portrait of Georgiana, Duchess of Devonshire, said to be an inspiration for the picture or Gainsborough hat

The picture hat was first popularised as a style at the end of the 18th century and is said to have been inspired by the hats seen on portraits of society women painted by Thomas Gainsborough. It was then often known as the Gainsborough Chapeau. Other names included garden hat.[5] These early hats were large, with a wide brim and were designed to perch on top of the lavish hairstyles popular during this era. Hats incorporated details such as feathers and trims – some are said to have even included whole stuffed birds.[5]

The picture hat became fashionable again from the end of the 19th century – popularised in images of Gibson Girls in the United States and Canada and in the Gaiety Girls of the London theatre.[5][6]

20th-century revival

[edit]
London's Gaiety Girls, here photographed in 1896, helped to popularise the fashion for picture hats

In the early 1920s, The Times described Paris fashions of large picture hats in black velvet trimmed with traditional garden flowers.[7] In the same year, the picture hat was described as: "greatly in favour", alongside the toque.[8] As a fashion correspondent noted in 1922, its popularity may have been due to its adaptable nature: "They are wearable in every season, and vary more in the way they are put on than in shape".[9] Styles were simpler than those worn in the Edwardian era – following the prevailing fashion of cloches by including a more close-fitting crown to flatter shorter hairstyles. A 1920s advert for Harrods' spring hats showcased a black straw picture hat with a wide brim embroidered with silk and chenille.[10] By the end of the 1920s, picture-style hats were changing shape, as noted by a fashion correspondent: "Hats with higher fronts to the crown are being made, and one new shape has a turned-back brim at the side, in the style of the old-fashioned picture hat, but smaller".[11]

1930s designs

[edit]
1941 picture hat worn by Carole Landis in Topper Returns

A 1930 review of millinery designs created by Madame Agnès – who was also a sculptor – noted a trend towards more unusual shapes for picture hats: "The brims of picture hats are irregular and are attached to the crown in such a way as to lift the front away from the forehead or to form a little point".[12] Picture hats remained popular for sporting events and marriages, although by the middle of the decade some designs were becoming smaller. In 1935, The Times described summer designs worn forward on the head, with low crowns and trimmings of flowers, fruit or draped fabric.[13] Picture hats continued to be worn for both day and evening events – a Paquin evening gown of 1938 included a black velvet model with veil, worn with matching elbow-length gloves.[14]

The dramatic picture hat, as worn by Audrey Hepburn in the 1961 film Breakfast at Tiffany's, became fashionable from the late 1950s

Post-war picture hats

[edit]

Queen Elizabeth II and other members of the British royal family continued to favour picture hats in the immediate post-war years, and they remained a fixture at weddings and sporting occasions. By 1955, however, The Times had announced the disappearance of the picture hat in fashion, as streamlined cloche, cocktail and new conical-shaped hats came into vogue. The article noted: "A solitary wide-brimmed classic among some 60 models selected from those now going into the shops...but such a shape has for long been beloved of many Englishwomen, and by comparison the rest of the hats were a chic and challenging assortment".[15] The death knell was perhaps sounded too soon, as by 1958 hats were either very large or very small. Parisian milliner Claude Saint-Cyr was designing dramatic picture hats – relying more on shape than on trimmings for effect – very much in the style that would be worn three years later by Audrey Hepburn in Breakfast at Tiffany's.[16]

During the 1960s and 1970s, the picture hat persisted – although designs such as the pillbox and bucket hat were more popular – but tended to have a higher crown.[3][4] The Victoria and Albert Museum archive has a photograph of a Madame Paulette model from 1963 that illustrates the fashion for height as well as width.[17] By the early 1970s, there was a revival – with memorable examples including the design worn at the Saint Tropez wedding of Bianca Jagger in 1971, and the outsize model worn by Farrah Fawcett at her wedding to Lee Majors in 1973.[18][19]

Marc Jacobs showcased enormous Victorian-style picture hats at New York Fashion Week A/W 2012

The picture hat remains a popular style for events such as Ladies' Day at Ascot and its high-profile fans include Queen Camilla, who is known for her wide-brimmed designs.[20]

The Dynasty character Alexis Colby (played by Joan Collins) was famous for wearing her signature picture hats throughout the 1980s soap opera on the ABC.

Picture hats still appear on the fashion catwalk; notably Marc Jacobs included oversized fur designs harking back to in the late Victorian age his 2012 autumn-winter show at New York Fashion Week.[21]

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Picture hat

View on Grokipedia
from Grokipedia
A picture hat is a woman's elaborate headwear characterized by a broad, often flexible brim and a shallow crown, typically positioned toward the back of the head to frame the face in a portrait-like manner. First documented in English usage around , the term derives from the hat's ability to encase the wearer's features dramatically, evoking the composition of a painted . The style originated in the , achieving iconic status through depictions in portraits by English painter , leading to the alternate name "Gainsborough hat." These hats were often crafted from materials like straw, felt, wool, or silk, and embellished with feathers, flowers, ribbons, , or to enhance their decorative appeal. Picture hats saw significant revivals in the early 20th century, particularly during the (circa 1901–1910), where oversized versions became a staple of women's formal attire, complementing high-necked blouses and elaborate gowns. The style persisted through the and post-World War II, with notable popularity in to 1950s, as seen in designs by milliners like Lilly Daché and Sally Victor, who incorporated modern twists such as taller crowns in the 1960s and 1970s. By the 1980s, examples, including those from , underscored its enduring versatility for garden parties, weddings, and high-society events.

Definition and Characteristics

Etymology and Overview

The picture hat is a women's characterized by its large, wide-brimmed design, intended to frame the face dramatically and often elaborately trimmed with feathers, flowers, ribbons, or . This style emphasizes a theatrical presentation of the wearer's features, creating an aura of and suitable for formal or attire. The term "picture hat" originated in the late 19th century, with its earliest recorded use dating to 1887 in British publications. It derives from the hat's resemblance to those depicted in paintings, particularly the elaborate, wide-brimmed styles featured in 18th-century artworks by artists such as , which evoke the effect of a face framed within a . For instance, Gainsborough's 1785 of , showcased an enormous black hat with ostrich feathers that inspired later imitations, leading to the hat's association with "portrait" or "picture" framing. Unlike bonnets, which are smaller, structured head coverings that tie under the chin and typically cover the forehead for a more demure appearance, picture hats are positioned toward the back of the head to accentuate facial framing. Similarly, they differ from cartwheel hats, which feature wider, flatter, and often downward-sloping brims in simpler straw constructions without the same level of elaborate ornamentation.

Key Design Features

The picture hat is distinguished by its exceptionally wide brim, typically measuring 12 to 18 inches across, which provides substantial shade and frames the wearer's face dramatically. These brims are often downward-sloping or flat to enhance the hat's visual impact, constructed from lightweight yet structured materials such as , felt, , or sinamay to maintain form while allowing flexibility in styling. The crown of a picture hat is characteristically low and soft, usually rounded or slightly domed, and positioned close to the head to ensure the brim remains the dominant feature. This design emphasizes minimal height, often no more than 4 to 6 inches, creating a balanced silhouette that prioritizes the expansive brim over vertical elaboration. The low placement allows the hat to sit securely while accentuating the face-framing effect inherent to the style. Elaborate trimmings and embellishments are a hallmark of picture hats, featuring elements like feathers, flowers, veiling, or jewelry to add texture and opulence. In Edwardian examples, upturned brims often incorporated these decorations for heightened drama, with feathers or floral arrangements cascading along the edges. Variations in shape and material adapt the picture hat to seasonal use, such as Leghorn straw versions for summer lightness and breathability, or for winter warmth and elegance. Brims may curve or roll gently to better contour the face, enhancing asymmetry in artistic designs for a personalized fit. Primarily sized for women, these hats are secured with hatpins to accommodate the wide, potentially unwieldy structure while ensuring stability during wear.

Historical Development

18th-Century Origins

The wide-brimmed hat style that would later be termed the picture hat emerged in mid-18th-century , drawing inspiration from pastoral scenes depicted in portraits by artists such as and other painters like and . These hats, often shown framing the subject's face against idyllic landscapes, symbolized elegance and a romanticized connection to , as seen in Gainsborough's 1748 portrait of and his 1787 depiction of the Duchess of Devonshire, where expansive brims enhanced the compositional framing effect. This style gained popularity in and during the 1770s to 1790s, coinciding with the shift from elaborate powdered wigs and towering headdresses to simpler neoclassical hairstyles of soft curls and waves, often unpowdered to evoke . Associated closely with Marie Antoinette's court at Versailles, these hats were adapted from the earlier (shepherdess) form, featuring shallow crowns and broad brims that complemented the queen's promotion of lightweight, natural silhouettes like the chemise à la reine gown. Fashion plates from the Galerie des Modes (1787) illustrate hats such as the "à la Contat," with wide brims adorned modestly to suit the era's evolving aesthetic. Worn primarily by the for outdoor leisure activities like garden parties and promenades at estates such as Versailles or English country houses, these hats reflected Enlightenment ideals of natural beauty, rationality, and pastoral leisure, contrasting the artificiality of prior courtly excess. Initially crafted from —often fine Leghorn plaits from —or lightweight , they featured minimal trims like simple ribbons or flowers, emphasizing functionality over ornamentation while evolving directly from the bergère's rural-inspired design for sun protection. The in the late 1780s further influenced this style by accelerating the trend toward simplification, as revolutionary ideals rejected aristocratic opulence in favor of practical, egalitarian attire; however, the wide brims were retained for their utility in shielding wearers from the sun during increasingly public and outdoor social engagements. This marked a pivotal adaptation, preserving the hat's core form amid broader societal upheaval.

19th-Century Peak

The picture hat surged in popularity during the late Victorian and Edwardian eras, particularly from the 1890s through the early 1910s, when it became a staple of women's fashion. The term "picture hat" first appeared in 1887, initially in British fashion notes, and gained widespread use by 1893 in international periodicals, reflecting its rapid adoption as a defining accessory. It was frequently paired with the Gibson Girl silhouette, characterized by a high, pompadour-style hairstyle and flowing tea gowns or afternoon dresses, enhancing the era's emphasis on graceful, feminine lines. In fashion integration, the complemented high-necked blouses, corseted waists, and full skirts of the period, creating dramatic silhouettes that framed the face and emphasized elegance. Examples from the often featured wide brims, sometimes exceeding 18 inches in diameter, adorned with plumes, ribbons, or floral elements to evoke a romantic, pictorial quality. Manufacturing advances facilitated this trend, including the of lightweight Leghorn hats in and , which allowed for affordable yet stylish wide-brimmed designs suitable for everyday wear. Paris milliners like Caroline Reboux influenced these developments, pioneering simplified yet luxurious constructions using , felt, and that aligned with the era's opulent tastes. Socially, the picture hat symbolized refined and middle-class status, accessible to a broader demographic due to industrial production and post-Industrial leisure pursuits. It was prominently worn at events like the Ascot races and garden parties, where elaborate headwear underscored social hierarchy and leisurely sophistication among women. The style's decline began with the onset of in 1914, as wartime practicality favored smaller, more functional cloche hats that suited shorter bobbed hairstyles and active lifestyles, effectively ending the picture hat's dominance by the mid-1910s.

20th-Century Revivals

1930s Styles

In the , picture hats underwent a notable revival amid the Hollywood glamour era, offering a touch of whimsy and elegance as escapism from the hardships of the . These wide-brimmed styles, reminiscent of earlier face-framing designs, complemented the era's streamlined silhouettes and were popularized through cinema, where they enhanced the dramatic allure of silver-screen stars. Films such as (1933) showcased actress in oversized cartwheel variations, amplifying their association with bold, theatrical femininity. Design adaptations in the scaled down the extravagance of prior centuries, featuring shallower crowns and brims often 10 inches or more wide, with cartwheel variations up to 17 inches, in curving or asymmetrical shapes to harmonize with the decade's bias-cut gowns. Materials shifted toward modern practicality, including bias-trimmed felt for structured forms, soft for evening wear, and lightweight for daytime, with minimal embellishments like bows, flowers, or to maintain a refined yet romantic aesthetic. Prominent milliners drove these innovations: Lilly Daché crafted sculptural pieces for Hollywood icons, including , who paired them with flowing bias-cut dresses in films like Desire (1936); meanwhile, Elsa introduced surreal embellishments, such as feathers and flowers on picture hats, blending artistry with wearable glamour. Picture hats symbolized refined at social occasions, appearing at society weddings and high-profile events to evoke pre-Depression opulence. A key variation, the cartwheel sub-style, featured flatter, rigid brims ideal for beachwear or summer outings, often in or woven straw to provide sun protection while offsetting the era's sleek lines. like further popularized these halo-like forms, worn toward the back of the head for a soft, framing effect that aligned with the decade's emphasis on poised .

Post-1940s Adaptations

Following , picture hats experienced a revival in the late and , aligning with Christian Dior's "New Look" emphasis on feminine silhouettes and luxurious accessories to counter wartime austerity. These hats featured dramatically larger brims, often extending up to 16 inches in diameter, crafted from lightweight straw with floral trims to evoke suburban elegance and garden-party sophistication. The style aligned with the era's focus on full skirts and soft, romantic details, positioning the picture hat as a key element in fashion's return to opulence. The 1950s marked the peak of picture hat popularity, particularly through Hollywood's influence and designs by milliners like Sally Victor, where they were worn by icons such as Grace Kelly in films like High Society (1956) and at high-profile weddings, symbolizing refined glamour. Audrey Hepburn further amplified their appeal in My Fair Lady (1964), donning oversized versions for the Ascot scene that highlighted dramatic brims and elegant proportions. This era saw picture hats embraced for formal occasions, including the 1953 Coronation of Elizabeth II, where wide-brimmed styles adorned attendees, underscoring their role in ceremonial and bridal fashion. Adaptations in the 1960s and 1970s included taller crowns, as seen in works by Lilly Daché and Sally Victor, before a decline amid youth-driven cultural shifts toward casual attire, shorter hairstyles, and compact alternatives like pillbox hats, which better suited the mod aesthetic and reduced formality in daily wear. Picture hats saw sporadic resurgence in the 1980s in , including large versions by featuring feathers for garden parties, weddings, and high-society events.

Modern and Cultural Aspects

Contemporary Usage

In the early 2000s, picture hats experienced a revival within bohemian fashion trends, often appearing as wide-brimmed floppy styles that complemented layered, eclectic outfits inspired by aesthetics. Celebrities like popularized these hats in 2005, pairing them with flowing dresses and accessories for a relaxed, festival-ready look that echoed romantic, free-spirited vibes. Sustainable versions emerged during this period, crafted from natural materials to align with growing environmental awareness in . Contemporary designers have reinterpreted picture hats for runway shows, emphasizing bold proportions and innovative silhouettes. Milliner Stephen Jones has created modern picture hats using printed satin, organza, and straw, featured in exhibitions and collections that blend historical elegance with avant-garde elements. In the 2010s, brands incorporated oversized picture hats into their collections, showcasing wide brims in luxurious fabrics for dramatic effect on the catwalk. Advancements in materials have led to eco-friendly picture hats made from recycled plastics and organic cotton, reducing environmental impact while maintaining the style's decorative appeal. Since 2015, online platforms have enabled customization of picture hats, allowing users to add personal embroidery, prints, or photos directly through design tools. Today, picture hats are versatile for various occasions, including music festivals like Coachella where bohemian wide-brim versions add flair to casual ensembles. They also appear at weddings and red carpet events, often in elegant straw or fabric forms to elevate formal attire. Hybrids combining picture hat brims with fascinator elements offer added versatility, secured by headbands for lighter, more wearable designs.

Influence in Media and Fashion

The picture hat has left an indelible mark on cinema and television, often symbolizing transformation and romance. In the 1939 film Gone with the Wind, Vivien Leigh as Scarlett O'Hara donned an iconic wide-brimmed straw picture hat during the Twelve Oaks barbecue scene, embodying Southern belle elegance and contributing to the film's enduring visual legacy. Similarly, in the 1942 drama Now, Voyager, Bette Davis wore a dramatic picture hat paired with an Orry-Kelly suit during a shipboard scene, marking a key moment in her character's glamorous reinvention and influencing mid-20th-century interpretations of feminine liberation through fashion. On television, the Netflix series The Crown (2016–2023) featured picture hats in Season 3, such as a simple wide-brimmed style worn by Queen Elizabeth II (portrayed by Olivia Colman) during a state visit to France, highlighting their role in evoking royal poise and historical authenticity. In literature, the picture hat appears as a motif of romantic idealism, particularly in Regency-era inspired works where wide-brimmed designs evoke pastoral courtship and feminine allure, as seen in period fiction adaptations that draw from 19th-century portraiture traditions. Artistically, the hat has inspired portraiture and editorial photography since the early 20th century, with its elaborate brims framing subjects in Vogue magazine features from the 1930s onward, emphasizing dramatic silhouettes in high-fashion imagery. Post-2010, modern street style photography on platforms like Instagram has revived the picture hat's aesthetic, showcasing it in urban settings to blend vintage romance with contemporary casual wear, often captured by influencers during fashion weeks. The picture hat carries deep symbolism in fashion, representing femininity, luxury, and escapism, particularly during times of social upheaval like when it adorned bridal ensembles as a nod to pre-war opulence. Its wide brim and embellishments underscore romantic ideals, aligning with aesthetics where it balanced voluminous skirts to project refined womanhood. Notable wearers have amplified this symbolism: Vivien Leigh's portrayal in Gone with the Wind cemented its cinematic allure, while Kate Middleton, the , sported a wide-brimmed floppy straw picture hat at Wimbledon in 2022, merging practicality with regal sophistication. Rihanna further modernized it at the 2025 (as of May 2025), arriving in a wide-brimmed black hat by Stephen Jones that paired with her all-black ensemble, blending high drama with contemporary edge. The hat's legacy endures in bridal couture, where Art Nouveau-inspired picture hats with and floral details offer brides a alternative to , evoking timeless romance in contemporary weddings. It has also influenced accessories, inspiring wide-brim designs that echo its protective yet stylish form, seen in summer pairings that prioritize both sun coverage and aesthetic harmony.

References

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