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24-07-2007
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Philip Treacy Millinery
There doesn't seem to be a dedicated thread to Philip Treacy yet. Click here for his website. I know there are lots of images on the Isabella Blow threads too. You can see some of his work here, as well.

Post your favorites, please!

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Surreal and sculptural, Philip Treacy's (1967-) hand-made hats are feats of craftsmanship. Born in rural Ireland, Treacy designs haute couture and ready-to-wear hat collections from his London studio. He has also created hats for the couture collections of Karl Lagerfeld, Valentino and Alexander McQueen.

When Philip Treacy was growing up in Ahascragh, the tiny village in the west of Ireland where his parents owned a baker’s shop, he made hats for his sister’s dolls from the feathers shed by his mother’s chickens and ducks. “My mother had chickens, geese, pheasant and ducks, so all the ingredients of the hat were in my house,” he recalled.

“My mother had a sewing machine. I was never allowed to use it, but I was so fascinated by this little needle going up and down joining fabric together that I’d use it when my mother went out to feed the chickens. There was like five minutes to get it out. I’d lift the machine out which weighed a ton, lift the lid off which made a lot of noise, whirl the things which made a lot of noise. If my mother found me I was in a lot of trouble. I used it to make clothes for my sister’s dolls. I couldn’t care less for the dolls but I could make the clothes really easily. I was making bust points before I knew what a bust point was.”

Philip’s sister was the only member of the family who encouraged his interest in fashion although the others didn’t discourage him. “I remember one day being in a neighbour’s house and he said to my father: ‘Don’t you think it weird that this boy is making dress for dolls.’ And my father said: ‘Whatever makes him happy.’ You have got to see where I come from to understand how profound that was. For a person of his generation it was very unusual.”

In 1985, Treacy left school and went to Dublin to study fashion and made hats “as a hobby” to go with the outfits he produced for the course. “Nobody really had much time for the hats because it was a fashion school, but there did come a point when I was more interested in making the hat than the outfits.” As work experience, he spent six weeks with Stephen Jones, the London hat designer, and when he interviewed for the fashion design course at the Royal College of Art in London in 1988, he mentioned his hats. The RCA was planning to set up a hat course. “I became their guinea pig. After one day I said to my tutor Shelagh Brown: ‘What should I do? Should I make hats or clothes?’ She said: ‘Make hats.’ It was practical, not a great apparition.”

As a student project, Treacy made Ascot hats for Harrods department store. Claire Stubbs, its fashion director, hailed him in the Sunday Times as “the next great British hat maker”. Treacy took his hats to show Michael Roberts, fashion director of Tatler magazine, and his style editor Isabella Blow. “What a beauty!” recounted Blow. “It was a green felt hat cut like the jaws of a crocodile with jaggedy teeth… a lot like Concorde –streamlined, sleek, so exciting. I thought: ‘This is major. I’ve never seen felt cut like this.’”

Blow was soon to be married and, having chosen a Medieval theme for her wedding dress, she tracked down Treacy and asked him to make her head-dress. “I wanted to base the hat on a 1930s play called The Miracle which Lady Diana Cooper was in,” remembered Treacy. “I suggested to Issy that maybe this would be good for a wedding. I couldn’t believe that I’d hit upon the one person who didn’t expect tulle and veiling and pearls and that for her wedding hat.”

Taking Treacy under her wing, Isabella Blow introduced him to established designers like Manolo Blahnik and Rifat Ozbek, as well as fashion editors such as Andre Leon Talley of US Vogue. When Philip left the Royal College in 1990, he moved into the basement of Blow’s house and set up a studio there. “Issy was living upstairs with her resident hat-maker in the basment working away all night long coming up with the goodies. Suddenly all these wild people pitched up at all hours of the night to try on hats. Issy and I were like Harold and Maude trekking around London in a car… we’d go to an exhibition, we’d go and get books, we’d go and have a drink. All the talk was of hats.”

Treacy was summoned to Paris to meet Karl Lagerfeld, chief designer at Chanel. “I was 23 and I’d just left school, I didn’t know whether to call him Mr Lagerfeld or whatever. I was totally intimidated by that whole scenario, but Issy was exactly herself. She just walked in to the house of Chanel and said: ‘We’d like some tea please.’” Not only did Treacy make the hats for Chanel that season, but Lagerfeld based his couture collection on the white net bubble hat with a black silk chiffon scarf that Isabella was wearing that day.

At the time hats were long out of fashion. “Hats were associated with old ladies and I thought that was crazy,” said Treacy. “Everyone has a head so everyone has a possibility to wear a hat and you feel good in a hat. People feel better for wearing them. I totally disagreed with the perception of hats at the time and I thought: ‘I’ll change that.’”

He not only made hats fantastical – his creations for Isabella Blow ranged from The Ship, a replica 18th century sailing ship with full rigging and The Castle based on Blow’s ancestral home at Doddington Park and Prince Ludwig of Bavaria’s palace, to Gilbert & George, a surreal concoction of pink and green laquered ostrich feathers and a mortar board so wide that Isabella couldn’t fit through the door of the charity event she had ordered it for – he also lightened their structure so they sat more comfortably on the head. “You know that scenario where roses are red, leaves are green, I love arguing that. ‘Why should they be?’. I hate rules and formulas. That’s so boring. It’s the opposite of creativity. Rules are ridiculous things that are meant to be broken.”

As well as Chanel, Treacy has made couture hats for Valentino, Gianni Versace and Alexander McQueen at Givenchy. “Having studied fashion design it helped me greatly when I started working with designers because I understood how the clothes draped or moved and the proportions. What I didn’t understand as a student was that fashion isn’t clothes, fashion is much more interesting than that, it’s a feeling and a mood – not dress-making.”
Having begun his business in the basement of Blow’s house at 67 Elizabeth Street, Treacy opened his first shop in 1994 next door in number 69. He also opened a studio a few doors along that side of the street and found an apartment opposite. “My world,” he once said, “doesn’t go much beyond my own street.” Treacy likes to eats the same lunch each day – double egg, chips, beans, toast and tea – at a greasy spoon café in Victoria Coach Station and the same supper- takeaway risotto porcini, tricolore and vinaigrette.

Although Treacy has designed a ready-to-wear hat collection since 1991 and has developed ranges for high street chains including Debenhams and Marks & Spencer, the heart of his business is still haute couture hats. He begins by mocking up the shape in straw “which I bend and stitch, pin and press, until the shape and the proportion fit my vision”. Once satisfied with the shape, he has a sleek wooden block specially made in Paris on which the hat is steamed and moulded.

Philip’s studio, where he works with a team of fifteen and Mr Pig, his Jack Russell, is filled with feathers, ribbons and pearls. “I spend a lot of my time torturing normal farmyard feathers until they look extraordinary. Next to all the technological advances in the world, nothing is quite so impressive as a feather. People often ask: ‘Where’s the machinery?’ My hands are the machinery…. I only feel dressed in the morning when I’ve got my thimble on my middle finger. It stays there all day.”
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24-07-2007
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I really like this one.


philiptreacy.co.uk

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25-07-2007
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a few that i can think of off the top of my head...
Alexander McQueen, FW03....source: style.com
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25-07-2007
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ooh, and the recent Donna Karan collection (mediocre collection IMO, but the hats definitely added a certain flair to it)..

style.com
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26-07-2007
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great ideas, but these are too artistic to wear.

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26-07-2007
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Quote:
Originally Posted by tonymagic View Post
great ideas, but these are too artistic to wear.
We ARE talking about Philip Treacy here. Of course they're artistic, but he also does RTW and street hats!!!

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26-07-2007
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Quote:
Originally Posted by morriseel View Post
We ARE talking about Philip Treacy here. Of course they're artistic, but he also does RTW and street hats!!!

What I mean is, It's a pity.

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26-09-2007
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Hats off to Isabella

The Dominion Post | Thursday, 27 September 2007

CAROLYN ENTING/The Dominion Post
HEAD TURNER: Isabella Blow, the stylist, muse and talentspotter who died in May, loved the extraordinary in everything, especially hats.





She was his muse, his friend and his surrogate mother. Bess Manson talks to milliner Philip Treacy about the incredible Isabella Blow.

Hats, according to the late Isabella Blow, were the perfect alternative to plastic surgery.
And if each hat she owned amounted to an operation, Blow's body would have been of Barbie-esque proportions.
Blow – stylist, muse, talentspotter – who died in May this year aged 48, loved the extraordinary in everything, particularly when it came to hats, which is what led her to champion the career of milliner Philip Treacy.
The hats Treacy created for her in the past 20 years were works of art. Literal conversation stoppers.
It's not difficult to imagine the audible intakes of breath as Blow entered a room with a ship or a pair of sheep horns on her head.
Thirty-two of the hats Treacy made for Blow are the subject of an exhibition coming to The NewDowse in Lower Hutt next month. And while they will not have quite the same effect as they might have had Blow been donning them, the sheer artistry of his design and imagination will be something to behold. The exhibition, When Philip Met Isabella, was first shown at the London Design Museum in 2002. A book by Treacy featuring photographs and sketches of Blow in some of her most outrageous and memorable outfits was launched at the same time.
Among the hats on show are The Ship – a replica of an 18th-century French ship with full rigging made from miniature buttons, the rose-pink damask Pope modelled on the papal hat, and Birds of a Feather, made from gilded eagle quills that Blow wore perched on her head with an accompanying ball and chain.
The relationship between Blow and Treacy sounds like quite a ride.
They first met in 1989 when he took one of his hats to Michael Roberts, fashion director of Tatler magazine, and met his style editor, Isabella. "Our conversation that day was like 20 seconds and I thought nothing of it. A few weeks afterwards, the secretary at the Royal College of Art, where I was studying, said some lady had been phoning up. She wanted to know what my schedules were like for the next six months. I didn't know what she was talking about, but it turned out to be Issy. She was getting married and had decided I was going to make a hat for her . . . I couldn't believe that I'd hit upon a person who didn't expect tulle and veiling and pearls for her wedding hat."
Blow, who helped launch the careers of fashion greats Alexander McQueen and Julien Macdonald, and model Sophie Dahl, was so impressed with Treacy's work she invited him to set up a workshop in the basement of her and her husband Detmar Blow's Belgravia house after he graduated from the Royal College with first class honours in 1990.
"All these wild people pitched up at all hours of the night trying on hats. Issy and I were like Harold and Maude trekking around London in a car. We'd go to an exhibition, or go to visit someone. We'd go and get books. We'd go and have a drink. And all our talk was of hats."
Treacy seems almost overwhelmed when describing the kind of person Blow was and the effect she had on his career.
Blow, who had suffered depression throughout her life, was being treated for cancer when she died. Her death, according to a London coroner, was as a result of drinking the deadly weed killer Paraquat.
"She was everything to me and my career. A muse, best friend and surrogate mother.
"She was the first extraordinary, interesting person I met in this country when I moved here from Ireland. In 20 years I have met all my heroes and nobody, in my honest true estimation, surpassed her. She was incredible. I thought there must be others like her, but there wasn't. Everyone was boring in comparison to her.
"With Isabella there was always drama. One of my favourite memories is of her revving up an 80-seat coach at Orly airport dressed in an original green Paul Poiret cocoon coat with a mesh bobble hat. The driver was missing. It was hilarious. Genius. She was taking me to meet Karl Lagerfeld, chief designer at Chanel. When you go to Chanel at the age of 22, well, it was like going to heaven. When we turned up she said, 'We'd like some tea,' just like that."
Treacy was born in Ahascragh, in County Galway in the west of Ireland.
One of eight children, he says one of his earliest memories was of making hats for his only sister's dolls. In school he opted for sewing classes instead of joining other boys in woodwork.
"I was always influenced by beauty. At home in Ireland we were taught about the beauty of nature. We had lots of chickens, pheasants and geese so the prime ingredient of the hats I make are feathers because I know them very well. I now appreciate the profound effect my childhood had on me.
"Some of my brothers became psychiatrists and alcoholic counsellors. They deal with complexities of the mind and it's fitting that I deal with what sits on the head." Treacy says he makes hats simply because he loves them.
A good hat, he says, is the ultimate glamour accessory. "It thrills observers and makes the wearer feel a million dollars." In 1985, he moved to Dublin to study fashion at the National College of Art and Design. Three years later he won a place on the MA fashion design course at the Royal College of Art in London. Hats had always been a hobby for the young designer but here he specialised by doing a hat course – the first the college had offered. A year later he met Blow and the ascent of his career began. He went on to design hats for Lagerfeld at Chanel for 10 years. Treacy, who opened a shop one door up from Blow's home in 1994, has also made couture hats for Valentino, Gianni Versace and Alexander McQueen at Givenchy. He has won the British Designer of the Year five times. Most recently, he has been working on the interior design of a hotel in Galway and he is working on another hotel, this time in London.
Blow had two favourite hats, Treacy says. One was The Ship, the other The Pheasant. Of The Pheasant, he says: "She always used to say, 'I love the Chinese **** in the country. I wear it. I eat it. I want to be buried in it.' She would have loved the drama of the night before her funeral. Alexander McQueen and I were at her flat in Belgravia choosing what she would wear to be buried in. Mr McQueen chose something beautiful and appropriate from the rails and rails of exquisite McQueen she has collected, and I choose the pheasant at her request."
Treacy, who says he has always wanted to visit New Zealand to check out the landscape, says those who knew Blow loved her. Those who didn't thought she was "an eccentric crazy woman with a hat on". She had something common to all of us, but unusual in fashion, he says – "a big heart". "Her dilemma was she worked in the fashion business but was more interested in the fashion than the business. She lived for the art and drama of fashion. She would attend a show with 600 people all sitting there dressed in black, all serious, and there she'd be with a lobster hat on her head and a Nell Gwyn-inspired gown. She would be the only one to woo-hoo and clap. She didn't care. I was so inspired by how she wore my hats. She wore them like she was not wearing them, like they happened to be there. She was never a snob. She believed in talent no matter where you came from.
"I will miss her laugh, her passion and her humanity. I went to my studio today and Isabella is everywhere. In every hat I made, every corner I turn she is there."
When Philip Met Isabella opens at The NewDowse on October 6 and runs till February 3.

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01-01-2008
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Has anyone been to his hotel "the g" in Galway? I might have to check it out when I'm in Ireland this summer

From the hotel's website:
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The g is located in Galway, a city bursting with life, energy and vitality. Steeped in history yet with a decidedly forward-thinking attitude, it has earned the reputation of being the unofficial arts capital of Ireland.
The exuberant spirit of Galway has been captured in the g. From the strikingly contemporary exterior to the warm Irish welcome waiting inside, the first impression of the g is that it is a welcome compliment to the city.
The g’s design director is renowned hat-designer Philip Treacy, a native of Galway, and his special touch is evident everywhere, from the bespoke concierge wall to the artwork in every room. The emphasis throughout is on luxury and glamour.
This is carried through to the exclusive ESPA at the g, created and managed by ESPA, the world leader in creating fabulous lifestyle spas. ESPA at the g is Ireland’s first "urban" spa, an oasis of calm and relaxation.
If Philip Treacy’s distinctive flair defines the g experience, it is underpinned by impeccable standards of service, and attention to detail, without which the g would not be the first-class hotel that it is.

Irina Agostinelli General Manager

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03-01-2008
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Some vintage moments, talking about dramatic

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FW1997 (my fav)






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Willy Wonka, is that chu??



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