French Hats and makers.

[steur]

This week I commented on a black homburg that one cannot have enough of them. Well, practice what you preach, so number 32 is added to the collection. Several points of attraction for this one.
Fléchet homburg for Gérard Sools in black. Size 57 with the bound brim at 5,5cm an the crown at 11cm at the center dent. Sweatband made of "cuir ragondin" or nutria leather for the English speakers. Didn't know that was a thing, but here we are, Likely the felt is nutria too, but can't confirm that as the hat has no label inside. Looks like an early one, probably forties or early fifties. Weighs 152 grams.

 

[Mean Eyed Matt]

This week I commented on a black homburg that one cannot have enough of them. Well, practice what you preach, so number 32 is added to the collection. Several points of attraction for this one.
Fléchet homburg for Gérard Sools in black. Size 57 with the bound brim at 5,5cm an the crown at 11cm at the center dent. Sweatband made of "cuir ragondin" or nutria leather for the English speakers. Didn't know that was a thing, but here we are, Likely the felt is nutria too, but can't confirm that as the hat has no label inside. Looks like an early one, probably forties or early fifties. Weighs 152 grams.

As I said last time:
»Again a black homburg?!«
But as with the last one:
You can't pass up a beautiful, superbly crafted black Homburg with great felt like the Mayser Spezial. And this one must be wonderful too if Sools sold it.

 

[steur]

As I said last time:
»Again a black homburg?!«
But as with the last one:
You can't pass up a beautiful, superbly crafted black Homburg with great felt like the Mayser Spezial. And this one must be wonderful too if Sools sold it.

Exactly, Matt. Sold by Sools and the unusual sweatband drew me to it. After brushing off a load of dust and steaming it emerged in full glory (apart from some loving wear on the brim binding).

 

[Pellie]

I like French hats, and this one is no exception. Tirard Ragondia 'impermeable' black homburg. Great condition, don't know exactly how old it is, but my guess is late '50's, early '60's.
It's a bit tight for a 58, so i have to stretch it a littlebit.

 

[Mean Eyed Matt]

I like French hats, and this one is no exception. Tirard Ragondia 'impermeable' black homburg. Great condition, don't know exactly how old it is, but my guess is late '50's, early '60's.
It's a bit tight for a 58, so i have to stretch it a littlebit.
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Nice one, Marcel! I really like the full crown and the broad overwelt brim on this Tirard. Your dating sounds good to me, especially since the camber style was very fashionable at the time. I'd describe the hat more as a camber rather than a homburg, but that might be nitpicking—either way, it's a great hat!

 

[Pellie]

Nice one, Marcel! I really like the full crown and the broad overwelt brim on this Tirard. Your dating sounds good to me, especially since the camber style was very fashionable at the time. I'd describe the hat more as a camber rather than a homburg, but that might be nitpicking—either way, it's a great hat!

Thanks Matt.

 

[Martvjp]

Hello everyone,

In few days I will receive this Delion hat. It’s too small for me but I couldn’t resist ! I don’t see much Delion for sales…
I attach some pictures but will take more this summer when I go back to France.
If you have some further information about the hat it will be great !

Thanks a lot

 

[Mean Eyed Matt]

A magnificent Homburg with a great color combination! The beautiful lining looks very much like thick, soft silk. I suspect it could even be pre-war.

Hello everyone,

In few days I will receive this Delion hat. It’s too small for me but I couldn’t resist ! I don’t see much Delion for sales…
I attach some pictures but will take more this summer when I go back to France.
If you have some further information about the hat it will be great !

Thanks a lot

 

[Pellie]

Hello everyone,

In few days I will receive this Delion hat. It’s too small for me but I couldn’t resist ! I don’t see much Delion for sales…
I attach some pictures but will take more this summer when I go back to France.
If you have some further information about the hat it will be great !

Thanks a lot

Very nice!!

 

[steur]

Hello everyone,

In few days I will receive this Delion hat. It’s too small for me but I couldn’t resist ! I don’t see much Delion for sales…
I attach some pictures but will take more this summer when I go back to France.
If you have some further information about the hat it will be great !

Thanks a lot

What Matt said. Great hat and a good chance that it is pre-war. Nutria felt as an added bonus.

 

[Martvjp]

Thanks, guys! I’m really happy to have found this little piece of history, even if it’s too small for me. I did some deep digging (with a bit of help from AI) and gathered some info about Delion, in case you’re interested:


Delion: A Parisian Hatmaker’s History and Legacy



Origins and Early Years

The house of Delion was founded in 1847 by the hatter Delion (in partnership with a Mr. Caron) with a boutique in Paris’s Passage Jouffroy . It quickly gained renown and catered to the tastes of les hommes élégants (elegant gentlemen) of Paris . In its early years Delion specialized in the chapeau de soie – the silk top hat – which was the era’s indispensable dress hat and became the firm’s hallmark product . This focus on impeccable silk plush hats helped establish Delion’s reputation in the mid-19th century as a top-quality chapelier (hatmaker) for high society.


Development and Shop Locations

Over the decades, Delion expanded and relocated its retail presence several times, mirroring its growing success:

• Passage Jouffroy (1847–1900s): The original shop opened at 21–25 Passage Jouffroy (a fashionable covered arcade off Boulevard Montmartre) . By 1903, the boutique had expanded to occupy units 15 through 25 of the passage . Contemporary reports describe Delion’s shop windows in Passage Jouffroy as lavishly displaying the latest hats, quickly making the brand a destination for stylish Parisian men.

• Boulevard des Capucines (1890s–1928): As the 19th century waned, Delion established a prestigious storefront at 24 Boulevard des Capucines, near the Opera. Advertisements up to 1901 list 24 Bd des Capucines alongside the Passage Jouffroy address , indicating the Boulevard des Capucines location had become the maison mère (flagship store) around the turn of the century . A period interior photo of this store (c.1900) shows an elegant space with walls of hat displays, reflecting its status as Delion’s main showroom.

• Boulevard Saint-Germain & Biarritz (1919): After World War I, Delion briefly operated additional branches. A 1919 advertisement announced new locations at 223, Boulevard Saint-Germain in Paris, and a boutique at the Place de la Mairie in Biarritz (a fashionable seaside resort) . The Biarritz shop likely catered to the seasonal elite crowd vacationing there.

• Champs-Élysées (1928–1940s): In late 1928, the company relocated its primary store from Bd. des Capucines to the heart of Paris’s luxury district: 44, Avenue des Champs-Élysées . This move up to the Champs-Élysées – “la plus belle avenue du monde” – signified Delion’s status among the top luxury retailers. In 1929, Delion further opened a dedicated women’s hat boutique at 2, rue du Colisée (a side street just off the Champs-Élysées) to serve female clientele. By this time, many advertisements styled the firm as “Delion – Chemisier-Chapelier”, indicating that in addition to hats, they had added men’s shirts and haberdashery to their offerings .

• Faubourg Saint-Honoré & Yvetot (1940s): By 1941, changes brought on by the war and evolving market saw Delion consolidate. The Champs-Élysées and Biarritz addresses disappeared from ads, and a new shop address at 14–16, Faubourg Saint-Honoré was given . Notably, wartime advertisements also mentioned an in-house manufacture at Yvetot (in Normandy) – a shift emphasizing Delion’s own production capabilities (see next section). The Faubourg St-Honoré boutique kept Delion in the upscale quarter (this street was and is home to luxury maisons), albeit on a smaller scale than the former Champs-Élysées flagship.


Manufacturing: Own Atelier or Subcontracting?

Delion’s history suggests a combination of in-house craftsmanship and strategic partnerships:

• Artisanal Beginnings: In the 19th century, Delion almost certainly produced its specialty hats in-house or in a dedicated Parisian workshop. Fine silk top hats, for example, required skilled labor and custom fitting, and Delion’s early identity was built on that craftsmanship . The designation chapelier implies they were hat-makers, not merely retailers.

• Industrial Partnerships: As the company grew, especially in the realm of soft felt hats (derbies, fedoras, etc.), it may have sourced blanks or finished hats from France’s major hat manufacturers. In fact, evidence suggests Delion collaborated with Mossant, one of France’s premier hat factories: collectors have noted that a Delion-branded “Castor Hudson” fedora from the 1930s has the same model name and an identical logo stamp as a Mossant beaver-felt hat, implying it was actually made by Mossant for Delion . Such private-label manufacturing was common – a prestigious Paris retailer like Delion could commission top-quality hats from a factory like Mossant or Fléchet, then insert its own liners and labels. This allowed Delion to offer high-grade felt hats (complete with exotic fur felts and modern styles) without maintaining a large factory of its own in the early 20th century.

• Own Factory in the 1940s: By the onset of World War II, Delion emphasized having its own production facility. The 1941 advertisements explicitly mention “manufacture à Yvetot” , indicating the house operated a factory in Yvetot (Normandy). This suggests that by that time, Delion was directly controlling its manufacturing process for at least certain lines of hats. It’s possible that wartime necessity or a desire to vertically integrate led to this development. The Yvetot factory would have allowed Delion to produce felt hat bodies and finished hats under its sole brand control.


In summary, Delion started as a true bespoke hatmaker, likely partnered with larger manufacturers for efficiency during its peak expansion (while maintaining strict quality standards), and eventually took on full manufacturing in-house by the 1940s. This hybrid approach is reflective of many luxury fashion houses that began artisanal, scaled up with help from industrial partners, and then re-insourced production to preserve brand quality.



Materials and Signature Designs

Inside view of a Delion fedora (c.1930s) showing its satin lining and leather sweatband. The gold stamp “Véritable Rat Gondin” indicates the hat is made from genuine nutria-fur felt, one of Delion’s premium materials. The Delion script logo is also visible, reflecting the brand’s elegant presentation.


Felt Furs: Delion prided itself on using high-quality felts made from animal fur. Beaver (castor) and nutria (ragondin, marketed as “rat gondin” in French) were among the top-grade materials. These felts had superior fineness, durability, and water resistance compared to cheaper wool felts. Delion’s hats often bore inscriptions like “Véritable Rat Gondin” on the sweatband, advertising the use of genuine nutria fur (see image above). Beaver fur was also used for luxury models – one known Delion model name was “Castor Hudson,” implying a beaver-felt hat possibly named for its quality (and likely sourced from Mossant’s famed beaver line) .


Silk Hats: The silk haut-de-forme (top hat) was the house’s 19th-century specialty . These hats were made with a stiff shell covered in silk plush. Delion’s early fame rested on this product – a requisite for formal wear in the 1800s. Surviving examples of Delion silk top hats and advertisements for “chapeaux de soie” attest to their fine appearance. The company likely imported high-quality silk plush (often made from mohair) for this purpose.


Straw Hats: Delion also catered to summer and resort fashion with straw hats. A 1906 advertisement highlighted Panama hats from Guayaquil (Ecuador) – indicating Delion sold genuine Panama straw hats (hand-woven in Ecuador) for gentlemen. They likely offered other straw styles like canotiers (boaters) and tropical colonial hats, especially once they had a Biarritz store serving vacationers.


Signature Models and Styles: As a luxury hatter, Delion introduced its own models to keep up with fashion trends. For example, in the Edwardian era they offered a special automobile cap or hat for motorists (advertised in 1904) when car travel became popular. In the 1920s, as sports and leisure influenced style, Delion’s catalogs included hats for activities like yachting, golf, and aviation (ads in 1922 and 1924 promoted gear for automobilists and aviators) . For equestrians, Delion even designed riding bowler hats for women (notably featuring them in 1920 and 1927 ads aimed at horsewomen) . Model names were not always recorded in ads, but the use of terms like “Chapeau d’aviateur” or branded names like “Castor Hudson” suggest Delion combined descriptive labels with creative branding.


Additionally, Delion sold related accessories: by 1925 it opened a men’s shirt and knitwear department , so one might find the Delion name on items like caps, cravats, or shirt collars as well. The house even produced specialty luggage – hat trunks bearing the Delion name – to protect clients’ headwear during travel. (One c.1910 Delion hat trunk could securely hold a boater, two bowlers, and a collapsible top hat, using a patented system to hold them in place .) These ancillary products also carried the Delion branding and were crafted to the same high standard, further solidifying the house style.

 

[Martvjp]

Participation in World’s Fairs and Awards

Throughout its history, Delion actively participated in major international exhibitions, often with great success. The accolades it earned demonstrate the house’s prestige and quality of workmanship:

• Paris Exposition Universelle 1900: Delion (under the name Delion & Caron) won a Médaille d’or (Gold Medal) at the 1900 Paris world’s fair . This was a significant honor, as the Exposition was a showcase of France’s finest products. Winning a gold medal positioned Delion among the elite French luxury manufacturers of the time.

• St. Louis World’s Fair 1904: Delion’s hats were exhibited at the Louisiana Purchase Exposition in St. Louis (USA) and earned a Gold Medal there as well . This international recognition indicates Delion’s appeal and reputation had extended beyond France by the early 1900s.

• Liège International (Belgium) 1905: At an international fair in Liège, Delion received a Diplôme d’Honneur in 1905 , further affirming its consistency in quality.

• London Franco-British Exhibition 1908: Delion was awarded a Grand Prix (Grand Prize) at this major exhibition in London . A Grand Prix was an even higher distinction than a gold medal, usually bestowed for exceptional merit. By garnering the top prize abroad, Delion cemented its status as one of the top hat makers in Europe.


These awards were often publicized in Delion’s advertising – it was common to see the phrase “Médailles d’or: Paris 1900, St-Louis 1904”, etc., in their promotional materials, leveraging these honors as a marketing tool. Indeed, Louis Caron (Delion’s partner and master hatter) is credited in official records as the recipient of these awards . This string of medals and Grand Prix in the early 1900s put Delion in the same league as other highly decorated French hat companies. It signaled to customers that Delion’s products were not only fashionable but also award-winning for their excellence in materials and manufacture.


Reputation and Market Position


By virtue of its long history, high-profile locations, and awards, Delion enjoyed a stellar reputation in the Parisian and European luxury market:

• A Leading Parisian Hatter: For decades, Delion was synonymous with quality hats for the well-to-do. It “established itself to the taste of elegant men” – meaning the stylish male clientele of Paris considered Delion’s hats de rigueur. Gentlemen frequenting the boulevards, attending the opera, or vacationing in Biarritz would don Delion hats as part of their impeccable attire. The brand’s presence in Passage Jouffroy and later on the Champs-Élysées made it a visible part of the luxury retail landscape of Paris, akin to renowned tailors, shoemakers, and other specialty outfitters of the time. Delion was often mentioned alongside the likes of Berteil (a famous tailor) or Motsch (another luxury hatter) as an essential stop for a gentleman’s wardrobe.

• Clientele and Notable Patrons: While specific client lists are not readily documented, one can infer Delion’s clientele from its marketing and locations. The Biarritz branch implies that European aristocracy and wealthy foreigners were customers – Biarritz in the 1900s was frequented by Spanish royalty and British nobles. In Paris, Delion’s advertisements in the 1900s featured popular stage actresses as models , suggesting that famous performers (and by extension, their elite fans) wore Delion hats. For example, a 1904 Delion ad showed actresses from the Théâtre du Gymnase modeling the latest ladies’ hat styles . This indicates Delion appealed to fashionable women in addition to men, and that celebrities of the day were associated with the brand. It’s also worth noting that by the 1930s, Delion was supplying military-style caps (a surviving Delion kepi from Faubourg St-Honoré exists), hinting that high-ranking officers or officials might have bespoke uniform hats made there. Overall, Delion served a mix of aristocratic, artistic, and affluent clientele – anyone who needed a top-quality hat and had the means to indulge in Parisian luxury goods.

• Standing Among Competitors: In the French hat industry, Delion was often compared to other renowned hat makers such as Mossant, Fléchet, and Chapeaux Gibus. Mossant, in particular, was a giant in French hat manufacturing – known for its mass production and global exports of men’s felt hats, and famous for its Art Deco advertising posters in the 1920s and 30s. Unlike Mossant, which ran a large factory in the south of France and sold hats worldwide, Delion operated more like a couture house – focusing on a curated collection of hats sold through its own boutiques in Paris (and seasonally in Biarritz). Delion’s business model was closer to that of a luxury retailer with a bespoke atelier, whereas Mossant was an industrial brand found in department stores across Europe and even America. That said, the quality of Delion’s hats was on par with any made by Mossant – unsurprising, since at times they shared production (Mossant-made hats sold under Delion’s label) . In terms of prestige, a Delion hat, hand-selected and fitted in a chic Paris shop, carried a certain cachet that a mass-distributed brand might not. Thus, Delion carved out a niche as one of the premier Parisian hatmakers, respected alongside storied names in French fashion. Customers seeking exclusivity and personalized service would favor Delion, whereas Mossant or Fléchet might serve those looking for wider variety and availability. Both segments were important in the market, and Delion firmly occupied the high-luxury, bespoke-oriented segment.

 

[Martvjp]

Advertising and Visual Branding

Delion invested significantly in advertising and developed a strong visual brand identity, especially during the late 19th and early 20th centuries.


Delion’s signature logo inside a silk hat liner, along with the address “44 Champs Élysées – Paris.” The flowing script logo was used on hat linings, labels, and advertising materials. This kind of elegant branding – including the prestigious street address – reinforced the luxe image of the house.


Logo and Labels: The Delion logo was a distinctive cursive signature, often rendered in gold on labels and linings. As seen above, the logo usually appeared with the address of the flagship store (e.g. 44 Champs-Élysées, Paris). This not only identified the brand but also advertised its enviable location. Delion’s hat boxes, leather hat trunks, and even the interior sweatbands of hats were all marked with this logo, making it instantly recognizable to customers. Such attention to branding was somewhat ahead of its time – Delion treated its name as an emblem of quality, much like fashion houses do today. Period photos of Delion’s boutiques also show signage with the Delion name in a stylish serif or script font. All these elements contributed to consistent visual branding, associating the name Delion with elegance and Parisian luxury.


Posters and Illustrations: Delion’s marketing made use of talented illustrators and the flourishing print advertising scene of the Belle Époque and Art Deco periods. Notably, around 1900, artist Albert Guillaume (a famous Belle Époque poster artist) created an eye-catching color lithograph poster for Chapeaux Delion . This poster, approximately 1.8 m tall, would have been displayed in kiosks or on walls in Paris, featuring fashionable figures in Delion hats – effectively making the brand visible in the streets. In the 1920s, Delion frequently placed illustrated ads in high-end magazines like L’Illustration. They commissioned well-known artists such as Louis Vallet and Armand Rapeño to create artistic advertisements . For example, a 1925 Delion ad by Rapeño showed elegant men in various Delion hats, tying in with contemporary art trends. In 1926, a color advertisement illustrated by Louis Vallet highlighted men’s hat styles with the tagline “Le ruban sur les chapeaux” (showcasing hat ribbons) . By 1928, Delion even advertised specific materials – a striking ad drawn by Léon Fauret promoted Delion’s “Rat Gondin” hats (nutria fur felt hats) with an artistic depiction of the product . These ads often combined imagery of Paris landmarks (e.g. the Arc de Triomphe or the Champs-Élysées) with stylish figures, linking Delion to Parisian glamour . The use of top illustrators and full-page magazine spreads shows that Delion’s advertising was on the cutting edge for luxury fashion of that era, much like modern fashion houses use renowned photographers and artists.


Catalogs and Collateral: In addition to public ads, Delion produced catalogues and brochures for clients. A notable example is the 1908 Delion hat catalog, whose cover was illustrated by artist Maurice Berty . This suggests the house released seasonal or annual catalogs showcasing their latest hat models (much like lookbooks). The cover and back illustrations by Berty (lithographs) would have made the catalog itself a piece of art. Inside, one would expect engravings or photographs of the hat collection, possibly with model names and prices. Catalogs would be sent to loyal customers or available in-store, serving as both a marketing tool and a convenience for those ordering additional hats or accessories. Delion likely also issued smaller flyers or cards for specific promotions (for instance, announcing the opening of the Champs-Élysées store in 1928, or a sale of Panama hats each summer). Surviving trade cards and chromolithographs from 1903–1904 indeed show Delion announcing expansions and new products . All these printed materials carried the cohesive Delion aesthetic – the logo, the Paris address, and illustrations of fashionable clientele – thereby strengthening brand recognition.


Innovative Campaigns: Delion didn’t shy away from novel marketing angles. In 1904, it ran a remarkable campaign featuring female celebrities – instead of the usual male models for men’s hats, Delion had popular comédiennes (actresses) showcase its new women’s hat line in an advertisement . This crossover of theatre glamour and fashion was an early form of celebrity endorsement in advertising. In the 1920s, Delion produced what one might call proto-targeted ads: for example, a 1920 advert entirely focused on “amazones” (women equestrians) presented riding hats and habit ensembles for horse-riding ladies . Again in 1927, an ad depicted elegant women in riding attire promoting Delion’s equestrian hats . Such ads were quite ahead of their time in acknowledging women as a direct consumer group for a brand originally known for menswear. By branding itself as “Chemisier-Chapelier” (shirtmaker and hatter) in the mid-1920s , Delion also signaled to the public that it was a one-stop destination for a gentleman’s outfit – an early example of brand extension. This likely helped attract a broader clientele (for instance, a man coming in for custom shirts would be introduced to the latest hats, and vice versa). In sum, Delion’s advertising was sophisticated and forward-thinking, utilizing art, celebrity, and strategic messaging to maintain its image as le chapelier de luxe of Paris.

Notable Clientele and Legacy

Given Delion’s prominence, it naturally attracted a distinguished clientele during its long operation. While specific patron names are scant in published records, one can surmise the following:

• High Society Clientele: Delion served the Parisian elite and international aristocracy. Its location on the Champs-Élysées in the 1920s placed it amidst embassies, grand hotels, and clubs – frequented by diplomats, nobles, and affluent travelers. In earlier years, being in Passage Jouffroy and Boulevard des Capucines, the shop drew in Paris’s bourgeoisie and artists (the proximity to theatres meant famous actors and composers likely popped in for a new hat before opening night). The Biarritz branch suggests that even royals or wealthy vacationers were clients; for instance, Biarritz was favored by King Edward VII of England and Spanish aristocrats – some of whom would have patronized Delion’s store there for resort wear like Panamas and boaters.

• Celebrities and Artists: Delion’s connection to the performing arts (via advertising with actresses and possibly outfitting stage costumes) hints that figures in the arts wore Delion hats. It’s quite plausible that famous French actors, opera singers, or writers owned Delion top hats or bowlers – much as they patronized other luxury clothiers of the day. Unfortunately, unlike couturiers or jewelers, hatmakers rarely documented their celebrity clients in print. Nevertheless, one can imagine a figure like Sarah Bernhardt (the famed actress) acquiring spectacular hats from Delion’s women’s range, or Colette (the writer) buying a chic cloche in the 1920s from Delion’s female boutique. On the men’s side, perhaps bon vivants like Maurice Chevalier or Sacha Guitry (who were known for their style) sported Delion fedoras, but such anecdotes, if they existed, remain to be unearthed in memoirs or correspondence.

• Legacy and Collectability: Delion’s operations seem to have wound down by the mid-20th century (there are oblique references to a Mr. A. Delion passing away in 1954 at age 68, possibly the last proprietor). As the men’s hat industry declined after WWII, the Delion brand did not continue at large scale. However, its legacy lives on in vintage fashion circles. Surviving Delion hats are sought after by collectors for their superb quality and historical value. A Delion silk top hat from the 1880s or a 1930s nutria-felt fedora with the Champs-Élysées label is a tangible piece of Paris luxury heritage. These items often still bear the original gold-stamped logo and sometimes even the original store hatbox or leather carrying case. The craftsmanship – from the subtle curve of a brim to the sumptuous silk lining – exemplifies why Delion was a top choice for over a century. Museums and private collections hold Delion pieces as representative of French millinery art.

In retrospect, Delion stands as an important chapter in the story of Parisian fashion. From a small arcade shop in 1847 to a gilded Champs-Élysées salon, the house navigated changing styles and eras (Second Empire, Belle Époque, Roaring Twenties) while maintaining a commitment to elegance. It competed with industrial giants like Mossant by offering exclusivity and custom service, and it adapted to serve both gentlemen and ladies, which many traditional hatters did not. The numerous awards and the survival of its products today speak to a reputation for excellence. Though the Delion brand is no longer active, its impact is preserved in archives, in the beautiful vintage advertisements drawn by great artists, and in the hats and hatboxes treasured by collectors – all of which tell the story of a maison de luxe that helped crown the heads of Europe’s elite for nearly a hundred years.

Sources: Primary archival information has been drawn from historical advertisements, directories and contemporary accounts. For example, the Passage Jouffroy blog by J. Chavy compiles Delion’s timeline from period ads , and official records of expo awards detail Delion & Caron’s medals . Vintage poster and print repositories confirm Delion’s collaborations with noted illustrators . Modern collector insights (e.g. Fedora Lounge forum) shed light on manufacturing ties with Mossant . These sources together paint a comprehensive picture of Delion’s esteemed place in fashion history.