19M x Maison Michel

Contexte général

To mark Maison Michel’s 90th anniversary, the Galerie du 19M offers an immersive look into the world of this artistic house and its workshops.

You are invited to discover the many crafts that make up the universe of hat-making, as well as the techniques and savoir-faire that—for nearly a century—have given rise to distinctive headwear.

From the work of the block-maker to that of the hatter, straw sewer, and milliner, the exhibition traces the various stages of hat creation.

Throughout the exhibition, Maison Michel’s craftsmanship engages in a dialogue with works by contemporary artists, who reinterpret materials, techniques, and the hatter’s archives, transporting them into new creative realms.

Propos général de l’exposition

The exhibition Métamorphose: The Hats of Maison Michel invites the public to discover how a hat takes shape across four spaces: Origin, Transformation, Metamorphosis, and Fulfillment. How does a hat take shape?

From raw material to finished object, its creation involves a succession of movements and transformations. Much like the cycles of nature, artisanal techniques are repeated, passed down, and reinvented to give rise to consistently unique forms. From forest wood to wool felt, and from cultivated and stitched straw, every material is shaped by the hands of artisans.

Hat-blockers, hat-makers, and sewers gradually give the hat its form, adapting to the material's properties and employing techniques that evolve over time. Maison Michel’s archives, hat blocks, and works by contemporary artists engage in a dialogue within this exhibition, which explores the concept of metamorphosis—encompassing materials, movements, and the realm of imagination.

Anecdote sur Gabrielle Chanel et la Chapellerie

“Did you know that Gabrielle Chanel had a unique relationship with millinery?”

Anecdote: In 1910, Gabrielle Chanel began her career as a milliner on Rue Cambon in Paris, opening her first hat boutique. She liberated women from the rigid, elaborate hat structures inherited from the Belle Époque, offering instead hats that were more modern and streamlined.

La scénographie

The scenography was designed to immerse visitors in a canopy of linden trees—the wood species used by Maison Michel. It incorporates reused materials; for instance, the tarpaulins come from an installation previously displayed on the façade of the Opéra Garnier. This choice aligns with Le19M’s commitment to reuse and upcycling. The visitor journey unfolds across four spaces: Origin, Transformation, Metamorphosis, and Fulfillment

Introduction à l’espace 1 : Origine

Where does the material come from?

It all begins at the heart of nature: wood, wool, and straw—raw materials shaped by block makers, hatters, and straw sewers. In this first room, visitors discover the various trades (block maker, hatter, straw sewer) and works by contemporary artists, alongside step-by-step displays that showcase the tools and recreate the workshops and working environments specific to each craft.

The aim of this opening section is to understand how artisans work with raw materials, gradually shaping them to bring a hat into being.

Origine also highlights the connections between these artisanal techniques and the creative processes of contemporary artists; each, in their own way, takes hold of the materials to transform and reinterpret them.

Le formier - hat block maker

The hat block maker—who is also a hatter—creates a three-dimensional mold using linden wood planks sourced from a forest in Burgundy. Chosen for its softness (making it ideal for carving) and heat resistance, this wood serves as the raw material from which the block maker interprets a creative vision to bring a unique shape to life. Using specialized tools, he planes the surface smooth, traces the lines, and adjusts edge lengths to sculpt the piece. The blocks are designed to ensure the hat retains its shape when removed from the mold; the most complex designs may consist of several assembled parts.

Once carved, the block is sanded and varnished before being produced in a full range of head sizes. Maison Michel incorporated this craft into its operations upon moving to Le 19M in 2021. Previously, this stage was entrusted to the Paris-based workshop of Lorenzo Ré (see ⌘ Resource), a renowned hat block maker. Upon retiring, the Italian master passed on his decades of expertise to two Maison Michel hatters, thereby ensuring the transmission and preservation of a rare craft. By bringing hat block making in-house, Maison Michel now controls every stage of the creative process.

Bibliothèque de bois et de troncs

Maison Michel holds a collection of nearly 4,000 wooden hat blocks, gathered over the years to form a veritable living library. This unique collection comprises second-hand pieces—sourced from flea markets or acquired at auction—alongside original creations by the House’s own block makers. Nearly 200 of these wooden blocks are on display on the shelves; each one, bearing the marks of its patina and unique character, tells a story—of a fashion, an era, or a specific use.

Amaury Darras - Biographie

Transition vers l’oeuvre d’Amaury Darras : Under the hands of the block makers, the wood—linden—is transformed into a wooden block. With artist Amaury Darras, this metamorphosis continues: the wooden block sheds its primary role in hat-making to become a totemic sculpture (*Parazenith*) or a piece of wearable architecture (*Kabuto*).

Biography :

Born in Marseille in 1997, Amaury Darras grew up in his grandfather’s carpentry workshop. From childhood, he became familiar with the demanding dialogue between the movement of the hand, the nature of different woods, and the time required for the material to transform. He retains a special regard for wood—his cherished medium—which holds the traces of ancestral stories. Through the interplay of forms and joinery, the artist seeks to bring to the surface the memory embedded within the material. A true magician of wood, he draws on a blend of space-opera imagery, fairy-tale folklore, and Art Deco to adorn his ancient warrior figures with exoskeletons. His work takes shape through his artistic project, Xylomancia, as well as through collaborations with various fashion houses, including the ready-to-wear brand Zomer and the fashion and fragrance house Nina Ricci.

Amaury Darras - Kabuto

✦ Key Concepts:

Kabuto: The aesthetic of this piece evokes both the bell-shaped blossoms of the Campanula (bellflower) and the kabuto—the traditional helmet worn by Japanese samurai. More than just a piece of protective military gear, the kabuto serves as a distinctive symbol of affiliation, social status, and identity within the samurai class.

See: Japanese Helmet – Guimet Museum

Clothing as protective skin: Created in 2022, this work marks the beginning of Amaury Darras’s artistic exploration of the concept of "xylo-armor" (from the Greek xúlon, meaning "wood"). Here, the garment is viewed as both a protective skin and a form of bodily architecture. (See ⌘ Resources)

⌕ To learn more:

Technical aspects:

The piece is carved from a solid block, employing techniques similar to those of a traditional last-maker.

Curly Ash: A particularly fine wood species used in high-end cabinetmaking, fine joinery, and instrument making. The "curly" quality results from a specific growth pattern that creates transverse waves in the grain, giving the wood a shimmering, moiré appearance. Amaury Darras is intimately familiar with this wood; after completing his vocational training in cabinetmaking, he worked on reproducing antique furniture for luxury hotels—settings where curly ash is frequently used. Here, the artist employs it to lend an illusion of organic movement to a piece that is inherently rigid.

Amaury Darras - Parazenith

A sculpture created from impressions of wooden hat blocks from Maison Michel, reproduced using wood marquetry and assembled together. This piece was produced with the support of le19M.

✦ Key concepts:

Impression: Amaury Darras took impressions of iconic, historic, and sometimes eccentric molds from the Maison Michel archives in order to reinterpret them.

Parazenith: This title evokes protection (via the prefix "para-") and the highest point of a celestial body (the zenith). Its sound alludes to the futuristic and science-fiction imagery that frequently appears in the artist's work.

Monumental scale: Parazenith is a monumental vertical work (2.5 meters tall). Its dimensions give it the presence of an architectural totem. Here, the hat undergoes a complete metamorphosis: evolving from raw wood to a mold, then to a fashion accessory, and finally to a standalone sculpture, the object transforms into a totem-like garment. The architecture of the body gives way to an architecture of space.

⌕ To learn more:

Technical aspects:

Wood marquetry: Unlike his usual works carved from a solid block (such as the curly ash Kabuto), Amaury Darras begins here by creating a full-scale cardboard template using strips of card; he then assembles the wood—using a marquetry technique—to create organic forms. Marquetry involves applying thin sheets of wood in various species and shades to recreate textures and patterns.

Art history connections:

Parazenith is reminiscent of Constantin Brancusi’s Endless Column series (1918–1938).

See: Endless Column – Centre Pompidou

Le chapelier - The milliner

The Hatter: A Master of Materials

Through a series of precise movements, the hatter creates the hat’s final appearance by shaping the material—whether felt or straw. Preparing the felt cone begins with the application of a stiffening agent based on acacia sap, a secret known only to the hatter. This step gives the material the necessary structure; it then becomes pliable under the influence of steam. By working the softened material over a wooden block, the hatter shapes it and sets the desired creases and contours using rattan reeds, secured by pins known as "argentines." The hat’s flexibility or rigidity depends on the concentration of the stiffening agent and the time spent in the steaming chamber.

Diane Gaignoux - transition

transition : Emphasize the complementarity between the hat maker and the artist: while the block maker shapes the wood so that the felt can conform to it, Diane Gaignoux works directly with the felt—instinctively—to give it an organic appearance.

Diane Gaignoux - oeufs + croissance

✦ Key Concepts:

In this section, Diane Gaignoux presents two pieces from her "Croissance" (Growth) series. Créature is a felt-based, animal-like outgrowth that inhabits the undergrowth-themed scenography. Three Œufs (Eggs) are arranged on the shelves, occupying the space alongside the stock of wooden hat blocks. This second piece was created using felt offcuts from Maison Michel.

"Croissance" Series: Diane Gaignoux presents new pieces from her "Croissance" series, which explores the object as a witness to bodily transformation. Through these colorful felted wool creations—possessing an appearance that is simultaneously animal and plant-like—the artist examines concepts of human bodily mutation.

The ovoid shape of the egg echoes the creative process while also evoking the concept of a vessel or container (basket, pot, shell, etc.). Anthropologists consider containers—such as terracotta pots and baskets—to be humanity's first cultural objects.

Thus, the ovoid form of the Œufs calls to mind garments, pockets, shells, seeds, and anything that carries narratives in the making.

Reuse/Upcycling & Felt as a Living Material: The Œufs are crafted from colorful felt offcuts sourced from Maison Michel. Through an approach sensitive to reuse, Diane Gaignoux extends the lifespan of existing, unused material, demonstrating that felt is a medium capable of endless transformation.

Diane Gaignoux’s creative process is guided by the material itself and driven by spontaneous gestures. She sculpts the medium by stretching the fibers to shape them, aiming to give the felt the most organic and lifelike appearance possible.

⌕ To go further: A fashion nod: the most discerning observers will have noticed the recurring motif of the egg—and the ovoid shape—in Matthieu Blazy’s recent collections. Notably in the Autumn/Winter 2026 collection at the Grand Palais, featuring "egg heels," egg-shaped minaudières, and even a playful touch with "chick" earrings. See: Matthieu Blazy: four months in the life of the Chanel artistic director | Vogue France The Fellowship of Chanel: Matthieu Blazy’s AW26 couture show in numbers | Dazed

Couseur de paille

Straw sewer, shaper of forms The straw sewer begins the hat by hand-stitching the initial strands of raffia, linen, or hemp straw. She then creates a spiral assembly, stitching the straw in a circular motion—working by eye and by hand—to form the hat using a Weismann machine. Every two rows, she checks the accuracy of the shape and adjusts the balance by placing her creation on a reference wooden block, thereby refining its precision. The technique of sewn straw—a tradition dating back to ancient Greece—was revived at Maison Michel in the 1970s by Pierre and Claudine Debard (an entrepreneur and a milliner, respectively), who had taken over the House in the 1960s.

Emily Hurst - transition + presentation

From the sculptural, organic—even animal-like—felt crafted by Diane Gaignoux, the exhibition path leads to the "Straw Sewer" space, where Emily Hurst’s plant-fiber braiding extends the metamorphosis of natural materials transformed by the maker's touch. Nature is once again present in the exhibition design, embodied by strands of straw.

This video follows Emily Hurst’s journey with straw—from its cultivation in the English countryside and its harvest to the art of plaiting. Through the movements and time required to transform this living material, the film reveals the deep connection between nature, material, and craftsmanship. Emily Hurst also discusses the mentorship she received from Maison Michel and how this transfer of knowledge has enriched her practice, spanning everything from traditional basketry to high-fashion millinery.

Espace 4 - transformation

Sculpting, heating, stretching, folding, and sewing are all actions and stages that transform the material. Each movement leaves a trace. Artisans work from the designers' concepts—sketches, images, mood boards, silhouettes—transforming them into tangible objects. In this second space, visitors encounter various families of hats, including the beret, bucket hat, cloche, and more. Drawing on this vocabulary of shapes, artisans compose and create a multitude of different styles.

Bastiaan Woudt

Biography:

In his work, Dutch photographer Bastiaan Woudt strips away color, which he views as a “distraction.” He employs an aesthetic vocabulary composed exclusively of black and white, focusing on lines and curves to create sculptural compositions. The interplay of light and shadow accentuates volume and form. In this regard, Bastiaan Woudt draws inspiration from the masters of Dutch painting and mid-20th-century fashion photography.

✦ Key Concepts:

To mark Maison Michel’s 90th anniversary, Bastiaan Woudt created a series exploring the theme of singularity through the lens of headwear. The nine portraits featured in the exhibition highlight the shape, structure, and lines of these hats, crafted specifically for the Maison’s anniversary. Through a play of contrasts—between bodies and objects, light and shadow—the accessory becomes a statement of personality.

Black-and-white contrast and interplay of light: This aesthetic brings out the hats' volume and accentuates their contours.

Bold lines and ethereal composition create a sense of formal elegance.

The hat as a transformation of the silhouette: juxtaposing Bastiaan Woudt’s photographs with the exhibited forms. In Woudt’s work, the hat is not merely photographed; it becomes an architectural element of the body. Volume, line, and contrast transform the model's presence.

Formes iconiques

Beret

A soft, brimless hat, the beret originated in the Pyrenees, where shepherds have worn it since the Middle Ages. Made of wool, it became a powerful cultural symbol in the 20th century, adopted by intellectuals and members of the Resistance. In the 1930s, Gabrielle Chanel elevated its status, turning it into a symbol of simple, modern elegance—an image that remains linked to the idea of ​​French chic to this day.

Bibi (Mini-hat)

Small and delicate, the bibi is perched on the head rather than worn in the traditional sense. Emerging in the 19th century, it refers to a tiny hat—often worn at an angle—secured with pins or a comb. Popularized in European women's fashion, it became an accessory for formal occasions and high-society events in the 20th century. Its structured design requires precision and balance.

Bucket hat

A soft hat with a short brim, the bucket hat appeared in the early 20th century as practical headwear for fishermen and laborers. Adopted by the US Army during World War II, it has since carved out a place in urban culture and contemporary wardrobes thanks to its blend of utility and style.

Boater

Recognizable by its flat crown and stiff straw construction, the boater hat emerged in boating circles in the late 19th century. Quickly adopted by the bourgeoisie, it became a chic symbol of leisure and holidaying. It is crafted from flat straw braid sewn in a spiral and then stiffened. A grosgrain ribbon protects the structure while defining the hat's signature look.

⌕ To learn more:

In art history: a connection can be drawn between this hat and the Impressionist painting by Auguste Renoir, Luncheon of the Boating Party (*Le Déjeuner des Canotiers*).

Luncheon of the Boating Party (05/06/2026) | Musée d'Orsay

Wide-brimmed hat (Capeline)

With its wide, flexible brim, this hat evokes a certain summer elegance. Emerging in the 17th century, it was a staple of pastoral strolls before being embraced by Haute Couture in the 1950s. Crafted from sewn straw or lightweight felt, it requires a precise balance between volume and structure; today, it remains associated with both chic seaside looks and cinematic icons.

Cap

While peaked headwear existed as far back as antiquity, the modern cap emerged in the 19th century within working-class and sporting circles—particularly in the United States with the rise of baseball. Having become a cultural marker during the 20th century, it spans various social spheres, from sports to urban culture, without losing its primary purpose: protection and the expression of group identity.

Sailor hat

The sailor hat refers to a structured style inspired by naval uniforms, characterized by a flat crown and a short brim. Popularized in European navies during the 19th century, it became a favorite among women. Gabrielle Chanel incorporated it into her designs, which drew heavily from the male wardrobe.

⌕ To learn more:

In art history: In Self-Portrait in Sailor Hat (1920), Claude Cahun poses wearing this distinctive hat, playing with the conventions of military and masculine attire. This French artist frequently adopted an androgynous persona in her photographs and was a pioneer—along with her partner Marcel Moore—of contemporary practices involving cross-dressing and gender play.

See: Self-Portrait in Sailor Hat | Claude Cahun

Cloche

Created by milliner Caroline Reboux, the cloche hat is inextricably linked to the 1920s and the Art Deco aesthetic. Close-fitting and covering the forehead, it accompanied the movement for women's emancipation; popularized by silent film stars, it became a visual symbol of the modernity of the Roaring Twenties.

Fedora

Supple, creased, and featuring a medium-width brim, the fedora takes its name from the play Fédora (1882) by Victorien Sardou, in which Sarah Bernhardt wore this soft hat on stage. Initially a symbol of women's emancipation, it was later adopted by men and popularized by cinema in the 20th century. Traditionally crafted from felt, it is steam-molded over a wooden block, after which the pinches and central crease are shaped by hand to ensure both flexibility and structural integrity.

Top Hat

Emerging in the late 18th century and popularized in the 19th, the top hat is distinguished by its tall, cylindrical crown and rigid structure. A symbol of social distinction in Europe and a signature accessory of the English dandy, it is worn in formal and official settings. It requires precise molding to ensure stability.

Toque

Cylindrical in shape and brimless, the toque—or "pillbox" in its Anglo-Saxon version—draws inspiration from military headgear. Its structure relies on a minimalist, rigid, and close-fitting base. It entered women's fashion in the 20th century and gained international prominence in the 1960s, notably when worn by Jacqueline Kennedy. Constructed on a rigid base covered in felt or fabric, it demands clean lines and a precise fit.

Bell

Cloche Hat Created by milliner Caroline Reboux, the cloche hat is inseparable from the 1920s and the Art Deco aesthetic. Close-fitting and covering the forehead, it accompanied the emancipation of women; popularized by silent film stars, it became one of the visual symbols of modernity during the Roaring Twenties.

Archive Maison Michel

A selection of archives from Maison Michel—the earliest example being an excerpt from the company’s ledger naming Mr. Michel president in July 1936. This collection bears witness to 90 years of creativity and heritage, where the archives serve not merely as a record of the past but as living material that continues to fuel the craftsmanship and designs of today—from technical drawings, material swatches, and patterns to order books.

Erica Baum - Biography

Erica Baum

Biography:

The artistic practice of American artist Erica Baum began in the 1980s while she was an anthropology student at Barnard College in New York. Armed with her first camera, she photographed blackboards covered in formulas and white chalk inscriptions.

It was then that Baum realized the potential of text and image fragments to construct narratives and offer multiple readings. Since then, she has continuously collected textual and visual elements—sourced from fashion magazines, newspapers, books, and photographs—gathered in thrift stores and second-hand markets.

Erica Baum

✦ Key Concepts:

The photographs in the exhibition belong to a series based on sewing patterns sourced from 1970s fashion magazines—similar to those found in the Maison Michel archives. The use of close-ups strips away context, creating a landscape of shapes and details that are unrecognizable at first glance, thereby challenging our understanding of these everyday objects.

Creative Process: Erica Baum collects patterns, cuts them out, photographs them, and creates a collage to recompose the images. In doing so, she removes the patterns from the realms of craftsmanship and domestic life, allowing them to exist in a new way.

Fragmentation: The Patterns series presents sewing patterns from a detached perspective—divorced from their utilitarian function—revealing a more formal aesthetic. The patterns are not shown in their entirety; only fragments are visible. These fragments disrupt immediate legibility, inviting the viewer to engage their imagination and construct their own narratives. The shapes evoke organic forms, pathways, and panels.

The Archive as Living Matter: The aim is to treat the archive not as an inert repository, but as living material. Maison Michel has maintained an archive for 90 years. Erica Baum’s approach resonates with the ethos of the art house, where the collection is not merely about preservation but serves as a reservoir capable of being reactivated. (Link to the work Parazenith by Amaury Darras, who also derives his forms from the archives).

Modiste

A milliner’s work bears a strong resemblance to dressmaking: she can fold, drape, gather, pleat, sew, or assemble various materials, transforming a flat piece of fabric into a three-dimensional shape—such as a bow or a flower—or adding an accessory. We will see how these elements can alter the appearance of the very same hat.

Accomplissement

A hat is not truly finished when it leaves the workshop; in reality, it undergoes a further transformation when worn. Indeed, the same hat model creates a different impression depending on the person wearing it. It can alter a silhouette and create the feeling of becoming someone else.

Chrologie Maison Michel

1936 – Création de Maison Michel

1968 – Les chapeliers Pierre et Claudine Debard rejoignent Maison Michel

1975 – Maison Michel commence à travailler avec des maisons de Haute Couture

1997 – La Maison rejoint l’écosystème des Métiers d’art de CHANEL

2006 – Maison Michel lance sa marque en propre

2013 – Ouverture de la première boutique à Paris

2015 – Priscilla Royer devient directrice artistique de la Maison 

2026 – Exposition « Métamorphoses, les chapeaux de Maison Michel », à la Galerie du 19M 

Anecdote Maison Michel

⌕ To learn more:

On the subject of wearing hats: In the early 20th century, it was often said that Paris had as many hatters as bakeries, reflecting just how common it was to wear headwear. By the mid-20th century, habits and lifestyles were changing: the rise of the automobile and increasing driving speeds made wearing a hat impractical. Social norms also shifted; by the late 1960s, women were no longer required to cover their hair (with a veil or hat) when attending church. Consequently, wearing hats became less common.

Priscilla Royer: has been the Artistic Director of Maison Michel since 2015. She holds a degree in Experimental Fashion Design from Central Saint Martins College of Art and Design in London. After working for Vivienne Westwood, she launched the fashion brand Pièce d’Anarchive with her sister in 2011.

See: Who is Priscilla Royer, Artistic Director of Maison Michel? – Milk Magazine

Priscilla Royer – Maison Michel

Dernier espace - Le chapeau dans la mode

Hats in Fashion

Auguste Michel launched his business in 1936 at 65 Rue Sainte-Anne—a Parisian thoroughfare that had already been a hub of the fashion trade for centuries. Milliner Claudine Debard took over the atelier in the 1960s. Each in their own way—bringing their unique techniques and sensibilities—they navigated the shifting tides of 20th-century fashion design, keeping the craft of hat-making alive while remaining attuned to the contemporary. From the hats defined by mid-century elegance to their evolution into true fashion statements in the decades that followed, these ateliers have mastered a unique balance between creation and the transmission of savoir-faire. Season after season, their techniques have evolved to reflect the aspirations of couturiers and, even more importantly, their clients—whose personalities they know how to reveal.

Ranging from the understated to the ceremonial, and from the futuristic to the timeless, the styles marking fashion’s evolution have challenged the materials used and demonstrated the versatility and innovation at the heart of the millinery craft. Collaborations abound—and each is uniquely distinct—spanning from iconic names like CHANEL, Cardin, and Margiela to the emerging talents supported each year by the Hyères Festival as they take their first steps into this specialized craft.

A new chapter in the history of CHANEL—which has been partnered with Maison Michel since 1997—is now being written under the artistic direction of Matthieu Blazy, featuring his personal interpretations of fascinators, beanies, and other forms of headwear.