The ribbons Austrian milliner Sassa Ann van Wyk makes are closer to sculpture set atop the head. She learned hatmaking in Vienna at thirteen, entered Philip Treacy's studio at eighteen, and is now preparing to open her first studio on boulevard Voltaire in Paris. Her bows begin with unfamiliar materials. Glossy spandex, latex, and ostrich feather stream through the air in dynamic loops. They are objects and, at the same time, ribbons that rest along the hairline. Now that oversized hair bows dominate the runways, hers evoke enormous crowns at a glance.
She says making a hat feels like crowning someone. Yet she herself has never once worn one of her own creations, claiming she lacks the nerve her clients possess. Feathers dancing in midair, loops rising against gravity. These sculptures born from the hands of a craftsman exist not as fashion but as wearable art. Would you have the courage to wear her crown?
She says making a hat feels like crowning someone. Yet she herself has never once worn one of her own creations, claiming she lacks the nerve her clients possess. Feathers dancing in midair, loops rising against gravity. These sculptures born from the hands of a craftsman exist not as fashion but as wearable art. Would you have the courage to wear her crown?
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