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of three designs to be worn by guests at the wedding. Cavanagh's outfit, a suit with pleated skirt and long jacket, was accessorised with a small white petal hat created by Reed
Crawford. In 1961 Reed Crawford was elected as an associate member of the Incorporated Society of London Fashion Designers
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His aspirations as a designer did not always dovetail with the market he served. In a 1990s interview for the
Costume Society, he said: "we basically dealt with the gentry. That was a bit difficult for me because I wanted to be in the avant-garde of fashion". In the same interview, he described his
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described him as a milliner of "outrageous convictions". Reviewing his 1964 autumn/winter collection, she said: "As for Reed
Crawford's hats, they beggar description, especially his cocktail confections: high-standing exclamation pieces stuck through with monstrous hat-pins. Funnier hats have
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these new models were described as: "high, narrow, domed hats...rather reminiscent of the early twenties". Reed
Crawford's high helmet-like cloche hats for John Cavanagh continued in 1960, but they were also joined by similarly high-line designs in pleated
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Reed
Crawford joined the couturier and Incorporated Society of London Fashion Designers (IncSoc) member John Cavanagh in July 1959 and his designs soon attracted coverage in the fashion press. Writing in
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Although Reed
Crawford was working within the couture system, his key interest was in radical design and material combinations. A collection of plastic hats created in 1965 for visitors to
264:, a helmet hat and a bonnet style with visor. He described the hats as "wet paddock" millinery; a Canadian newspaper suggested they would be excellent for fishing in combination with
268:. He undertook occasional publicity stunts, including 'icing' felt hats using a syringe filled with quick-drying plastic glue and creating a hat called 'Dollar Princess' made of
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about the autumn fashion shows, Belle Lawrie described: "the fantastic impact of Reed
Crawford's tall hats (this milliner has been with Cavanagh for but the past ten days)". In
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interest being primarily in the sculptural aspects of hatmaking and the variety of techniques and materials that could be used to create them.
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and designs in unusual material combinations, such as plastic and fur. He became especially associated with couture, working with the designer
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In 1962, Reed
Crawford, still working with Cavanagh, was designing models to add length to the fashion silhouette; these included
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milk bottle tops – both publicising the work of IncSoc members. More unusual fabric combinations included his 1966 transparent
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308:' VADS archive. His Dress of the Year hat – one of his less radical designs – is part of the permanent collection at the
194:(IncSoc) – a category reserved for accessories designers – one of only four milliners within IncSoc at this point.
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dress, for the very first Dress of the Year outfit; it was selected by the
Fashion Writers' Association.
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Reed
Crawford was interested in hats from childhood and, after military service, he attended
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Henderson, Debbie (1998). "A Hat-Maker Remembers: A Conversation with John Reed-Crawford".
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Lawrie, Belle (24 July 1959). "London's autumn line – simply feminine, in muted colours".
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to study fashion. After graduating, he joined the milliner Miss Hammond, who was based in
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of the 1950s and 1960s. He produced a series of high-fashion designs that matched the
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Reed Crawford tulle helmet trimmed with burnt heron feathers, Trinity Mirror archive
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Adburgham, Alison (23 July 1964). "Winter and autumn collections: London Fashion".
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and, along with fellow Incorporated Society of London Fashion Designers members
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173:. In 1961 John Cavanagh was chosen to design the dress for the wedding of
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Following his career in couture, Reed Crawford became a lecturer at the
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304:. A selection of images of his work with John Cavanagh is held by the
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attracted international attention, with designs comprising a modified
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A year later, his grey trilby was chosen, in combination with a
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In 1963, Reed Crawford's trilby hat was chosen to accessorise a
429:"John Cavanagh's Gay Collection: "The Lady is Long" as theme".
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One of Reed Crawford's designs was chosen as part of the first
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Adburgham, Alison (13 May 1963). "Museum of Costume at Bath".
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Not all his designs met with approval from the fashion press.
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Adburgham, Alison (21 July 1966). "Models for a freeze".
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Adburgham, Alison (18 July 1963). "London Collections".
386:. Manchester: Manchester University Press. p. 246.
221:. For evening wear, he designed small caps topped with
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Adburgham, Alison (14 July 1961). "The First Eleven".
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Adburgham, Alison (25 July 1962). "The London Look".
560:"Waterproof hats for Ascot among latest fashions".
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147:. In 1954, he set up his own hatmaking business.
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143:, a prestigious milliner whose clients included
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292:appeared in pantomimes, but not much funnier".
236:pinafore dress and blouse as part of the first
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720:Reed Crawford wig hat, Trinity Mirror archive
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209:; materials used for his designs included
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96:mood of the 1960s, including helmet-style
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139:. From there, he moved on to work with
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600:. Sydney Morning Herald. 5 August 1967
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578:. Montreal Gazette. 15 September 1965
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765:Alumni of Liverpool College of Art
750:Alumni of the Royal College of Art
564:. No. 56532. 18 January 1966.
448:. No. 54677. 25 January 1960.
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108:as an associate member from 1961.
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189:, Cavanagh provided a preview in
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698:. VADS (University of the Arts)
433:. No. 54520. 23 July 1959.
478:. No. 55093. 29 May 1961.
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463:. No. 54760. 2 May 1960.
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276:hats trimmed with mink fur.
88:) (1924-2006) was a British
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179:Prince Edward, Duke of Kent
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383:The Study of Dress History
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104:from 1959 and joining the
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474:"For the Royal Wedding".
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302:London College of Fashion
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367:10.1179/cos.1998.32.1.87
127:; later, he moved on to
125:Liverpool College of Art
296:Later career and legacy
151:Work with John Cavanagh
576:"Shop Talk at Morgans"
541:. Fashion Museum, Bath
306:University of the Arts
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598:"Icing on the way up"
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225:and plumes of tulle.
119:Early life and career
380:Taylor, Lou (2002).
310:Fashion Museum, Bath
129:Royal College of Art
539:fashionmuseum.co.uk
535:"Dress of the Year"
444:"The London Look".
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115:ensemble in 1963.
86:John Reed-Crawford
35:John Reed-Crawford
740:British milliners
625:gettyimages.co.uk
621:"Dollar Princess"
619:Hales, George W.
459:"For the Abbey".
238:Dress of the Year
175:Katharine Worsley
113:Dress of the Year
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73:Dress of the Year
68:Notable credit(s)
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700:. Retrieved
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361:(1): 87–93.
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141:Rose Vernier
133:Brook Street
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50:4 March 2006
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760:2006 deaths
755:1924 births
258:Royal Ascot
199:chefs' caps
187:Hardy Amies
98:cloche hats
734:Categories
696:vads.ac.uk
393:0719040647
331:"Deaths".
316:References
266:hip-waders
246:Mary Quant
234:Mary Quant
59:Occupation
562:The Times
476:The Times
461:The Times
446:The Times
431:The Times
333:The Times
270:aluminium
262:souwester
223:aigrettes
191:The Times
165:The Times
702:2 August
631:1 August
604:1 August
582:2 August
545:1 August
399:1 August
240:ensemble
207:trilbies
90:milliner
62:Milliner
355:Costume
203:turbans
137:Mayfair
53:Suffolk
390:
219:velour
211:velvet
84:(born
75:, 1963
171:tulle
704:2015
633:2015
606:2015
584:2015
547:2015
401:2015
388:ISBN
217:and
215:felt
205:and
185:and
47:Died
38:1924
31:Born
363:doi
287:of
274:PVC
177:to
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341:^
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41:UK
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
