The mission was something out of Alice in Wonderland: take a train to a hamlet in the south of the city, walk along cobblestone streets past tempting little shops, turn left on a street called “hope,” look for a window filled with fine linens and warm light and if the adjacent door is propped open, come on in.

My destination was just as dreamlike and quaint as the journey it took to get there. Located in La Butte aux Calles, an adorable, totally remote neighborhood dense with lovely little treasures, La Clarière is a wonderland of hand-printed linens produced in limited series on site.

But if you’re looking for precious chichi motifs with elaborate affect you’ve got the wrong address, La Clarière’s linens are clean compositions of color, shape and weave that blend romance and rusticity. Be they elegant arabesques on rough-hewn army linen, or austere silver moons on buttery-soft cotton, unexpected juxtapositions of material and motif give a light, modern freshness to the designs. Would you expect any less from an interior designer mentored by Andrée Putman?

“The overall effect is unmannered because of the contrast between the patterns and fabric,” says Canadian-born owner Sharon Macdonald who worked for twenty years creating interiors for big-name architecture agencies in Paris before launching La Clarière in 1997. “When I do my work, I cut the fabric into individual pieces and then stamp it as a composition. It’s like its own little world,” says Sharon.

“The idea is to create an atmosphere that if you framed and magnified would becomes like a work of architecture.”

From bed lines and children’s bibs to tote bags and nightgowns, Sharon prints everything on site using a special supply of hand-made stamps crafted out of un-precious materials such as corks and potatoes. It’s a technique she first discovered as a precocious and crafty kid that she’s perfected over the years.

Since most of the fabric Sharon uses is found at the nearby flea market at Vanves, all of her designs are either unique, or available in limited edition. So if you fall in love with that hand-dyed pillow with the green cloverleaf print, or the A-frame nightgown with the rustic red pattern, you should probably pick it up on the spot. Sharon retires colors and patterns until she finds that right support for it again.

But if that’s not special enough, Sharon also does bespoke creations on demand.

Atelier/shop: 8 rue de L’Epérance, 75013, open Wed & Sat from 2:30pm-7pm, or by appointment
Prices: From 12E sachets to 250E duvet covers

Quickened pulse, dilated eyes, a desperate desire to touch and try. The setting was cold and depressing but it happened nonetheless—I fell head over heels in love.

Wandering among Who’s Next, the stadium-sized fashion and accessories fair this week in Paris, my heart gave out in front of the colorful panoply of Swedish Hasbeens clogs. These were the shoes of my childhood fantasies brought (back) to life. If I didn’t know better, I’d say that the pair of sky-high lipstick red peep toe clogs on display were torn off of Olivia Newton John’s feet during the dance finale of Grease!

Based on a treasure trove of clogs found in the basement of an old Swedish factory, Swedish Hasbeens pick up where the 70s left off. In addition to the classic clogs and t-strap sandles are modern models like belted ankle boots, lovely lace-ups, sexy knee-highs, and sophisticated loafers available in a kaleidoscopic range of colors.

Handmade in Sweden, the chunky-heeled footware is made from sustainably-sourced wood and naturally-dyed grain leather to leave as small of a carbon print as possible. Gotta love those Swedes!

……………

Prices: $200-400
Availability: Click here to shop online, or here for an international shoplist.

Snugly stylish sweaters are the most wanted items in a wardrobe. Without them, you may as well spend the winter in bed. That’s why I dream not of sparkly jewels or wads of cash but of owning an army of grannies who send me a steady supply of gorgeous handmade knits from November through March (yes, it’s that cold in Paris).

Turns out my fantasy isn’t all my own. Sylvia Toth, a Columbian designer who moved to Paris eight years ago, dreamed up a way to battle the bitter winter months by hiring a gang of knitters from her homeland. Lucky for us, she shares the handcrafted gems through WARMI, her artisanal fashion label.

Launched in 2008, WARMI is a Franco-Columbian brand that blends contemporary style with indigenous craftsmanship. Each collection is designed by Toth in Paris then produced in a remote mountainous village in Northern Columbia by a cooperative of women weavers. Though you’d think the name was just a funky new diminutive for “warm,” WARMI means “woman” in Quechua, one of the last living indigenous languages of the Andean region.

“The artisanal traditions in Columbia are very rich,” says Toth who discovered her knitting dream team at a native crafts festival during one of her habitual trips home. “Working with these women brings me back to my roots and builds a link between the two cultures,” says Toth who travels to Tausa several times a years to knit with the women and soak up the local color and traditions in order to feed it back into her designs.

Her whimsical animals motifs, for example, pay homage to masks worn during the annual Carnaval de Barranquilla. Inspired by their wild colors and  graphics, she invents new species for her women to stitch, infusing her knits with a playful, folklore wonder.

In addition to her meticulously stitched graphics are sculptural works that blend art and fashion. “I think of the designs as objects, not clothes, because my background is in design, not fashion,” says Toth who layers organic forms, like leaves in her Eva Bolera, or waves in her Capeline Pauline, to build irregular shapes and volumes.

From complex stitching and embroidered detailing to intricate assemblage, each woman in the cooperative has her own particular strength. Toth not only designs with each woman in mind, she also encourages them to flaunt their personal style, resulting in a collection ripe with charming irregularities and individual quirks.

In additional to their subtle stylistic signatures, each baby angora, naturally-dyed design is tagged with the knitter’s name and the number of hours she spent making it. So when you get compliments on your one-of-a-kind, handmade knit you know exactly who to thank.

…………

Prices: €50-500
Stocklist: click here for list of boutiques where WARMI is sold
Special Orders/Bespoke: ParisBAO can organize a visit to the WARMI showroom in Paris to commission a bespoke creation. Contact me for more details.

Photos by Fabrice Fortin for Paris By Appointment Only™

Just like her distinct, handmade jewels, Valerie Sloan’s shoebox of a boutique is striking despite its diminutive size. Maybe it’s because there’s usually no one in it.

When she’s not upstairs with her slowly growing clientele, the former sculptor can be found downstairs in her atelier handcrafting new pieces for her couture bijoux collection.

Looking for a way to transform her love of volumes and textures to a smaller, more manageable format, Sloan switched from sculpture to jewelry in 2000.

“Sculptors are often burdened by the weight and size of the objects. I quickly realized that I could continue making sculpted objects that were precious to me through jewelry,” says Sloan who opened her shop, Valslo, in early 2009.

Using an ancient technique called “lost-wax casting,” she first sculpts her design out of a block of wax, studying and smoothing its every facet with a battalion of tools. Then she carries her delicate wax carving to a nearby foundry, where it’s transformed into a one-of-a-kind jewel in silver or gold.

Since her brand is still budding, she produces one piece at a time, which means that the design on display is the only one in stock. If it’s not your size, Sloan has to go through the whole process again. This slow, non-commercial method would drive any ambitious entrepreneur nuts, but Sloan wouldn’t have it any other way.

“I like to tailor-make things, the idea is for people to order something personalized and timeless,” says Sloan, who treats each piece like a future heirloom.The fit and comfort of the jewel is as important to Sloan as the overall aesthetic, which means that she’ll spend hours polishing the inside of a ring just to give it a silken feel. The shiny interiors also offset her predominantly matte surfaces.

“Unlike shiny metals, with matte surfaces you can see how volumes have been sculpted through the relationship between light and shadow. ”

Inspired by everything from a crack in the wall and a fleeting shadow to the rocks in her garden, her designs have a palpable personality to them. Physical symbols of passing thoughts and observations, the collection runs the gamut of emotions, from tender and romantic to raw and blunt. Even though there’s a coherent current running throughout, the range has three distinct styles.

The first is feminine and precious (both literally and figuratively) with light, delicate forms adored with Tahitian pearls green sapphires or specked quartz. The intermediary range consists of asymmetrical shapes with continual curves. The final unisex group in massive silver is the most weighty and  industrial.

While there are occasional earrings and necklaces throughout, Sloan (if you haven’t noticed) is a ring lady with an incurable passion for wedding bands. “I like the idea of a symbolic jewel, especially one that represents the union between two people. It’s a beautiful example of idealism.”

……………

Valslo: 10 rue du Perche, 75003 Paris
Prices: €500-1500, depending on design and material
Atelier visits: On request, contact me for details.

All photos by Fabrice Fortin for Paris By Appointment Only™

Certain disciplines (music and film, fashion and sculpture, design and architecture) go together like peas in a pod, but did you know that pottery and pastry making were creative soul mates too? I hadn’t either until I ventured into the wonderfully cluttered Left Bank atelier of French ceramicist Claire de Lavallée.

Surrounded by wall-to-wall cupboards, cutting boards and rolling pins galore, de Lavallée has the baker thing going on big time. But instead of turning out batches of rustic tarts or bulbous baguettes, her industrial ovens are filled with glistening handmade vases, plates, cups and bowls in the most gorgeous shapes and shades imaginable.

“I would wake up in the middle of the night and take out my rolling pin and cutting board and instead of making pastries, I found myself creating objects,” says de Lavallée who worked as a baker at a tea salon before making a full-time move to ceramics in 1989.

When you think about it, she couldn’t have had better training—both jobs are about transforming simple natural ingredients into something nourishing for the senses via massive amounts of heat.

All ceramics are made from clay, be it earthenware (faïence), stoneware (grès) or porcelain (porcelaine). While most artists specialize in one or the other, de Lavallée loves and works with them all.

“Even though I experiment with a lot of different materials, people have no problem recognizing my work,” says de Lavallée whose naturalistic designs, with their electrifying enamels (she makes them herself), metallic finishes and ambiguous textures are not only striking, but highly collectible.

A childlike wonder for the natural world is what sets her work apart from her peers in terms of subject and technique.  Unlike most ceramicists who use spinning wheels to make perfectly symmetrical functional shapes, de Lavallée makes free form objects much in the same way that kids work Play-Doh.

After rolling out the clay into a flat pancake, she presses it against the surface of objects whose shapes and patterns amaze her, like apples and gourds, capturing their fabulous little bumps and crevices in 3D.

“I am drawn to the natural world because it’s rich with forms and patterns that are organized, without being rigid and geometric.”

But she’s not just limited to  nature for inspiration. The constellation of dots left by an urchin’s shell recently sparked an obsession with the cosmos, light and figures born from dreams.

Her Celestial Basket (below) made of brown enamel and silver painted earthenware strips, for example, is like some kind of magical relic forged during the Middle Ages. While her Dreamers (above) faceless, cream-colored porcelain figurines, look like they descended ready-made from an ethereal higher ground.

Like any good cook, De Lavallée keeps her recipes close to her chest. So you won’t find the secret to her unusual colors and surfaces here. The only way to learn more is by visiting the artist’s studio (where you’d have to go anyway to purchase her work since she sells only sporadically to shops). And if you’re really intrigued, consider taking a class with the pottery pro herself.

……………

Prices: Three-piece service for four (€500); Celestial Basket (€900); Vases (€300-500); Small Bowls (€100); Dreamers (€600)
Private Sale: Claire is having a holiday clearance sale from Dec 5-8 in Paris, contact me for details
Shop: It’s best to purchase directly from Claire by making a studio visit, though she does sell occasionally to Takeshimaya, Bergdorf Goodman and Neiman Marcus (New York) and Talents (Paris)

Photos by Fabrice Fortin and Nicholas Calcott for Paris By Appointment Only™

It’s funny how a deep childhood frustration can become a creative manifesto later in life. Case in point: Maïa, the Paris-based porcelain painter. As a kid, she tried every night to decorate the table with her family’s finest, only to be told to return it to the cupboard for the everyday stuff.

Now, not only does Maïa set the table with beautiful, eye-popping designs whenever she likes, she’s made it her business to make sure that others do too!

“It’s a democratic way of bringing art into the home and a touch of fantasy to the table,” says the first-name-only artist who found a way to bridge the dishware divide between fabulous and functional by fusing the two in one.

Maïa started ten years ago with a teacup, and now hand paints everything from jars and dishes to bowls, vases and tea sets on porcelain made by one of the last remaining artisanal factories in Limoges, France.

Each made-to-measure creation is the result of a two-hour coffee klatch between artist and customer. “I need muses to create, and my clients are my muses,” says Maïa who meets her word-of-mouth clientele at her beautiful, porcelain-packed flat to find out about their preferred shapes, colors, pastimes, and even vacation destinations before crafting an original design

She not only creates entire services, but one-off compliments to your heirloom China as well. So if you have a vintage series that needs a modern centerpiece or an antique set that’s missing a few pieces, she can match everything from Puiforcat to Fornasetti.

Once you’ve agreed on your color, shape and motif, Maia then makes a sample free of charge (with no obligation to buy). If you give the okay, she returns to her atelier to seal colors in place in an 1200° C oven, then numbers and signs the designs with a fingerprint.

In addition to painting porcelain, Maïa is also a classical pianist (she’s giving a free, private concert on Nov 15 in Paris, and you’re invited to come, by the way). Unlike her musical performances, which are beautiful, but fleeting, porcelain allows Maïa to express her creativity in a much more tangible way.

It’s not hard to spot a melody in her artwork as well.  Inspired by the paintings of Vuillard, Miró and Chagall, Maia uses colors and shapes to create a timeless visual rhythm. Expressive yet classical, fluid yet structured, it’s all about complementing contrasts for Maïa, be it on piano or porcelain.

……………

Prices: Vases (60-300€), Tea Sets (75-120€), Plates (18-50€), Candy Dishes (98€)
Contact: maiaworlds@gmail.com or tel: + 33 6 60 70 18 18
Shop: A selection of Maïa’s designs can be found at Galeries Lafayette Maison (Paris) and Nest Interiors (New York)

Over the last ten years hundreds of French fashion artisans have been given the ax at venerable houses by number crunching executives sending production overseas. But one man’s trash is another man’s treasure…especially when centuries-old savoir-faire is heaped high in the bin!

Taking advantage of luxury industry’s shortsighted greed and indifference towards its own heritage, Chavernet, a new Paris-based couture house, is putting Paris’ forgotten couturiers back to work.

While only two-years-old, Chavernet has already carved a visionary niche in the word of high-end fashion. Promising a modern take on old-style craftsmanship at remarkably tame prices, the brand is the clever brainchild of two Parisian entrepreneurs, Maxime Liebens and Armen Der Agopian

“Most luxury brands adhere to the ‘Made in France’ mystique, but the truth is that the majority of their clothing is constructed overseas,” explains Liebens, who named the brand after his great-grandmother, Louise Chavernet, one of the first women to own her own fashion atelier in Paris.

“We wanted to go back to the source of couture and produce dresses in Paris using the best materials and savoir-faire.”

What Chavernet offers its word-of-mouth, international clientele is as crazy as it is chic. In less than a week (aka the average length of their client’s trip to Paris) they will design, produce and deliver an original couture cocktail dress to your Paris abode.

Their signature LSDs (little silk dresses) are all made by hand in Paris by a team of expert dressmakers (a 92-yr-old insider pointed them to the city’s best) using end-of-season couture fabric sourced throughout Paris.

“There are a lot of clients who are fed up with the whole circus of shopping in a giant fashion flagship and who just simply want a beautifully handcrafted original dress.”

Chavernet’s “One Woman = One Dress” motto caters to a very real desire to own something stellar that no one else but you will ever be caught wearing. Less obvious, but nonetheless priceless, is the exhilarating experience of buying the dress, which goes something like this:

Step 1: Come to Paris, but before you do, make an appointment with Chavernet.
Step 2: Think about the dress of your dreams and collect visuals to help you describe it.
Step 3: Meet with the Chavernet commercial director, designer as well as the couturier assigned to make your dress. At the end of your meeting your measurements will have been taken and a rough sketch made of your dress.
Step 4: Receive a definitive sketch with material samples the next morning at your hotel.
Step 5: Once you have approved sketch and materials, a muslin prototype is produced and sent over for fitting.
Step 6: A second prototype is produced in your chosen fabric and sent over with a couturier for the final fitting.
Step 7: Once you give the okay, the dress is made and delivered to your hotel.
Step 8: Traipse around Paris in your fabulous, new, custom-made frock.

Just a word of advice: if you plan on fitting into your dress by the time it’s delivered, you might want to lay off the macarons.

………….

Price: 1000E-1500E, depending on complexity of design and choice of fabric and finishes.
Further reading: How Luxury Lost Its Luster (by Dana Thomas); Chère Haute Couture (by Janie Samet); Luxury Considered (report by Ledbury Research); Agenda Inc.

When Oprah got snubbed by Hermès a few years ago she should have immediately rung Chanel. Not Chanel, as in Coco Chanel, but Guy Chanel (yes, you heard me right).

Guy Chanel is a lone ranger on the high plains of fashion and home accessories. Working alone out of his atelier on the outskirts of Paris, he handcrafts a variety of one-of-a-kind designs using leather, crocodile, ostrich and other fine skins.

From saddles, handbags and wallets to belts, briefcases and even lamps, every Chanel creation is made-to-measure and constructed by hand using artisanal tools and techniques (ask him to show you the giant wooden tweezer he uses to hold small things in place when he sews).

By keeping production slow and steady, his solo operation turns out discreet, logo-less products of unparalleled quality and detail that are built to last several lifetimes.

Before launching out on his own in 1989, Chanel (whose name has no connection to the fashion brand) worked for fifteen years as a saddle maker for Hermès. At the time, everything in the company was made in the atelier above their flagship shop (now only saddles are made there, the rest is done in Pantin). So, when saddles orders were slow, Chanel would jump to bags and belts or any other small accessory that needed expert attention.

When he struck out on his own, this polyvalence set him apart from his peers and helped attract a diverse crowd of fine leather fans, from collectors, interior designers, and fashion stylists, to equestrians and even Michelin-starred chefs.

Unlike most artisans, Chanel caught the craftsman bug not through his family, but via a childhood passion for horses.

“I started riding when I was seven and rode competitively until I was twenty-five. Professionally, I wanted to do something linked to horses. I couldn’t be a jockey, because I was too tall. Veterinary, no, because I wasn’t good enough in school, so, I wound up making saddles.”

While saddles comprise only a quarter of his output today, they remain the heart and soul of his business and have earned him international recognition amongst the equestrian set. Riders from across the world, as well as aficionados that collect them as sculptures, swear by Chanel saddles for their show-stopping blend of comfort, beauty and performance.

“My clients have pretty classical tastes, so they’re more likely to play with color and materials than the design of the object.”

When you can build a saddle from scratch, a watchband may seem like child’s play, but Chanel pours equal attention into every one of his designs. Chanel admits that it takes the same amount of time for him to make a bag as a saddle (forty hours) while wallets belts and cardholders take a tenth of that.

In addition to made-to-measure designs, Chanel can also personalize, refurbish or repair. So if you’ve got a vintage accessory (Birkin or otherwise) that needs fixing up or some expert TLC, Chanel can give it a new lease on life.

…………..

Prices vary depending on complexity of design and materials: handbags (1500-50,000 €); saddles (2800-25,000 €); wallets, card holders, change purses, belts (200-3000€).
Delivery: Count four-eight weeks.
Appointments: Contact me to be put in touch with Guy Chanel.

Photos of atelier by Nicholas Calcott for Paris By Appointment Only™

Erik Halley’s business card should have weekend and weekday descriptions. From Mon-Fri, this adorable Frenchie can be found at his Parisian atelier handcrafting statement-making accessories for the best names in fashion such as Lagerfeld, Yohji, Givenchy and Mugler (to name but a few). But come the weekend, he trades his tools for the turntables as resident DJ of Club Sandwich, the most glamorous and decadent dance party in Paris.

The two jobs go hand in hand, however. The club is not only his front-row seat to the most inspired and eccentric sartorialists in the city, it’s also a stage to test drive his fabulous new concepts and designs.

Halley has been pushing accoutrements out of the fringes and into the fore of fashion for the last fifteen years. Not only has his wearable art been featured in exhibitions, he was the first designer to ever stage an accessories runway show during fashion week in Paris (see video at end of post).

Be they triple-tiered shoulder pads covered in Swarovski stones, audio headphones with embedded metal spikes, or Kiss-painted doll head headbands, his mischievous, extravagant designs blur the boundaries between accessories and art.

“I’m a big surrealism fan,” says the designer whose lobster logo is a tribute to the movement’s favorite crustacean. “I love the madness of it and the freedom to do silly things.”

Halley’s big break came in 1996 when Karl Lagerfeld commissioned a collection of runway accessories for Chanel. Using a treasure trove of antique pelican and eagle feathers, he concocted a special heat and steam system to shape them into wispy frames for the face.

Sourcing vintage beads in New York, metal trimmings in India, glass beads in Morocco, and antique feathers from old stock suppliers, Halley first customizes his materials in his kitchen laboratory before working them into one-of-a-kind creations. “Various suppliers have passed along technical tricks from the past that I’ve tweaked and developed myself,” says Halley of his DIY designs.

From feathers and metal to leather and crystals, Halley is a maestro of a variety of mediums and techniques. His signature is to mix together contrasting materials for a modern twist on chic, like turning Swarovski crystals on their backs to look like punk rock studs, or transforming Louboutin heels into hats.

His technical and creative playfulness has made him the go-to guy for outstanding embellishments both on stage and off. Not only has he crafted performance pieces for Madonna (an oxidized metal necklace using Indian-inspired trimmings) David Bowie (orchid-shaped feather earrings) and most recently Beyoncé (a crystal degradé bodice designed by Thierry Mugler), he does custom commissions for regular people with a flair for extravagance too.

…………….

Prices: 90E-skies the limit depending on design.
Appointments: Contact me to be put in touch with Erik

The last place you’d expect to find a master milliner is on a small Parisian street best known for its delicious udon noodles and bento box lunches. But authentic Japanese cuisine is just as rare as handmade hats in Paris, so their co-habitation on the rue Sainte Anne is not so odd after all.

Up a winding set of stairs behind a cobblestone courtyard is the discreet home of the renowned Maison Michel where for a price not more than some designer jeans, you could own a timeless, one-of-a-kind accessory that is guaranteed to turn heads.

Striking in its small, cozy configuration, the multi-room showroom and atelier hums with the sounds of straw weaving machines, seamstresses chattering, the shuffling of hand-written orders and the hissing of heaters baking fabric atop wooden hat molds.

Occupying the same space since its inception in 1936, Maison Michel was rescued from oblivion by Chanel’s Paraffection division in 1996 on their mission to save the heritage of struggling haute couture ateliers

Maison Michel is one of seven such ateliers d’art that now functions independently under the Chanel umbrella, supplying to their Mother Company as well as competing couture brands and independent clients in effort to keeps their skills impeccable honed. It is also listed as an Entreprise du Patrimoine Vivant (Living Heritage Company) along with Bijoux Commelin and hundreds of other French companies recognized for perpetuating traditional artisanal crafts.

Maison Michel’s private clients run the gamut from dandy to diva, and include men on a mission for made-to-measure fedoras, women plotting their flamboyant headgear for a day at the races and soon-to-be-brides looking for an original accoutrement to their wedding wardrobe.

After consulting at length with the brand’s art director, Ludovic Kornetsky, a design is crafted to order and then fabricated by hand on the premises. Count three weeks to two months for delivery and approx 300€ to 3,000€ per hat according to the complexity and material of the design.

Maison Michel Timeline

1936: Hatmaker Auguste Michel founds his company on rue Saint Anne in Paris
1975: After taking over the company with his wife, Claudine, Pierre Debard stocks the studio with refurbished Weissmanns, old straw sewing machine that allow for the creation of large, invisibly-stitched hats. These sizable, wide-brimmed hats catch the attention of designers such as Pierre Cardin and Yves Saint Laurent.
1980: Maison Michel starts making hats for couture and ready-to-wear fashion houses such as Chanel, Givenchy, Nina Ricci, Guy Laroche, Lanvin and Christian Lacroix.
1996: Chanel takes over Maison Michel
2006: The first Maison Michel Paris ready-to-wear collection designed by Laetitia Crahay, head of accessories and jewelry at Chanel, is launched worldwide.

Maison Michel Glossary

Bob (Sailor’s hat)—Small Breton hat generally made of fabric with an upturned brim.
Canotier (Boater)—Flat-topped straw hat with a narrow brim.
Capeline (Wide-brimmed)—Lady’s hat with a wide, flexible rim usually made of straw or horsehair.
Cloche (Cloche)—Hat with flared brim (e.g. pink hat above left)
Feutre (Felt)—Non-woven, waterproof fabric produced by matting and pressing hairs or wool (Maison Michel sometimes uses rabbit hair).
Forme (Block)—Full limewood mold in which hats are shaped (Maison Michel has more than 3,000).
La Couseuse (Seamstress)—While particularly cherished for thier fine craftsmanship of large, wide-brimmed, sewn straw hats, seamstresses also make “cut and sewn” hats such as sailor’s hats, caps and other cloche hats using patterns.
La Modiste (Milliner)—Working from an illustration, the milliner is in charge of designing the hat prototype using fabrics such as wool, cotton, silk and sometimes even leather. The milliner is also responsible for the hat finishings and trims.
Le Chapelier (Hatmaker)—Craftsman who shapes felt or straw, passes it through a steam box to moisten fabric, then stretches it on a limewood block before baking it in an oven to set exact shape.
Panama (Panama)—Men’s summer hat (though super chic on women) in very fine, soft, light straw plaited from thin strips cut from the leaves of a palm.
Weissmann—Rare, straw sewing machine capable of making large, invisible stitched hats.

……………

Price: 300€ to 3,000€ per hat according to the complexity and material of the design.
Timeframe: Count three weeks to two months for delivery.
Appointment: You may contact me to help schedule an appointment
Inside tip: If you can’t afford made-to-measure, opt for the house’s ready-to-wear collection which is distributed worldwide and fabricated using the brand’s famed artisanal techniques.

All images courtesy of Maison Michel