Summer 2025

My Favourite Job

by Sean Barrett


I’ve been so lucky over the 40+ years of my career to have worked on some fantastic projects. A few are in the running to be favourite: ‘My Fair Lady’ for the National Theatre back in 2001, ‘Chitty Chitty Bang-Bang’ at the Palladium, The Crown and Downton Abbey for TV, and Wings of the Dove and Shakespeare in Love for the cinema. All have very happy memories for me both of the work and the people I worked with. But I think the piece I enjoyed working on the most was a film called ‘Cheri’. The film is based on the book by Collet and tells the story of a wealthy, beautiful but ageing courtesan Lea de Lonval, and her love affair with the 20 year old son of her old friend and colleague Charlotte. It’s set in Paris in 1910. Lea was played by Michelle Pfeiffer, and Charlotte by Kathy Bates. Costumes were designed by Consolata Boyle who was nominated for an Oscar for her work, and it was directed by Stephen Frears.

For a milliner the film was set in one of the most beautiful eras for fashion, hats were enormously important, extravagant statement pieces that varied between vast brims and draped toques made and trimmed with lush, rare and extravagant materials.

Consolata and her team sourced the most fabulous pieces for me to work with, exquisite ribbons, lace and sumptuous fabric. I have always been a collector of millinery trimmings and so I was able to use some of the veils, flowers and feathers that I have amassed over the years.

Most of the film was shot in Paris which meant that I had to visit to do fittings and have meetings with the designer. I was also sent shopping with the costume department buyer Claire. We went to the wonderful flower maker Legeron, who have been making silk flowers since the 18th century. The proprietor Bruno sensed my joy and fascination and kindly showed me pattern books from the 19th century. Hundreds of silk petals and leaves of every shape, size and colour were taped onto each page with the formula for the dye mix written next to each sample. We ordered Lillies of the Valley and several styles of rose including some in a gorgeous blue/rust shaded velvet to match a devore coat trim and some wax dipped orange blossom for a wedding headdress.

We then went to Fevrier, the  most extraordinary feather workers. Nicole was in charge and the room looked like a film set. Floor to ceiling pictures of showgirls and film stars in the most astounding feather creations lined the entrance and then the main room was lined from floor to ceiling with polished wooden draws and steps on a rail that ran around the room. She asked what sort of things we were looking for and then proceeded to open drawer after drawer of the most beautiful plumes which were taken away to be steamed and wrapped in tissue paper. I used the company again when I worked on the musical film ‘Nine’, for the Follies Bergeres number. Sadly the company has now closed.

Finally I was taken to Schmid, a wonderful Aladdin’s cave of straws, felts, veils, crin in fact everything you could wish for to inspire and help create any type of headwear. 

Having been thrilled by such wonderful people and places I came back to my workroom to start working. I had been given a copy of the script which helps enormously in getting to know the personalities of the characters and also the situations in which they will be wearing their various outfits.I think I must have made 30 or so pieces in all for various characters, hats, headdresses and a wedding headdress and veil. The hats varied enormously, felts, wire frames, straws, turbans. It was as always, rushed and tiring, sometimes a 2 day turnaround. Getting 4 large hatboxes on Eurostar at rush hour and then back in the evening to get them finished is stressful, but I loved nearly every moment of it.

It’s always special when you find the right hat to use a cherished piece of veiling or a fabulous plume that’s been in a box for 30 years and was around for perhaps 90 years prior to that! Whilst Consolata knew what she wanted she was very open to suggestions so it was a really enjoyable collaborative experience. You can’t fail to be inspired by beautiful things and I often design a hat around a particular thing, a straw or flower or ribbon. I find it a much more organic process. If I have an idea set in my head I usually find I can’t find the right material/colour to create it with.

It’s jobs like this that remind me how very lucky I am and what joy I have had creating hats over the past years, and meeting wonderful people who have inspired and guided me.

Sean Barrett