Philip Treacy Quotes

The success of a hat definitely lies with balancing the personality of the wearer with the type of occasion. Don't listen to those rules about face shape.

I believe that I am a hat designer, not a milliner.

In Rome, I particularly love the history, churches, sculptures and architecture and the fact that you can walk along a tiny cobbled street and turn the corner to find the Trevi Fountain. London is evocative of other eras and full of history.

Hats are really for ultimate occasions, so when I make one, I try to do something different, something noticeable.

Certainly, people like Gaga have introduced a new type of hat-wearing.

Everybody loves things that sparkle.

I am very proud to be Irish.

I used to make clothes for my sister's dolls. I couldn't care less for the dolls, but I could make the clothes really easily.

Gaga is an entertainer, so a hat for her is part of the illusion of entertaining.

At home, I had seven brothers, one sister. I sewed clothes for my sister's dolls although she was grown and gone away. I was a weirdo but didn't think I was a weirdo.

America brought us the baseball cap; it's one of my favorite hats.

Try on 100 different hats if you can, until you find the one that suits you best. It's a trial and error thing.

Hats are radical; only people that wear hats understand that.

I must point out - Sarah Jessica Parker is not a diva - she's one of these pop culture characters that everybody likes.

So my advice is to always choose something simpler - an expressive outfit, plus a hat, can be frightening.

My aim is to change people's perceptions of what a hat can look like in the 21st century.

Elegance is all in the mind of the wearer.

I like hats that make the heart beat faster.

When you meet someone, you meet their face. It's the most potent part of the body to embellish.

I empathise with the fact that people want to look their best. A hat is all about how it makes you feel - it's so much better than a nip and tuck, and a lot less painful.

I love the shape of cars. They are very inspiring as modern pieces of machinery. I can't drive, but I do like the look of them.

There is no attitude required. The hat brings the attitude. And when people try on a hat they like, it is a bit of fun. It makes them laugh. You don't laugh when you put on a pair of shoes, but you do with a hat.

When people come and visit me and have a hat made, it's a little bit like visiting a psychiatrist, but they don't actually realize that.

I want to excite the eye through hatmaking.

Hats make people feel good, and that's the point of them.

I love the romance of what I do, although because of Isabella, Lady Gaga and Grace Jones, people think I have crazy customers. Sometimes I get more enthusiasm from the housewife who wants a hat and believes in it.

Fantasy hats give you the possibility to dream.

Somebody can feel elegant without being elegant. It's a personality.

A person carries off the hat. Hats are about emotion. It is all about how it makes you feel.

Women come into our shop for that ultimate moment in their life. They're buying a dream. They're buying a moment for themselves. That's what I sell - moments.

Hats are the epitome of Englishness, and a royal wedding is the penultimate moment for a hat designer. I'm Irish, but I am a royalist and I believe in fantasy.

I believe in originality, primarily. However, it's important to know what there has been before to aim in that direction. Art history informs us. It informs our mind. I like to look at books, exhibitions, paintings, as a computer, subconsciously taking on information.

I think and hope I have changed the way we look at hats. They are no longer symbols of conformity but highly individual acts of rebellion. I am constantly challenging the perception of what a hat should be and what role it should play.

Royalty is completely different than celebrity. Royalty has a magic all its own.

I particularly like to travel for work because you see a completely different side of the country you're visiting.

I make hats for lots of iconic people, and that makes my job very interesting.

Often, what makes my job so exciting is designing for the mother whose dream has been to wear one of my hats at her child's wedding. I feel as responsible for making her feel like a million dollars as I do for somebody in the public eye.

It thrills observers and makes the wearer feel a million dollars.

I grew up in a little village in the west of Ireland.

MAC allowed me to have complete freedom on the collaborations - from the shades, the look-and-feel, to the campaign visuals. I have to admit that the visual aspect of the collection excites me most. For designers, we care about the photographs much more than a Ferrari.

The only person I never made a hat for was my mother because my mother didn't really - she preferred to make her own hats. I mean, she was intrigued by everything, but she didn't want one of my hats. She made her own.

Not long ago, a hat was a conformist accessory. Then the 1960s came along, and young people didn't want to wear hats.

Hats are attached to special moments in people's lives - weddings, or the races. In difficult times, people still get married; they still want to look their best.

How a hat makes you feel is what a hat is all about.

Hat-making is laborious and time-consuming. It's a very tactile medium, and you can develop the skills, but it's one of those things: you either have it, or you don't. I love bringing something to fruition with my hands that gives people pleasure.

I always design the hat with the wearer in mind; otherwise, it's an inanimate object.