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Fine Art Print : Tatler front cover, 1958

Tatler front cover, 1958



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Tatler front cover, 1958

Front cover of The Tatler for April 1958 featuring a model wearing a hat, or Easter bonnet, by French designer Pierre Cardin, using yards of wide-mesh net, swathed on a white, wired foundation and embellished here and there with dark green camellia leaves. Date: 1958

Mary Evans Picture Library makes available wonderful images created for people to enjoy over the centuries

Media ID 14123785

© Illustrated London News Ltd/Mary Evans

1958 Bonnet Camellia Covers Designer Easter Headwear Magazines Mesh Millinery Pierre Tatler Veil Cardin


20"x16" (+3" Border) Fine Art Print

Step into the world of timeless elegance with our exquisite selection of Fine Art Prints from Media Storehouse. This captivating image, sourced from Mary Evans Prints Online, showcases the iconic April 1958 cover of Tatler magazine. Featuring a stunning model adorned in a hat design by the visionary Pierre Cardin, this evocative print transports you back to an era of grace and glamour. With its intricate mesh netting and crisp white background, this print is a true testament to the enduring allure of haute couture. Add a touch of sophistication to your home or office with this exquisite piece of design history.

20x16 image printed on 26x22 Fine Art Rag Paper with 3" (76mm) white border. Our Fine Art Prints are printed on 300gsm 100% acid free, PH neutral paper with archival properties. This printing method is used by museums and art collections to exhibit photographs and art reproductions.

Our fine art prints are high-quality prints made using a paper called Photo Rag. This 100% cotton rag fibre paper is known for its exceptional image sharpness, rich colors, and high level of detail, making it a popular choice for professional photographers and artists. Photo rag paper is our clear recommendation for a fine art paper print. If you can afford to spend more on a higher quality paper, then Photo Rag is our clear recommendation for a fine art paper print.

Estimated Image Size (if not cropped) is 40.6cm x 50.8cm (16" x 20")

Estimated Product Size is 55.9cm x 66cm (22" x 26")

These are individually made so all sizes are approximate

Artwork printed orientated as per the preview above, with portrait (vertical) orientation to match the source image.


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> Arts > Literature > Magazines

> Europe > United Kingdom > England > London > Fashion

> Europe > United Kingdom > England > London > Towns > Leaves Green


EDITORS COMMENTS
This striking front cover of The Tatler magazine from April 1958 showcases a fashionable model wearing an elegant Easter bonnet designed by the renowned French fashion designer Pierre Cardin. The hat, made primarily of wide-mesh net, is swathed on a white, wired foundation, creating a voluminous and airy silhouette. The netting is artfully embellished with dark green camellia leaves, adding a touch of natural beauty and sophistication to the design. The 1950s were a golden era for millinery, and this hat is a prime example of the innovative and intricate headpieces that defined the decade. The use of netting and veiling was particularly popular during this time, as it allowed for both functionality and style. The profile view of the model on the cover perfectly showcases the intricate details of the hat, from the delicate camellia leaves to the subtle curves of the netting. Pierre Cardin was a pioneering figure in the fashion industry, known for his avant-garde designs and his ability to blur the lines between haute couture and ready-to-wear clothing. This Easter bonnet is a testament to his creativity and his ability to elevate simple materials into something truly extraordinary. The image on the cover of The Tatler magazine captures the essence of the 1950s fashion scene, with its focus on elegance, innovation, and the art of hat-making. This photograph is a valuable historical document, offering a glimpse into the world of fashion during a time when hats were an essential accessory for women, and designers like Pierre Cardin were pushing the boundaries of what was possible with fabric and form.

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