Rachel’s shop at No. 18 Crown Lane on King’s Street St. James’s Street is still striking in an alley full of old London and handmade shops and restaurants on the list. A square white sign bearing her name Rachel Trevor Morgan was pinned to the second floor wall with a black wooden door that needed to ring the doorbell to wait for the waiter to open the door to get in. Although Queen Elizabeth II became Queen Elizabeth II’s hat designer in 2006, her shop has been in London’s prime location for 20 years. To this, she said proudly, that she had a good product Bit.
Walking in this 17th-century building, narrow wooden staircases creak, and the yellow lights on the walls illuminate every photograph Rachel designed to portray thousands of different styles of women’s hats. Some are retro, some are modern. On the second floor was her showroom, with more than fifty colorful, ingenious hats quietly placed on a black iron shelf.
At the back of the sofa was a photo of Britain’s Queen Elizabeth II, who had been beautifully framed. The photo was taken at the 80th birthday of the Queen in 2006. The smiling queen was wearing a silver coat and a pale champagne rose hat with the same color on her head by Rachel. She said the hat was her first for the Queen, who had not been told when she would wear it. She cheered excitedly when she saw the Queen come down from the limousine wearing it on TV.
In English, casual hats are used as “cap”, and only those worn in formal situations are called “hat”. Whether it’s Queen Elizabeth, Princess Diana, Princess Kate, or the ladies’ hats worn by the heroines in the TV series Downton Abbey, or at the Royal Ascot Jockey Club, Sometimes even a hat, unlike a hat, belongs to a hat.
The British hat culture enjoys a long history. As early as 18th Century, there was a workshop specializing in making a hat. In Britain, which was the first to invent the steam engine, the vigorous industrial revolution replaced the traditional handicraft industry. However, the hat industry still followed the tradition of handmade workshops. Rachel’s design was inspired in the 1940s and 1950s. It was a headless age, and wearing hats became a social norm, and women without gloves and hats were not even allowed to go to public places. “but in this world, the only country that has made it a tradition to wear a hat is to keep it best and complete.” Rachel said proudly.
In the 1960s,every styles changed, there were all kinds of hats on the heads of women, and they didn’t want to be the same as the previous generation. As a result, hats are designed in different styles and become colourful. Rachel’s mother, an English lady who is keen on wearing fashionable hats, has unwittingly influenced her daughter. After high school, however, she didn’t know what she wanted. When Graham Smith’s studio was hiring, he replied to Rachel and told her that making a hat was a job that required a lot of patience and skill, and Rachel nodded. All right, I get it. Smith decided to give her a try. In Smith’s studio, Rachel learned how to make hats, and the way she learned these basics was by standing next to an experienced female worker, looking and asking.
She also worked with thirteen or four boys and girls of sixteen or seven years of age, who worked happily together, sewed labels, ribbons, and brims to their hats, and she was getting faster and more skillful. Under Professor Smith, she learned how to weave straw fibers into strips and then hats, and in this way she made her first hat. The straw-shaped fiber cap was then collected by Smith. After working for Smith for three years, Rachel realizes it’s time for her to leave. She wants to have her own client, her own label.
Then, she went to the studio in Philips Somerville, a New Zealand hat designer who was not only the longest-serving queen of the Queen’s hat, but also had an impact on Princess Diana. It once abandoned its feathered cap in favour of a large, brightly colored hat.