Exclusive interview with legendary milliner Stephen Jones

Born in Cheshire, and schooled in Liverpool, Stephen Jones burst on to the London fashion scene during its explosion of street style in the late seventies. By day, he was a student at St Martins; after dark he was one of that era's uncompromising style-blazers at the legendary Blitz nightclub - always crowned with a striking hat of his own idiosyncratic design.

By 1980, Jones had opened his first millinery salon in the heart of London's Covent Garden. Those premises soon became a place of pilgrimage and patronage, as everyone from rock stars to royalty, from Boy George to Diana, Princess of Wales, identified Jones as the milliner who would help them make arresting headlines.

Jones made millinery seem modern and compelling. In materials that were often radical, and in designs that ranged from refined to whimsical, his exquisitely crafted, quixotic hats encapsulated the fashion mood of the moment.

Forty years later, Jones's era-defining edge continues to attract a celebrity clientele which includes Rihanna, Lady Gaga, Mick Jagger, and Royalty.

Rei Kawakubo is only one name in the rollcall of fashion designers with whom Jones has collaborated. Since the early 80s Stephen Jones has collaborated with designers from Vivienne Westwood and Claude Montana through to his current work with Thom Browne and Christian Dior, Jones' hats have been an integral component in some of the most memorable runway spectacles of the past quarter century.

Today, Jones' retail boutique, design studio and workroom are all located in a charming Georgian townhouse close to the site of his very first millinery salon. In addition to his Model Millinery collection, he designs the widely-distributed Miss Jones and JonesBoy diffusion ranges. In 2009 at the Victoria & Albert Museum in London, he curated the hugely popular exhibition 'Hats, an Anthology by Stephen Jones', breaking attendance records around the world. In addition his hats are also collected by the Metropolitan Museum of Art in New York and the Louvre in Paris.

Now, as ever, at the forefront of fashion, his beguiling hats routinely grace the most celebrated magazine covers and enliven window displays of the world's most stylish stores. From runways to race-courses, from pop-promos to royal garden parties, millinery by Stephen Jones adds the exclamation mark to every fashion statement.

What was it like working with the Max Mara design team and especially with the Creative Director, Ian Griffiths, for the Max Mara Resort 2025 fashion show?

It was exciting and a revelation to dip into their unique world, unlike any other that I have experienced before.

How did the collaborative process work?

Over time sketches, toiles, learning the language of the season. Me bending around Ian and Max Mara’s team ideas and they listening to my experience and design.

Which elements of the collection inspired you the most?

Every different facet has it’s point of view but I love Ian’s reinterpretation of his college collection from the ‘90s.

What is unique about these turban-inspired headpieces?

That they are both looking backwards and looking forward and I wanted them to look effortless and light-hearted.

What kind of woman did you have in mind when you were creating the headpieces for the Max Mara Resort 25 fashion show?

Obviously the Max Mara woman, but an elegant relaxed woman who enjoys fashion and a good sense of humour.

Could you tell us a special 'behind the scenes' anecdote from the collaboration with Max Mara?

Ian and I meeting in a hotel café in London and talking about our fashion worlds.

How does your British origin influence your life, your style and your work?

In every way you cannot escape it, and you react against it too. And try to find your own way.

What do you like about the Max Mara style?

It’s grace and elegance. The clothes look like they are your friends.

What do Stephen Jones and Max Mara have in common?

That the owner, Luigi Maramotti came to my final degree show at Saint Martins in 1979 And how do they differ? I did not go into my family company, but he did. It was a joy to reunite with each other after 45 years.

Where do you go to get inspired?

By the life that I lead but architecture, film, nature, everything. To deny anything would be curtailing my own personal feeling.

What do you enjoy most about your job?

Developing an idea and people enjoying it, because hats can be very alienating, but I want to make hats that fold into your embrace.

You have worked with some of the world's most famous and inspiring women, please could you share a special memory or anecdote with us?

Many years ago I made a hat for Diana, Princess of Wales and I wanted her hat to have the same ease that the Max Mara hat has today.

Who is your ultimate muse?

In the past it was Anna Piaggi of Italian Vogue, in the future I don’t know, but I am ready in my shop to open the door for her.

What has been the proudest moment of your career?

Being presented with my OBE from Her Majesty Queen Elizabeth II.

What's the best piece of advice you've ever been given?

Don’t look before you leap.

What creative characteristics do you and Ian Griffiths have in common, since you are both English?

Having the balance between discretion and exuberance, fantasy and function and the meaning of clothes.