Make Your Fortune Looting and Pillaging in a Gaultier Horned Beanie “Les Vikings” F/W 1993-94

Jean Paul Gaultier’s Fall/Winter 1993–94 Les Vikings collection is inspired by warrior mythology. It combines historical references with dramatic, costume-like fashion.

The Vikings didn’t have horny helmets

Well, according to Kirk Douglas and boring historians who constantly spoil our fun, Vikings didn’t wear horned helmets, but very possibly helmets with large moths on. The romanticised image of Vikings with horned helmets stemmed from costume designer Carl Emil Doepler including them in the costumes for Wagner’s opera “Der Ring des Nibelungen” in 1876.

I was convinced that this horned beanie from the “Les Vikings” collection was based on historically correct Scandinavian headwear. It turns out that any horned helmets dug up were from the Bronze Age, nearly 2,000 years before the Vikings, but regardless of the historical accuracy of Gaultier’s influences, “Les Vikings” is a powerful collection.

From the Paris catwalk to the Hollywood Bowl

The “Les Vikings” show also included the women’s “Chic Rabbis” collection, and determining any noticeable difference between the sexes is quite difficult, as the male models also sport the Jewish Payot side curls and Shtreimel fur hats.

A few minutes into the show, a male model nonchalantly swaggers down the runway wearing the horned beanie. Accompanying this headwear are loose-fitting and very high-waisted trousers, to the point that they sit underneath the pecs of the “Viking”.

As the show moves from opulent shades of black to animal prints and furs, most ensembles have a male and female version. The look that separates the men and women is the kilts worn over tailored trousers. Gaultier’s Muse, the beautifully camp Tanel Bedrossiantz, does some amazing poses to show off the kilt and trouser combination, flamboyantly dragging a leather overcoat behind him.

Interestingly, during the 18th century, it wasn’t uncommon for Highlanders to wear trews (a style of woven tartan-cloth trousers) under their plaid kilts. These trews were cut on the bias, allowing the fabric to mould to the body, and the tartan checks on the diagonal, resulting in a diamond pattern. Midway into the show, tartan does make an appearance in the form of three-piece suits, with kilts being one of the three pieces! Although the plaid stays on the horizon for the trews.

The show ends with kisses from Jean Paul, who is wearing his signature Breton stripes in the form of a shirt and matching skullcap, and of course, a black kilt.

Moving from the catwalk to the real world, there is a striking image of Madonna and Anthony Kiedis wearing this beanie whilst performing at an AIDS benefit on Arsenio Hall’s 1000th show at the Hollywood Bowl. Not only do they wear the same headwear, but Anthony’s attire also matches Madonna’s, from the braces, the skirt and the tights to the same shade of lipstick!

Pert little horns

This beanie is made from 100% wool, and when you look at its unstretched, seven-inch width, you could only imagine a toddler being able to wear it. Fortunately, there is a lot of give in the weave of the material, and when worn, you get a tight-fitting skull cap with pert little horns. The construction is amazing in its simplicity, using the folded modular construction method of a machine-knitted piece of fabric, without any kind of shaping, folded and seamed to finish. The main seam combines with four other tucks, creating a cross of seams at the crown, giving its shape. The brim is ribbed, and there’s the little hang tag on the back of the beanie, which you’ll find on all Gaultier garments. Inside, the label is almost as wide as the hat.

I’d feel a little self-conscious wearing it on the streets of my rural town, but as you can see from the catwalk, it does lend itself to being paired with a more formal and tailored outfit and would definitely add a certain je ne sais quoi to your look.

Part of the Junior Gaultier collections between 1988 and 1995, this collection highlights the line’s ongoing development.