Before World War II, fashion reportage devoted equal consideration to millinery and clothing. The newest toques and turbans from Paris milliners were described alongside the latest day and evening wear from Gabrielle Chanel, Jean Patou and Jeanne Lanvin. As was true for changes in hemline or silhouette, most millinery trends were born in Paris and then relayed to London, New York and other cities. Preeminent among Parisian milliners during the 1920s and 1930s was Agnés, often referred to as Madame Agnés .
Agnés trained under Caroline Reboux, perhaps the most well-known of the late 19th and early 20th century Parisian milliners. In 1917, Agnés opened her own salon. For her personal wardrobe, she reportedly favored Madeline Vionnet and Louiseboulanger. She was reportedly aware of artistic currents, mining both contemporary and historic art for her designs. In 1925, she designed a close-fitting cloche wrapped with gold and silver leaves, which was described in an advertisement as the "headgear of a goddess." In the 1930s, Madame Agnés began designing softer, draped hats somewhat similar to a turban. In 1936, she created a "Hindu beret turban" for Marlene Dietrich; this hat was a softly puffed beret, tilted to the side. Our Madame Agnés is somewhere between a turban and a hood.