A scene from Act I of Mozart’s Così fan tutte Photo by Marty Sohl, Metropolitan Opera
by Lauren Ritchie
Cassandra Zoe Velasco and Hyesang Park as wood sprites in Dvořák’s Rusalka. Photo by Ken Howard, Metropolitan Opera
Janet began her millinery career in 1979. She received a call from a friend who needed assistance to make showgirl hats in Atlantic City. Having just finished college with a double major in Home Economics/Clothing & Textiles and Theatre, Janet was looking for an opportunity to enter the costume industry.
After a year in Atlantic City working sporadically, she met by chance the late, great Woody Shelp, who was the top theatrical milliner in the USA at the time. Despite being interviewed by Woody for a position in a costume shop, he decided to hire Janet as a milliner for his own team instead, stating: “I think you will be good at hats.” Hence Janet feels a debt of gratitude for this guiding wisdom. Together they worked on A Chorus Line, La Cage Aux Folles and many other Broadway shows as well as films and American Ballet Theatre (ABT) productions. From there Janet moved into working for a fashion milliner, David Inc. Here she learned the skills of creating a line of products, reading and interpreting trends and running a speedy production line. While continuing to work freelance within the theatre world, Janet spent seven years with David Inc. In 1990 Janet opened her own business, Janet Linville Studio, making hats for films and Broadway shows, including such highlights as the movie My Best Friend’s Wedding and the Broadway musicals Miss Saigon and The Lion King.
A pivotal point in Janet’s career was in 1996 when she had to make a decision about renewing her studio lease. Days before she had to make her final decision to keep or leave the space, she got a call from the Metropolitan Opera in New York City. “It was serendipity and it was really what I needed at the time.” One of her first jobs after joining the Met was Le Nozze di Figaro with costume designer James Acheson, and it remains one of Janet’s favourite shows that she has worked on. Over her time at the Metropolitan Opera the team has grown from her working extensive hours with the help of volunteers to now being in a position with more regulated hours and paid assistants. She works with members from the wider costume department to manage the sourcing, dyeing, fittings and art finishings. Janet is responsible for the maintenance and restoration of around 1500–2000 hats per season. This can be a combination of construction of new pieces for the four or five newly designed productions per year or around twenty repertory productions.
In 1987 Janet began teaching the millinery component of courses at FIT (Fashion Institute of Technology) in New York
Contestants at Fashions on the Field 58 | the hat magazine #81
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