A German variation on the beret, or Baskenmütze, by natural fashion brand ASSMUS.
An elegant knitted beret in a two-tone design made from 100% extra-fine merino wool with a fine knit pattern and elastic cuff.
German made and pleasantly light and warm to wear.
Born Lowell Fillmore Dunbar in Kingston, Jamaica, in 1952, Sly Dunbar became one of reggae's most influential musicians and a driving force behind the genre's global success. Beginning his career as a teenager, Dunbar quickly established himself as an innovative drummer whose distinctive rhythms helped shape the sound of roots reggae, dub and later dancehall.
His legendary partnership with bassist Robbie Shakespeare formed the celebrated duo Sly & Robbie, often referred to as the "Riddim Twins". Together they played on thousands of recordings, backing artists such as Peter Tosh, Grace Jones, Bob Dylan and Black Uhuru. Their pioneering "rockers" rhythm brought a new energy to reggae and influenced countless musicians around the world.
Beyond reggae, Dunbar's creativity crossed genres, earning him international acclaim and multiple Grammy Awards. His grooves continue to echo through popular music, securing his place among the greatest drummers of all time.
Dunbar died from cancer at his home in Kingston, Jamaica, on 26 January 2026, at the age of 73.
The Grand Flâneur Walk is a celebration of one of urban life's most charming and overlooked arts: wandering without purpose. Inspired by the 19th-century figure of the flâneur, immortalized by French poet and critic Charles Baudelaire, the walk embraces curiosity, observation and the simple pleasure of strolling through the city with no destination in mind.
First organized by The Chap magazine in London in 2019, the Grand Flâneur Walk brings together dandies, boulevardiers and lovers of classic style for a leisurely, deliberately aimless promenade through the capital's streets. Participants gather in period-inspired attire and set off with no fixed route, allowing chance encounters and unexpected discoveries to shape the day. After a pause during the pandemic, the event returned and has since become an annual tradition.
In a world obsessed with schedules, efficiency and constant connectivity, the Grand Flâneur Walk offers a refreshing reminder that sometimes the best journeys are the ones that lead nowhere at all.
Few musicians have had as much impact on contemporary British jazz as Shabaka Hutchings. Born in London in 1984 and raised in Barbados, Hutchings has become one of the most influential figures in a new generation of jazz artists, celebrated for his virtuosity on the saxophone and his willingness to push musical boundaries.
Over the past two decades, Hutchings has been at the forefront of several acclaimed groups, including Sons of Kemet, The Comet Is Coming and Shabaka and the Ancestors. While rooted in jazz, his music draws inspiration from Caribbean rhythms, African traditions, electronic music and spoken word, creating a sound that is both innovative and deeply connected to cultural history.
His work often explores themes of identity, migration, spirituality and community. Rather than viewing jazz as a fixed tradition, Hutchings treats it as a living, evolving language capable of reflecting the complexities of the modern world.
Axel Reinhold Janse (1887 – 1971) was a Swedish actor and stage manager with a long and varied career in theatre and film. He trained at the Royal Swedish Academy of Dramatic Arts from 1897 to 1905 and continued at the Dramaten student school between 1909 and 1911.
Janse made his film debut in 1910 and appeared in ten films through to 1946. His primary legacy, however, lies on the stage: between 1909 and 1953 he performed an impressive 146 roles at Dramaten, Sweden’s Royal Dramatic Theatre. He also worked with Allan Ryding’s theatre company.
Few contemporary artists embrace chaos, humour and collective creativity quite like Monster Chetwynd. Born in London in 1973, the British artist has built an international reputation through exuberant performances, handmade costumes, sculptures, films and installations that blur the line between theatre, carnival and fine art.
Originally known as Spartacus Chetwynd and later Marvin Gaye Chetwynd, she adopted the name Monster in 2018, describing it as inclusive, playful and difficult to define—qualities that perfectly reflect her work.
Chetwynd's art often reimagines moments from history, literature, popular culture and folklore through improvised performances involving friends, family and volunteers. Working with inexpensive materials and deliberately rough aesthetics, she creates immersive worlds that feel spontaneous, joyful and slightly anarchic.
In 2012, she became the first performance artist to be shortlisted for the prestigious Turner Prize, helping to elevate performance art within the contemporary art world. Her work has since been exhibited internationally, from major galleries and museums to unusual public spaces, including installations on the London Underground.
The Indian Army has unveiled its new Army Uniforms-2026 regulations, marking a significant step away from colonial-era military customs. The updated policy aims to strengthen an indigenous Indian identity while modernizing dress standards across the force.
Among the most notable changes is the introduction of traditional Indian garments such as the bandi jacket and modern battle jackets, replacing several British-inspired elements. The ceremonial sword, long associated with military parades and formal occasions, will see its use significantly restricted. The Army is also removing archaic terminology inherited from the British era, including references such as “Royal”.
The reforms reflect a broader effort within India to decolonise institutions and symbols that originated under British rule. While preserving military tradition and professionalism, the new uniform regulations seek to align the Army’s appearance more closely with India’s own cultural heritage and national identity.
For a military steeped in history, the changes represent both a practical update and a symbolic statement about the Army’s future direction. Good to see the beret remains.
This "Basco" in black wool felt was made in the 1920s and is now part of the collection of the Ethnological Museum of Monza and Brianza.
The circumference is edged with black leather and the beret
is fitted with Scottish Bemberg lining with a central gold logo reading
"Basco tricot."
The beret is part of a donation of over 500 pieces including
hats, objects, equipment, and machinery related to the hat industry, a thriving
activity in the city of Monza between the nineteenth and twentieth centuries.
A number of posts have been published on the Franco-German Baskenmütze by ESCO.
However, there are more players in the German beret sphere:
Established in 1902, the Robert Lubstein company—best known by its brand name acronym EREL—is one of Germany's most famous historical military cap manufacturers.
In 1934, when the German Panzertruppen (armoured vehicle crews) adopted the Schutzmütze, a distinctively oversized padded black beret, Lubstein was heavily involved in manufacturing.
This specific piece of headgear featured an internal rubber sponge and skull cap structure to protect tank crews working inside cramped, moving armored cabins.
Carl Isken was a prominent mid-to-late 20th-century uniform and cap fabrication company based out of Cologne (Köln). : When the West German military (Bundeswehr) officially introduced colored felt berets to various branches between 1970 and 1979, Carl Isken became a major state contractor.
The Bamberger Mützen-Industrie (Bamberg Cap Industry) was a
major post-WWII German industrial contract house specializing in military and
official municipal headwear). The factory mass-produced standardized knitted
wool-felt berets for various infantry and specialized units (Pioniertruppe). Vintage,
state-issued berets from this manufacturer are clearly marked internally with
the company name, Bamberger Mützen-Industrie, along with the official German
Federal National Stock Number (NSN/Supply Number).
The most prominent historic name directly associated with
Hungarian berets is the Kotrás family.
The family's hat-making trade officially began in 1995 with the current owners' great-grandfather (and later great-great-grandfather via five generations of lineage), establishing the family as traditional cap makers.
They transitioned from a small, traditional artisan workshop into a major domestic brand. Today, the family operates Barett sapka kalap bolt in Budapest and Debrecen, acting as both a historical preservation site for the "Kotrás" brand name and a modern hub for domestic and imported berets.
The berets presently made and sold by Kotrás are sized models without cabillou, made of wool and polyester (80/20%).
The Old Fisherman (Az öreg halász), painted in 1902 by avant-garde Hungarian artist Tivadar Csontváry Kosztka, is famous for hiding a mind-bending optical illusion that symbolizes the dual nature of humanity.
While it looks like a standard realist portrait of a weathered sailor, placing a mirror vertically down the exact center of the canvas reveals two completely different, symmetrical paintings.
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The Right-Side Reflection (The Divine): Mirroring the
fisherman’s right side (viewer's left) creates a peaceful, white-bearded man
with his hands clasped in prayer. He sits in a boat before a calm, blue sea and
a peaceful mountain landscape. This side is widely interpreted as representing
God, peace, and human goodness.
The Left-Side Reflection (The Diabolical): Mirroring the
fisherman’s left side (viewer's right) transforms his face into a terrifying,
asymmetrical figure with a twisted grimace and a hat that resembles a horn. He
sits before dark, stormy, churning waters with industrial smoke billowing in
the background. This side is interpreted as the Devil, chaos, and inner evil.
Art historians view the painting as a brilliant visual metaphor for the psychological coexistence of good and evil within a single human soul. The dual backgrounds also capture the late 19th-century tension between the purity of untouched nature and the aggressive rise of industrialization.
The Paltim Hat Factory, commonly known as the Iosefin Hat Factory (Romanian: Fabrica de pălării din Iosefin; Hungarian: Józsefvárosi kalapgyár; German: Josefstädter Hutfabrik), was a factory for the production of headgear located at 5 Nicolae Titulescu Embankment in the Iosefin district of the western Romanian city of Timișoara, on the right bank of the Bega River.
The hat factory was likely established between 1882 and
1899, though there are varying sources regarding the exact founding year.
When the factory building was completed in 1900, production at the hat factory began. The factory was equipped with a steam engine generating 20 horsepower. The workforce ranged from 480 to 500 employees, with 70% of them being women. During World War I, Paltim manufactured hats and boots for the Austro-Hungarian military. Workers had access to a public bath, a canteen, and a recreation room.
In 1952, after receiving investments, the company expanded its product range to include civilian and military berets. It was the only factory in Romania producing these items. In 1972, Paltim started manufacturing protective helmets as well. Between 1948 and 1990, the company was nationalized, but in 1990, it was returned to private ownership.
For more than half a century, Paltim supplied both civilian
and military berets and stood as the country's sole industrial beret producer
before disappearing in the early 21st century. Its closure mirrors the decline
of many European hat and beret factories faced with cheap imports and changing
fashions.
Very few photos and little material remain unfortunately.
Following the defeat of Poland in September 1939, thousands of Polish soldiers escaped through Romania, Hungary and the Baltic countries to continue the fight against Germany. Under the leadership of Władysław Sikorski, a new Polish Army was established in France. France formally agreed to the creation of Polish forces in exile, with the main training centre located at Coëtquidan in Brittany.
The soldiers in the January 1940 photographs are typically seen wearing French-style uniforms because the newly formed Polish Army was equipped largely by France. Many units adopted the French side cap and beret styles, while retaining Polish eagles and insignia.
When Germany invaded France in May 1940, many Polish formations were still training and lacked full equipment. Nevertheless, they fought with distinction during the Battle of France. After the French collapse, more than 20,000 Polish soldiers escaped to Britain, where they formed the nucleus of the future Polish Armed Forces in the West. These troops would later fight in North Africa, Italy, Normandy and the liberation of Western Europe.
Marini was the Secretary of the Italian People's Party (PPI) from 1997 to 1999 and later became a foundational member of the modern Democratic Party (PD).
Marini was born in San Pio delle Camere, Abruzzo, and was deeply influenced by the social doctrine of the Catholic Church. He died in Rome on 9 February 2021 at the age of 87 due to complications from COVID-19.
John Travolta is sharing the origin story of his viral beret-look at the 2026 Cannes Film Festival.
The actor, 72, said there was a reason he wore the stylish headgear three times for his directorial debut in France over the weekend, in an interview with CNN. “The old school directors wore berets and I thought, that's what I'm doing,” Travolta told the outlet.
“Big day, big night in Cannes. Stay tuned!” he captioned an Instagram video as he arrived after piloting his own plane to the premiere of Propeller One-Way Night Coach on Friday, May 15, along with his daughter Ella, 26, who stars as a flight attendant in the film.
In the video, he wore a navy blue beret. After getting changed for the main event, Travolta wowed in a classic suit, this time in an ivory beret as he and Ella walked the red carpet.
“I've been around for over 50 years doing movies, but I can't tell, when I look back, the difference between the events and I said, ‘I'm a director this time. You're an actor, play the part of a director. Look like an old school director,’” Travolta continued, adding that he “looked up pictures” of talented filmmakers who came before him.
The Telegraph rated the film 1 out of 5 stars, describing the viewing experience as "like watching a toddler walk into a lamp post"...
Platatac is an Australian-owned manufacturer of tactical equipment, clothing, and load-carriage systems designed for military, law enforcement, and serious outdoor professionals.
Established over 30 years ago, Platatac (a brand under the Platypus Outdoors Group) has deep ties to ANZAC forces, and their gear is famously used and issued by the New Zealand Defence Force (NZDF) and Search and Rescue (SAR) teams.
Platatac also makes the berets for the Australian and New Zealand Special Air Service. Not government issued, these berets are authenticated as uniform wear and can be bought by military personnel themselves (mind, only certified SAS/SASR members can buy purchase berets and badges).
For generations, Indigenous peoples have played an important role in Canada's military history, serving as warriors, defenders, and protectors long before the formation of the modern Canadian Armed Forces. Their contributions can be traced from the War of 1812 through the World Wars and the Korean War, where Indigenous servicemen earned distinction for their courage and skill.
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| John Jewitt, an Anishinaabe from Nipissing First Nation in northeastern Ontario, smudges Canadian Ranger Sergeant McLeod McKay during a ceremony |
Yet despite this proud history, Indigenous members of the military often faced a difficult reality. For many years, military culture was slow to embrace diversity, and Indigenous personnel frequently encountered prejudice, harassment, or the perception that openly identifying with their heritage could hinder career advancement. As a result, many chose to keep their cultural identity in the background while pursuing military service.
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| RCMP Staff-Sergeant Jeff Paulette of Membertou First Nation in Quebec, stands at the National Aboriginal Veterans Monument in Ottawa bearing the national police service’s eagle staff |
The contrast was striking. Indigenous symbols and imagery have long been embedded in Canadian military insignia and traditions, while Indigenous people themselves often struggled for acceptance within the institution.
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| Gary Dore, an Indigenous peacekeeping veteran (left), along with Korean War vets Bill Black, Gordon Gallant and George Guertin |
Today, that situation is gradually changing. Indigenous culture is becoming more visible within the Canadian Armed Forces, and there is growing recognition of Indigenous veterans, traditions, and spiritual practices. National ceremonies and commemorations reflect a broader awareness of Indigenous contributions and experiences.
Métis veteran Robert Thibeau, a former paratrooper and retired infantry captain, places a wreath at the National Aboriginal Veterans Monument on behalf of the Aboriginal Veterans Autochtones
Challenges remain, and many continue to advocate for meaningful change. Nevertheless, the increasing visibility of Indigenous identity within the military signals a significant shift. It reflects an ongoing effort to create a force in which service members can honour both their commitment to Canada and their cultural heritage.
