Spriergeren’s company grew from importing to manufacturing and distributing, and eventually became Europe’s largest manufacturer of headgear. In its expansion, Kangol ventured out of the hatbox but it has never completely lost its shape. It successfully entered into the production of seatbelts and crash helmets, but was less successful in its attempt to enter the electrical market, making components for TV and radio. Kangol also embraced new technology, adopting a thermo-forming technique for most of its hats. This became a hallmark for Kangol, its hats keep their shape – no matter how carelessly you shove them in your pocket.

Through the years, Kangol has benefited from its association with superstars and celebrities. As far back as 1948, Kangol had a presence at the London Olympics when each member of the British Olympic Team wore Kangol berets. In the 60s, the hatmaker partnered with the Beatles and obtained the sole right to distribute all headgear featuring the name, endorsement, or image of the Beatles. The hatmaker also touted collections linked to Pierre Cardin, Arnold Palmer, and the ever-fashionable Mary Quant. In addition, other high-profile heads sporting Kangol included Greta Garbo, Marlene Dietrich and the Prince of Wales. However, although these relationships had been good for promotion and brand recognition, they did not result in a spectacular jump in sales.

So it wasn’t until the 1980s, that Kangol really flipped its lid when the brand suddenly enjoyed a welcome rise in awareness. Proponents of the brand as varied as golfer Payne Stewart and rap star LL Cool J gave sales in the US a huge boost. LL Cool J even wore a Kangol hat on the cover of his 1984 album "Radio"; this sparked a trend in the industry with rappers, hip hoppers, and fans regularly donning a Kangol to declare their street cred.

The increase in popularity naturally resulted in increased competition from imitators, which meant a more distinctive mark was needed for the Kangol identity. The hatmaker suffered a widespread connection with the kangaroo as a result of uninformed Americans asking for "Kanga" hats at stores. When considering its options for a new logo, Kangol took a potential problem with the brand association and deftly incorporated it into the new identity; thus the kangaroo replaced the original logo of crossed needles in 1984. That year US sales doubled.

But, while Kangol’s brand image enjoyed an American rebirth in the 80s, the UK public still widely regarded Kangol as an "old beret maker." Once again Kangol stepped up to the plate and adapted to the mass market. They introduced more cost-effective manufacturing methods and added simpler, but more elegant designs to the line. Milliner Graham Smith became the design director in 1981 and brought his fashion-industry expertise to the brand – resulting in more TV, newspaper, and magazine publicity. As a spokesperson, he promoted the entire brand – not solely his own creations. Then a miracle happened: UK fashion in the 80s brought a rebirth of the beret and Kangol benefited greatly. Suddenly Kangol hats were on British Airways flight crews, famous golfers, and even Princess Diana, who sported one in Vogue.

After a slower decade in the 90s, Kangol didn’t hang up its hat and stay home. It is working hard to redefine itself as the essence of cool. The turn of the century has seen a reorganization and expansion into China. The brand has extended to include licensing agreements for clothing, footwear, glasses, watches, and other accessories – all sporting the Kangol logo for brand consistency. And resources are focused on a stronger design team and increased publicity. The recent addition of a couture line has high-end retailers across the US stocking Kangol – something unimaginable 10 years ago. All this leaves us convinced that Kangol will remain fashionable well into the 21st century. And that just leaves it up to us to say, "Hats off!"

Sarah McNeill lives and works in New York City.