The Hawaiian star. [volume] (Honolulu [Oahu]) 1893-1912, 1901-10-16
HISTORICAL HATS TRIUMPH
ELLEN Osborn the Fashion Write.
Traces the Relation of Fiction to
Fail styles ia Head Gear

Ellen Osborn the we'll known writer
about fashions thus discources of fail
styles i'm millinery I'm the Chicago
Record Herald.
The big hat triumphs The historical
novel is responsible. Milliners have
done their best, but what chance have
! they?
Set small. neat. thoroughly modern
and practical toque beside a huge, sum-
! ptuous, sWash bucklering Cavalier or
! Confidential hat with its sweeping
plumes and huttering drapcries, and
what women will hesitate between
them? The rare she, perhaps, who
reads no novels, but not the woman into
whose veins has entered the stir and
dash Of the rOmances miscalled his
torical that now hll the shops and do
inmate the stage.
/ Autumn fashions are rollicking, mag
nihcent and picturesque. The little to-
que beside them looks prudish, prm,
| limited.
The big hat goes with rich velvets and
bold curves and its naughty plumes.
There are too, the Rembrandt hats.
duslly black and rich. and the Raleigh
and hi Vernon hats, and hats named
/ for almost every painter and hero and
Iadveuturer who ever made history or
| had a taste for beautiful women.
| was shown this week by one of New
| NorSs best mlliners. The wide, soft
! brim was caught up in two places and
! fastened to the crown by means Of
| handsome paste ornaments, circular in
shape. like those that appear on Tur-
| pins hat i'm the well-known picture in
the National Gallery, London. There
was no other trimming except long
black ostrich feather that dropped over
the left side.
In wide contrast with the Dick Tur-
pin was Lamballe hat shown by the
same milliner. This was big, fiat hat
standing out with flare over the face,
and made of velvet rose petals of
wonderful vivid pink that reached it's
deepest tine on the edge of the brim
and grew fainter toward the middle OF
the crown. The only trimming on the
hat was pink velvet ribbon, with two
paste buckles, one holding straps Of the
ribbon on the top and the other on the
band close to the hair.
With this hat went a boa Of rose
petals, white chiffon and black velvet
knots, the whole being copied, so it is
said, from existing pictures of the cos
tunes of the unfortunate princess who
suffered for her friendship for Marie
Antoinette. Certainly it has a Trianon
flavor.
Named for another woman who suf-
fered was a novel Marie Stuart hat dis
played at one of the weeks openings
This, too, was in rare lace festoons and
the glory of furs. Under the halo of its
brim the little maid who has never
without a chaperon set foot outside her
mothers door feels her blood stir with
the delicious fear of elopement pursuit
and old-time sword play She lives a
splendid romance every time she sticks
in the hat pins.
There is the hat Continental 1t is
big, daring, three-cornered. 1t turns up
from the face, and yet shades it like
a halo. 1t sweeps back from the hair
with great, curling ostrich plumes. It's
bold, yet it hides bushes 1t makes the
girl WHO wears it feel as if she had a
tory or a patriot lover. and there were
only she to save him from King Georges
or Washngton's army
Then there is the hat of 1872 Nobody
yet has called it the "D'ri and l." but
somebody before long is sure to do so.
Its broad brim and low crown are COW
cred with rich-hued velvet wallhowers.
sIadlol, nasturtiums. dahlias brilliant
asters and other old-fashioned autumn
flowers. Tucked behind the ears iust
under the brim, are knots Of velvet in
cherry red, pink and cream or any color
calculated to carry out the low. nappy,
eccentric and becoming scheme. Some
times it has long black velvet strings
that tie at the back of the neck or even
under the chin.
The Cavalier hat is three-cornered
like the Continental, but it is cooked
after saucier, more staggering idea.
1t is trimmed with velvet rosettes and
glittering paste buckles. The girl who
wears 1t will sing songs of Prince Char 4
lie with reCkleSsneSs that has been
saIe now Tor many and many a long
year.
Then of course there is the Devonshire
with its quaint mixture of daring and
picturesque dignity, with it's rich Iaces
and its big affair 1t was made of a
very soft light beige felt trimmed with
scarf of white lace, which was draped
IN front, had its ends tied at the back
under an antique ornament of silver
ana paste, and then let them fall to the
shoulders. The crown was gartered
with black velvet knOtted to the back
of the brim and forming a long bow.
The front was bent down in the style of
the Marie Stuart bonnet, a long white
ostrich plume starting at the peak from
under cabochon. Under the brim on
the left were pink roses, on the right a
black velvet bow.
A modified Continental hat of brown
velvet has a dash that would win the
heart of any historical romancer. It's
uplulHeu Diln Is edged with a roll of
pheasants feathers. The top of the hat
is of pink velvet and is trimmed with
hounce of cream-colored lace that is
gathered to the edge and falls i'm a
drapery on the back of the neck. The
under side of the brim is draped with
brown velvet in soft, loose rolls. Against
the hair is long slide of strass and
steel.
Without any claims to historical dis
tinction is a hat of hairy brown felt,
whose brim is rolled Amazone fashion
this being one of the new departures
Draperies of peacock blue tuIle are the
trimmings on the right side; on the left
is a long white feather, which is fasten-
ed at the front under a strass ornament
one Of the new toques that are shown
is made Of a blue felt "muff" turned
down to form a round crown and then
draped on the brm with folds of black
velvet and black muslin. The principal
decoration is long made plume of sky
blue cocks feathers, Search reveals
another toque, this time Of black tulle
showered with spangles and trimmed
with plated white tulle, each fold be
ing edged with narrow black valvet