Evening star., 1927-09-04

that wears the wrong-shaped
crown. Only very often 1t
~ does not. In fact, the woman
who never, save by the
merest chance, wears the type OF nat
that becomes her usually thinks her
hats are perfectly chosen.
There are certain shapes. however,
that simply do not go with certain
features. and since We cannot change
our features. without going to the
trouble of an operation which may
make matters worse than they are,
the best thing to do Is to take pains
to choose the right-shaped hat.
Don't be content merely to look at
yourself in new hat as you sit fac-
ing the mirror of the milliner's dress
ing table. Use hand glass and study
the hat from every angle and stand
up facing a pier glass so that you can
get the effect OF the hat IN Its rela-
tion to your figure.
If your head is large do not wear
shallow, round crown. Avoid
crowns of a substantial solid appear.
ance. Draped crowns of fairly pliable
materials serve we'll to hide the di-
mensions of an overlarge head and
the illusion Of smallness is achieved
If the lines of the drapery taper up
ward toward the top.
Irregular features demand an ir-
regularly shaped hat. The perfectly
symmetrical hat-exactly alike on
both sides-calls for regularity Of fea-
lures. The well rounded face with
regular features can carry a straight
brimmed hat to advantage. Nothing
is less becoming to the too-round face
than the shallow, round crown.
Closest eyes should never appear
beneath hat with trimming placed at
the center or with drapery that Is
drawn upward in a point.
The test of the pudding is in the
eating and so the test of the hat is
in the wearing. But it is out of the
question to wear or even to try on
all the many types of hats that are
offered for the season. One would
be worn to a frazzle after such an
attempt.
One woman know makes clippings
of various types of hats as they ap-
pear in fashion photographs and
sketches, as we'll as from the millinery
advertisements in the papers. She
cuts these little hats out quite neatly
and then, going through the album in
which she keeps collection Of anna
teur photographs of her own fair face,
she tries the hats on, seeking the
photograph Of the size and pose to suit
each of the various hats"
That may seem like a lot of trouble
TO you-and perhaps you haven't an
album full of pictures of yourself. II
you still feel that you haven't quite
solved your problem of getting just
the right hat for your own particular
type of face, form and feature. please
write to me. Give me a little pen
picture of yourself and I will give
you all the help 1 can to decide which
of the new shapes is really best suited
to you.
The bishop cap is a new and strik-
ing bit of headgear originated by
Talbot of Paris. 1t is developed in
black velvet, fitting closely to the
forehead, curving downward at the
sides and fiaring outward toward the
top. Smart-but rather trying save
to the woman with fine regular fea-
lures
Milliners must have made an ex-
haustive study of historic helmets
and in the collections seen in Paris
is to be found practically every type
Of helmet that ever rested on the
head of warrior since these metallic
bonnets were invented.
There are close-fitting skullcaps
with conical tops to suggest the he'll |
NETS of ancient Assyria, and round |
helmets that extend well down the |
nape Of the neck after the fashion |
of ancient Greece. There are horned |
and winged helmets of the sort that |
historians associate with the art of the |
Etruscans. Helmets dating from the |
age of bronze and the age Of iron,
Teutonic helmets, Anglo-Saxon he'll
NETS. Norman helmets all have con-
tributed their suggestions to the
milliners. The bascinet, the salade,
the armet, the burgonet, the casque,
the morton and the chapelle. de fer
all these historic old headpieces-
have been studied eagerly by the
milliners in search of new ideas.
Reboux has brought the collection
up to date with q brimmed felt hat
of gray that suggests the shallow
metal helmet of the late war.
There are capelines with deep
crowns and poke-shaped brims, deep
at side and front and narrow at the
back, that suggest the flirtatious bon
nets of the 1880 period.
Peasant fashions lave contributed
and one of the outstanding new shapes
is Reboux's Dutch flap toque.
Jane Blanchot is responsible for the
japanese parasol design-that looks
like a small parasol tilted backward
placed on a foundation fitting closely
to the head.
The Grand Prix opera ball in Paris
this summer focused the attention Of
designers on the period of 1S30-the
epoch chosen for the costumes that
night Poke shapes when they ap-
pear are all of the 1880 genre-modi-
fed of course-rather than the coal
scuttle poke hats of the sort worn
in 1860.
Agnes is responsible for a little felt
hat with narrow dropping brim and
draped crown with a little aigrette
placed right in the middle of the