Democratic Sentinel, Volume 17, Number 34, Rensselaer, Jasper County, 8 September 1893 — "NEW STYLES IN HATS. [ARTICLE+ILLUSTRATION]

"NEW STYLES IN HATS.

BRIMS ARE SLASHED, TWISTED AND TURNED. A aide from Tills, Which Has Been Carried Almost to the Verge of Eccentricity, There Are So Startling or .Radical Changes Observed. Millinery Modes. Sew York correspondence:

a i OST of what is iul startlingly new in /"1 the fall hats and kJ 1 bonnets lies in the |f ' way brims are Ra slashed and then pfe turned up, down and eornerwise. Aside from evi- ) ) dence in plenty s> J that originality / has expressed itself to the verge of eccentricity In bis particular, there are no star- * ** tling or radical changes to be seen

in the coming millinery modes Some shapes have settled into favorites, and there are a few new ideas on old lines. The Continental or Napoleon better suits felt than it did straw, and will be woyn in all shades and colors. There is a distinct movement in favor of planning the hat to contrast in color with the costume, while the rule that in style of shape the headgear must harmonize with the dress worn is more imperative than ever. Summer usage of flowers still prevails and with questionable taste. The single victorious, full-blown rose is again a startling feature, and, let us hope, one that will not last till snow falls. Purple in its modified tints, red, brilliant and cardinal, and bronze greens will be worn. Bright emerald green and a rich shade of purple is a new and more daring combination than any yet made. One that is more artistic is deep purple and deep red. This, in a little hat justly named sweet pea, has the anchorites of one variety of that flower for its combination of color. It takes the French woman to skillfully “consider the lilies” when she plans a new scheme of color. Hats are trimmed more and more simply, a single tuft of feathers, a rosette, a Bingle flower often making the entire trimming. The popularity of jeweled buckles has revived a “new” fashion from olden time, the Cavalier’s hat. This is one of the few novel ideas. A particularly beautiful model is of etnineilce purple velvet, a low-crowned wide-brimmed

hat, the brim curving gracefully aw if aocording to its own will. A little to one side of the front an amethyst buckle holds the end of a magnificent black plume. The quill is white, cut square and is of good length, protruding beyond the buckle. The plume itself sweeps back and to the side, its weight beading the brim of the hat lying against the hair. This old-time model finely suits the great capes worn now, and the type of woman illustrators have made so popular. Buckle and plume make such a hat far from inexpensive. Crystals may be used, but genuine jewels are more frequent. A fall modification of the everlasting sailor 1b one that knows itself a “sailor.” The model is deep bronzegreen felt, with velvet brim exactly matching. There is no hat band, but an old-time topaz and emerald necklace is substituted, the clasp in front holding just one bronze and green cock’s feather, set at a jaunty angle. At last a halt hae been called to the rioting hat pins. It has gone forth that ornate hat pins may be used only with elaborate hats. A new traveling hat comes from Paris, and when Paris starts to do anything in the “severe English” way, she turns out something much more hideous than English itself could be. This model is more like a “billycock” hat than anything else. It is all of soft, rough brown cloth, the brim stitched into some stiffness. Two big buttons which look as if they were sealskin but are not, are set to one side. The hat is big, sets down well on the head, and it transforms the average woman into something between a newsboy and an Irish comedian. Theater hats are still mere butterfly things or fillets. The latter are more and more elaborate, twisted goldjeweled bands, and wreaths £t exquisite flowers being frequent. These do

not set on the head, but literally bind it, coming well down on the forehead and at the sides. The style is becoming to almost all faces, but, of course, demands very careful dressing of the hair. An effort is being made to substitute elaborate coiffures for theater bonnete. This, however, is hooted by the milliners, as why should it not be? Milliners must live, just the same as other people. Very rough straw will lie worn almost into the winter. At the same time an effort will be made to observe “All Saints' Day” as a time for change from fall to winter wear. This comes early in November, and in Paris it marks the adoption of felt, velvet, and fur, as here Easter used to be the signal for blossoms and new spring toilets. This will hardly amount to more

than an effort, for already velvet and felt are offered as an immediate change from lace, straw, and Plata, having had its “run" in dress goods, still shows la millinery. Soft ana heavy silk scarfs with ends tied into points are coming in. These scarfs are about a yard long, and are to be passed about a nigh-crowned rough straw hat, the scarf being spread wide at the back, and a feur-in-hand knot, with its ends in the air made at the side of the front. The scarfs are made in plaids so daring that they suggest the “bandanas” of the Southern negreas, but the general effect is quite as trig as can be. These hats look as if “any one can do that, ” but you can’t. You cannot buy the scarf, you cannot buy the hat, and if you could, you couldn’t tie the four-in-hand knot with its legs in the air in the right way. Milliners have long since usurped the right to supply the morning cap. In that direction they have widened their field and now dictate a headdress for Miladi when she receives in the afternoon. The happiest design for the “matinee coil” is a jeweled net, made square and pinned on the head diamond wise, with one point on the forehead and a point at each side. The hair is to be coiled low. This is harking back to the net Juliet, Desdemona and Francesca wore. The same shape is

shown in velyet embroidered richly, but you positively must have a beautiful head and a "graceful low knot of hair. Five handsome examples are chosen by the artist for subjects of as many sketches sos these columns, und a few words of description should accompany them. In the initial picture there is a lovely little bonnet of green glace velvet. It is ornamented with an Alsatian knot of metallic blackbird’s wings and topped bv a dainty aigrette tipped with blackbird’s tufts. Next is a hat intended for autumn outing made of cream mouselline de soie and trimmed with ostrich feathers and bows of cream satin. The third model is a bonnet for an older woman and iB a simple and comfortable one. Made of light green chip, its beauty is enhanced by a fan of lace fastened by a jet ornament, and by a bunch of pink roses placed at each side. The tie strings are of black ribbon velvet. Black could be substituted for the green chip, and for matron’s wear dark-red roses would be preferable to the pink, or almost any other flower could be used. The third bonnet shown, in the fourth illustration, is formed of corn-colored ribbon ruching framed by a border of jet. There is a puff of the ruching in the front, and two small black feathers on the right side, for ornamentation, the latter being fastened by a bow of black ribbon. A shape which is quite novel, and one which is much displayed in the stores, is last portrayed. Whether it will be seen outside the shops is still uncertain. It is in black chip and trimmed with an aigrette-like bow of lace and with roses and moss-green ribbons. Black velvet strings fall down the back, and fasten at the side beneath one large red rose. The knot of ribbon in front lends an air of newness and the. upright lace bow makes the hat possible for faces which could not

bear the effect of the flat hats now so much worn, but which are trying to other than small, piquant faces. The trimming of hats will show breadth of effect in front, and this will be quite a distinctive feature of the fall millinery. Fancy feathers and spreading wings will'be much used, and despite the efforts of the humane ones whole birds will be seen again. Jet is in evidence in all the devices of millinery. It is found in crowns and brims cf both hats and bonnets, makes up whole bonnets, forms edges and borders of innumerable pretty lace-like designs, and in countless kinds of ornaments. Cut steel rivals jet for some of these purposes, and wings and ornaments are shown in steel wire as light in its effects as lace. Velvet roses promise to be plentiful, and no attempt seems to have been made to have their colors follow nature. Thus black, brown and green roses, springing from as unnaturally hued foliage, may blossom on hats outdoors even while the snow blows and drifts. , Copyright, 1893.

FOR AN AUTUMN OUTING.

FOR A MIDDLE-AGED WEARER.

A THIRD BONNET.

A NEW SHACK OF HAT.