AUTUMN HATS.

Manawatu Standard, Volume LVI, Issue 63, 12 February 1936, Page 12

AUTUMN HATS.

THE NEW OUTLINE. A definite liking for height, either in the crown itself or in the trimming, and a forward movement, gained by peaked and jutting brims, characterise the hats of the 1936 autumn season, states a Sydney writer. The Tyrol gives again its mountaineering headgea.r as inspiration for the new season’s sports hats, and attractive models of this type are seen in felts, their high crowns carrying jaunty feathers. The church is represented l>v the biretta, and the army by a host of hats of military cut. There is the kepi, the general’s liar, with its rearing crest of plumes; and the pillbox of the sentry, although so fa.r no designer has been daring enough to introduce the busby I Yet hats made entirely of fur and cut on the lines of the kepi are among the autumn collection, so perhaps it is only a matter of time before women will be wearing a replica of the busby. The Renaissance colourings and lines, which influence so strongly the new season’s fabrics, frocks and hats, mean that this period is copied in velvet hats of Italian inspiration. The dunce’s cap and the high-pointed hat of the Welshwoman are others which have been modified by designers to create something fresh in the way of millinery fashions. There are a few shallow crowns, but these carry high feathers or high mounts as trimming, giving the requisite tall appearance.

Almost every hat carries its feather. For sports and informal wear felt hats have a long quill or an upstanding tuft of feathers thrust into the crown at a jaunty angle. Hats for afternoon and “dress” occasions carry whole cascades of coque or ostrich feathers and for the suit with fur trimming are the small hats loaded with fur. The feathers usually harmonise with the hat colourings, which come in the lovely Renaissance colours, such as Botticelli red (a new rust tone), deep purple, Florentine blue and the dark, rich green of the period.