Friday, August 24, 2012

Small Changes

Whether it's a new hat or simply an alteration in trim, small changes can often make a big difference in the look of an ensemble.

The Walking Suit from the BFMC 2012 Atelier Collection takes a dramatic turn with a new hat from Joshard.  I added the vintage millinery floral.  The fur muff is borrowed from Muffy Roberts.  It just doesn't get much better than this.

Mattel's Holiday Hostess Barbie doll dons the chic black suit from Fashion Royalty's Suited Luxury paired with the stunning hat from D.A.E. Originals Weekend in New York set.

Fashion Royalty's Adele Makeda models the aqua satin gown from Mattel's BFMC Delphine.  I replaced the original pink floral accents with vintage millinery floral and added a touch of real mink for a soft elegant look.  OOAK jewelry set, gloves and purse (Mattel) complete the ensemble.

Sunday, August 5, 2012

How To Buy A Hat

No hat is worth buying unless it makes you look prettier than you ever looked before.

"No woman can really explain why she buys a hat anyway.  She just feels a great big urge to set something pretty on her head.  All she really knows is that the something pretty has a delicious psychological effect, and buying it is always a kind of spiritual adventure.  Hats are emotional stuff...."  excerpt from "How To Buy A Hat", Vogue, January 15, 1941

Of course buying a new hat is also a great way to refresh an existing wardrobe.  When Monolithic Studios' resident girl star Miss Gene Marshall decided it was time to update her favorite suit, she chose a smart off-the-face hat with the new "scoop" brim.  A perfect style to complement her rolled bangs.

A restyled "Covent Garden" Gene Marshall wears "First Stop, Chicago" suit ensemble designed by Lynne Day for the 2000 Ashton Drake Gene Marshall Collection, circa 1941.  OOAK hat and gloves are from The Couture Touch.  Umbrella from Fashion Blvd., shoes from Integrity, "alligator" purse with new hardware from Robert Tonner's 16" DeeAnna Denton's  "Glamour Accessory Set",  train case from Ashton Drake's "Fit For A Queen" costume.  Telephone from "A Hot Day in Hollywood" Accessory Set.

Here are some tips to consider when buying that new hat:

Try to buy your hat for a specific costume (or wardrobe, if you like).  And when you are buying it, try to have the costume either on, or at least with you.  "The hat that sits in your closet is the hat that you can't afford."

Consider how you wear your hair.  Whether you bare your brow or cover it is a matter of choice.  Always look at your tentative hat from all angles.  Never buy a hat that is becoming from only one angle.

Photograph by Rawlings for Vogue, 1941.  Hat by Dobbs, wool suit by Falkenstein, jewelry by Flato
In trying on a hat, sit squarely before the mirror, then close your eyes as the vendeuse fits the hat on your head.  When it's in place, open your eyes and take in the whole picture.

Always stand up when you are buying a hat.  Many's the lady who, framed in the little square mirror, looks charmingly proportioned, only to find, when she "rises" that she looks either pinheaded, or top-heavy. 

You'll buy a hat because you feel "but low, my dear."  You'll buy one to express inner delight.  You'll buy one to go with an old jacket, a new suit.  But whatever your reasons, put some heart and head into it.       Source:  "How To Buy A Hat", Vogue January 15, 1941