Fashion and shopping, Melbourne style

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Entries in hat (304)

Monday
Jun102019

What I Actually Wore #0153

Serial #: 0153
Date: 23/10/2013
Weather: 16°C / 61°F
Time Allowed: 10 minutes

I wore this outfit to work, and to Cinematheque, a club for cinephiles in the evening. I was glad of the coat and scarf going home, for it was freezing.

I like to sometimes dress in almost all monochrome – as long as it’s not all black, which is very un-Melburnian of me. If you’re not confident about mixing colours, going monochrome is a nice easy way to put an outfit together, with perhaps one or two other complementary colours in your accessories, such as the red I have used here. Black and white are of course non-colours, and they go with everything.

Whenever I do a story on these archival outfits, I amuse myself discovering how many of the items are still in my closet. (I am photographing current outfits, but I am running years behind!) In this case, some of these items are still in my closet, and the others have replacements.

I still mourn the loss of this vintage 70s white leather trench coat that I won for a song maybe a decade ago on eBay ($40) – I wore it out until it looked more grey than white, not from dirt but from actual wear. I still sort of regret culling that, although I would not wear it even if I still owned it, so that’s silly. (Call me sentimental.)

The red wool beret was a gift, but it was actually too small for my head; maybe it was a child’s hat. I have replaced it with another from the thrift store. The shoes, which I originally bought in an op shop, wore out, but I found a pair by the same brand that were almost exactly the same except for having a punctured brogue pattern – also from the thrift store, and never worn. Such a bonus because this Aussie shoe brand no longer exists: some kind of fashion miracle! These socks were a favourite cashmere blend; while I darned the toes several times, they eventually wore out beyond repair.

All the other items I still own, although the cardigan (note the Juliet sleeves) has been in a darning basket for some time, with moth holes in the tie belt that need repair. Emptying that basket out is one of my winter resolutions, so this picture is a timely reminder.

Items:

Top: Kookaï
Cardigan: Nanette Lepore
Skirt: Celia Vela
Coat: vintage 70s
Hat:
vintage 80s
Scarf: souvenir
Socks:
Philippe Matignon
Shoes: Scooter
Earrings: self-made
Necklace: souvenirs
Ring: Roun

Photos: January 2014

Sunday
Jun022019

Bewitched and Bedazzled

Today I bring you another kind of cap: a 1920s wool felt made from stars. How cute is this?! I saw it on Etsy last year and was instantly smitten. The base is white felt, with cut-out stars as well as the large appliqués and tiny sequinned stars bedazzling it. It’s stamped on the inside with the Merrimac Co mark. I own a few other 1920s hats, but this one is really a show-stopper – it may even have once been part of a costume.

I found the star earrings, which are made from shell in a thrift store, and sometime after taking this picture I also found a blue jumper (sweater) patterned with rows of white stars. The label is New Feeling, which I’ve never heard of – it’s made from a viscose/acrylic blend, the little which I forgave because of the stars. The wool dress by Arthur Galan that I am wearing here is also from a thrift store. I’m looking forward to making heads turn wearing all these starry motifs together this winter! 

Photo: September 2018

Tuesday
May212019

Feathered Fantasies

Models at the Hippodrome de Longchamp, showing off scandalous new gowns showcasing the S-line (and their figures), and enormous hats of course, Paris 1908During the Edwardian period, the ideal image of womanhood was to look fragile and delicate, and the fashion was for the flattering S-line, with long luxurious hair piled high to show off slim necks. Enormous hats fantastically trimmed were the crown of these ensembles, designed to complement and set off the feminine silhouette.

The years of the Edwardian British period covers the short reign of King Edward VII, 1901 to 1910, although sometimes it includes the years up to WWI. At this time, hats were a crucial part of the dress code for people from all walks of life, young or old, rich or poor. There were different hats acceptable for each strata of society – but all wore hats, all the time. Women changed their hats with their outfits several times a day and would never step out tête-nue (with a bare head) – that was considered a huge social solecism. It was acceptable only for beggars to be hatless.

1909A lady and an assistant settle down to the pleasures of selecting and decorating a stylishly large hat from the befeathered and beribboned collection available at the Paquin couture house millinery rooms, 1909. From ‘The Golden Age of Style’ by Julian Robinson, Orbis Publishing 1976Milliners could and did go to town, extravagantly decorating these wide picture hats with silks and velvets, ribbons and artificial flowers, and after the death of Queen Victoria, bright colours becamse hugely fashionable. The most popular millinery trim of all were feathers, for throughout history, plumes on hats have been a sign of status and wealth. The rich of this time were no exception – some of the hats were insanely huge, even obscenely ostentatious.

Feathers of all kinds were fashioned by the 800 plumassiers in Paris that employed around 7000 people. Anything from little spiky trimmings to boas, tufts and sprays of feathers called aigrettes were cut, dyed and arranged from a wide variety of feathers: cockerel, pheasant, marabou, ostrich, ospreys, herons or birds of paradise. Sometimes even whole stuffed birds perched atop these monstrosities.

Bird of paradiseSuch decorations were extremely expensive; a hat trimmed with natural bird of paradise plumes could fetch a price of $100, a fortune in those days – that is over AU$4,400 or US$3,045 in today’s values. (For comparison I spotted a YSL black rabbit fur felt hat on Farfetch for over $3000 – it does have an elegant shape and details, for example tasselled ties, but that seems laughably overpriced for a comparatively unexciting hat made of inexpensive materials.)

The feathers of the Roseate spoonbill are so gorgeous they almost lead them to extinctionAnother bird that was hunted almost to extinction is the roseate spoonbill – in the late nineteenth century its feathers were literally worth more than gold – $32 per ounce, compared with $20 for gold. [al.com] Their almost total disappearance was one of the factors that lead to the formation of the Audobon Society, dedicated to conservation, eventually leading to the banning of the usage of feathers from endangered species.

Fashions at LongchampFashion from Paris – Les Modes February 1907c. 1912 Jane Renouardtc. 1900 The Bonita Hat – Huge oblong circle shape made of black plush with flamboyant turquoise lining that shows. It is trimmed with black and turquoise ostrich plumes. There is a turquoise and purple ribbon and velour 'grapes' on the ribbon. Originally sold on Ruby Lane.Three out of four hats featured feathers or whole birds, such was the popularity of plumage in the Victorian and Edwardian eras. Today, feathers are still popular of course, but milliners have become more creative with the feathers from farmed ostriches, pheasants, ducks and cockerels.

During the militant phase of the Suffragettes and Blue Stockings around 1908, fashion began to simplify, and while hats were still de rigeur, they too fell in line with Reform fashions, for not even Suffragettes would cease wearing hats entirely – they were reluctant to outrage the establishment so utterly. Huge bows in sumptuous fabrics became more favoured for trimming, with the first cloches appearing in 1917, heralding the way for a vastly different style of hat in the 1920s.

Simpler hats of the latter Edwardian years, top right 1910, all others 1912Hat featuring a fabulously huge bow, Ladies Home Journal, 1910

Photos: Vintage images found on Pinterest; I have tried to include information and original links where available.

Additional reference: The Century of Hats, Susie Hopkins, Chartwell Books 1999

Monday
May202019

Match-making

PART ONE

Last year when I was shopping in a thrift store off the beaten track, I spotted a Schiaparelli pink grosgrain belt in a display cabinet. It seemed to be composed of a multitude of ribbons, which instantly captivated the more girlish side of my nature (yes I do have a boyish side, admittedly not often seen on these pages).

When it was retrieved for me, I found that it was by the Australian designer Alannah Hill. That discovery did not surprise me at all, for it is a label of extreme sugar-coated, toothache-inducing girlishness. I never shop there, and the only items I own from this brand I bought in thrift stores, most of them being accessories. Just a touch of Alannah is usually enough, I find.

However, when I brought it home, I simply could not style it with any combination of garments. I tried simple shapes, which did not work at all and then moved on to slightly more decorative which was slightly okay (check out my 1940s novelty hat – it has a satin apple on top!).

Then I tried it with a similarly frou-frou polka-dot dress (very much of Alannah Hill ilk, but this is a vintage 1980s dress). I thought, you know, this shade of pink with black is a classic pairing, but I found the combination of the belt with the tiered dress horrible, and I gave up. (My expression in the photo above speaks volumes.)

Disgruntled, I put the belt away and did not think of it again.

 

PART TWO

On another thrifting trip one day, I found a lovely straw hat with a beautiful woven pattern and quirky shape that changes in appearance from every angle. There is no label, but I think it is most likely a modern designer hat – the weave is too complex to have come from a high street brand. The only problem was that the lovely chequerboard woven straw band was broken in several areas. It had such a great shape, and was inexpensive, so I bought it with the plan to refurbish it.

I don’t remember the exact moment of inspiration, but I recalled the failed belt: it could make a great new hat band! Excitedly I pulled it out of a drawer and tied it on, and it was like a match made in hat heaven. The multitude of ribbons put me in mind of an Edwardian beribboned hat, and had the effect of suddenly elevating the straw hat from plain to spectacular. It’s still much less fussy than most Edwardian hats which are loaded down with trim of every description, and that suits me just fine.

it was like a match made in hat heaven

I wear hats all the time, of course, but how perfect would this hat be for someone who does not, and needs a race or wedding hat on a budget? Sometimes it’s worth taking a chance on those items that seem not-quite-right, for a little imagination and some experimentation go a long way.

Photos: November 2018, April 2019

Monday
May062019

What I Actually Wore #0150

Serial #: 0150
Date: 09/10/2013
Weather: 27°C / 81°F
Time Allowed: 5 minutes

I don’t wear all black like many Melburnians are purported to do, but I do happily wear all white, or white and black together. Here is an outfit born of my minimalist phase, although that enormous vintage 70s cartwheel hat is rather maximalist, as are the gladiator boots. Both of those accessories were problems. But let’s start from the top, meaning clothes first, accessories second.

The white cotton dress was a favourite for many summers. It is by Australian brand Witchery, and I remember buying it in a warehouse sale. It was only retired when it started looking worn. It’s actually a little bit too long for these boots, and that was the problem: I didn’t really own any dress short enough for the boots that was also work-appropriate (some might say the boots weren’t work appropriate, but luckily I work in a theatre, so no one really blinks an eye at what I wear), so I wasn’t 100% happy with this pairing. But I was desperate to wear these new boots that I had paid remarkably little for in another warehouse sale.

I do remember wearing that very light straw hat that day because it was so blustery the hat simply would not stay on my head as the brim is so wide. It behaved like a sail catching the wind. A hat to be worn on dead calm days, I decided.

The sunglasses were also another warehouse find, while the vintage 60s bag, one I’ve owned and used for many years, came from a thrift store. The silver jewellery was from a now-defunct label called Roun, where I bought a few pieces. I loved to double up the concave silver ring with my onyx band on one finger, but tragically the former slipped off my finger one day en route to work. I never saw it again.

Vainly I still look for it even today, with someone’s anecdote in my mind – I think this was my brother-in-law’s mother’s tale – of losing a ring in the bush and stumbling upon it nine years later. So I still have hope: it’s only been five or six years since I lost it after all. I walk to work with fingers crossed now – for two reasons!

Items:

Dress: Witchery
Hat: Josephine Tripoli, vintage 70s
Sunglasses: Calvin Klein
Bag: vintage 60s
Shoes: Zoe Wittner
Earrings: handmade
Cuff: Roun
Ring: Roun (silver), souvenir (onyx)
Watch: Kenneth Cole

Photos: January 2014