Miss Norma continues:
Please gather around for the next little lesson in millinery lore. We have already seen how hats are an essential feminine garment, as perfectly feminine as, say, frothy, lacy, silky undies, but with this obvious difference: a hat is an outie, that is, always displayed, worn to be seen, plumage, really, not some delicate secret, soft as eider down, known only to a girl herself (and felt by her always) but glimpsed by others only on the rarest of chances. So if hats are not silky and lacy and frothy and downy-soft (though they sometimes may be), just why, then, are they so very feminine? 

Now being a philosopherette is not an employment prerequisite for a Kadorie junior fashion editrix, so I can make no claims to any particular sagacity, yet it seems to me that hats allow Maid to display, nay, flaunt her essential feminine links to beauty, fecundity, gracefulness … indeed, to the most exalted other-than-Maid aspects of Dea’s creations. So Maid appropriates the most beautiful, not-Maid manifestations of the manifest world – feathers, flowers and fruit, and fur – which for this very reason have found their way into the milliner’s art, so that they might adorn and embellish, indeed crown, the head and brow of Dea’s finest creation – Maid herself. When a girl wears a fine hat she is glorifying Dea by wreathing Her finest creation in the subservient beauty of flowers, feathers and fruit – indeed, Maid would adorn her hats with butterfly wings, too, were they sufficiently durable.

But too many words, not enough pictures, pettes, so here are some proofs from the session Stephanie G. shot today on the hotel veranda, after the sun had gone behind the wall, so that the light would be softer. Please take note of the long, soft, green gloves (how can you miss ’em?)

For Part 1 see A Millinery Primer

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