Hat Style Quotes

They fuck you up, your mum and dad. They may not mean to, but they do. They fill you with the faults they had And add some extra, just for you. But they were fucked up in their turn By fools in old-style hats and coats, Who half the time were soppy-stern And half at one another's throats. Man hands on misery to man. It deepens like a coastal shelf. Get out as early as you can, And don't have any kids yourself.

Think about a good memory, she whispers in my mind. Remember a moment when you loved him. And just like that, I do. "What did the fish say when it hit a concrete wall?" he asked me. We're sitting on the bank of a stream and he's tying a fly onto my fishing rod, wearing a cowboy hat and red lumberjack-style flannel shirt over a gray tee. So adorable. "What?" I say, he grins. Unbelievable of how gorgeous he is. And that he's mine. He loves me and I love him. "Dam!" he says.

He could wear hats. He could wear an assortment of hats of different shapes and styles. Boater hats, cowboy hats, bowler hats. The list went on. Pork-pie hats, bucket hats, trillbies and panamas. Top hats, straw hats, trapper hats. Wide brim narrow brim, stingy brim. He could wear a fez. Fezzes were cool. Hadn't someone once said that fezzes were cool? He was pretty aur ether had. And they were. They were cool.

What did the fish say when it hit a concrete wall?" he asks me. We're sitting on the bank of a stream and he's tying a fly onto my fishing rod, wearing a cowboy hat and a red lumberjack-style flannel shirt over a gray tee. So adorable. "What?" I say, wanting to laugh and he hasn't even told me the punch line. He grins. Unbelievable how gorgeous he is. And that he's mine. He loves me and I love him and how rare and beautiful is that? "Dam!" he says.

A check girl in peach-bloom Chinese pajamas came over to take my hat and disapprove of my clothes. She had eyes like strange sins.

A beautiful person is not defined by a hair style, a pair of shoes, it’s not the logos on the T-shirt, the sport’s team on a hat, the designer’s name on a hand bag, or even how you smell. Instead, beauty lies in who you are when no one is watching, the person you are when there’s nothing to hide behind. No amount of concealer can cover up a cantankerous heart, but all the make-up in the world can’t add a single lumen to the brightness of a beautiful soul.

Everyone knows history is written by the winners, but that cliche misses a crucial detail: Over time, the winners are always the progressives. Conservatism can only win in the short term, because society cannot stop evolving (and social evolution inevitably dovetails with the agenda of those who see change as an abstract positive). It might take seventy years, but it always happens eventually. Serious historians are, almost without exception, self-styled progressives. Radical views--even the awful ones--improve with age.

What about me?’ said Grantaire. ‘I’m here.’ ‘You?’ ‘Yes, me.’ ‘You? Rally Republicans! You? In defence of principles, fire up hearts that have grown cold!’ ‘Why not?’ ‘Are you capable of being good for something?’ ‘I have the vague ambition to be,’ said Grantaire. ‘You don’t believe in anything.’ ‘I believe in you.’ ‘Grantaire, will you do me a favour?’ ‘Anything. Polish your boots.’ ‘Well, don’t meddle in our affairs. Go and sleep off the effects of your absinthe.’ ‘You’re heartless, Enjolras.’ ‘As if you’d be the man to send to the Maine gate! As if you were capable of it!’ ‘I’m capable of going down Rue des Grès, crossing Place St-Michel, heading off along Rue Monsieur-le-Prince, taking Rue de Vaugirard, passing the Carmelite convent, turning into Rue d’Assas, proceeding to Rue du Cherche-Midi, leaving the Military Court behind me, wending my way along Rue des Vieilles-Tuileries, striding across the boulevard, following Chaussée du Maine, walking through the toll-gate and going into Richefeu’s. I’m capable of that. My shoes are capable of that.’ ‘Do you know them at all, those comrades who meet at Richefeu’s?' ‘Not very well. But we’re on friendly terms.’ ‘What will you say to them?’ ‘I’ll talk to them about Robespierre, of course! And about Danton. About principles.’ ‘You?’ ‘Yes, me. But I’m not being given the credit I deserve. When I put my mind to it, I’m terrific. I’ve read Prudhomme, I’m familiar with the Social Contract, I know by heart my constitution of the year II. “The liberty of the citizen ends where the liberty of another citizen begins.” Do you take me for a brute beast? I have in my drawer an old promissory note from the time of the Revolution. The rights of man, the sovereignty of the people, for God’s sake! I’m even a bit of an Hébertist. I can keep coming out with some wonderful things, watch in hand, for a whole six hours by the clock.’ ‘Be serious,’ said Enjolras. ‘I mean it,’ replied Grantaire. Enjolras thought for a few moments, and with the gesture of a man who had come to a decision, ‘Grantaire,’ he said gravely, ‘I agree to try you out. You’ll go to the Maine toll-gate.’ Grantaire lived in furnished lodgings very close to Café Musain. He went out, and came back five minutes later. He had gone home to put on a Robespierre-style waistcoat. ‘Red,’ he said as he came in, gazing intently at Enjolras. Then, with an energetic pat of his hand, he pressed the two scarlet lapels of the waistcoat to his chest. And stepping close to Enjolras he said in his ear, ‘Don’t worry.’ He resolutely jammed on his hat, and off he went.

If nothing else, my analysis of George W.’s oratory style had taught me that a sincere countenance and a confident stance were sufficient to distract your audience from the fact that you were talking rubbish.

It's a physical sickness. Etienne. How much I love him. I love Etienne. I love it when he cocks an eyebrow whenever I say something he finds clever or amusing. I love listening to his boots clomp across my bedroom ceiling. I love that the accent over his first name is called an acute accent, and that he has a cute accent. I love that. I love sitting beside him in physics. Brushing against him during lands. His messy handwriting on our worksheets. I love handing him his backpack when class is over,because then my fingers smell like him for the next ten minutes. And when Amanda says something lame, and he seeks me out to exchange an eye roll-I love that,too. I love his boyish laugh and his wrinkled shirts and his ridiculous knitted hat. I love his large brown eyes,and the way he bites his nails,and I love his hair so much I could die. There's only one thing I don't love about him. Her. If I didn't like Ellie before,it's nothing compared to how I feel now. It doesn't matter that I can count how many times we've met on one hand. It's that first image, that's what I can't shake. Under the streeplamp. Her fingers in his hair. Anytime I'm alone, my mind wanders back to that night. I take it further. She touches his chest. I take it further.His bedroom.He slips off her dress,their lips lock, their bodies press,and-oh my God-my temperature rises,and my stomach is sick. I fantasize about their breakup. How he could hurt her,and she could hurt him,and of all the ways I could hurt her back. I want to grab her Parisian-styled hair and yank it so hard it rips from her skull. I want to sink my claws into her eyeballs and scrape. It turns out I am not a nice person. Etienne and I rarely discussed her before, but she's completely taboo now. Which tortures me, because since we've gotten back from winter break, they seem to be having problems again. Like an obsessed stalker,I tally the evenings he spend with me versus the evening he spends with her. I'm winning.

If you changed into a different style of clothes, and put on a hat and glasses, I might not recognize you. But no matter what I wear, my ducks always know who I am. Am I just a guy worth knowing, or do ducks just have superior intellects?

Many were starting to use computerized synthesizers & drum machines to produce an entirely new style of music. It was being punted by the critics that the guitar was old hat; I was reminded of the way my father & his clarinets were written off in the late Fifties.

Walk out the door knowing that if that Sudden-Death Rhetorical Device Bus were to mow you down, you would have zero regret in your style. Wear your (proverbial) fabulous hat today.

The driving aesthetic of military style is uniformity. Whence the word uniform. From first inspection to Arlington National Cemetery, soldiers look like those around them: same hat, same boots, identical white grave marker. They are discouraged from looking unique, because that would encourage them to feel unique, to feel like an individual. The problem with individuals is that they think for themselves and of themselves, rather than for and of their unit. They’re the lone goldfish on the old Pepperidge Farm bags, swimming the other way. They’re a problem.

Oblonsky’s tendency and opinions were not his by deliberate choice: they came of themselves, just as he did not choose the fashion of his hats or coats but wore those of the current style. Living in a certain social set, and having a desire, such as generally develops with maturity, for some kind of mental activity, he was obliged to hold views, just as he was obliged to have a hat. If he

The guys were taking bets on the winner. Half were betting on the old woman.” Yasha nodded in agreement. “The babushka is a biter.” “Though nice style points there with the hat,” Calvin added. “We’ve never considered using hats as weapons. Maybe we should add it to our training.” “I’d break every bone in my hand if I punched you,” I said. “You realize that’s the only thing saving you, right?

De young an old are doing it I have a rappin mudder Everybody has dere rap so let's rap to each other No matter what yu style or de hat dat yu are wearing Yu can even get away wida little swearing, Fuck.

At one point, Tommy wanted to have Scott Holmes (who’d been cast as Mike) also play Chris-R. Scott was supposed to pull this off by wearing what Tommy described as a “disguise”—a black Indiana Jones–style hat and horn-rimmed glasses—on the assumption that the audience wouldn’t notice.

She walked over to the tomato bushes, the centerpiece of the spectacular garden plot. In her mind's eye she could see her mother in a house dress that somehow looked pretty on her, a green-sprigged apron, bleached Keds with no socks, a straw hat to keep the sun from her eyes. Mamma never hurried in the garden, and she used all her senses while tending it. She would hold a tomato in the palm of her hand, determining its ripeness by its softness and heft. Or she would inhale the fragrance of pepperoncini or bell peppers, test a pinch of flat leaf parsley or mint between her teeth. Everything had to be at its peak before Mamma brought it to the kitchen.

great drummer, you’ve got more than 50 percent of it right there. It’s like the frame of a house. Kenny keeps really good time—at times it’s perfect time. But his style, his feel—he’s a little bit ahead, yet the hi-hat is right on the money. That feel is what I love. It’s got kind of a lean to it, and that’s what rock and roll is.

We did get out and walk around on the Strip. Jep, Miss Kay, and I posed for a picture with one of those big, painted picture with face cutouts--Jep was Elvis in the middle, and Miss Kay and I were the showgirls in bikinis with tropical fruit hats. We also splurged and went to see Phantom of the Opera. It was my first time going to a Broadway-style musical, and I loved it. I could relate to struggling to find true love. We did a little bit of gambling and card playing, and I remember visiting a Wild West town, right outside the city. Mostly, though, Jep and I were kind of boring our first year of marriage. All we wanted to do was stay home and spend time together.

It wasn’t much easier for young women in an age when they’re all so mindful of being trim that they practically live in exercise clothes, which leave little to the imagination. In my day one boarded an airplane in a suit, gloves, and a hat. However, last time I went to the airport, I mistook it for a fitness center. All the rules of appropriateness

I throw him a smile and pull on my suit jacket and then my hat. “Come on, what would you do?” He pauses for a moment and then lets out a low chuckle. “Just go. Maybe you two can sing in the rain Frank!” he jests, eyeballing my fedora. I throw him a sly smirk. “You may be the better looking brother Kyle, but you know I’m the one with the killer style!

The devil was smaller and rather younger than I would have guessed. He danced barefoot around the fire as he stoked it in preparation for my torment. The fiend wore a tunic of rough linen, leaves and sticks clinging to it, and a bycocket hat with a single feather in the style of bow hunters back home in Blighty. Bit of a ginger fringe. Scrawny and pathetic, really, for the prince of bloody darkness.

Victor Noir. He was a journalist shot by Pierre Bonaparte," St. Clair says, as if that explains anything. He pulls The Hat up off his eyes. "The statue on his grave is supposed to help...fertility." "His wang us rubbed shiny," Josh elaborates. "For luck." "Why are we talking about parts again?" Mer asks. "Can't we ever talk about anything else?" "Really?" I ask. "Shiny wang?" "Very," St. Clair says. "Now that's something I've gotta see." I gulp my coffee dregs, wipe the bread crumbs from my mouth, and hop up. "Where's Victor?" "Allow me." St. Clair springs up to his feet and takes off. I chase after him. He cuts through a stand of bare trees, and I crash through the twigs behind him. We're both laughing when we hit the pathway and run smack into a guard. He frowns at us from underneath his military-style cap. St. Clair gives an angelic smile and a small shrug. The guard shakes his head but allows us to pass. St. Clair gets away with everything. We stroll with exaggerated calm, and he points out an area occupied with people snapping pictures.We hang back and wait our turn. A scrawny black cat darts out from behind an altar strewn with roses and wine bottles,and rushes into the bushes. "Well.That was sufficiently creepy. Happy Halloween." "Did you know this place is home to three thousand cats?" St. Clair asks. "Sure.It's filed away in my brain under 'Felines,Paris.

Why I Like Being Baldy • Never have to pay for a haircut • No need for styling • The birds love it • You can get together with a fellow baldy and pretend to be a pair of tits • You can pretend to be Ming the Merciless, Emperor of the Galaxy, with more conviction than people with hair • It makes you look hard • Richard O’Brien • You can draw a line down the middle of your head and pretend to be a cock • A hat will always fit • No dickies • Save money on Shampoo • Time saver should you wish to become ordained into an order of Buddhist monks Why I Don’t Like Being Baldy • Can never make a balloon static to entertain a child • Might get mistaken for Ross Kemp • Lack of hair

The highest use of the great masters of literature is not literary; it is apart from their superb style and even from their emotional inspiration. The first use of good literature is that it prevents a man from being merely modern. To be merely modern is to condemn oneself to an ultimate narrowness; just as to spend one’s last earthly money on the newest hat is to condemn oneself to the old-fashioned. The road of the ancient centuries is strewn with dead moderns. Literature, classic and enduring literature, does its best work in reminding us perpetually of the whole round of truth and balancing other and older ideas against the ideas to which we might for a moment be prone.

a gentleman should turn to a mirror with a sense of distrust. For rather than being tools of self-discovery, mirrors tended to be tools of self-deceit. How many times had he watched as a young beauty turned thirty degrees before her mirror to ensure that she saw herself to the best advantage? (As if henceforth all the world would see her solely from that angle!) How often had he seen a grande dame don a hat that was horribly out of fashion, but that seemed au courant to her because her mirror had been framed in the style of the same bygone era? The Count took pride in wearing a well-tailored jacket; but he took greater pride in knowing that a gentleman’s presence was best announced by his bearing, his remarks, and his manners. Not by the cut of his coat.

Imagine a man between thirty-eight and forty, tall, slim, and pale. His clothes, except for their style, looked as if they'd escaped from the Babylonian captivity. The hat was a contemporary of one of Gessler's. Imagine now a frock coat broader than the needs of his frame--or, literally, that person's bones. The fringe had disappeared some time ago, of the eight original buttons, three were left. The brown drill trousers had two strong knee patches, while the cuffs had been chewed by the heels of boots that bore no pity or polish. About his neck the ends of a tie of two faded colors floated, gripping a week-old collar. I think he was also wearing a dark silk vest, torn in places and unbuttoned. "I'll bet you don't know me, my good Dr. Cubas," he said. "I can't recall..." "I'm Borba, Quincas Borba.

The girl didn’t want to wear the Beefeater-style hat she had on, and the dad wasn’t happy with his daughter’s tantrum. To be fair, it was an ugly hat, and making his child wear one probably went against the Geneva Convention.

The bedlamite little hats in which American women have tried to out-lunatic each other for the past four years prove conclusively we don't dress to please anyone. We're just docile sheep who accept what's given us.

Having Tourette's is wild, like being drunk all the while. Being on Haldol is dull, makes one square and sober, and neither state is really free...You 'normals', who have the right transmitters in the right places at the right times in your brains, have all feelings, all styles, available all the time--gravity, levity, whatever is appropriate. We Touretters don't: we are forced into levity by our Tourette's and forced into gravity when we take Haldol. You are free, you have a natural balance: we must make the best of an artificial balance.

Out of the first carriage stepped Bran, his hair loose and shining under a rakish plumed hat. He was dressed in a magnificent tunic and glossy high blackweave riding boots, with a lined cloak slung over one shoulder. He grinned at me--then he turned and, with a gesture of practiced grace that made me blink, handed out a lady. A lady? I gawked in dismay at the impressive hat and muffling cloak that spanned a broad skirt, and looked down at myself, in an old skirt Oria had discarded, a worn tunic that I hadn’t bothered to change after my sword lesson that morning, and my bare feet. Then I noticed that Julen and Oria had vanished. I stood there all alone. In fine style Bran escorted the mysterious lady to the new slate steps leading to the big double doors where I stood, but then he dropped her arm and bounded up, grabbing me in a big hug and swinging me around. “Sister!” He gave me a resounding kiss and set me down. “Place looks wonderful!” “You could have let me know you were bringing a guest,” I whispered. “And spoil a good surprise?” he asked, indicating the lady, who was still standing on the first step. “We have plenty of room, and as you’d told me in your letter the place isn’t such a rattrap anymore, I thought why not make the trip fun and bring ‘em?” “‘Them?’” I repeated faintly, but by then I already had my answer, for the outriders had resolved into a lot of liveried servants who were busy unloading coaches and helping stablehands. Through the midst of them strolled a tall, elegant man in a heel-length black cloak. I looked at the familiar gray eyes, the long yellow hair--it was the Marquis of Shevraeth.

As Grandpa McCoy, Brennan’s energetic hobble personified his indomitable reaction to hardship. Fans always asked Crenna if Brennan actually limped. “No, that was acting,” Crenna replied. “Off the set, Walter was like a Boston businessman. He was a very tall, erect, very proper kind of guy. But when he got into the character of Grandpa McCoy, no other actor could do that kind of character better.” Before taking on the role, Brennan went through entire wardrobes, rejecting many outfits, shoes, and hats, until he found the right long underwear and overalls. “Then he WAS Grandpa McCoy,” Crenna concluded. “You could say that it was his style of method acting.

The final day came, and I wore an outfit my mom and I put together from the $5 rack at a discount store. I had a Blossom-style derby hat, denim jacket, and a tie with pigs on it. (Remember, my cousin Sarah loved pigs, so I loved pigs.) It all made sense in 1993.

But this time, in the eerie, snow-swept glow of the flashlight, she not only heard, but also saw what had haunted her, as well. A translucent 19th century style hearse, pulled by a team of black stallions, their eyes aglow with an almost blinding green light. The driver, covered in a tattered greatcoat and top hat, and his eyes afire with the same greenish glow, paid no attention to her as he went about his work driving the team; saying only in his otherworldly voice, Giddyup! Then it was all gone, disappeared in the snow. She didn’t know if she were more mesmerized, or scared.

Stepan Arkadyevich had not chosen his political opinions or his views; these political opinions and views had come to him of themselves, just as he did not choose the shapes of his hat and coat, but simply took those that were in style. And for him, living in a certain social environment, where a desire for some sort of mental activity was part of maturity, to hold views was just as indispensable as to have a hat.

Behind the scenes, in a smaller room provided with geysers for the making of tea and large sinks for washing-up dirty dishes, a band of earnest workers was toiling at cutting bread at high speed to refill the returned empties from the hall in which the locusts were at work. Pile after pile of bread-and-butter was tipped on the plates which arrived, swept clean, through the hatches. The ammunition was provided by a number of women, armed with fierce and flashing breadknives and who brandished them with machine-like skill and precision. Each lady had brought her own tools, the better to get on with the job. Others continually replenished the tea urns from the steaming, spluttering water-boilers. Now and then, as one of the party left the kitchen for some purpose or another, there would be a brief pause whilst the rest criticised, verbally or by appropriate looks and gestures, her dress, demeanour, speed of work, contribution to the communal labours, or style of headgear — all the women wore hats, by the way — behind her back. Then they would turn-to again.

Berlin wrote songs for a number of Astaire films of the period: Top Hat, Follow the Fleet, On the Avenue, Carefree. The two men became close personal friends for the rest of their lives. But the choice of Astaire as a Hollywood leading man is, at first glance, puzzling. Certainly, he was an extraordinary dancer, and songwriters appreciated his accuracy and clarity when singing their songs, even if his voice was reedy and thin. But a leading man? Essentially, Astaire epitomized what Berlin and other Jews strove to achieve. He was debonair, polished, sophisticated. His screen persona was that of a raffish, outspoken fellow, not obviously attractive, whose audacity and romanticism and wit in the end won out. It didn’t hurt that he could dance. But even his dance—so smooth and elegant—was done mostly to jazz. Unlike a Gene Kelly, who was athletic, handsome, and sexy, Astaire got by on style. Kelly was American whereas Astaire was continental. In short, Astaire was someone the immigrant might himself become. It was almost like Astaire was himself Jewish beneath the relaxed urbanity. In a film like Top Hat he is audacious, rude, clever, funny, and articulate, relying mostly on good intentions and charm to win over the girl—and the audience. He is the antithesis of a Clark Gable or a Gary Cooper; Astaire is all clever and chatty, balding, small, and thin. No rugged individualist he. And yet his romantic nature and persistence win all. Astaire only got on his knees to execute a dazzling dance move, never as an act of submission. His characters were largely wealthy, self-assured, and worldly. He danced with sophistication and class. In his famous pairings with Ginger Rogers, the primary dance numbers had the couple dressed to the nines, swirling on equally polished floors to the strains of deeply moving romantic ballads.

Berlin wrote songs for a number of Astaire films of the period: Top Hat, Follow the Fleet, On the Avenue, Carefree. The two men became close personal friends for the rest of their lives. But the choice of Astaire as a Hollywood leading man is, at first glance, puzzling. Certainly, he was an extraordinary dancer, and songwriters appreciated his accuracy and clarity when singing their songs, even if his voice was reedy and thin. But a leading man? Essentially, Astaire epitomized what Berlin and other Jews strove to achieve. He was debonair, polished, sophisticated. His screen persona was that of a raffish, outspoken fellow, not obviously attractive, whose audacity and romanticism and wit in the end won out. It didn’t hurt that he could dance. But even his dance—so smooth and elegant—was done mostly to jazz. Unlike a Gene Kelly, who was athletic, handsome, and sexy, Astaire got by on style. Kelly was American whereas Astaire was continental. In short, Astaire was someone the immigrant might himself become. It was almost like Astaire was himself Jewish beneath the relaxed urbanity. In a film like Top Hat he is audacious, rude, clever, funny, and articulate, relying mostly on good intentions and charm to win over the girl—and the audience. He is the antithesis of a Clark Gable or a Gary Cooper; Astaire is all clever and chatty, balding, small, and thin. No rugged individualist he. And yet his romantic nature and persistence win all.

He steps to the lectern and does his Mussolini routine, which he’s perfected over the past months. It’s a nodding wave, a grin, a half-sneer, and a little U.S. Open–style applause back in the direction of the audience, his face the whole time a mask of pure self-satisfaction. “This is unbelievable, unbelievable!” he says, staring out at a crowd of about 4,000 whooping New Englanders with snow hats, fleece and beer guts. There’s a snowstorm outside and cars are flying off the road, but it’s a packed house.

What the fuck is that?” At the sound of V’s voice, John turned with the rest of them . . . and when he saw what was up at the head of the grand staircase, he blinked once. Twice. Twelve times. Lassiter was standing at the top of the carpeted steps, his blond-and-black hair styled in a pompadour, a heavy Bible under his armpit, piercings catching the light . . . But none of that was the real shocker. The fallen angel was dressed in a sparkling white Elvis costume. Complete with bell-bottoms, balloon sleeves, and lapels big enough to tent up the backyard. Oh, and rainbow wings that revealed themselves as he held his arms out, preacher style. “Time to get the party started,” he said as he jogged down, sequins winking and flashing. “And where the hell’s my pulpit?” V coughed out the smoke he’d just inhaled. “She’s having you do the service?” The angel popped his already mile-high collar. “She said she wanted the holiest thing in the house to do it.” “She got holey, all right,” somebody muttered. “Is that Butch’s Bible?” V asked. The angel flashed the goods. “Yup. And his BoC, he called it? I also got a sermon I did myself.” “Saints preserve us,” came from the opposite side of the crowd. “Wait, wait, wait.” V waved his hand-rolled around. “I’m the son of a deity and she picked you?” “You can call me Pastor—and before Mr. Sox Fan gets his panties in a wad, I want everyone to know I’m legit. I went online, took a minister’s course in under an hour, and I’m ordained, baby.” Rhage raised his hand. “Pastor Ass-hat, I have a question.” “Yes, my son, you are going to hell.” Lassiter made the sign of the cross and then looked around. “So where’s our bride? The groom? I’m ready to marry somebody.” “I didn’t bring enough tobacco for this,” V bitched. Rhage sighed. “There’s Goose in the bar, my brother—oh, wait. We don’t have a bar anymore.” “I think I’ll just run an IV of morphine.” “Can I put it in?” Lassiter asked. “That’s what she said,” somebody shot back

In his 1899 critique of upper-class values, The Theory of the Leisure Class, economist and philosopher Thorstein Veblen wrote, 'The dress of women goes even farther than that of men in the way of demonstrating the wearer's abstinence from productive employment. It needs no argument to enforce the generalization that the more elegant styles of feminine bonnets go even farther towards making work impossible than does the man's high hat. The woman's shoe add the so-called French heel to the evidence of enforced leisure afforded by its polish; because this high heel obviously makes any, even the simplest and most necessary manual work extremely difficult.' Women may no longer wear bonnets, and high-heeled shoes may no longer be seen as hindrances to employment, but the fact remains that 'the more elegant styles' are outside the reach of most working women. They require more money, more attention, and more leisure than the average working woman can afford. This is their point.

The caterer would like to use your sideboard buffet for the skull platters, raven plates, and broomstick-style forks. The florist will provide a bouquet of black roses. The cauldron punch and batwing cups will go on the dining room table." "Menu?" Amelia requested. "We'd discussed finger food last week. What did you finally decide?" Grace ticked off the items. "All the food is easy to eat while standing," she assured Amelia. "Chicken-witch fingers, miniature goblin burgers, chocolate crescent witch hats, ghost sugar cookies, pumpkin Bundt cake, sliced caramel apples, small popcorn balls, and a big bowl of candy corn.

Long had he believed that a gentleman should turn to a mirror with a sense of distrust. For rather than being tools of self-discovery, mirrors tended to be tools of self-deceit. How many times had he watched as a young beauty turned thirty degrees before her mirror to ensure that she saw herself to the best advantage? (As if henceforth all the world would see her solely from that angle!) How often had he seen a grande dame don a hat that was horribly out of fashion, but that seemed au courant to her because her mirror had been framed in the style of the same bygone era? The Count took pride in wearing a well-tailored jacket; but he took greater pride in knowing that a gentleman’s presence was best announced by his bearing, his remarks, and his manners. Not by the cut of his coat.

Madame Egloff, who stood, hands held out in front of her, expressing her admiration. ‘Please make the alterations, Madame, and have the gowns sent round to Brown’s Hotel by the weekend.’ Half an hour later, when they left Madame Egloff’s salon, Sophie had been dressed and pinned into each of the garments Matty had chosen, and promises had been made to deliver the clothes to the hotel by Saturday morning at the latest. * Monday morning saw them at Paddington Station being conducted to a private compartment on the train. Sophie had never travelled in such style before, being more used to the uncomfortable rowdiness of a third-class carriage, but Matty had insisted. ‘I always travel this way,’ she said. ‘The journey is quite tiring enough without being crammed in next to crying children and shrill women.’ Having directed the porter to place their luggage in the guard’s van, Matty had settled herself into their compartment with a copy of the new Murray’s Magazine, which she had bought from a news-stand at the station. Beside her on the seat was a hamper, provided by Brown’s, with the food and drink they would need for the journey. As the train drew out of the station and started its long journey west, Sophie felt keyed up with anxious anticipation and was grateful for the comforting presence of Hannah, ensconced on the other side of the compartment. Dressed in her new plaid travelling dress, with a matching hat perched on her head, Sophie knew she was a different person from the one who had sat at her dying mother’s bedside, holding her hand. No longer a young girl on the brink of adulthood... but who? There had been too much change in her life in the past weeks that she still had to come to terms with. Who am I? she wondered. I don’t feel like me! She looked across at Hannah, so familiar, so safe, huddled in a corner, her eyes shut as she dozed, and Sophie felt a wave of affection flood through her. Dear Hannah, she thought, I’m so glad you came too. When they had left Madame Egloff, Matty had taken Sophie for afternoon tea at Brown’s. Looking round the famous tea room, with its panelled walls, its alcoved fireplace and its windows giving onto Albemarle Street, Sophie

She wears blue shoes and a blue hat kind of elegance style.

Most important, I need David to feel at home. [...] Because as it turns out, home isn't a certain place. Home isn't even where I hang my hat. Home is wherever I'm hanging out with David.

Cheap never goes out of style.

She tells me he’s really cute, but she has such bland taste in men. She likes the men she thinks she’s supposed to like. Her boyfriend has a big beard and an undercut, because when they got together that was the in thing. The boyfriend she had when we first met was this NME-cut-out, landfill-indie looking cunt with a porkpie hat and a huge fringe. She liked Harry Styles a few years ago, and now she likes that white-bread, absolute fucking baguette of a lad from Call Me by Your Name.

while Moonraker was a massive orgiastic Freddie Mercury-style party, with Roger Taylor wandering around in a crown followed by a dwarf in a hat filled with cocaine, champagne vomiting from the taps and caviar spilling from the fridge, the producers woke up the next morning and surveyed the damage. Moonraker had been expensive – seriously expensive – and it was also, let’s be totally honest, a bit daft.

They fuck you up, your mum and dad. They may not mean to, but they do. They fill you with the faults they had And add some extra, just for you. But they were fucked up in their turn By fools in old-style hats and coats, Who half the time were soppy stern And half at one another's throats.

Chloe’s mom opened the door for Kim, then stared at her. She wore a black felt hat pulled tightly down to cover her ears and loose black jeans with a frumpy black sweater, like she was trying to disguise her whole body, not just her head. Round Lennon-style sunglasses with thick red lenses hid her slitted eyes. She stuck a gloved hand out and presented Anna King with a bouquet of flowers. “Here. I hope this is an acceptable hostess gift. Thank you for inviting me to the party. I’ve never been to one before.

Poirot seized his hat, gave a ferocious twist to his moustache, and, carefully brushing an imaginary speck of dust from his sleeve, motioned me to precede him down the stairs; there we joined the detectives and set out for Styles.

She shook her head in the Raisa Gorbachev-style fur hat she’d taken to wearing. Those Russian women, they knew how to deal with cold, and that was by throwing all sense of fashion out the window and essentially going out dressed as a bed.

allure /alyʀ/ nf 1. (de marcheur) pace; (de véhicule) speed • rouler à vive or grande/faible ~ | to drive at high/low speed • l'entreprise s'est développée à grande ~ | the company expanded at a tremendous pace • modérer or ralentir son ~ | to slow down • presser l'~ (à pied) to quicken one's pace; (en véhicule) to speed up • à toute ~ (conduire, marcher) at top speed; (réciter, manger, noter) really fast • partir à toute ~ | to speed off • à cette ~ nous allons être en retard | at this rate we're going to be late 2. (apparence) (de personne) appearance; (de vêtement) look; (d'événement) aspect • avoir des ~s de | to look like • il a une drôle d'~ | he's a funny-looking chap • tu as une ~ or de l'~ avec ce chapeau! | you look really daft in that hat! • ses vêtements lui donnent l'~ d'un bandit | his clothes make him look like a gangster • prendre l'~ or les ~s de | [changement, révolte] to begin to look like; [personne] to make oneself out to be 3. (distinction) style • elle a beaucoup d'~ | she's got a lot of style • avoir belle ~ | to look very stylish • une personne de belle ~ | a distinguished-looking person • le salon a de l'~ | the sitting room is stylish • avoir fière ~ | to cut a fine figure 4. sailing trim 5. (d'animal) gait

college boys working to return to school down South; older advocates of racial progress with Utopian schemes for building black business empires; preachers ordained by no authority except their own, without church or congregation, without bread or wine, body or blood; the community "leaders" without followers; old men of sixty or more still caught up in post-Civil-War dreams of freedom within segregation; the pathetic ones who possessed nothing beyond their dreams of being gentlemen, who held small jobs or drew small pensions, and all pretending to be engaged in some vast, though obscure, enterprise, who affected the pseudo-courtly manners of certain southern congressmen and bowed and nodded as they passed like senile old roosters in a barnyard; the younger crowd for whom I now felt a contempt such as only a disillusioned dreamer feels for those still unaware that they dream -- the business students from southern colleges, for whom business was a vague, abstract game with rules as obsolete as Noah's Ark but who yet were drunk on finance. Yes, and that older group with similar aspirations, the "fundamentalists," the "actors" who sought to achieve the status of brokers through imagination alone, a group of janitors and messengers who spent most of their wages on clothing such as was fashionable among Wall Street brokers, with their Brooks Brothers suits and bowler hats, English umbrellas, black calfskin shoes and yellow gloves; with their orthodox and passionate argument as to what was the correct tie to wear with what shirt, what shade of gray was correct for spats and what would the Prince of Wales wear at a certain seasonal event; should field glasses be slung from the right or from the left shoulder; who never read the financial pages though they purchased the Wall Street Journal religiously and carried it beneath the left elbow, pressed firm against the body and grasped in the left hand -- always manicured and gloved, fair weather or foul -- with an easy precision (Oh, they had style) while the other hand whipped a tightly rolled umbrella back and forth at a calculated angle; with their homburgs and Chesterfields, their polo coats and Tyrolean hats worn strictly as fashion demanded. I could feel their eyes, saw them all and saw too the time when they would know that my prospects were ended and saw already the contempt they'd feel for me, a college man who had lost his prospects and pride. I could see it all and I knew that even the officials and the older men would despise me as though, somehow, in losing my place in Bledsoe's world I had betrayed them . . . I saw it as they looked at my overalls.

Arwood Hobbes was bored, Not regular bored, Not your casual, rainy-day, Cat in the Hat—style bored that arrives with the wet, leaving you with nothing to do. It wasn't post-fun or pre-excitement bored, either. It was, somehow, different. It felt rare and deliberate, entire and complete, industrial and inescapable. It was the kind of bored that had you backstroking in the green mist of eternity wondering about the big questions without searching for answers.

Dean Martin, and Sammy Davis Jr. The cool kids of the 1960s invited the old man who had been cool before they knew cool was cool to join them in a musical romp that nobody took particularly seriously. Crosby enjoys himself. He has nothing at stake, since he’s not the star who has to carry the film. He’s very casual, and appears to be ad-libbing all his lines in the old Road tradition with a touch of W. C. Fields’s colorful vocabulary thrown in: “You gentlemen find my raiment repulsive?” he asks Sinatra and Martin when they object to his character’s lack of chic flash in clothing. Crosby plays a clever con man who disguises himself as square, and his outfits reflect a conservative vibe in the eyes of the cats who are looking him over. The inquiry leads into a number, “Style,” in which Sinatra and Martin put Crosby behind closet doors for a series of humorous outfit changes, to try to spruce him up. Crosby comes out in a plaid suit with knickers and then in yellow pants and an orange-striped shirt. Martin and Sinatra keep on singing—and hoping—while Crosby models a fez. He finally emerges with a straw hat, a cane, and a boutonniere in his tuxedo lapel, looking like a dude. In his own low-key way, taking his spot in the center, right between the other two, Crosby joins in the song and begins to take musical charge. Sinatra is clearly digging Crosby, the older man he always wanted to emulate.*17 Both Sinatra and Martin are perfectly willing to let Crosby be the focus. He’s earned it. He’s the original that the other two wanted to become. He was there when Sinatra and Martin were still kids. He’s Bing Crosby! The three men begin to do a kind of old man’s strut, singing and dancing perfectly together (“…his hat got a little more shiny…”). The audience is looking at the three dominant male singers of the era from 1940 to 1977. They’re having fun, showing everyone exactly not only what makes a pro, not only what makes a star, but what makes a legend. Three great talents, singing and dancing about style, which they’ve all clearly got plenty of: Frank Sinatra, Bing Crosby, and Dean Martin in Robin and the 7 Hoods

At the sight of the dozen assorted cupcakes, as bright and optimistic as party hats, Louise's eyes lit up. "How wonderful!" she said, clapping her hands together again. I handed her one of the red velvet cupcakes that I'd made in the old-fashioned style, using beets instead of food coloring. I'd had to scrub my fingers raw for twenty minutes to get the crimson beet stain off them, but the result was worth it: a rich chocolate cake cut with a lighter, nearly unidentifiable, earthy sweetness, and topped with cream cheese icing and a feathery cap of coconut shavings. For Ogden, I selected a Moroccan vanilla bean and pumpkin spice cupcake that I'd been developing with Halloween in mind. It was not for the faint of heart, and I saw the exact moment in Ogden's eyes that the dash of heat- courtesy of a healthy pinch of cayenne- hit his tongue, and the moment a split-second later that the sugary vanilla swept away the heat, like salve on a wound. "Oh," he said, after swallowing. He looked at me, and I could see it was his turn to be at a loss for words. I smiled. Louise, on the other hand, was half giggling, half moaning her way through a second cupcake, this time a lemonade pound cake with a layer of hot pink Swiss meringue buttercream icing curling into countless tiny waves as festive and feminine as a little girl's birthday tiara. "Exquisite!" she said, mouth full. And then, shrugging in her son's direction, her eyes twinkling. "What? I didn't eat lunch.

Zandra Rhodes Zandra Rhodes is a British fashion designer who specializes in innovative textile design. Internationally recognized for her glamorous and dramatic style, she was honored by Queen Elizabeth II in 1997 and made a Commander of the British Empire. Currently in high demand by the rich and famous worldwide, Zandra designed many garments for Diana during the nineties. Princess Diana married very young. She was a perfect, unspoiled flower with a strong, generous inner spirit, which she was probably unaware of when she married Prince Charles. She was thrust unprepared into the position of future queen of England. She had to grow up and mature in front of the public eye. That public eye was hard, judgmental, and unforgiving. Her strong inner spirit guided her to do things that normally someone in her position would not do--it would have been suppressed. Diana acted in a very genuine, caring, and natural way. I was bicycling to work in London along the leafy Bayswater Road in very casual working clothes when a huge official limousine passed me. Against the rear window were two beautiful hats; the car was obviously going to Ascot. The two young girls in the car were waving at me (very enthusiastically), one with golden corn-colored hair and the other one blond. They looked exactly like Princess Diana and Sarah Ferguson, the Duchess of York. I thought, “It cannot be them, they would not be so friendly, casual, and outgoing, and anyway, it’s the wrong side of Kensington Palace, and cars going to Ascot do not come along this road.” I pretended I had not seen them and carried on cycling. A few weeks later, I was fitting the Princess in Kensington Palace and she said to me, “Are you still riding your bike?” “Yes,” I replied. It was not until I left and drove my car out of the palace grounds that I realized the route took me exactly to the Bayswater Road, where I had seen the two waving girls! Princess Diana always tried to make me feel at home when I was fitting her. She would talk about the problems of being recognized: how she came out of her gym in Kensington High Street in the pouring rain and bumped into a famous actor. As he entered the street, he hunched his shoulders and put on dark glasses. Princess Diana said to him, “I hope they disguise you more than they do me!

What did the fish say when it hit a concrete wall?” he asks me. We’re sitting on the bank of a stream and he’s tying a fly onto my fishing rod, wearing a cowboy hat and a red lumberjack-style flannel shirt over a grey tee. So adorable. “What?” I say, wanting to laugh and he hasn’t even told me the punch line. He grins. Unbelievable how gorgeous he is. And that he’s mine. He loves me and I love him and how rare and beautiful is that? “Dam!” he says.

he worst mistake you can make is to force yourself to shop. The most important part of shopping is your frame of mind. How can you make a proper choice if you feel like the mistreated heroine of a soap opera? A frivolous hat or other bit of forbidden fruit are ideal for beating the blues, but stay out of the dress and coat departments until you feel enthusiastic. If your body isn't attuned to fashion, you won't look right in anything. And if you're depressed because you've gained a few pounds, don't buy something too small to grow down to. Lose the few pounds first then go shopping. [i] Remember, diets always start tomorrow. [/i]

The worst mistake you can make is to force yourself to shop. The most important part of shopping is your frame of mind. How can you make a proper choice if you feel like the mistreated heroine of a soap opera? A frivolous hat or other bit of forbidden fruit are ideal for beating the blues, but stay out of the dress and coat departments until you feel enthusiastic. If your body isn't attuned to fashion, you won't look right in anything. And if you're depressed because you've gained a few pounds, don't buy something too small to grow down to. Lose the few pounds first then go shopping. [I]Remember, diets always start tomorrow. [/i]

It’s amazing what some women are willing to do to tip luck in their favor. To everyone’s surprise, when the MC announces the bride will bestow the honor of future nuptials on one of the singletons, Aunt Carmelita nearly stampedes all over the women at the wedding. From the very back corner of the room, a slash of purple comes running—for my wedding, Carmelita decided that Barney purple would gather the most attention, and it did. Trust me, between the in-your-face shade of her dress, earrings, clutch and matching shoes, her frou-frou British-style hat, and the lime-green belt cinched at her waist contrasting with the whole outfit, it’s impossible to miss her.

That’s a trilby,” I said, referring to Mr. Mitchell’s hat and trying to show off at least some expertise. “Named from du Maurier’s novel, later made into a play,” said Oscar. “It was a style worn on stage.” “You mean Rebecca?” “No, Rosemary. George du Maurier’s Trilby. Not Daphne. That was his granddaughter. Now, Trilby also introduced into common usage the name Svengali. You see, it’s a story about power, about control . . .

Nobody knows a woman as her milliner does. This is because, for a woman, buying a hat is an emotional thing. When she is in the full glory of youth and beauty, she buys a hat to cap the climax of her glamour. When she grows old, she buys a hat to turn back a little the relentless hands of time. When life slips out of the even way, a woman buys a hat. Sometimes in joy, sometimes in sorrow, but always for a purpose that is mixed up with her heart, and always she buys for her figure. Her figure cannot change from one moment to the next – but I have seen her face perform just this miracle. And when I see her eyes brighten and her chin lift as she turns her head, I feel very happy for my hat. Women have come to me for a hat to make their dreams come true. (Sometimes they do.) They have come to me in disappointment or grief, for a hat to take their minds off their troubles. (It very often works.) They have come for a hat to hold a husband. (This is more difficult, but not impossible.) They have come for a hat to catch a husband. (This is easy.) Being a milliner is sometimes like being a doctor. I prescribe a hat covered with pink roses to drive the blues away. I advise a daring hat for the woman who feels that she is in a rut, and wants to get out. For the girl who wants to get her man, I make a young, innocent, romantic hat, to make her look like a flower.

TWO STYLES OF REASONING: PRINCIPLES-FIRST VERSUS APPLICATIONS-FIRST Principles-first reasoning (sometimes referred to as deductive reasoning) derives conclusions or facts from general principles or concepts. For example, we may start with a general principle like “All men are mortal.” Then we move to a more specific example: “Justin Bieber is a man.” This leads us to the conclusion, “Justin Bieber will, eventually, die.” Similarly, we may start with the general principle “Everything made of copper conducts electricity.” Then we show that the old statue of a leprechaun your grandmother left you is 100 percent copper. Based on these points, we can arrive at the conclusion, “Your grandmother’s statue will conduct electricity.” In both examples, we started with the general principle and moved from it to a practical conclusion. On the other hand, with applications-first reasoning (sometimes called inductive reasoning), general conclusions are reached based on a pattern of factual observations from the real world. For example, if you travel to my hometown in Minnesota one hundred times during January and February, and you observe every visit that the temperature is considerably below zero, you will conclude that Minnesota winters are cold (and that a winter visit to Minnesota calls for a warm coat as well as a scarf, wool hat, gloves, and ear warmers).

The Master of Shakespeare, by A. W. L. Saunders, after citing many of the above details, hung its hat on those similarities of poetic style while arguing that Greville, a famously amiable patron, had been the master of a long-standing collaboration marketed as “Will Shake-speare,” whose contributing members included Mary Sidney, Tom Nashe, Francis Bacon, Kit Marlowe, George Peele, and Samuel Daniel.