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and Paris. After a stint as a secretary
in the Paris sales office of Vogue
magazine and the New York office
of Lancome, a French cosmetics
firm, she started designing and
selling hairbows. Happily (and
surprisingly) for her, they became
the major accessory trend of 1976.
"That's when the whole thing
started. I made bows that were very
ornamental and very different from
everyone else's," says Moore from
her old-fashioned hat shop on
Manhattan's Upper East Side, "and I
just learned by doing it. I had no
idea when I made my first bow that
something like this would happen."
The transition from bows to hats was
a natural; a year later she made 18
hats and brought them to Bergdorf
Goodman's, where they were sold
on the floor within three days.
"Every time I design a line, I
take everything into account. I go
back and forth to London a lot. I like
the way people are dressing there
right now. To me, it's very fresh and
new. I try to combine that influence
with a little bit of the French look,
always giving attention to the
smallest of detail," she says.
For Moore, the design process
is ongoing. "In one day I can literally
make up four or five new styles," she
says. "It's just a continuous out-
pouring of ideas. I shop the market
for the materials and fabrics, lay it all
out in front of me, and sew for three
or four days straight, especially while
working on a collection."
That frenetic pace results in
styles that are far from subdued. This
spring's collection offered 120 styles
centered around her trademark hats
trimmed with silk apples, bananas,
grapes and watermelon; a multitude
of flower hats; multi-color weaves;
natural straw; and miniatures in
bright color combinations.
"The woman who wears my hat
is very comfortable with herself," she
says. "Every woman has a different
viewpoint of how she wants to look
and a hat is such a personal thing.
It always amazes me how a certain
hat can give a different look to each
woman."
Moore's styles are so unique her

