Okay, I have six hats, 2 from Art, 2 from Gus, and 2 from Optimo. Art once said he dreads being a person's first hatter and I see why, I needed several hats to figure out what I wanted and what I felt looked good on me, basically a 1950's model with center dent and not too high a crown. Art veers heavily to the 1940's. I prefer his felt the most, simply from its feel. Graham was extremely meticulous about copying a picture. Gus is unpredictable in every way, each time he sent me a hat I was not even aware I had ordered one! From a sensual standpoint, all have lovely felts but Art's are my favorite. 1) What is the quality of a brim being "snap?" Art's brims have this quality the least, and I prefer it more (whatever this is), it makes shaping the brim easier. Gus's have it the most. 2) How do you know that the bash is correct? The hatter bashed the hat in each case, obviously the felt is flexible but has memory, how do I know I am wearing it with precisely the right bash? 3) Do fedoras = formality? I mean, are the most formal cities (NYC for example, in the USA) the ones with the most fedoras? What about Europe? I am speaking strictly to winter now, warm weather is a different topic. I had Art re-bash the first hat he made me and I had Graham cut down the brim of the Milan straw he made me, so you know I am trying to find my style. 4) Will the crowns become less tall ("taper," sic) with time? This is something I am having trouble understanding. By the way, I have not solicited hats or messages from anyone besides these three artisans, and every time I post, I am peppered with "wisdom," mostly about Art Fawcett's failings, which I know is incredibly vexing to Art. I have no part in that dispute, and I don't mean that in the "both parties are equal" sense, I mean it in the "Holocaust: Pro or Con?" sense: I REALLY have no part in that and Art is everything people here have promoted him as, an extremely competitively priced hatter with good-quality felts and materials. As I said, his house style is not mine (1940's versus 1950's) but that is not Art's fault or problem. I know that merely mentioning a special someone gives the appearance of somehow sympathizing with him, but you have to understand that my interest in what that special someone wrote only peaked after the 50th or 60th message, not after the first or second. They have a hypnotic quality that is difficult to explain, kind of like a traffic accident or that character in "No Country For Old Men" Anton Chigurh.