The Indianapolis journal., 1903-11-15
NECKWEAR FOR MEN.

The Haberds sher.

ing Collars and Ties.
| The Haberdssher.
| Fashions for men turn chiefly on the
| dressing of the neck. Taste or thoughtless-
ness shows Immediately in cravat and col
| lar. A few simple principles to be observed
| In selecting these essentials will not only
| be helpful to men, but an aid to clerks in
| providing different types of customers with
what will become them. AS piece Of adj
vertising literature for the haberdasher the
| following suggestions will do much to con-
vince customers that the shop offers intelli-
| gent service. When a man makes an error
In his dress 1t is usually in his cravat. OBJ
| servations on the streets will show that the
average man buys cravats thoughtlessly.
| Some have little natural taste. Others lack
| color sense. Few have ever studied their
| own features or figure with view of choos-
| ing becoming cravats. The factors to be
| considered are four-color. design, shape,
material. Sins of color and design are
| usually most pronounced, because men do
not understand color as thoroughly as
| women, and because there Is a greater range
| for error than with shapes or materials.
| The latter are not so diversified.
Some men are color blind. The unfor-
| tunates wear violent scarlet effects under
4
| ANY color 80 it's red' is the maxim of an
| other class, who really love this color, but
| have no taste In selecting beautiful shades.
| Red is the sign of danger in cravats as in
railroad signals. and the man who is par
| tial to it would better learn to discriminate
| between the offensive scarlet, vermillion,
| and terra Gotta effects. These are warm
| and rich. Light shades Of blue should be
avoided, such as robins egg. Sapphire is
| an excellent blue. Green is color more
neglected than all others, yet with its own
possibilities. The true test of what is at
| once pronounced and unoffensive In color Is
depth. Scarlet has no depth or richness, but
| ruby is deep and satisfying to look upon,
| as well as a true color. Artists discriminate
| between real colors and false colors-"baby"
% egg blue. Yellow is most Sm 4anxerous o o of all
| and IL worn should form merely a part Of
| the design against dark background: Even
| then 1t is risky. There are beautiful reds,
| blues and greens, but hardly any beautiful
| yellow. Light shades should also be avoided
Lemon, lavender, ecru, heotrope, fawn and
similar weak hues. For the man who likes
| light cravats there is a satisfactory range of
grays and the silvery blends of black and
| white. But dark shades are less likely to
| be wrong than light ones.
| AS the man Of violent color sense Is like
| ly to err, SO there Is danger that the man
| afraid Of colors will select effects that are
neutral. meaningless and tmid. Those who
| dress with most intelligence make much of
the cravat, and have ability to use pro-
nounced color without errors. Neutral
|
touch that sets off his garb and draws at
| tention to the face Dark men can wear
| colors more pronounced than men of the
tawny viking type: Men who have an ex-
| cess of healthy color In their faces should
endeavor to make their cravats a back
ground, using quiet tones-and this rule ap-
plies most of all to men who have an excess
| OF color In their hair or beard. particularly
| II that color be auburn. Where cravats Of
solid color are worn the wearer. with his
| cIothing, must form the background.
l COlOrS introduced
| materials as patterns, however, even so un-
| manageable a color as orange or lemon yell
low may be worn. as the dark material
forms background and the flaming specks
of color give a fine effect without bringing
the face or clothing into unfavorable con-
| trast. After color, design plays the most
stripes. plaid stripes. checks and all such
designs should be selected with caution.
| Small unit figures, such as crescents, are
preferable to Squares and polka dots. being
less hackneyed and prettier in shape. 1t is
| even possible to express delicate sentiments
by proper figures, as wearing a cravat with
| fleur-de-lis in honor of a Frenchman. Every
man of taste, of course. avoids such figures
as jockey caps and similar assertive trade
the market, happily, being put out Of the
reach of unthinking men like matches out
| of the reach Of children. AS for material,
there is little room for errors, but it is well
to sound note of warning against satin
cravats. which belong with highly polished
collars, and against all materials that are
| merely freakish or faddiSh
When the shape of the cravat suitable to
different types of men is considered one
must also consider the style of collar.
Both depend on the face and figure of the
wearer.- By dressing the neck intelIigentIy
II is possible to tone down defects of ma
ture. Violent oolors call attention to broad
fn-hands tied snugly, as they give a per-
pendicular line from the chin which ma
terially lengthens the face If the cravat
have conspicuous stripes this effect is
heightened. Stout men naturally favor low
collars. which give horizontal effect;
broadening the face High collars should
be worn. The high-band collar is prefer
able. and next come plain standing collars
| that meet or have small wings. If these
fit snugly under the chin they will give lit
tie discomfort. Stout men accustomed to a
low turn-down collar will be surprised to
| learn how high collar may be worn with
comfort if 1t fits snugly. Men are inclined
larger than the shirt band are best. Those
the same size the shirt band may be
buttoned comfortably. Ties give the hori-
zontal line that accentuates broad face,
and should be tabooed by the portly. Thin
men will find that ties make the face ap-
pear wider, % especially If II they have 2 hori- ri
hand should be large and tied loosely, and
his collar should have wide openings or
fiaring wings. Diminutive men should avoid
| small cravats, which add to their diminu-
tive appearance. Care should be had to
| avoid the big cravats and collars, that look
well only on big men.
bosom have little effect one way or the
other. They are neutral. and may be worn
by all men. Elderly men who wish to
| throw off some of their years can some
times do so with bit of pronounced color
or a shape belonging to youth. certain
line must be observed, however. The boy
ish ties in favor with some oldsters like
hanging braids on matr0n or fifty. Young
men should select neckdress In keeping
with their years, eschewing the dtgnified
| shapes that belong to maturity. Youth per-
mits a reasonable freedom In shapes and
| coIors. Whatever the age, complexion or
figure, careful attention to the dressing OF