Evening star. [volume] (Washington, D.C.) 1854-1972, 1903-10-30
COLLARS AND CRAVATS
GREAT CARE SHOULD BE USED IN
CHOOSING THEM.
The Question Of Bright Coloring in
Masculine Neckwear-Shape Of
Cravat Should Suit Collar.


From the Haber1asher.
Fashions for men turn chiefly on the
dressing of the neck. Taste or thought
lessness shows Immediately in cravat and
collar. A few simple principles to be OBJ
served in selecting these essentials will
not only be helpful to men, but an aid to
clerks in providing different types Of Gus
toners with what will become them. AS a
piece of advertising literature for the hab-
erdasher the following suggestions will do
much to convince customers that the shop
offers intelligent service. When a man
makes an error in his dress 1t is usually in
his cravat Observation on the streets
will show that the average man buys era
watts thoughtlessly. Some have little natu-
raj taste. Others lack color sense. Few
have ever studied their own features or
figure with view to choosing becoming
cravats. The factors to be considered are
four-color. design, shape, material. Sins
of color and design are usually most pro-
nOunced, because men do not understand
color as thoroughly as women and because
there is greater range for error than
with shapes or materials. The latter are
not SO diversified.
Sign Of Danger.
Some men are color blind These unfor-
tunates wear violent scarlet effects under
the impression that they have a dark
green ANY color so it's red" is the
maxim of another class. who really love
this color but have no taste in selecting
beautiful shades.
in railroad signals. and the man who is
partial to it would better learn to dissrim-
mate between the offensive scarlet, vermil-
ion. cherry and rose and the beautiful car
dinal 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
what is at once pronounced and unoffen-
sive in color is depth. Scarlet has no
depth or richness, but ruby Is deep and
satisfying to look upon, as well as true
color. Artists discriminate between real
colors and false colors-"baby'' shades,
such as salmon pink and robins egg blue.
Yellow is most dangerous of all, and II
worn should form merely part OF the de-
sign against a dark background. Even
then it is risky. There are beautiful reds.
blues and greens, but hardly any beautiful
yellow. Light shades should also be avoid
ed-lemon, lavender, ecru heliotrope. 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.
The Timid Man.
AS the man of violent color sense is like
" to err, so there is danger that the man
afraid of colors will select effects that are
neutral, meaningless and timid. Those
who dress with most intelligence make
much of the cravat, and have ability to
use pronounced color without errors. Neu-
trail shades cause. the wearer to miss the
happy touch that sets off his garb and
draws attention to the face. Dark men can
wear colors more pronounced than men of
the tawny viking type. Men who have an
Of races
should endeavor to make their crayats
background, using quiet tones-and TINS
rule applies most of all to men who have
an excess of color in their hair or Deard,
particularly If that color be auburn. Where
cravats of solid color are worn the Wearer'
with his clothing, must FORM the pack
ground. Where vivid colors are intro
duced into dark materials as patterns
however, even so unmanageable color as
orange or lemon yellow may De worn, as
the dark material forms background ana
the flaming specks of color give nne eI
feet without bringing the face or clothing
into unfavorable contrast. After color, de-
sign plays the most important part In Sc
lection. Parallel stripes, plaid stripes,
checks and all such designs snoulu pe Sc
selected with caution. Small unit figures,
such as crescents, are preferable to squares
and polka dots, being less hackneyed ana
prettier in shape. 1t is even possible TO
express delicate sentiments by proper hg-
ures, as wearing a cravat with feur-de-l1s
in honor Of a Frenchman. Every man OF
taste avoids, of course, such figures as
jockey caps and similar assertive trade
marks. These are now disappearing from
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 1t Is
we'll to So I'd a note of warning against
satin cray. s. which belong with hlgh!y
polished collars, and against all materials
are merely freakish or faddish
Consider the Collar
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 intelligently
it is possible to tone down defects of ma
ture Violent colors call attention to a
broad face. Stout men Will do well to
wear four-in-hands tied snugly, as they
give a perpendicular line from the chin
which materially lengthens the face. If
the cravat have conspicuous stripes this
effect is heightened. Stout men naturally
favor low collars, which give horizontal