New-York tribune., 1920-11-28
Flowing Grace


cape without any of it's impractical
features. There is the comfort of a
rood. substantial long coat combined
nth the artistic outline of the flow
ing cloak.
That the cape Is never really ab-
sent from fashions proves that it
must have some great staying
power. There is some reason for
romen's always wanting it-for it is
\ always finding 3 ready acceptance.
What can this reason be other than
lis feminine grace? We may pirate
at length upon the practical in
dress, but the practical minus
beauty and artistic appeal never
finds real favor.
The cape has considerable roman
tic and historical background. This
probably bears a subconscious in
duence in its favor. Coming down
10 the purely practical, a coat is
made much warmer by cape falling
over the back, but cannot say that
this has anything to do with its hold
/ On fashions.
Il can be claimed, however, that
It's youthfulness does much for it..
Certainly coat of this type gives
It's wearer q much younger and less
staid appearance than the oldfash-
ioned practical topcoat, which put
the finishing touches IN more ways
than one on a perfectly good-looking
costume, for, no matter how smart
ones dress and hat might be, the
effect was lost through the addition
Of q prosy looking coat.
Where Parisienne
And American Agree
1T MAY safely be said that the
cape coat is one Of this winters
greatest successes. 1t is much
favored by both the Parisienne and
the American. A most interesting
cape coat from Premet is sketched
at the upper left of the page. Gray
velours de laine is used for it, and
the lining, which is satin, exactly
matches the cloth in color. This
coat has practically two capes, as
the large collar forms q short
shoulder cape at the back. A view
Of the back is shown at the left of
I the group in the circle. From this
s little sketch you will see that the
I large cape extends in a point at the
back. 1t falls to within six or eight
inches from the bottom Of the coat.
Ths other model sketched in the
circle shows the short cape which
Jenny hangs from the top Of high
mufiing collars Of fur attached to
suit jackets In this instance che
cape Is Of blue serge, while the collar
| is Of seal. You will notice that this
cape covers the back only. 1t does
not extend over the shoulders, as
many do.
AZ the extreme right /. coat
from Lanvin featuring the long cape
back which is almost the entire
length Of the coat, A soft shade of
gray duvetyn was chosen for this
model. There ara trimming bands
Of green sppliquo embroidery down
both sides Of the front, also deep
bands Of the embroidery on the full
sleeves. The high fur collar and
small hat are Of gray squirrel.
Cape Back Effects
}, Feature the Suit
| TIE pleated cape back, almost In
the form OF a panel, Is novel
o1t not likely TO And the favor that
me plain cape backs have. Some of
ne Dest French makers feature the
4 cape back Of fur, not only on long
coats out on short box coats, making
.'oeSe cape backs the same length as
q The coat itself.
=
4ns eaps back effect On suits ia
2'" noted feature. One very at
''ac''ve model Of blue serge has a
1'xa moleskin collar, from the back
81 which hangs cape reaching TO
'os' below the waistline, while the
~s'0a' jacket. IF box cut. faus
1