The Connecticut labor press., 1921-01-14
Coat With Cape
Over the Back

| successes. It Is much favored by
both the Parisienne and the Ameri-
| can. A most interesting cape from
Premat is gray velours de laine, and
the lining, which is satin, exactly
| matches the cloth in color. This coat
has practically two capes, as the large
collar forms short shoulder cape at
the back. The large cape extends in
point at the back. 1t falls to with
in six or eight inches from the bot
tom Of the coat.
Another model shows the short cape
which Jenny hangs from the top Of
high muff1ing collars Of fur attached
to suit jackets. In this instance the
cape is of blue serge, while the collar is
of seal. This cape covers the back
only. It does not extend over the
shoulders. as many do.
A coat from Lanvin features 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 are trimming bands
of green applique embroidery down
both sides of the front, also deep
bands of the embroidery on the full
sleeve.
Cape Back Effects Feature Suit.
The plated cape back, almost In
the form of a panel, is novel but not
likely to find the favor that the plain
cape backs have. Some of the best
French makers feature the cape back
of fur, not only on long coats but on
short box coats, making these cape
backs the same length as the coat IT.
self.
The cape back effect on suits is
also a noted feature. One very at
tractive model of blue serge has a
high moleskin collar, from the back
OF which hangs a cape reaching to
just below the waistline, while the
actual jacket, Of box cut, falls straight
to the hipline and is embroidered
around the hem with gold and royal
blue threads. The coat fastens with
two buttons just below the high fur
collar, and again with two buttons at
the bottom.
Another interesting model is of to-
bacco brown duvetyn. with the cape
back cut in one with the sleeves. This
cape is edged with two-inch band
of applique embroidery, the en-
broidery again appearing down the
sides Of the coat itself.
Heritage of the Middle Ages.
A second type of topcoat is that In
which the moyen-age effect is carried
out. These are Of long, straight cut.
sometimes with bodice part hanging
straight to just above the knees.
This very long-waisted effect, with
the upper part of the garment hang
ing straight, appears to be one of the
essential features of this winters
clothes. 1t has not been carried out,
however, in such a marked way in
coats, as the means of embodying 1t
in a coat presented considerable diff
Guilty. 1t was thought at first that
what was suitable for a dress was
not always adaptable in a coat. Now
that coats have become so close akin
to frocks, the chara cter istics of one
belong quite as much to the other.
One French coat shows full flounce
gathered to the upper portion at this
point, thus forming the lower part Of
the coat. The founce is cut at inter-
walls in fishbone shape to show velvet
underneath, the coat itself being of
cloth.
The long coats shown by Jenny are
of straight cut and in most instances
have the belt, or semblance of a belt,
placed at low waistline
This model is developed in navy blue
velours de laine trimmed with bands
of royal velvet down the right side
to the edge of the coat, forming the
belt, deep cuffs and high muff1ing col
lar. The ornament and tassel, used
on one side Of the coat only, are Of
royal blue silk.