The New York herald. [volume] (New York, N.Y.) 1920-1924, 1922-04-30

dict for the sandal and the openwork
slipper. 1t was only when the masses
began to copy the leaders that the manu-
facturers set their machines to the new
type of footwear, and when the country
could buy all the French shoes it wanted
the leaders threw the last aside and
adopted something else.
What Is true of shoes Is true of
many other commodities Good and re-
liable industrial reasons may be back of
this conservatism. The amateur cannot
help but feel that the losses must be
tremendous.
The Army Insignia ON Jackets.
The truth of the situation. therefore,
Is that those who design clothes picked
up the features that were ignored last
year. They decided to make them con-
spicuous this year. They produced a
multiplicity of small and clever features.
They put plaits where plaits had never
been. They diversified the sleeves. They
emphasized the separate piece of fabric
over the shoulder and top arm. They
put monographs on the front of Jackets
and blouses, embroidering them in colors
against bright red patch of cloth.
OF these two latter features there Is
much to say. Both are taken from mill
fled and feminized so that they would
be made gracious additions to women's
clothes. No woman should be ignorant
of the fashion for the frightened shoulder
line and the ornamental effect given by
an inserted piece. The latter may be
plain or ornamental. 1t changes the
movement of blouse or a jacket. 1t Is
as conspicuous as the epaulette on
soldiers coat. 1t is really taken from
L.~r~ x1t he
draped skirts. the hip girdle. the floor
length sleeve, the flowing wells from the
back of hats, the banded row. the long
tight sleeve, the fullness on one side OF
a narrow skirt the huge ornament with
tassels at one hip.
This shoulder piece, however. Is
fashion taken from medieval men, not
women. 1t can be observed on the chain
mail cuirass. Its origin was the need OF
protection to the shoulder. Men fought
with swords and their right arms swung
the blade through the shoulder OF the
opponent and severed the arm at its top.
The reason for the curious brass orna-
mentation on the shoulder of the khaki
uniforms worn by the Indian officers
among the English troops in the late
war was that the earliest English fight
ers in India found their shoulders unpro-
tected against the swords of the natives.
1t was a woman, an English woman,
who sewed pieces of brass and copper
on the coat for her husband when he
went out to battle IN India and her In
genuity led TO the brass protective ep-
aulette used by English soldiers
One could write more than para
graph on the strength of this modern
ICED epaulette. 1t has taken the French
fancy and 1t has grown into an import
ant adjunct to every garment that goes
over the shoulders. Watch 1t for your
self. and see how you can work II into
your own costumery.
The second military feature thatshas
sprung up in feminine clothes Is the
monogram embroidered on the chest.
The French like the American dough-
boys insignia on a red square plastered
on his arm. They were fascinated by
the wildcat, the sun, the A. Q of the
Army of Occupation. the fieur de lys.
marking the divisions to which men be-
longed In copying this idea they put
| the monogram of the woman on square
OF red cloth and pasted it on the chest
| of the Jacket or blouse. not on the arm.
The Growth of the Cravnt.
There was an effort TO popularize the
| cravat months ago. 1t was one of the
| left overs from the autumn collection.
| This spring IL stands high.
America showed 1t around Christmas
time as an adjunct to a blouse with an
open neck. II was wound about the
neck, folded over itself in front and
dropped in long ends to waist or knees.
II filled In the hiatus between the chin
and the coat collar. II was promised
that IL would take the place of small
fur scarf. IT didn't
Then 1t reappeared as real cravat
on blouse. Paris took UP the Peter
Pan collar invented by the Americans,
also the tuxedo collar, and found each
or these a good foundation for an i'm
mense cravat. Suddenly the Paris
women began to wear high rolling COLI
| lars as a part of their white lingerie
blouses held In place by big cravats
that tied loosely In front These cravats
we're mostly black. They made good
finish to plain white blouse. There
fore they appeared on one piece frocks
One of the curious ideas OF the season
worked out on a black crepe de chine
frock Is the placement of an immense
gray silk cravat at the neck to match
gray scallops that edge the Peter Pan
collar and reappear at sleeves, hip and
hem.
There are jackets with cravats. These
are intended for sport wear. The collar
itself forms the cravat IL ties In a.
loose knot below the waistline. the ends
hanging to the knees.
And. by the way, there is a return to
high fashion OF the white lingerie blouse.
II the skirt is properly cut, which means
IL IL Is dropped low on the hips and fin
Ished with stitching instead Of belt.
the blouse is tucked inside OF It. n II Is
high the blouse goes over II. finishing
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