The Bozeman courier. (Bozeman, Mont.) 1919-1954, 1924-08-27
Where Styles Come From.

Where Styles Come From.
Did you ever stop to think Just
where the idea for your last new
gown or hat came from?" asks Mrs.
Nellie Jacobs, instructor in textiles
clothing at the State College of
Washington department of home eco
Monies.
Just at present styles have often
some Chinese influence showing n
the straight lines or brilliant band
lngs OF Nah Jong characters, birds,
and flowers and circles embroidered
IN reds, ~yeiiows, blues and greens.
perhaps a panel on the side of your
dress is braided in exact copy of the
outline of a gothic church window.
An embroidery motif may be a copy
Of a rose window in some well-known
cathedral.
"a hat topped with yellow nay
have been inspired by q bowl of yell
low daffodils "a green and white
blouse by a bunch Of lillies-of-the-val-
ley. The spit skirt OF several as
ago was inspired by the decoration
on an old Greek vase.
"Historic costume is often . basis
for the design of our modern clothes.
Great events in our world and ma
tiOnal history have their effect on
design. At the time OF the Crusades
in the 18th and 18th centuries, many
fabrics were enriched with winged
4 lions, crosses, crowns, rayed stars
and birds.
= The World war brought many ma
- tions close together. The effect of
this or design was the use of the
.ostumes IF these centuries as in
spiration for new fashions for Us.
We have Russian b~louses, helmet hats
l G. meta. cloth, peasants smocks from
q rance and Belgium, brilliant colored
embroideries from Russia, France,
n Italy and Belgium.
"The discovery of King Tut's tomb
4 brought into fashion many Egyptian
a motifs for embroidery, printed silks
and the like. The mummy dress
Gorgeous bracelets, necklaces we
have had, until now we are ready t.
e accept anything other than that wha-
IN has been called Egyptian.
"The airplane inspired a hat will
% wide ribbon bows; a certain dress /
suggestive of a lamp shade; anOthe
le Of a bird, with its train like sweep
q ing tail feathers.
"The more or less extreme design
worn on the stage are a fund of in
SEPARATION to dressmakers. The de
= signs are usually modified to NOR
nearly meet the needs of the genera
public. Changes of styles are no
q by any means altogether the resul
Of the dictation of the designers. /
, one sense they merely meet the de
mands made upon them, and perhap
e are the result of a national cravin
- for variety.
cat present we think Of Paris a
!, being the center Of fashion and a
- the origin Of all pertaining to styl
= or fashion. Paris borrows from he
neighbors, and adapts to her need
what she finds outside her borders.
~ at is interesting to remember thu
he up to the 18th century Italy was tn
center Of fashion and custom. Tn
change was brought about partly b
bo the able prime minister of Louis XII
and also by the turning Of the traC
in silks from Italy to Asia becau'
of the discovery of a new shippir
route around the Cape of Good Hop
,or "Napoleon's various campaign
brought into France the accumulate
treasures of centuries which BEGAN
the source Of inspiration and left
characteristic imprint on the period
SEES "The U. S. government published
the 1894 a report that the result OF !
Id researches showed that the san
70 swastika used in prehistoric Amer
for had also been found in India, Easte
on Turkistan. Northern Europe, Soutne
,er Europe. Asia Minor Greece, Ron
North Africa, and Byzantium.
of at is not found that any one cou
ear trv uses only its own designs IN
cen tifs. and 50 on, but from the beg
ming Of time they borrowed from I