^6 z'??^ MANUAL foi a MILLINERY DEPARTMENT Prepared by The Research Bureau for Retail Training CARNEGIE INSTITUTE OF TECHNOLOGY PITTSBURGH. PENNSYLVANIA GEfiERAL S-c2il£S NO, 5, 1923 LIANUAL FOR A MILLINERY DSPARTMEKT Prepared for the excloisive use of BoggB & Buhl Frank & Seder Joseph Home Company Kaiif mana.-' s Lewin-Neiman Company Ueyer Jonas son & Gcmpany The Rosenbaum Cocipany Th6 £iti0l>i2;:gh. ^tllaecboole Cooperating with the Researab Bttxoaa for Ro tall Smlning 1922 ^ ^^/o^a3 CARIJEGIE II^TITUTE OF TECHNOLOGY Jittcburgh, Ponnsylvacia C1A709893 JliL -2 1923 The information in this manual ^vas collected through selling; Ftuc'^ing the stock: in the diffei-ent stores; talking v/ith buyers-, assistants, and expert salespeople; and read- ing references on textiles. The racnuscript was submitted to the following buyers or assistants for crit?cir-m. The Bureau appreciates the help which tl^ey gave and takes this opportunity to than]-, them, Miss K. Ludden Boggs & fiuhl Llr. Sternberg Prank & Seiftr iliss P. Prentripp Joseph Homo Co. I4iss L. Becker Eaufoann's llTS. m. Ringle Lew in-Ef; -Iran Co. Jlr. 11. T. LIuhlf elder • lleycr JojDas^cn Co, MI'S. B. Long 2he.-ilo£6nta\m. Co. To Salespeople The facts given in this manual have been arr&nsei in oraer to be self-teaching for any saJ.bsperaon who really vrants to ^pply himself, Ihere :s given fii3t a question, th&n a ser'.os of Te^^ Qneiitions, First read the qvostxcn c^r^^^'iily ■^han the eT.^\7eT-> Then test yoi:rsexf oy seeing if you can ansv;er the test questiLin-=. . If you cannot, read the answer again, ff ycu read the manual conscientiously and t]ien answer the test qiiesc?on /loin^ •ruat la suggested ijo. each one you oannot hBiij- becoming a more intelligent and useful salesperson. One buyer said, "The information you have given here is information for salespeople who want to advance, — that iSj the infoncation they aust have- if they are going to be expert, and it is essential for buyers, or even assis- tszits.«' IIAMJAL FOH A lIILLIHERy DEP/iE'EIEHT CONTENTS Qftestion Page BOOK I. 1 24 30 15 22 Chapter I. Chapter II. Chapter III Learning Stock Values a Custcner Looks for in Buying Inforaation on Llate rials and HJanufao-ture necessary to Espiain ^TMues BOOK II. SP ECIFIG VALUES Ig MILLUSIEBY 56 50 Chapter I. Sfc2'-lG 66 63 Chapter II. Beconingnees and Suitability 73 74 Cloapter III. Serviceability and Confort BOQi: III. 79 80 Chapter I. 90 92 Chapter II. INFOKILIIIOH FOR REFERENCE Department Vocabulary Methods of Teaching BOOK '. Chapter I Learning Stock Ohajjter II Valiiei e- Customer Looks for in Buyia,~ Ghai)ter III Infc-^uSP.tioii on rate.r.'ris ard IK-nafac- lJ3cesss.ry to E5:'j?.a*.n \'ai.U3s CHAPTER I LEAPITNG STOCK 1. "What is meant by . leamiag stock? Learning stock means firding out what articles are. carried in the department and where they are kept. 2. For whom is this divisio n especially Important,?,, It is particularly for new salespeople. If the instructor thinks best, it need not be discussed at all with experienced salespeople. 3, How nay a nev/ £fty»cn learn stock? • She may learn by: (1) Paying close attention when she is given any instruction by the sponsor, the arisistant or the head of stock; (2) Observing the merr-hanaisr. rjarefully durlnj: her spare iioments and also whi/.e she 5.~. sellluc; (5) Asking questiour, freely of the head of stock or of some one else who is Eup:,>osed +.0 hc.'p nf^v peonle; (4) Actual sellin^i <-^f goods .ona casing for stonk; (5) Testing herself to see whethtr or not she rfjmrmbers whore certain hats are k<^;pt These points will be taken up lat^r. location of Sto -.k 4, >'/hat d ivisions nay b e made in learning stock loc ation? It seems helpful to divide the msrchandis'^ into f onward and re- serve stock, rorvard stock refers to nerohandxce en the Ee?.ling floor reservp to stock from which the ior..'am stock Is f riled. In mil lire ry reserve stock is not usually the exact duplicate of that already on the floor, for excep;; in the case of untriioncd or sale. ha\;s, a large numbe^y of idonMcal styles aie not borght. Re.=oi-v,3 here sraply means stock wh-ich wiM be put in as the haos on chd f.icor are sold. These hats may be up in the worK^oom or simply stored rntil used^ Fo::ward stock m^y bft subdivided into sale and regular stock. Salo ptock includes mai-chacdisf: that has either been bough;, in large quant? - tiPS at a con'^es'^Aon for iur'-ck turnovex', or merohancise out of regular s';of-k which has been reduced, 3-.les o:;(.\ir frequently at the and of a season :,.-n order co ge^; rij of old aei-chandise before the next rearcn conmences, tale mec-chand.^ Fe is also xeatnared durircj the season to draw trade, 3 few exceptional values being offered as leaders. T est Questions. 1. w.iat is fonvard stock? - z - 2. How may It be divided? 3. V/hy is this division important? Bhat nay be done to help a new sa3.esperson learn the location of stock? The new salesperson will protably be giren certain Btock for Which she is held responsible and whr.w*. she must learn thoroughly, learning the other merclandise about her gradimlly. (1) .Vo»«6 abot.t'.tJse steals: 5,a"?;3ie iV"?>t^^w»*4 Before she is assigned to her stoclc she shouTd.be taken ^bout the department and sh9\m v;:iore ths uk'iiji c*asoss of q'jC^.b are kept. For instance, Bhe shouXd be told,. " Trirar.iing£ ai-e sc.^d at t-his counter, untrlnaned hats here, children's hats over there, &.->:A i;iie expensive hits in xhe French rooms." In this vaay sha can direct cusocuprs waere they want ';o go. If certain tables are reguie-iiy usea for aj.y cp^'^ia? ijype or gi-ade of merohan- dAs© this should be ezp^aiacd -o the nu\7 girl. For example, if a certain aisle is likely to have on it the cheapest hats in the department, say so. (Z) i^ots about her amx stock The new salesperson will probably be assigned to one table or at least to a small gi-oup of tobies, and she should be ^^old to noiice the following points about the merchandise on these taoles: 'vVhat materials are carried " styXes " " " colors " " " sizjs II »i " prices '• " 1. Materials Point out the aif f erent materials to her* for instance, in wl&ter hats, a duvetyn, beaver, plush; in stra 's, a Milan, Leghorn, lisere, horse-hair; in spring materials, celophane, etc. Then ask her to show you one or more of each till you thinlc she is- sure of the ma- terials* In trimmings, the particular stjrle of trim will largely de- termine the nB.terial used, such as feathers, ribbons, flowers and oma- ments, but it is ^Iso I'ell to :<:io-7 the c.iffexent materials used in the different kinds of trLns. In feathers, for instance, point out ostrich, aigret, coque, pheas.nt; in flov\/ers, those made of satin, muslin, velvet; in ribbons, faille, cire, iaoi.-e taffet, t-./o-toned satin; in ornaments, Jet, steel, "«>oden beaos, etc. 11. Styles Tell her the number of different styles on her table and poj^it them out. Say, for instance, 'There are three styles on t>iis ta>lo. - 7, Here 5.s a turbaa or tnrr,i<). a rolled ^.Tim .-.ar.lor, and a trJcom. I^ese come in difxeren-i icatur.'als and colors but there are really only three styles to remember. In triiaming, the style will be determined largely by the material — feathers „ ornaments or ri'b'fjon- Sihe difforonc It.'.r.ls ox' styles in each kind oC trJXJin^.ng shoulo. 'ba noted, su'ih aw 5, rl.rmes, pocpons, quills, wings, etc, in feathers; single and clustered flowers or firuit, . whether small or large; plain and farcy ribbon, i^sed ar> br-.ndc, "bows, rosettes, etc. Ornaments come in a wide variety of styles fiom cabo- chone to small beads. iii» Colors Tell her to notice the different colors. Have her look and find out v/hat t\70 of the hats come in any one of three colors, for in- aitanoe, navy, bro^'m and blaok, and that other styles como in only one color. In tr.imnlng it is jjiipor*^ant to know the combinations of colors used in ti'j-rraing as v/ol] as th: predominating color. Care should be taken to call them by th-a new color used for that season, sach as "Tangerine", "reseda", "imisT;" , iv. Size Some hats run small and the salesperson should know what these styles are. k?t,o untrinmed hr-ts somet.^raeo come in several sizes aad this should be knciOi, Usizally ohildrer's h:.ts are sold in a separ- ate section so that there xs i-o confusion about misses' and children's Size •. It is also important to know what sizes the trimnings come In^ The length of the feathers, the width of the ribbon, the rizo of the flo\vers and hd*' manj' Liake up a cluster are ■'.tems *'o conrider, for example, in the triumings section. Tf. Prices Point out to her the number of prices at her table and sho-:? her something definite to remember about each ore. Por example, thr* plush hats sell for $ while the felt mas: x>-'ji.v ,J| up. (3) Reserve 2^11 her if there is any reserve of the merchandise r.he is selling. If they ure in the department, shov; her v/liere ohe cau g.Tt them. If she is to ask somebody about them, tell her jr^t whom to ask. Test Quo.'? t ions 1» V5fl:at would you rel.v a new salasperson about the stock in the dspa^-trcont'? 2. Ha^^'e you knc"m ■;£sey when now girls were given no information at all? '/That was the / - 4 - result? 3. Vihat ^vculd you tell a nwr salesperson anrl show her aViout uiaterials? 4. Eeplain just what you v/ould show her about sty? es . 5. Hov; could you help her about colors, sijtes and prr'ces? 6. Mention tv/o things that a new salesperson should be told about reserve stock. C are of S-';ock 6* What is meant by "care of stock" and v/hy is It important? Care of stock means keeping the merchandise in good conlit-on and in such order that it say reaa.My be found. Both these facts are essen- tial if the goods are to be ea-sily sold. If '';he merchandise iookr mesdy or soiled the customer will not care to buy, and if ths salesperson can not find v/hat she wanta quickly, she may get impatient and go off with- out buying. f»' At What time should care of stock be undertaken? Care of stock should be unde:^taken early in the morning before the customers arrive, during the day when not selling, and before closing at night. Test Questions 1. TJhat does "care of stock" mean, and why is it important? ^« Have you ever decided not to buy because the stock keeping was very poor? S, Can you think of some stock tliat is espe- cially v/ell car'5d for? 4. When must care of Ptock be carried on? 5. Is 5.!; por.sible to put much stress on car© of stock? 8. That are the ea''l>T,ac-n&ng dut\t.g? ^ (1) Dusting and cleaning Most merchandise in a millinery department is put awsy either in a case or drawer at nighty leaving the tables and counters bare, s'jores differ ^.s regards the cleaning and dusting of the tables and counters. Some stores have ei:trs heC.p to do this cleaning, while others require the salesperson to keep her cases and tables clean. If you are respon- sible for the cleanliness of your »*ae or table, go over every bit of surface carefully with a duster, and return the duster to its proper place. Where there are covers, fold them and put them away. - 5 - (2) Setting out the merchandise TatoJ the merohandiBe out of the drawers and display them as direc- ted. Brush or dus^ every article carefully. The following method for brushing hats is used jn one storo: Irc-.p. salsspsrson has a soft brush and a velvet pad. 5Ihe brusho.'s are ii.sed foi* wi'vtsT faorios "such as duvetyr., velvet ^ eta. V/hisks are ri.^ver v.snC. as they removt the nap. The velvet pad is used for silk and nt3.'awv I u rem-sves the dust and brings out the :?inish. Bsoh salosperson is required to brush every article in her stock every morning. (3) Pilling in stock and arrangijig displays Uerchandr'.'je 'ii a mijl\ner^- department is usually displayed accjord- ing to a color scheme w^rkert. out by ■t^'■. buyer or her," ai^sistant. litis scheme is probably ;.hanged tv70 or th:Q3 oiaos dui-'ing the W33k- The sales— peop?.e usually ioM<-^' Srho direct ions g}.ven thorn in ar-rangiLg -'.he-.r par- tioular stocky in aocori'V.ncs '.vith tbic general p.lan for th& whoic aepar*- mento tepartmer.ts n\xf.e-<- as T.-eeav93dom individual salespeople are give^ I'Oth aj r^gp-tds fr'.liing in stock and display, so that it is necessary for tne new salesperson to find out the pract'.ces used in her particiila;.; deparctmcnt. Hen':e, yoa should finu out Trora the buyer or head of stock wtoich of the following methods you are tc follow, and go aheaAt a# Pill in your O'.m stock and arrange displays. If so, learn how this is to be aoae. b. Tell the head of stock what uarchandJse is needed and leave the filling and arrangement of display to some 01*9 else. c. leave it entirely to some one else* (4) Arrangement of stock See that you have the right merchandise out. See that, the displays are m order — that hats are properly set on thfe stands,, or neatly laid on a table, or triJm^ngs neatly and ta^steful'iy displayed . See that the price stands ai-e up* See that the mirrors are on hand, or pads for showing trinmings. (5j Inspection of stock Inspect the merchandise for defects. Heport any of the fo3 lowing defects to the head of stock or ass is- a 6 - taXLt buyer. Lost or soiled tags. Blpped. or torn l:.nxags Rij^s, breaks or tears Shortages in stock (6) Oeoasional jobs Uovixig stock or prepaslng for a sale. Follow directions ^iven you. Taking inventory^ This is ns'-ally done under the direction of tho head of the department or her assisianv, l^st Qvies tJQPS 1. There are sis chief early morning duties connected ?Tit'Ii ca.r-e of stock, VS']?;at are ^-hey? E. How can ■';hose diiMes bs learned? 3. Tfliat cauticns should be observed about filling in stock? 4. Mention the imFortant things to notice about inspecting stock. 5. Tell ab'^ut a sale that was lost because a sales*- person had not properly arranged her stock. 9. What are the duties during the day? (1) Stiai^tening stock Use spare moments in keeping stock in order, returning merchandise, straightening the merchandise , etc. |2) Pilling in stock See that your stock is filled in as the merchandise is sold, either by doing it yourself if th'^s '^ your jofc or seeing that it is done by the pe.^eon in charge. Foi- exarro^lo^ call the stock girl if she is the one to get the Merchandise from reserve., (3 J Frepai-afrion for sales Help to prepare for hour sales under the direction of the head of the department. (4) Hetum of merchandise Find out whether you should return merchandise after a sale, or whether that is to be left ot the stock girl. Ask whether you are to replace merchandise during the sale, or simply lay it aside raatil the sale is finished. Jl;..j. (5) Taking precautions against soil 7 - uC*ic:c p.xil observfc the precauticms taken in your dfepai-tmont a{]5.3nst soil of -aOTcnanuJse. PaJs may be placed on the counter on which to display doilijAts trirsDings , Tables and cases usual] y have a pad or mat of some kind on which dol'cRi-<=' hats can be lar.d instead of on the taioovered dres-^ing tables before which a customer tries on a hac and which are likely to be dusty. (6) Preparation of nerciiandise for v/rapping Find out how the merchandise Is to be handed to the wrapper^ \7h9th3r anythirig imst be done to the price tag, such as writing on :• t yonv ?=a.J.f»E number, and date by which it must be returned, etc., or te?.iing ^i; \n half so that the stub cay be kept for inventory. Ask whether yo^: or the wrapper should do this. Test Questions 1. Learn the chJef duties connected with cara cf stock during the dr-y, 2. Whcii, should you do v/il;h returned raer'^handise? 3* Hen lion severail ways of preveu';.ing merohanc 5 st froE. bi^cor-ing soil-sd. Are alT these va^s car^-ied cui- in ynur dot^r'bmr-ut? Do you kurw an^ o'-hov v/ays? 4. Just h'jw r.hould mercTiandise be prepared fOx* the wrapper'? V/hy are '.hese rules iTportant? . o'hat are the du t ies at n i pht? (1} Return of ceichandise See that all £,oods is returned to the proper sections. See that all merchandise is put a.ay in its proper place, either in drawers or case^. (2) Covering the merchandise If any tables are to be covered see that this is done. Remove the signs and return the mirrors and any other articles used in iiellin^; to tUeir proper places. Jest ( Questions 1, "Why Is it very important that the merchandise sTiould be returned to the exact place from vrhioh i- w-s i;ak«n? 2. Do you have any rules for the way the merchandise should be put away? If so what are they? - 8 - CLASS TF ICAl'T ON OP S-rOBK 11 , In w h ai: wa.v does a knovvledge of how the s tock is classified help ia p elling? (1) It helps to g5.vfe a definite idea of the kind of merchandise carrie<3i. (2) It heJps in learning the location of stock. 12, What kin ds of articles, are carr ied in a m i llinery department? ilSiere are four kinds of arf.oles carried in a. millinery depertmen-'-: (1) Trimmed bats ■ (2) Unt rimmed hats ( 3 ) Irimm3.ngs (4) Findings These articles tM3 3. usually he found, in separate sections* The +ritftmft.d l!a"i« generally occupy the oentjal sections, untrimm'id ha';'^ a section by themselves a li^^J,e i^o one side, and trlmnings at a spooial counter, probally near the tint.T.lmmed hats, ' The matrons' and the children's hats also usually have separa-te sections to themselves. 13. How may articles In. A millinery depar^ent be easily located^ (1) By the price (2) By the color (5) By the material (4) 3y the style or shape Therefore the salesperson should know what at-ticles are carried in her depaiiment as regards price, color, material and style or shape so that she can locate merchandise quicKJ.y. 14. Hov/ are the articles in a millinery department arranged according to price? H^ts Whether trinmed oi untrimmed aro generally arranged on the floor according to price, hais of the Rame price or within a given range being placed together. Jor instance, the ejipensive hats are usually dis- played in separate rooms, frequently called the "French" roomc. The bet- ter merchand..r<5 5.3 ^Isc displayed in glass c^ses while the less expensive hata are xo be found on the tables. The more expensive trimmings are also displayed tOtiethei'. Another classification according to price is into regular and sale stock,, (1) Regular merchandise includes merchandise which have not been re- duced and which have not been bought especially for sale purposes. They may be expensive, medium or inexpensive in pr.ice. (2) flalfli merchandise incltaies hate which have been reduced or bought - 9 - especially for sales. Ha<;s may be reduced because they are sticV:ers and won't aelJ., or becauco the buyer wished to use them as leaders to draw trade. They icay bo expansive ,, medr-jm or inexpensive in price, bu-^ always offer "special value" as an attraction. Test Quest5 -ons 1. What is meant by regular merchandise? 2. J.n geJjora.l what i.s the d^'ffersnce in price between imported and doaes^i.-:- ba'^p? 3. »7by ar^i certain ha';-s classed as sale merchandise? 4. V*8ie may expensive ha+s be displayed? 15 , H»Ar are articles in a mil linery ^d epartirent ajrarged _ac c.ori ine _tp col ir t (1) There is usually a distinct division made between: i. Black hats for mourning li. ;;olored hats i. Hats for mourning are usually In a section by ^toselves* il. Hats of the sane color are generally grouped together so that it is a simple natter for the customer to find the color £/ho wants, or for the salesperson to get it for her. A sile variety of shades are used and each year novelty colors are introduced. For a list of the colors used in millinery see Book IV, Chapter I, on Vocs-bulary. (2) Trimmings of the same k:.nd such as red roses, blue ribbon, black plumes, etc., are put together so that the salesperson can os^ily turn to the color she \vsints. Tes t Questions 1,. What are the standard colors in your stock? 2* V/hat are sjme of tht most popular shades used in your department this season? 16. In what mater'.a?.9 ar e hats car ried? Kats, whether trimmed or untriimed, come in straw, felt, fabric or fur. 17 . Vto,t are the most ijppor^a a-': s';ray materia T.s used? Straw hats may be referred to simply by the kind of straw used, or more definitely, by the irind of braid ussa. The principal kinds of straws and braids used are as fo"Llc>7S: - 10 - European Artificial silk Chip Horsehair Leghorn 71iX?.n Fyroxi-'lin Straw South American Panamas Columbian Scudorlan Peruvian Straws giaids £uro7?ean Chit Grasses Hamie Tec'do Pa?JBS Heup Imxtation Panama Aduirba . Toj'O East Indian and JPhilippin© BarLbo Buri Kais le JSmda Farabuntal Ra-tan A*J»*Aft Chip China Piping Florence Tuscan Chip Horsehair 2omp Imitation Hemp or llohair Braid Japanese Hemp Lisere Split Sennit iyrox>'lin Hamie SwiBs Hemp yeddo Visca lb. ^CTiat different kinds of felt hats are carried^ Pelt hats are made from wool, fur, shoddy, or mixed, Ihey are frecjuently referred to by the finish used as follows: Sofi; hats Sf>.itT hats Hs-c-i vvith dense erect nap (velour finish) Hfit*? v/.lth lo»ig hair (scratch or oohair finish) . ■ _ HBits w?.th polished flat nap 17, \Vhat mater i als are used for fabyic hats^ Fabric hats come in the following naterials: " Pile fabrics- VeJ-vets Lyons Mij-ror Chif :on Co1;ton-back - 11 Happed fabrios- Sllks- Plush Beaver ieate? ClJth Velour Dnvetyn Corded silks J^ille Gros ci« Londre Grosgraln Llolre Crepes Canton Crepo Georgette Satis GJaffeta it'ets aad Laces- Miscellareous- Llaline Tulle Chant illy Lace 3hado\7 Lace 7al Lace Chenille Metallic Cloth Novelty materials Ootton-and-llnen Crash Gingham Lin Crepe Orfaudie Duck KnJ .tted Cotton EpoBge Pongee )1 and -leather Brushed wool Suede Kritted wool Suede-like Leather Tweeds New fabrics, straws, and combinations 20, \^Ibi\t f ur s are used for hats? The following fure ate found both for the body and for triraraings of hacs^ Beaver Moleskin IZ •^ Broad-tail lamb Slonlcey Caracul Cpcsmm. Ermine Baocoon Hudson seal (dyed muskrat) Soal Ko3.inslQr Sq^'.ijrel UiDk Skunk 21. Of what materials are trimmi nfis madQ? !Ehere is a wide variety of rraterials need in trimmin^B, de^ejidlns on the five kinds of tr.-mm^.n^ used, namely t (1) Feathers (2) Plowers and fruit (3) Hibbons (4j F^hvioa and fur (5) Ornaments, bands and embroidery (1) Feathers are one of the most important materials used for trimm- ings. (2) Most flowers and fruit are made of muslin. Foliage is made fre- quently of velvet or velveteen* In the more expensive flowers and fruit, plush, satin and silks are used. (3) Silk is the impcr^tant material used in ribbons. Below is a list of silks frequently used in r:7,bbons. Antique Qrossra-x-a Bengalin© Lottisne Brocade Mes saline Changeable silks Metallic cloth Chiffon Moire Cire Plush Double faced Sa^in Dresden Taffeta Faille Velvet Silt and silver (4) The fabrics and furs used for trimnin^ arej i. Any of the short haired furs used for the foundations of hats* ii. The follov^ing fabrics Bridal Illusion Leather BruBSels Met llaline Chiffon Metallic cloth Gauze jTet laoe (5) The materials used for omaments, baiads and embroidery are: i. For ornaments the follov/ing materials; .- iZ - Bone Celluloid Jet Metal ShoJi. Straw ifilass Wood ii* ?or bands and embx'Oidery: Foundation materialB of net or other fine material. Ornaments of nsaterJ-alB given atove. Bnbroidery floss, of cotton, silk, wool, or raetal thread. ZZ, ytoatmaterlale are used for aillinery findings? (1) Uaterials used for fzwaes are: Buckram Crlnolin Gossamer (S) Liniiie& ar« itsd'-v 6t: China and Jap aillc Maline llercerized Ribbon Bandeaux come in: Cot'-on (heavy) 'iUffeta. Velveh (3) The weights of wire uoed are: Cab''.e w5,re Frame \7ire Idoe wire Rice let WilliTW Wire 3atin Seco silk laffeta Spring wire Tie wire Hibbon wire Olest Quest J on e 1. Check sJ'K the* rr.tei'ials mentioned in the last si:: q";e£t-io'J.s. 2. \Jba^z are five of the most popular materials used for h&.':s '.his season? 2* ITaaie one novel r,u .material you are selling. ^ • VtA i/_. styles are carried in millpnary -i' Tnere are four ways i:a which the style of ii hat roay be described. (1) By referr5.ng to t*s. use. (2) By referring to its shape. (jj By referring to its trinming. y-l By referring to the designer or taanufacturer. - 14 - (1) There are four important styles of hate carried when uso is con- sidered] i. liress hats ii« Street Jjats Hi. Tar.loi'ed hats iv. Sport hats (2) Xhere are five Important different sh^ies used: 1, Straight or flat trim ii, Rolled brim Chin Chin Irregular Tricom ill. Drooped or curved l)rim Cloche or musliroom Picture hat — Qafnnboro Poke— Charlotte Oorday Direotoire It. Sailors Straight brim Rolled brim r. Off-the-face hats Tarns Turbans and toques Hats with high froiicuff (usually close fitting! (3) Hats may be also described by the way they are triimned, ast i« Barded ii. Dnbroidered iii« Feather trimmed iv. Flower trimmed V. Pur trimmed Ti. Ribbon trimmed (4) The imported hats and copies of expensive models are frequently referred to by the name of the designer. The salesperson should become familiar with the names and if possible learn to recognize the particu- lar characteriet.-.cs of ■'he hats n^.de by those designers whose models are carried in her depirtmert. Besides the designer's, the manufacturer's label, th© saj.espersca should become familiar with the brands carried. She can often do this by looking inside the hats for the labels. Jest Ouest!(.ons 1. Check the styles you are now carrying in your department. 2» Which styles have been the most popixlar this season? 3, Find out what Preooh models you carry in srour dopartment. Bo you carry branded hats? :i5 - CHAPTER II. YALtJE V;niOH A CUSI0i2:H LOOKS FOR IN BUYING 2A. What does a customer looK for when she bays millinery? Practically all salespeople agree that style is the most important thing a customer looks for in buying mr.llJJaery. A hat or trixcr-ins may be of good material, reasonable in price, even oecoipi^g to 6e>ms ezz^'SrA^ but if it has not the style that the customer is luoklng foj.' siie v/xli not b'"y *.t. In fact, a hat may be br^sht which is ytiite unbecomn-ag aud prsj?- b3.y not even very comfortable s5jnple because it has that indef irabls some- thing about it which we call style. Of course, in most ras*?s, other con- siderations enter in as well. The customer wj.shes the arti'-'le shn b^ys to be becoming, to wear well, that is, be of good quality, and to feci comfortable, as her questions and comments about the merchandise show, but these are secondary to the main point of style. Ehere are two aspects of style necessary to consider. Style may be considered apart fran the wearer — in the hat in the hand; or as de- pendent on the wearer — in the hat on the head. A hat when held up by the salesperson may strike one as having a great deal of style tia": ■w^.en tx^.ed on a customer lose every bit o.f smartnoss. This same ha<; on another customer may look extremely chio. Orj, a hat may acquire style if woin by of^rtain customers, or there are a few fortunate people -^l^o can w^ar p.ro-tically anything with distinction. Style in a hat or trin w'len oort- 6;\o.8i'ed in thr".s way, in connection with the person who is wearing it, is a ia'itor in becomingness , and when this if* the case, becomingaesii no long- ev.- f'iT'S.^s P- eecoBdary cons 5.derat ion but becomes one of the most important values a customer desires. The partiCTilir service a customer will requ5.re of an article varies with the use to V7rj.ch the customer wishes to put it, and with different cn^lomsre. For cianiple, for a dress hat, or trimning for a dress hat, qr.'.Lo •i?abcra*;6 rtatcrial would be needed. In such a case, since dross hat,? gac less wery '-hax. street hats, the customer would probably be more interested in 3T)pGaran'je than in serviceability. If, on the other hand, she wishes to buy a, hat for steady wear, she would be concerned consider- ably with comfort and sei*viceability — she would not care for perishable, di-'orpy styles v;hich would grow sha'.by quick3y. Customers also differ amonK thenselves- Some consider style a>iove everj'thing else, while others, perhaps bersause of the necessity of wearing a hat more than one season, look for ser/iceability. So we see in buying a hat or trimming a customer wants not just 8 J me thing to wea" on her head «jr put on h3r hat, but wants an article which will give definite service, su;h as appear stj'lish, be becoming, Wr? ' woll. For oonirenience in talking about the meichandise, then, we oali these services an article gives "va].ue" and in talk.ing about tha val- ue U customer looks for in buyirg, we are simWy referring to the service she expects that article to give. .?§.? i jgixest lons 1. \/bat is the most important value a customer looks - 16 - Test Q uest ions 1. l]ha.t is the most important value a custcsaer loo>G for in n:llinf;i'jrv 2, Under T7>*ri. '; tvjo different circumstanoe^ laay a h3.t ho-ve style-*? 3« ^".i; wa-; K6rtnt "by the remark "In bryirg a hat or ti-irjining a cistPmer waui-^s not just sin;*? thing to wea-^ cf. h<^r head or put on her h^itj'* V^J/S-t olss does sh3 Vi-ant? 4* Does the use fci* which she \7ants ths article d«- tertaine at all xflst yalues a custoirer WiJl \f♦t^a* 5. \/hat are &cnie cf th^ vcasons why a cu-vtcrBr iikij' want different values at different tir.eSj, or w?,y different customers may not want the came -Taint.? 25 . What are the main values a custo mer looks for in buying m i llinervY Customers show by the questions they ask and the comments they make about the merchandise that in buying millinery they are interested in the following values: (1) Style (including appearance, individuality and trade name) {2) Becomingness and Suitab-'l^.ty (3) Serviceability and Comfort In considering the style of a hat a customer may be concerned with one or all of the following facts: appearance, individuality cr trada name* bhe may ask for a hat of a certain shade, sliape or material, showing interest in the appearance. Or she may ask for "somsjthing different", eiipressing a preference for individuality, or being still moieexplicite, may ask for a certain make or model such as a "Maria Guy", or a "Hose ©escat" model, or a "Gage" hat, ar a "Breton Sailor," Int^reet In becomJngness is shown in such remarks as "Do you think l:.Bhouia wear a Ba:\lorr',, "I rather like that side line, don't you?", "Oh, no, I can't wear yellov/; it kills any color I have,", "I must have a hat that is off my face«" V/hile as a rule o.'>tomers are not primarily interested in the ser- viceaWlity of a hst tbey do freqnont:.y ask such questions as "Will this spot?', "Ho these feathoT-s we,?.- jfoaIc '^- ^''■■^^' I l^avn to cover them?", "Can this strav/ be cl?ancd and re. blocked?" IntcreiSt in comfort is shown in such comments as "r?hi^j hat binds across the forehead. H«ve ycu a different shape in the same color?", "I want a small hat v/hich will be comfortable for traveling." Besides telling what value a customer wants from her questions and oomments, by ;vatching the V7ay in which the customer handles the merchan- dise a SsLlesperson can tell where her interest lies. If she spondt, must of the time trying on a hat at various angles without examining it par- ticularly she is probably mainly interested in appearance or s';yl3, while if she examines the hat or irimming carefully to see how it is made she . showa interest in serviceability. If the customer looks for the price tag the first ttiiig the salesperson can judge that the amount the cua»;oiaer - 17 - will pay for an article will be a seriotis consideration. Hence a wid^-awake salesperson need never \n a^"; loss to find out \*at the customer is interested in, for by ler.rnr'ng to size up a ci.s-^ tomer, to show goods effectively, and to qiissticn skillfully, she can ff'TTner or later draw the *astoiiier out to exiTess what she wants. Test Question s 1. Thini of an article a custorrjar seid shp wanted and decide on whf-t ra.Lr.es she wf.s looking fo:-- 2. In what ways can a salesF'=>rson find ont what values a customer is looking for? 3. Recall several questions your customers have askec, and think v;ha.t values they were innuiring aboub. 4. IThat are the main values the customers iook for in the merchandise you are selling? 5. '.fliat i-ari icular values do you look for in buying mill in s:^'? 6. \?har. facts may a customer consider when she is looking fo:^' si;yle in millinery? 7. Bhat quBbtions hive customers asked you about style? 26 , Tr.!hy should the salesperson kno^v the v alues of each article? A. salesperson should knov; the values which each article will §ive the customer for four reasons.. (1) To enable her to answer the customer's questions-. (2) To help her in justJ-^lng price to the customer. (3) 20 make her selling talk convincing — that is, to be able to point out the good points of the merchardise, and to mset the custorer's objoctiions. (4) To help ner in selecting the right kind of merchandise to shov/. (1) Nothing is more likely to exasF*5rate a customer or dostroy her confidence in a salespoison thsn askjng her questions about the m«)ichan- dise she is celling ard having her unable to answer or getting an .in- correct ansrer» Hence, it is very essential that the salesr-erson should have the information which will onable her to answer the many ard vai-ied questions she 5s asked from day to dp.y. As has been already indicated, the questions asked by customers refer to the value she if. inierastsd in getting in purchasing her ma-^chaifc- d^.sr ■ Inmillinory '7e xcn-nd xIjp.^s. questions maJnly cnnorned ^'ifch appear^- arjce, individual itv pnd trr.de nare; or in a large sen^-e, \7i-^h style, be- comingness, serviceabil:' ty and comic rt. Besides questions uSiich refer to certain values a customer \?ants, we find the custoroer frequently acicing about price. Price itself is not a value, for it is the money a customer exchanges for certain values re- - 18 - celved. Naturally, she wants to feel that she is getting her full shar-? in values for the aoney sha is giving in return, whether it is a ?.ar'5a amount or small. If a custoner "buys an expensive hat, made by a French house, for instance, she rcajr he getcing certain sat.isfactions hrsarise of its exquisite lines an?, individioality,, and also from the fact that it will make a certain impression on her friends, wiiich will rraks i-.p for the difference in price. On the ether hard, she will denjand cer-iain satis- factions just as rfflich in buying a tooclc- -about sport hat, altho-.i^h tbay v/111 be different from the valnt-s given in the first puarohase. This time she may be looking for cccir'ort or serviceabiiity particularly in addition to becoraingness and a certain degree of style. Tor th^'s reason the salesperson froquontly f iada ^ ; necessary to justify the prf.ce tc a customer. Unless the EaTuesperson knov/s the values of her irerchc:,nd.\se, she cannot be very convincing in proving to the customer that the price is justified. It is necessary not only to know the reason Why an article is ex- pensive but also to be fcvmiliar with reasons why certain articles have been reduced. A oustcoier will not be willing to buy a hat or p:'eoe of trimming just because it is chee.p unless she feels that it will give a certain amount of ser/ice, Bn'i if a salesperson can assure her that she is getting exceptional value in the puvsjhase she is more than ready to take advantage of the offer, (2) In asking about jprice the cusfcomer shows she is interested in the values she is getting in return. For example, she frequently \m.xitB to «W\t why a certain hat- has been reduced, whether because it is datraged or because it is the end of the season. Ihe should examine her merchandise carefully, notic- ing the different styles, the materials, ^-JJP vfa-y the articles are made, the workmanship and any unusual points about an article, (2) Collecting information about the merchandise* She should find out what it is necessary to know in order to ex- plain the differences in the articles or to account for certain values to the customer. In style, she should knov/ the names of the different shapes, know the effect cf the principal lines and colors used, know what hats are copies of r&.r.'.s ncdeiis, ee brought in as part of your conversa- tion, not reeled off in a dry voice as though you had learned it by hear. - Ei - (5 J What you should say and how much should elways depend on the way the cus •'••oraer rece3.vcii ii;. If she laicwa \im^ you are tellijig her;. don'~ irrigate her Tiy taking he:? Vhae nji re- peating v/ha/ she alraedy knows„ or if o>'e ,iR, etc. can be bought separately. For this rc^-vson it will be necessarj' co con- sider these features separately in some of the following discussion or. materials and manufacture. Test Questions . 1. V/hat three features go to make up a trimmed hat? 2. Are trimmed }iats ever unlinod? If £'»,, what kinds do you have in stock? To you have any lined vm- trinmed hats in your stock? 3. V/hat findings do you sell separately in your de- partmant? 4. Wiat are the two points which determine the values a customer looks for in b\iying millinery? 31- y/hat f^ots about m ater ials and tjhe v»ay a hat is made affect values^ Materia ls used in millineiy includes materials used in the hat itself, in the ^rimming and in the findings. Only such infoitnation will be given about the different kinds of materiale that are used and the way they are made as will enable the salesperson (1) To recognisse the important materials. (2 J To ansv^ei the customers' questions about thffli, (3) TO suggest ways of hf-eping them in the best condition. . i^ovelty noterials, of which there are a great number in a millinery department, will not be discugued in detail becaure, first, su-sh natarl- als remain so shore a time in stock that it would not pay to tax the salesperson with learning a gre£.t deal of infoimation about them; second- ly, as these materials have not been on the mark<»t long it is impossible to give accurate and full information on their wearing qualities as they can he added to the list of staple materials with which the sales- person must become thoroughly familiar. However, the s^lesi^er&on should make it a point to become suffi- ciently familiar with the novelty goods to recognize them acd be able to - 23 - tell the customer -.vhat each ore is. If a salesperson can name the ntnv loaterial she is talking abaat, as "Here ifa a model in the nc\7 'vilci cloth" or'bagatelle*," the custoasr's confidence in her will be iiiCT".s->ad for she will feel she la30\;w her merchandise. The way a hat is made involves two points, the ma nnfactur e of a hat, or the way the hat is put together, and the creation of a ha': an an asticle of beauty, in v/hjch such facts as line and color are cors-'dered. A consideration of the creation of a hat from the artistic point of vie\/ rightly belongs iii a discussion of such values as style and bc- coBiingness v/hich will be taken up in detail later. In the follov/\ng di-^- oussion the question will be -."hat facts about the manufacture of a hat can be brought to the customer's attention in a discussing of values* Test Questiops. 1. V/hat are the three pruposes for v;hich the in- forication on materials should be used? 2. Viliat should the salesperson Icaovr about novelty materials? How can she get this information? 3. \7hat is meant here by the manufacture of a hat? How does the material used in the hat affect val ues? 2he kind of material used and the vay it is trade affects all values in a hat to some extent. It affects, first, the good looks of a hat, and accounts for its being soft and velvety as d^vetyn, smooth and stiff ^ike felt, straight azid stiff as a Uilan sailor, or lAl^t anfi droopy as a leghorn. The distinctiveness and becomingness of a hat depends largely on the materials used. Soue fabrics spot or rub up easily, some straws chip or crack, while others can be worn again and again, looking 3iike new \7ith a little cleaning. Different aaterials are adapted to different uses. The seasonal character of millinery makes this plain. We have out summer hats ard light cotton, silk and linen fabrics; the betv/een season hats of felt and silk and the \anter hats of heavier wool materials as velvet or duvetyn. Moreover, certain raateiials aro only suitable for dress \7ear while others .come only in sport styles. Horsehair, velvet, lace, fine Uilan straw are oxamplos of naterials used for dress wear,, while cotton fabrics, chip and Ramie are used for less elaborate stales. Since it is evident that differences in the quality of the materials accoxuat for certain values in hats, it is necessary to find out v/hat makes these differences am just how the different qualities are affected. Test fJuestions. 1. ./hat kirds of materials are called for a great deal a.t the iretent season in your department? 2, H£*ve you seen ar^r marerials used in hats lately «. 24 . which you tRought ■were unlbeconiing? TOiy? 3# What do customers want to imow ahout the dura- bility of a hat and how does the material used affect this quality? 33* Tjghat are the principa l kinds of materials used in hats? The principal kinds of materials used are: ( 1 ) Straw (2) Felt (3) Fabric and Pur By sttaw is usually meant any material aade of TJheat or ry© straw, grasses, chip, palms, horse-hair or artificial silk. Pelt refers to a material made of fur or vrool, the latter frequently adulterated with Bheddy (Fiber made of shredded woolen x'ags) Which has undergone a par- ticular kind of manufacturing process. Fabric hats may be of silk, wool, linen, and combinations of fabric with straws. Various short- haired furs are used. Test Questions. 1« "Sifhat is included in the term "sttaw hats? 2. Of what are felt hats made? 3. What kind of materials are fabric and fur hats made of? 34 • Qiii what do.^hQ dlCferenoe s in the vgBrJbKejBjaierials. a*e.J33ade_deEes^ lihe processes used in manufacturing a material depend primarily oa the kind of material used. Straw, for instance, i» woven in a diff- erent w^y from fabrics, \*iile the processes used in making felt differ from either of these. Therefore, the facts about the way the material Is made which are important to know will be taken \xp under the special headings of straw, felt, fiibric ard fur materials. .atr&.w Materia Ifl 25. V/hat is necesaary ^o know about the kind of materials used in stjraw MM! There are at least eight different types cf materials used in straw hats: (1) Straw (2) Chip (3) Grasses (4) Leghorn (5) Milan (6 ) Palms - 25 - (7) Horse-hair (8) Artificial silk E^ch kind has its own particular quality which distingu?.shps :t from the rest. Eie most iaportaat fibers used are the foll^.ving: (1) S^traw (wheat or rye) Straw braid is cade from wheat or rye and is produced mainly in China, Japan and Italy. The Italian straw is considered superior, the roe.t.hod of planting and growing giving a find tall white dtallc. The Asiatic straw is more brittle. (2) Chip Chip is a wood braid made from Italian, Japanese and English willow, or from White pine or Lombasly or English poplar. It makes a lightweight smooth hat, with a soft, dull finish. It is inexpensive but is likely to break readily, bums and discolors badly in the sim, •■ and, deteriorates rapidly in testile strength. (3) Grasses Yteddo - yeddo is a tall grass grown in Italy, Japan and tSie Philippines. 2he hats made from this fiber are loosely woven, light and delicate. Ramie - The Hamr.e fiber^ wh?.ch comes from a plant somewhat like flax, is used in naking cof .".ae, loose braids, IJhis fiber which is taicen from the upright seem is long, glossy, silky and very strong. It makes a very durable material and is not affected by water or moisture. (4) Leghorn Leghorn is a v/oven body hat made in Italy, It comes bleached and vmbleached in t}iree princi^l grades, Mostali (fine J Mantoppam (medium), and ?unta (coarse!}. Leghorn is one of the most popular straws in use, being attractive in appec^racce as well as sorviceable. (5) Uilan Ililan is a ccarse bcdy straw used a great deal for tailored hats. The patent JZilan is a Chinese imitation of Milan, much coarser, the best quality not equalling the poorest quality of Italian Milan. (6) Kilms a. Hsmp - llanila hem? for hats is mace in the Philippines frwa the finest fibers of a epecieE of b.^.nana palm. It is usually known as •*abaca" and the braids are known as "taga.1" braids or "tagals". The follov.in^' reanons hs.ve been given by Iliss Aiketi on her Mercb.in^ -5 «>» ii chip hets zsado of anl whet are tnry i.iicc? 4. V.hat two grasses are used for hats and how are they made up? 5, T/hat are the advantages of a iianila hemp hat? 6. V/hat is the characteristic appearance of a Bmana? 7. \7hat kind of materials are v?oyo and Formosa? 8, Thin'.c of three kinds of materials used for Phi?.ippi-no hats. 9, V.hat are the differences between horeehair and pyroxlin? 10. v/hat matei'ials nake light, flexible hats? 11, VVhat straw materials wear well, and what ones do not? 36 . What about the way straw nater ia l is made accounts for the dj.ffer^enee in quality? There are two main facts about the way the material is made which accounts for differences in quality: (1) The \7ay the straw is used (2) The way the hat is made A fancy braid in the open lace-work effect of a hOJ?sehair hat gives an entirely different effect from the fine over-lapping brands seen on Florence Tuscan straws. Then, too, a hat woven in one piece like a Kinama is distinct from a hat in which the braid is se'.vei to- gether. Test Questions t 1. 'vThat two facts about the ttay straw material is made accounts for the difference in oualj ty? 2, How do the hats woven in one piece differ in quality or appearance from the hats made of straigiit braid? 37 » What facts about the x»ay the s traw is used sh ould be noticedg^ Eats may be made in one piece, in v*ich case they are called "body'' hats made up in .leghorn, JJ^lan, I^nama and Philippine stra\?s, or they may be made from a strai^t "maid sewed together. The latter are the most common. The important facts to notice about braid hats are; (1) The appearance of the straw (2) The closeness of the weave (3) The width of the braid (4) The way the braid is fastened together The different kinds of straw braids mos"; frequently used are the following: - 28 - European £hi£ This braid makes a light-^veight smooth, inexpensive hat with a sof-v, full f Jnish. V/ocd chip and silK are soEaetiniSH braided together. Plor'dDC' 3 T uscan A fine whole straw braid, sewed together with edges over- lapping. Horsehair This braid is woven into a stiff, light, glossy open lace-^vor^c eff~ ect. In a plain close st--le it closely resembles hemp. Imitation HemP or U ohair Braid Mohair braid is made in Gfir;nany. It is heavy but ine::pens ive . Llsere A shiiay, narrow braid made of either split or whole straw. It comes from Europe and js imitated in a yeiy sira:.lar Asiatio braid called China Piping. gyro-'ilin This is a synthetic horsehair braid whioh breaks easily when damp. Swj ss Hemp ^is conies in frvo qualities, plain or "Vith an eye in the braid. !lJhe Swiss Is lightei- and more even than the Japanese. ^fica This is a fine straw which makes up in a. light-weight flexible hat with a satin finish. Asiatic G hlna Pipin g An imitation Lisere braid. (See European ohip) Hemp Abaca braids made Into strong, light, pliable ha-^s. Hemp is slso used for body hats. J a-panese pemp 'irfi .Earopean Swiss Hemp) Ramie In this braid the fibers are twisted or braided together, maicing a durable straw. Sp lit Sennit V/hen woven with two straws it Is woven dounle with the bright split sides out. When the straws are woven .<5ingly the shiny and dull sides show. This braid Is made up in a li^t, delicate hat with a cosrse, loos weave. - 29 " Te st Questions. 1. What is meant by a body haf H?Jv7 are other hats made? 2. Thoxa (f.rn four important points X7hich should be notice;*'* about straw bxa^ds. What arc they? 3. What brar'as are made up in o^en-lace effect? 4. What are some of the coarse braids? Find braids? 5. vyhat are some of the artificial silk br?-idr. 38 • What fapts about the way hate are made account for differenc es ir., ftuality ? Hats may be hand-made or machine-made. All body hats are hand- made Trtiile straight braid hats may be either hand or machine-made. A hat undergo several processes In the making such aet (1) Bleaching and dyeing (2) \7Baving the stiaw or sewing the braid (3) SisiEg (4i Blocking or shaping (5) Finishing !Qie hand-made hats and the machine-made hats differ somewhat as regards these processes. (1) Bleaching and dyeing The st,'(fiw is usually bleached or dyed before it is woven. "Eh© natural bleach is the best, giving a creamier color than the dead white produced by chemicals, although the latter are much less expensive. (2) Weaving or seTr?-ao: the braSd Body hats are hand-\70ven in one piece, over a wooden bloclc, of sorted strips which have been previously toughened and bleached and bleached. 13x0 plaiting starts from the apex of the crown and continues around in circles. The ;;t?ri'3ds must be moistoned in order to be flex- ible enoxigh to weave. The 5dga i3 then finished. In double hats where there are two brims, the urder brim is trimmed smaller than the outnr one and the straps of the outer hat are turned back and woven into the edge of the under brim. Hats made of sewed braid are shaped over a block as the braid is sewed together. Tha crown and brim may be made separately or all in one piece. (3J gizine jiany hats are dipped in Shellac to gise them when there Is not sufficient natural stiffness in the b^aid to make them 'ceep their shape. TOO much sizing, however, nay W3?.]c3n the texture and cause the straw to look shabby fttter a f «w wearin^s . - 30 - (4) Blocking or Shap.log A handMiade hat is blocked l»y putting it over a tlock, "beatlDg it with a wooden hammer, and iroc5.ag it smooths lIach5ne-irE.de ha.';s ars placed on hot motal hloc?;s aurl pli^ced :.n a liydi-aulic press. Sifferant kinds of machines arc uned fo.v hats requiring a emooth finish than those requiring a s'ough effect , More expensive hate may have further finishing hy stef>juing. (5) Finishing Finishing consists in trimming the rough edges, ticketing and lining* If the cro\»n6 and trims are made separately they must he sstrod together. , Test Questions . 1, What kind of laleach gi^es the best color? 2, Why must "fcciy" \£>-ie bo mads by hand? 3, Ho\7 are double hats made? 4, H0V7 are hats stiffened? Y/hat is the disadvantage of too much stSffeuing? 5, Ho\7 does the process of hand-blocking differ from machine-blocking? g^?.!: Materials 39. What is it important to know about the ma^jerial used in felt hats? Pelt hats are made from wool, fur, shoddy or mixed. The finished na.terial takes its name from the felting property which is common to both fur and wool due to their fibar structure. These fibers are made «f scales \^ich expand when wet and catch and interlock as the water is drained off, making the material compact and thick. lest Questions, !• \7bat is meant by the felting property of fur and wcol? 2. './hat effect has the felting proeews on the material? 3, V/hat are the raw materials used for f$lt hats? 4^, Vi9iat do you think v70uld be the disadvantage of adulterated wool in » felt hat? W3iy? 40, jS^ta-* facts about the waj; the felt is made ^ account for differences in jgualiii:? Felt hats made from fur are m^e from the fur fleeoe ^ioh has 1>een sorted and cleaned. The quality of the fur or wool used determines the grade of hat j?roduced. Adulterated wool, for instances, makes a poorer qiialiiy liat than the jmre wool, as the cotton is. likely to pull out, not having tie felting property of fur or wool. It is also harsher in tex- ture. Different qualities of either fur or wool aro mixed and then felted <. 31 - "by 'being drawn over cones and placed in hot water. The fur or wool is t-j-^-'chex' feTt<9d by rollirg, ^Thioh tends to nap the fibers more closely. Ihe more carefully this :s done, the more uniform and psrfect uhe finished hat -ivill be. Th£^t hats are then .d;^ed and snak^a in a solution of F.hell£.c in alchohol to stiffe n them, after which thoy are stretched and i^-essei into shape . Soft hats and stiff bate are treated differently. Soft hats are softened by steam, shaped and stretched hy hand and ironed. IT the sur- face is too rough, part of the nap is removeu by atichir?. The finish may be thick and dosmy, li'te a velour with a dense, erect nap or wilh a slight- ly loose nap or a polished flat nap. Long hairs are characteristic of ths scratch or moh^xir finish. Shoddy, a combJJiation of cheap wool and cotton, icakes very loc7 priced, less rich looking hats. Test Guestions. 3,, How is fur used in maJcing felt? 5. How does the quality of material used effect the quality of the hat? 3. '.Vhat effect does the way the material is felted h^ve on the finished produce? 4. In what different \«iy8 nay felt be finished? 5. V/hat is meant by "mohair finislir.'? 6. What are the disadvantages of a felt nada of shoddy? ^* What are toe important materials carried in fabrto hats? there are several kinds of fabrics whioh are constantly used for fabric hats, which oome tmder the following headings: (1) Pile fabrics (2) Napped fabrics (3) Silks (4) Nets and laces (5) aiscellaneous fabrics of cotton, wool, linen or combinationa of straw and fabrics. 4&. Whftt is it necessary to kuow about the pile fabric? , {3.} Characteristics of a s>ile fabric A pile fabric is one in which a pile weave is used. In this weave there are two sets of warp threads and one of filling or trro peto of fill- ing and one or warp. It is distinguished by the thiok nap or pile on ■*© surface. The cloth is made regularly with the warp and filling. The extra set of threads goes over wires, which cause the thread to foiia loops on the surface. Sometimes, the wire is removed withefut cutting. jToa often the wire cuts the loops as ic is removed, TBhan pile fahiios are finished, they have a thick pi^e on the right side, but the back looks like any 65:aple cloth. Velvets and plushes %re made in this way. In come of the cheaper grades of pile fabrics, the pile is made by an extra Bet of filling threads. The threads are not passed over wires to foim loops, bnt - 32 - the oxtia filline thread is pat in, in ouch a way &b to totm regular loops as the shuttle goes through. After the loops are foraed, the surface is Sheared and the loops are cut and the pile resembles that of velvet. This is used to make velveteens, and co'*;ton velvet. The Important thing to notice about a pile weave is whether the pile js thick and fxrmXy fi=.5tor.8d, so ft 'vll.l not come out easily. It has a soft, attractive sr;.rraco with a depth and richness not found in any other construction, and it is also exceedingly warm. The pile is apt to press down and show wear, but its original beauty generally may be restored by steaming* !Ehe cheap velvets are very hard to keep in good condition. (2) Pile fabrics most oommonly used The most imiJortant pile fabrics used for hats are velvet, plxish and beaver* Velvet Velvet is a pile fabric with the pile usually cut closa. There are mauy different kinds used, the most important for hats being: Lyons - k (jcttoft or silk-back ifelvet with A very olose and fiitn silk pile. The back can be seen through as the silk pile stands up very separate and erect. The tern "Lyons Velvet" indicates a very high grade. Mirror - Uirror is a sii::-back velvet, heavier than Banne velvet but not quite so lustrous or silky. The finish is pro- duced by damp heat and pressure. Panne - P&nne Velvet may be a cotton or s ilk-back, usually the latter, with pile longer than ordinary velvet, so pressed as -to give a smaoth shiny effect. Chiffon « Chiffon velvet 5 5 all si31c and is «e ^foven that the pile is in verj' narrov/ stripes, so fine that they are not noticeable unless one examines it closely. It is some- tiues called "cut-velvet". Cotton-Mtk' - Qhis \b a velvet with a cotton back and a silk pile. Cotton-crolse - This ie a sohapp© faoed cotton-back velvet. In this velvet the silk is taken from fs^^ .I'l.trtjtch ktf.ro vabi beou -cut. Velvet ie one of the richest and most Ixixurlous fabrics woven. Oia pile gr.ves a channinp affoct of li^t and shade. Althov^h It does not wear out, ic becomes shabby, but 5.ts beauty can be renewed somewhat by steaming, ^nne velvet, if worn frequently shows wear and rec-aires constant steaming. To steam velvet cover a hot iron with a heavy cloth and hold the back of the shabby part next to it so that the fabric gets the steam from the wet cloth, but does not touch it. A satisfactory met'nod of reuewing velvet ie to fill a bathtub full of steam5.ng ;ra.ter - 33 - and hazig the hat over or near it, afterwards brushing the nap up. Plush Plush is the nanre» gi^en to a pile fabric where the pile is over l/s of an inch long. It is made like velvet and has the sane charactor- istics. The long pile gives a rich appearance but wears shabby. It is yeiiy durable and dressy. In hatters' planh *he p?.i.e is pressed down, g.rving to the fabric somewhat the effect of panne -cclvot except tnat -^-he pile is more apparent. Silk seal plush is a very fin^ grade in which the pile is vex-y regulav and soft, making the t)lu:ih re56mb3.e seal skin. It is expansive. Beaver Beaver is a wool or fur, long nap, felt body used for hats. There are two kinds used, the nmcut wooly beaver, and the cut beaver, which is pressed and. clipped. It is veiy durable, pe^ver cloth is the same as above in the foim of yardage instead of bodies. Test Questions. 1. What are the advantages of pile fabrics? Bisadvan- tages? 2. Check the pile fabrics you carry. 3. Hov7 !T»y velvet Jfi^ts be renewed? 43 . What Is it necesaary to know about the_ napped fa brics? (1) Characteristics of a napped fabric. A napped fci-bric is one in which the cloth ias been pressed over § machine to raise tho nup on the surface, which is then brushed and sheared the desired length. (2) Happed fabrics most oonmonly izsed Velour and duvetyn are the west popular napi^ed fabrics used for hats. Velour The term velour is used for a variety of wool or fur felts which have a short, soft, lustrous nap. The fur velours are much more satis- factory aa fabrics than wool velours, Vtelour has either a napped surfacp. or a pile construction and so has a velvet;/ feel and a rich, dressy appearance. It is li^t»weight tut iwam. drapes gracefully, does not berome shiny with weai', and if of good quality wears well. However, It catches the lint and is fair.iy hard io brush. The nap may wear off or rub cff. Owing to its fuzzy napj^jd sun'r/^e, it looks warmer th^n a smootli-f inished fabric and therefore is more appropriate for fall and winter than for summer wear. - 34 - DuvetTTO Duvet3m is distinguished from veloui' by the suede like finish and the fine silky, short, smooth nap v;hi3h nr-ko it resemble velvet. It is made in cotton, silk, or v/ool,. or in m^.x-lrurGs of any two of these fabrics. Silk duvetyn is laore lustrous in appearance than wool duvetyn. Both kinds have a sof c feel nuch like that of a suede glove. Both may be mad© with a cotton Ijsok. Dnve^yn Xb de.sirable because it gives a rich beautiful effect. It is graoefc.l for draping and is Tsarm yet light?-weight. It is expensive not only berttuse of its initial cost, but aleo because it wears shabby guioldy, spots easily, catches the dust. However, if duvetyn is taken oare of, brushed when the hat is taken off, and steamed wben the nap vTears dp^m, it can be kept in good condition and because of its beautiful appearance is one of the most satisfactory materials used. Test Questions^ 1, What selling points can you give for velour? for duvetyn? 2. V/hat suggestions can you nake as regards the care of these itaterials? 44* Vfta^ is it necessary/ to know about silk fabrics? (1) Characteristics of a silk fabric Silk is an expensive fabric as well as a very smooth and lustrous one, which makes it particularly adapted for dress wear. Owing to the fact that it can be so easily made up it lends itself to many different styles and occasions. On the whole, however, silk is bought for appear- ance rather than durability. Silk sheds the duet and keeps cleaner than other materials and because it is light-weight, smooth and soft, is cool and comfortable tc wear. Bec«wse it takes the dye so well more beautiful color effects can be obtained in s:.lk than in any other u©terial. Furthermore, the colors are fast ':f good dyes are used. A large variety of effects can be produced by the different finishes too, from the dull crepe surface of Canton crepe, to the shiny, lustrous texture of slipper satin. (2) Silk fabrics most commonly used The silk fabric most commonly used are i« Corded silks ii. Crepes iii. Satins iv. Taffeta i. Corded Silks ^ilie - IJ^ille is a ribbed silk fabric, recognized by its flat coi^ surface, the heavy filling cords being not so round as those in - 35 - poplin and grosglrain, and ineonspjcuntis. In effect faille resembleB taffeta, having about the same amoiint of stiffness, fn a good quality faiilsd usuali.y wears better then taffeta, making an especially satisfactory cater.'.al foi* hard wear. It does not have the rich luster of satin, ho^irever, so is not so suitable for dress wear. Cro s de Lend re " This is a light-weight silk fabric of about the same texture »s taffeta, but hav'Vng very nar.oriw C02t\s alter- nating with wider ones^ ^he cords are flac and i?.ot so appai'ent as in a poplin or grosgrain. Often the ^arp and filling are of different colors, giving a changeable effect. It is a i-asher stiff sillc, dainty and ser- viceable for dress wear. Grosgrain - Srosgrain is a corded silk fabric with cords that are usually heavier than those in silk poplin. It is very service- able and usually in good style, especially for ribbons. Iloire - This is usualljr a corded silk or silk-and-cotton fabric uith a watered effect produced by pressing. It is attractive and durable. Idoire antique is a aoire with an ingraved pattern put in by means of a roller. ii. gilk Crepe Can to n cr epe - This is a heavy drepe de chine called Canton crepe because it is made in Ca.nton, China. Its crepe surface is pro- duced by having six or more filling threads with a regular twist shot through and then six or more with reverse tn/ist. !rhe result is a crepe effect in warp lines Avith rather a wavy corded appearance. It is rather e^ensive because it is a heavy silk, but it is rich looking and is used a great deal. Cre pe de chine - This is a thin, light-weight, opaque silk with a crepe surface. If any cotton is mixed with it, it is not properly called crepe de chine, though this name is often used in Viaist depart-, ments for part cotton fabrics. It has a dull lustx'9, due to the fact that the filling threads are very tightly twisted. For this reason, they curl up somewhat and fail to r-eflect light as well as sleek twisted yams. The crepe surface is brought about by the filling threads. They have two kinds of ti/ists, regular and reverse, and these are alternated, When the cloth is finished, the different t^7ists shrink and pull in diff- erent directions and rcake a crinkled surface. The cheaper grades are made from yams which are single v/hile the better grades are made from two ply or from three ply threads. Because it may be made up and trimmed in so many different ways, crepe de aahine is used a great deal. It wears well if it is of good quality. Geor c:ette - It is a very thin, sheer silk with a crepe finish. The quality depends on the nvimber of threads to an inch and the kind of fibers used in the yams. The cheaper georgettes either have fewer threads to the inch or have cotton mixed with them. !lSie heavier and less - 36 - transparent georgettes have come worsted threads in the filling. The crepe surface is produced by the difference 5.n the t^ls'*--^ of the threads. (Hiis has jnst been des-r-ribed uader cr-^ipe de ohtuo ; Because the threads are so fine, they aro woven in the gum and wh^vn 'he gum is boiled off, the weave is quite open. Cotton-and'-silic geo.rge^'.ue uears better than an inexpensive all-sillc crepe but 5.5 not so sheer p soft and beaTitlful. Georgette is very desirable for c.^^^'^.-^f'L^lirr^A and fancy wear. Por a shear, thin fabric georgotts wjars r^ma.rkB'bAy v/eM, liut of course it does not usually outwear a heavy Bilk and At fades badly, Jt comes in beautiful colors and makes a coft, clinging material that drapes well, iii. Satin - This is a very lustrous material in a satin weave. In this weave the threads on the surface are longer than in any other weave. Por this reason the surface looks lustrous «nd smooth and one is not conscious of the threads interlacing. Satin may be finished with a crepe back or a plain back. Also cI'j'sAper materials may be used in . ne set of threads, as cotton-backed satin, where the silk threads are throvm to the surface, and the cotton does not show in the rigljt side. The sur- face effect is about the same as if all silk Siad been used, although the cloth is stiffer and not so pliable and yielding as all silk. Satin is used for dress wear and in the soft grades it drapes especially well. Its unbroken surface causes it to reflect the light beautifully. On the other hand, the long gloats in the cloth catches the dust and rough? up easily, giving a shabby appearunce. Sat- in also takes on g. shine wltli wear which is different frcm its natural lustre. .In the better grades of fabrics, hov/ever, satin v/eaves give fairly good service and produce very beautj.ful effects. There are many different manufacturers put out slightly different fabrics with new names. Slipper satin, which is a very heavy-weight satin, and Baironet Satin \9hich is a cotton-backed satin made of artificial silk from wood pulp are two kinds of satin frequently used in millineiy. iv. Taffeta - Taffet^ is a plain, closely ^yoven, rather stiff silk material wj;th dull lustre. Cheap taffeta is frequently v.-eighted with chemicals which have been used to give a rich and he^xy onect without using the re.juisJte amount of raw silk. This may cause it to crack or split. A soft, pliable taffeta, hov/ever, usually wears well and makes a very attractive hat which is both li^t and cool. Test Q u estions^, 1. Give four reasons why silk is a desirable hat material. 2. Bo you carry all the silk material given here? What additional silks do you carry* if any? 3. V/hat are the talking points for corded silks? Crepes? Satins? Taffeta? 45. Vfliat is it necessary to know about nets and laces y - 37 (1) Characteristics of cets and laces Nets and laces ai-e mesh materials made of cotton, linen, or silk» laces have a distinct ..\ sign worked in ^7hile a net is a plain nesh, the different kinds depending on the fiher used and the size and form of the mesh. There is a great ve.riety in the clcseress an'^ fineness of thesg materials. IJets and laces may be used in the body of a hat, especially of a dress or garden hat, or as veiling over other materials. Feathers ave frequently veiled with maline; lace is frequently draped over straw or fabrics, especially in the Spanish styles. Uet is also used for bridal veils. These materials have the advantage of being sheer and delicate, flTlag a delicate, ;fr36ile effect. Because of their delicate texture they do not wear '.veil. (2) Uets and laces most conxoonly used in millinery Maline and tulle are tjie nets most conmonly used, while Chantilly, Shadow and Val laces are those most frequently used in millinery. i. Bridal Illusion - This is a wide net used particularly fo: bridal veils. ii. Brussels Ket - This is an embroidered net similar to Brussels lace. iii* :,laline - This is & fine silk or cotton heacagoxial mesh nett- ing* Its stiffness v/hich is produced by sizing, is destroyed by damp- ness. It is not durable, but is more so than tulle. Because of its gauzy texture it is particulaily desirable for veiling. iv. Tulle - Tulle is a machine-made net of silk or cotton with small jround or irregular shaped meshes. It is very delicate and fragile, and is used vi^Mly for veiling. V. C hantilly Lace - !2Ms is a black silk bobbin lace of fine net ground with an untwisted flat cord outline (cordonnet) applied to the pattern \Aiich is always sone delicate floral design. vi. va T Lace - Val stands for Valenciennes, whi'o, what can you say about them? Z, \7hat soft materipls do you carry? notice vrhether the fraiufi used can be made a talking point? 3. Inspect some of your large flat brim hats carefully and sea hoi/ tho material is fitted. 48» (5n wh at does the kind of materials used in trimnings depend? The kinds of mo.terials ".sed df-pand on the nature of the trimming. Ihere are six kinds of trlTiming used: (1) Bridal veils 1 2) Feaihors (3) PloV'3rs and fruit (4) Rio'cons (5) Fahiic and fur (6 ) Ornaments , bands and embroidery 49. ?/hat should be known about bridal ve!IL3.^g Bridal veils are made to oider in the department. They are ^^ually made of Bridal Illusion, a wide net material, or Brussels lace. The plain net may also be draped with lace if desired, and frequently the veil is gathered and caii^at together with orange blossoms. She length depends on the individual taste. These veils require the attention of a designer who can give ex- pert advice as to just how the veil should be made up. While ther^ is not such a large call for bridal veils, it is nece- ssary taat there should be some one on hand •'•o handle the situation &de~ cpiately when the occasion does rjixse. - 40 - §0 ^ ;?hat should be known abotit f aathers? Feathers are particularly .^'japori^ant as trfjominff^'iDOcause they are worn throughout the year and wt:av well fcnirs prov'».a.3rt. by Ea-itiTO -co ^:*.th-- stand the weather. Thoy ai-e ob-^&iivjfl fr:^ra ■t'cur clashes of Lirds, thb 06tr.i.obf> domestic fowl, game liirda ar.1 imvcri:?.! birds e Owing oC ihg recout law pissed in tho Un:U-.ed Sta-^en px--'>hibi ii rig tlie impcrta^Uon of pluiaa^-e of v/ild and Fong birdc, and to the ra^venen*-- on foot fo:?' the non- s^rvat:on of wild lifo, tho use cf piuEa/?-) f:;nm impor-*:ed birds is grp.du- ally being discoutinu*^!, A^ a nilo, ii; vs nt/CDssa^ry vO "/:ill theso b^ixi.-? in order to obtain the fea-Lhors whiioh are so rare ard b3aiitlf'-zli> ^-' this reason the practice of using suc-h f'?at.her3 for tri^nmlnt? maans the gradual extermination of these birds especially since the foir.aJ.e is usually killed, leaving her young to die. There are many kinds of feathers used. They icay be bsanohed or pasted. Kiey are laio\7n by the follovrlng terms: (Ij Flumes (2) mugs and quills (3) EUncies (including pompoms, aigrettes, breasts, pads and bands used to encircle the cro\vn and outline the brim.) Plumes and quills are branched while wings and fancies may be either brsaobed or pasted. (1) Flumes - Ostrich feathers are made up principally in plumes and fancies, as tips 'the small plume feathers), pompoms and bands. Th.e plumes are usually made of two or threa layers of feathers, called t:vo or three-ply. Tho best feathers come from the bade and a.bcve the wings, the next, from the lorgcr froiids or flues, are more durable, more beau- tiful and keep the curl longer. "Bio Ltacurled feather is nouietimeg uaed and while not so beautii\il is more durable and less trouble to keep in good condition. The particu?.ar appearance of a feather depends grratly on the way i.n which it is curled,, a process tihich is done by hand with a special knife? A tight ourl, for instance, w?.H give a much nario^vep appearance than a broad or full curl. !fti3 width of a feather is measiired by laying it flat and moasxiring it across at its widest point. The length is measured from the stem whore the front begins to the tip. The long, sweeping length of a willow plum is obtained by knotting several lengths of feather fibers together. This is a tedious hand-process and^ consequently, increases the price of the feather. Ostrich plumes may be finished in different ways. By a treatment of acid and glycerin the flues of the ostrich feather can be made to appear much finer. Feathers so treated are called "burnt ostrich" and are used for aigrettes or branched in some novel way. The plumes oome in white, black or colors. For the same money a better white plume can be bought than colored, and black plumes are the most expensive. The colored plumes may be of a solid color or shaded. (2) J ings and quills - Almost all wings nov/ are aade from the feathers of the bc;riaj'ard fowlci, such as the pigeon, duck, turkey, goose, and chicken, although in addition the long wing feathers of the vulture may be used as quills, and the plumage of the wild duck, the parrot and the - 41 - guinea fowl are also used for \r.ngs. The best wings are made on wires amd caji bo bent ;7ithout in ju -ring the beaaty of tJr.'? \7ings. The advantages of v/ings and quills are that they give a spot of («olor and a style tha^t no other feather irinmings can prodace. Or. che other hand, they do not v/ear well as they ruffle and break off ea n.y. Covering wingc or quills with maline helps to keep than in good condition* (."5) Jg^pcies - The majority C>» are usually used for children's or misses' hats in small tight bouquets. ii. Violet s - Violets are used in combiiaation v/ith other fl.owers but when used alono are confined to matronij' hats. They are particul- arly effective in all-flower turbans. ill. Applique - The flo\/ers racs", f.feqnen^;ly used, for applique are as follows: Asters Da'-Sries {7.arge, single) Camelias Gs'^^onias Chrysanthemums Poppies Dahlias Eoses iv. S mall flowers • 'P^'e Z.'cvi^i' uoed most frequently in com- bination with other flowers or foliage are the field flowers such as: Elv.ets Ea'-.tercups Laifies Poppies ani such small flowers as: Cow-slips Forget-me-nots Pansies Primroses Lilies-of-the-valley . V/heat is also used in combination ^ith these flowers, special. flowers are featured at different times snch as lilacs. - 44 - orchids 5 etc., but are to be consideared as novelty trimming rather than as Scandai-d stock. The kinds of fruit most commonly used in millinery are cheiries ari grapes, wh-1© small apples, peaches and oranges ares,cooasional3.y used. Test Questions* 1. Check the materials given which you find used for flowers, etc., in your o\7n stock. 2. V/hich differences in cutting, tinting and asBembling the parts account for differences in price? 3. V/hat flowers are used singly? For applique? For turbans? For children's hats? 52. What Should be kno.?n about ribbons? Silk is the most important material u»ed in rSbbons. !Phe silk fab- rics used in ribbons are very similar to those used for the body of silk fabric hats, so that ribbon materials can be distinguished by their (1) Y.'feave (2) Pattern (3j Finish (IJ The ribbons which can be most easily recogniaed by their weave are the following: i. Pile v/eave nush Velvet - ^atin-back velvet makes a particularly rich ajid beautiful ribbon. 11, Corded silks flengaline - This is a very heavy, stiff corded silk with a silk \7arp and cotton or worsted filling. Hany warp threads are used making a cord which goes across the fabric. It is used especially for mourning. ?&ille Grosgrain Louisine - This is a silk material woven v/ith twice as many warp as filling threads, making a slightly cordsd effect. It is soft, pliable and serviceable. iii. Satins iv. Taffeta V* Miscdllaneous - 45 - (a) Chiffon - Chiffon is a very light-weight sheer silk fabric nade of fine double t/ijted jra,ms. It is desirable for its soft, dull, sheer effect, rather than for its durability. (b) Messaline- ?his is a medium-v:elght twill or satoen weavs silk-. It is softer "but not so sub- stantial nor lustrous as satin. In good quality it wears well but in cheaper quality it feels and often looks sleazy. (2 J The ribbons which are distinguished by their pattern or finish are: i. Antique - Ribbons, fre furs which have been men- tioned as used for the foundation of a hat can be used for trinming as well, there are a few materials ;vhich are particularly adapted to this use, suoh as the soft materials used for veiling, lace, leather, metallic cloth and any of the short-haired furs which can be used in strips. (1) MatQriala used for veili ng - Of these soft fine materials, maline is probably the most frequently used, whtle net, gauze and chiffon are also used. (2) lace - Valenciennes lace Is used largely in the form of rosetts, while Mechlin, Chantilly, shadow and other similar laces are used largely for draping. (3) Tletallic cloth is used for bows, draping and for hand-made flowers and novelties. (4) jLeather is used a great deal as trinming for sport hate, both bind- ing for bows and bands. Test Cuections. 1, Name some veiling materials used, 2. How may lace and leather Ve used? 54 . V/hat should be known about ornaments, b ands and tobro idery ? The following kinds of ornaments are found used in millinery: Beads Pins Buckles Sequins (small metal spangles) Carbochons (round buckle j Slides (like a buckle without (or brooch) a tongue.) Ornaments of various shapes These come in a -raxAety of materials, the following being the most common: Celluloid Glass Metal-cut steel, gilt, rhinestones, etc. Shell-mother or pearl, etc. Straf Wood Bands and ornaments are often made by appliqueing on i^cundations of net or some other fine material, sequins, scale jet, or jet or steel beads in elaborate patterns. Velvet is also used as a foundation for applique. Bnbroidei-^^ floss on net gives another effective banding. Chenille and strav are other materials used, anbroidery is at times a very pojwlar trimming, especially on wool hats, v/hile stitching of various kinds is also used. This \rark may be - 47 - done in either .vorsted silk, ootton, or metal thread. Occasionally a hat \7ill be painted but this form of trimiiing is n---i fo prpular as the hats are likely to go out of fashion too quickly. Test Questions. 1. \/hat are carhochons, sequins, slides and how are they used? 2, i';hat metal ornaments do you carry in your stock? \7hat shell ornaments? 55. 'tVhat is it necessa irT: t o know a bout millinery f ir dings? The three kinds of articles included in millinery findings are* (1) Frames (2J Linii}gE and bandeaux (3) Wire Certain facts about the materials used and the way the articles are made s^jould be knovm. (1) Materials used i, Prames Hat frames may be made out of any of the following materials. Buckram Crinolin Gossamer Rice-net Villow V/ire Buckram is a stiff coarse cotton cloth, heavily sized. The cheaper grades lose their stiffness when -ivet. For this reason it is more satisfactor;^' in makJJig hats to get the better grades which have been shellacked, \iiir,h makes them almost waterproof. Because buckram is so stiff, it re^ains any deut^ the hat may receive which spoils the sh^pe. Also it is obviously not suitable for very soft hats, or hats of thin material. C r^noli ji. This is a copjtse, raedium-\reight cotton cloth, heavily sized. It is more closely woven material than buckram and not quite so stiff. Gossa mer. This is a name for a fine net which is T?aterproef . O.ving to its flexibility it is particularly desirable as a frame for a very soft hat, as it helps to keep its shape and yet it is so soft that it does not retain any of the impressions made on it. Rice-net . Hice-net is a material similar to buckram but much finer, softer and more pliable and hence more suitab^-O when draped effects are desired. -. 48 - _^i.llow is a pliable icaterial \roven of willow strips, which keeps its shape, is not affected by the damp and is IJght- //eight, codI and easy to handle. ' Are . The wire use ■\. dS^a.^ f.ra::ies ?.s usually qu.lte thin, so that it can beeeafiily raanipulated vi7ith the f?jag9rs. Kind-made velvet hats are frequently made with wire frames, ii. Linings and band same Linings and bandea.ux are generally made of silk or mercer- ized cotton niateJ5?-a.\r, . Occasionally bi^ckram or net will be used to line the crown. The follo\/ing materials are used for linings: Chica and Jap rilks - very sheer, inexpensive light-weight silks, llallne - This is used, for transparent hats, Eibbon Satin Seco silk: -> a tMu, meroerized material. Taffeta Bandeaux ooiae in heavy cotton materials, in taffeta and velvet. iii, V7ir& Vire is i^sed for three purposes, for the frame of the hat, for ;vi ring parts of the hat, as the brim or cro'.m, and for wiring tr'jnm- ing, as bcivs and fancies. This \/ire comes covered or plain and of vary-^ ing widths • Cab?,e wire . This is a heavy, large covered wire, for wiring brims, etc. F rame wire . This is medium sized uncovered wire, used in making frames, Lace^wJre, This is a fine wire used in v/iring trimming. J|j2t':.n2j_w?.re.-, A. ■•"hin, resil'-s.-Jt wire responding quickly to the touch. Used ia wiring triiiraing. Tie wire . A fine wire used for tying. Lacks the resilisesy •f spring wire. In wiriiijj hats it is important that the ends do not poke through the matt- rial. In order to syfiicl tiiis difficulty little claeps arc raado to put ovtr the e ids of v;irt;s whore they join, as in the brim of a hat. Ri bbon v^ire . This is a fine wire used for wiring ribbon, (2) Tbo way the iirticlos flr<= iradc, i, Fxames - 49 - There are two distinct kicds of frames used, the wire frame and tho fabric frame of buckram, willow or net. V/*ien a wire frame is used the material is tacked or shirred 021 to the wire as the- case xcay be. The main point to notice is that the material lies even ard straight, arfi- that there %re no ends «f wire pdking through. The wire allows the aht to -be easily bent to the desired shape and makes a light frame. The willow or net frames frequently lave the material attached with glue, where a smooth even >?f"vn is desired. This is a much cheaper method chan tacking by hand. The advantage of a v/illow or gossamer frame for soft hats is that it retains its shapo after being bent ard peraits the hat to te crushed without injury. These frames are very light as well as pliable, ii. Linings There are two kinds ^f linings in use a. A one piece lining -.rhich is attached to the cro'wn ani drawn up by a string in the middle. b* A two " piece lining; one pioce placed in the bottom of the h^t is held in place by the second piece which is 4 •ide band attached to the crovni, the bottom edge having a draw-string. The two-piece lining is apt to fit better than the one-piece as the bottom of the hat is left flat. iii. Bandeaux Bandeaux may be sev.'ed in or may be adjustable. The adjustable bandeaux If a round wired band, the inner edge having a drawing string run throu^ it. It is attached to the crown of the hat about one quarter of an inch from the edge by means of the small wire points which protrude from the outer edge of the bandeau. The head size is then adjusted by regulating the drawing string. The ser/ed bandeau is usually a fold or band of material, fre- quently velvet which is seT^ecL .In arour;''. the crown about a o thfta half but l«ss tha& two-thiz^s of the other. A hat then, to have good proportion, should have a brim either more than half and less than t\if0- thirds the h^lghth of the crown, «r a crown more than half and less than two-thirds the «lith of the brim- - 51 - The same principle holds true for trimming. The space covered should not be the sane width as the space vmcovered. (2) Balance - Another factor necessary for good line and foim is that the hat should ha\'e balance. One part of the hat should not out\TOigh the other and make it seem one sided, or out of proportion. Balance may be obtained by having a hat bisjmmetric in which one side of the center line is exactly like the other. This has the disad- vantage of any equally divided space ir appearing monotonous. Sailors and turbans are bisynnetric in shape, c^.tivqugh this effect is overcome frequently in trirx^ing. Balance may also be obtained in an unbisymmetric hat which does not have the two vldee identical. The unbisynmetric hat creattes the impression of balance through color, size and form. The balance is felt rather than measured, A small bright spot on one side^ for instance, may counter-act a long curve on the other by drawing the attention to the bright oolor, ar irregularities in shape may set off each other. The principle of balance is frequently overlooked in the extreme styles and accounts largely for their xanattractiveness. Any hat w}?i^ eeems weighed do\m or pulled awry lacks the features that make for good taste and beautj-. Frequently slight changes in the position of a trim or change in shape can affect a narked improvement in a hat as regards pro- portion or balance. Test Quest ioas . 1, \Vhst tx?o principles should be observed in line and form? E, vVhat parts of a hat must be considered in deciding on the the most artistic and pleasing proportions? 3, Wliat is the most pleasing space proportion? 4. Hov; can this proportion be used in hats? 6, "'.Vhy is it best to avoid equal space divisions? D-o you agree nith this principle? 6, V^y is balance an important point to consider? 7c v/hat is meant Ly a bisymmetric hat? Think of three or four bisymaotric hats in your stock, 8' How can balance be obtained in a hat that is tm- bisjrametric? 9. HJhat hats in stock have you that are bisymmetric that have balance because of the use of shape? Of color? 10. Hacve you had customers coaplain because a hat looked top-heavy, or one-sided? What did you do? Vftiat did you say? 58. ^\8hat are the principal styles carried? Tlie style of a hat may be described in four wajrs; (1) By the use for which it is to be \TOrn (2) By its shape (3) By its trimming <^ 52. - (4) By the designer or naanufacturer (1) Eie style of a hat may be referred to by the use for which it Is intended Tress hat wtreet hat Sport hat (2) !Qie most iiaportant point to consider about style is the ehapo of the hat. There are five distinct shapes used. Straight Boiled brim Sailors L^rooped or curved brim Off-the-face i . The straight or , flat brim This style may be large or small v/ith any width brim or style crown. It may be for dress, street, tailored or sport wear depending on the way it is trinraed. Children's and girls' hats are freouently this ahtipe triffimad with a simple wreath of flo\7ers or ribbon. ii. The ro] led brim There is a large variety of foiled brim hats differing in the width of the roll and the shape of the crown. Chin-Ohin - This is a popular model with a wide rolled brim of the same width all around v/hich carries the hat woi'L off the face. This style usually has a bell crown. It comes in various sizes and for various uses . Tricom - - This is a style in which the brim is turjied up on three sides after the fashion of the Continen- tal hat. It is particularly for street or tai- lored v;ear,also being worn largely to complete a riding habit. iii. Sailors A sailor hat is tailored ija-t with a stiff crown usually fait on top, which forms a right angle where it joins the brim. The brim nay be straight or slightly curved. iv. Lrooped or curved brim Drooped brim hats vary from the large drooping picture hat to the small close mushroom shape. They may have any style crown, bell- shaped, slanting, pointed or flat* "^^^^ Style has many uses. The large - 53 - hats are worn for dregs, the smaller styles for street and sport wear. GSiere are three distinct style of drooped brim hal-s in use. Clnche, or - Cloche, which is French for bell , refers to a M%3broom hat with a briro of uniform width turned down all around. It may bo large or small. Another nftiae lor this style is mushroom because of its bell cro\ini and evenly turned down brim. Poke A poke differs from a cloche or mushroom in having the front of the brim turned up in the middle and down on the sides. A poke is also shorbfer in the tack and larger in the fron than at the sides, l';70 pokes na\7 in use are copied after French styles worn in the 18th century, the Charlotte Corday and the Directoire, The Charlotte Corday style is a child 's model, much like a miishroom with a slight poke in front. The Directoire model has a very sma^l cro\7n, a wide poke in front, with a very short brim in back^. usually trimmed v;ith streamers. It is much more of a dress or picture hat than the Charlotte Cor- day. Picture- - - Picture hats include a large varietj' of wide bats brL-oned hats. They may be drooped all the way around or turned up on the side. The Gainsboro hat, for example, is turned up on the left slifte, Vlth the right brim sweeping well over the shoul- der. V, Bff-the-face hats. These hats are usually rather close fitting, and are frequent- ly made up in soft materials. There are three distinct kinds of off-the- face hats carried: Turbans - A turban or toque is a small closely fitting hat without and a brim. 'J'jiis stj'le is frequently draped v/ith some soft Toques material as duvetyn, satin, etc. ISms The regulation Tarn o» Slionter, or tarn is a round cloth hat or cap with the soft crrvm usually worn to one side. Modifications of this style are made up v;ith small brims in straw- and different fabrics. High- - - A great number of off-the-face hats are made up mth a Front v/ide fron cuff, which fits cloeely to the forehead. The Cuff brims of these hats may be small or large and are usually slightlj'^ turned up. This wide cuff offers an excellent expanse for ti'iramin^, and frequently containa the only bit of color or triOT.iing on tiae hat. (3} Hats are occasionally described by the trinroing used as: - 54 - Bonded Feather trinrned Plov:er " Flower " FV.T " (4) JXj^ iroportel hats or copies of imported models the name of the de- signer is of interest to tho n Ttc^ev. Belo\7 is given a list of some of the most important French designers. Alex Jean Cartel Jiarthe Collot ,4ndre Lev/.'s Uarthe yerles jLQtoinette Louis Marsey Poiret Elaine LooXson RebOTix Evelsm Varon Ltioie Kamar Rose lescat Georgette iiar^'^jrHa & Leonie Saget Gertcaine 2Iai'ia Guy Suzanne Talbot Helene & Julia llarie l.ancret Susy Jeanne Blanchot 2%x'ie ct Annie vasselin & Villetard Eats are also called for a, timp by the nane of the manufacturer, as; Gage, Knox, Dtmlap, Een'lel, etc», so that the salesperson diould icnow whether branded hats are car? .'.ed m hor department and, if so, v;hat malros she carries. Frequently theso trade names are used to describe a certain style of hat, as a "liioz sailor" or 'Beret" aad "Priseilla Dean" tams. Test Questions. 1. What four ways are used to describe the style of a hat? 2. In what different shapes do your dress hats come? Your Rvreet hats? Tailored hats? Sport hats? 3. Check the French models you c^rry in your depart- ment. If ycu cari-y branded hats write dorm the nan:C9 of thuso you carry. 4. Witch the millinery j:dvertisements in the paper tomorro"./ and notice hoi? the different stj/les are describsd. 59 • Vi/hat facts must v/e know about colors in order to use them intelligently? The first -thing to notice in studying color is that dJ.fferent colors produce different effects. Rods, yellows and orange are stronger, warmer colors and seem to have more weight than greens and blues which are cold. Red, greens, and yellows seem to advance while blue, greens, and violets ato itjtreatlng. Coloi-s of high value, tLih is; the tints, seem. less heu.T'y than the dfjrker colors. Pure colors are more exciting and seem heavier tian grayed colors, and dark colors are mysterious and somber while grayed colo:rs arc tender sud ueucral. Since colors by themselves are capable of producing certain definite - 55 - effects, it is obvious that cure raiist be t=ken when usin^ them In com- bination, or the result will be most unhaniiou-i.ous and unp7.easing. It is therefore, necessary to know some thing about the p.tr.nciples of color combination or color harmony if color is to be used to the best advan- tage. Test j.e contrast to separate the different colors \/ith a bit of black, v,^ite or gray. Also grayed colors in combination are generally preferred to pure colors, and a difference in the brightness also heightens the interest, A bright blue hat ui th vivid violet trinming^ for example, might be too stimulating to be pleasing, while a duller blue with the vivid violet might be quite striking, yet pleasant. iii, 4 contrasting color scheme, in which a combination of com- plementarj' or contrasting colors are used affords the greatest variety. V/hen grayed contracting colors are used the combination is most success- ful as there is a satisfying bfuT^nce without too jarring a contrast. A difference in brightness and shades increases the pleasantness of the result also, as well as unequal amounts of color. A green hat with a touch of red, for instance, would be more pleasing than a hat nade up of equal amounts of green and red. The detemination of the br'.ghtness, shades and amounts of color to use in a color combination ie uoncemed largely with the second principle of balance. Test ^estions. 1. 'Vhat are the three t;;;pes of color schemes used? 2. V/tot is a one-color scheme? Select a hat in your stock in which a one-color is used 3 3. Eov/ Tiiy the monotony of having a hat of the same color be relieved? 4. Select a hat which uses different textures but the sane color throughout, What is the effect? 5. Select a hat showing a use of related colors, 6. V/hy is it advisable to separate two related colors by a bit of gray or black? How have you seen this drii5? 7. £a-e you seen a hat in which pujpe related colors V3re used? Did you like it? If so why? If not, why not? 8. Whet color scheme affords the greatest variety? ^oy? 9. Viihy should varying amounts of contrasting colors bo used in a hat? 10. What are the advantages of using grayed colors in- stead of pure colors in planning a color scheme in milliner^'? 62. gow is the prlaciple of balance used in combining colors in millinery? One of the reasons why a contrasting color scheme is pleasing is because there is a balance of wsjroth activity and weight. The effect Is neither too flushed nor too cold, too light, nor too heawy, too stimu- lating nor too passive. VVfe saw tliat a ooo-toned or a related color scheme - 58 - might become monotonous beca-'ise there was an unrelieved use of the same effect iinless there was a compensating variation m hrightness of shades. The most effective harrrony has a proper balance of colors, shades and brightness. There must be a center of interest T;hich shall pive unity to the iThole, That is, there shotU.d be a predominating color which is set off by the use of the other colors. The area of the color used depends on the particular color used, the sl^de, and the brightness. The stronger colors a? red or yellow require a larger area of the weaker colors, blue ai:d violet, to set them off. The brighter color will require a greater area of grayed color to set it off. A very light color is balanced by a smaller amount of a darker shade. Balance is alsc affected by the position of the color. A dark shade should not be used as the crown of a hat v/ith a light brim, for this gives a top-heavy effect as the darker shade carries the impression of weight- Different colors used alternately at equal intervals have a tendency to distract, as the attention is drawn first to one and then the other in- stead of allowing the hu.t ia be seen as a v/hole. There should be a pro- gression or rhythm in the arrangement. This effect of rhythm, which allows the eye to be carried easily from one point to another, may be produced in two ways, namely by use of gradation and repetition. (1) Gradation Gradation may be used effectively in shades in which case there will be a change from dc-rk to light, or light to dark; in brightness, from dullness to brightness and vice versa; or in size. Gradation innize is frequently seen in trimming. Beads graduated iu size is a good illus- tration of this. In using gradation it is wise to think of the costume as a whole -Tnd advance from the foot to the he^d, so that the face, v/hich is the point of greatest framed by the collar and hat, becomes the highest point of climax of the color scheme, llaterials depend on gradation of brightness for their attractiveness. Soft materials that lie in folds give a gradation of shading. Silks and velvets reflect the light, giving effects of light and dark; cottons and woolens are duller, while certain straws are more lustrous than others. Transparent materials l:.ke tulle aj.d chiffon soften harsh edges and re- store unity making the colors thus veiled more alike. (2) Repetition Repetition is another means of making a combination unified or harmonious. The eye follows naturally a repetition of a color, so that a costume v;hich repeats in the hat, for instance, colors that have been used in the dress or suit will seem more unified than one v;hich has no connect- ing link of either gradation or repetition. Test Questions * 1. On what does the amount of color, or area of color iised depend? S« In a contrasting color scheme what colors would in- quire the greatest area? \'Jha,t colors would be used - 59 - in smal'.ler amounts? 3. V/hy does a tit of orange go a long vaj- on a hat? 4. VAiy may a small lUgiit feather, or trim satisfactorily ii'-'ju a sna£.ll hat? Would the sane siced trim in black or a dark color be usediii trimming a light hat? Vvhy not? 5. How is balance effected by the position of a color on a hiat? 6. In -.diat tivo ways iray rh^'thm be produced in a color schame? 7. If a turban is draped in a silk gradoiating from a dark na-Ty bo a French bin?, what method \vas being used in efiecting a pleasing balance? 8. V/jiy is it uecessary to consider the costume as a ■.vhole? How nay the hat be nssd as a climax for a color scheme? 9. In what ways have you seen repetition used in work- ing out a color scheme? 63 . How crtn infonintion on line and form and color be used in selling millin- ery? There are two distinct t^iys in which information on line and form qnd color can be used to advantage in selling* (1) In bringing out the talkJJig points of the merchandise (2) In sxjggestiag ways of trimming or altering hats. (1) If a salesperson is familiar Mith the principles v/hich make for an artistic and pleasing piece of milliu3:::y she will be better able to point out the particular points of advantage of the merchandise to the customer, in commenting on the shape of a hat» for instance, she can point out the iPac* that the height of the crown is carried by tao pfriicular shape of the brim; or the flange or wide turaftd brim on one side is nicely ti'-_anced by the extended sweep of the brim on the other. By actually passing the hand over the parts of the hat mentioned the salesperson can indicate clearly to the customer the points she is bringing out. Hansonious color combinations can be brought out in the same way. If it is a one-toned hat, the difference in the textures used could be pointed out 'by the salesperson, as "The use of the straw and silk gives variety while the hat is still in the one color you desired." Or she rai^t say, "The way the color changes from dark to light blue is very effective and unusual", or "That bright bit of color at the side just sets off tlie dark tone of the hat." (2) In selling trimmings a knowledge of the principles of artistic decoration is essential if the salesperson is to offer the customer any help in triirming her hat. This infoimation will be useful not only in helping her to tell how a trimning may be put on, but also in selecting the right colors and style of trimming. Information of this sort is i*lso helpful in giving suggestions about alterations when the customer is not just satisfied about the \7ay a hat - 60 - looks. isorAetimes just a slight change in triraminf: or shape, or a Er.gges- tion about a treatnoent of the feathers or use of a veil will prove j^a^ the thing necessary to make the hat acceptable. Info.Taation of this kind on shape and color will alivays be g'tven in con\-\ection \fifa the question of becomingness rather than as sera rate informutiou, for it would be \i;astBof tiae to talk up the style of a hat which a customer could not possibly wear and would not posr.iWy b-.iy. Test Questions. 3,. la what two ways can information on line, form and color be used in selling? 2. In what connection is such infomation given? 3. lAiat can the salesperson do in describing the talking points of the shape of a hat to make her statements effective? 4. In what iTays does this information help a salesperson to sell hat trJmmings? To suggest alterations? 5. Hov can information about color be given? Select a hat and decide v/hat you could say to a customer about the color. \1Biat facts about m aterials can _ be brought to the custoner's attention in considering style? The stylo of a hat will depend greatly on the selection of the iloaterial. Different lines are obtained in using different textures. For example, in straw hats the stiff tailored lines of a sailor are carried out by the use of Patent Uilau, hair straws give a lighter, gentler line, while visca, althou^ rough, is pliable and can be used in draped or crushed hats. In fabrics, duvetjm being wonderfully soft drapes beauti- fully and is particularly adapted for turbans and draped effects. Satins and taffetas give crisper, /*^rder lines. Beaver and plush with their sleek, shiny texture maice excellent tailored models in straight, severe lines. In considering the material used in millinery, customers are mainly interested in the questions of appearance rather than in durability or serviceability. They ask the questions "Is the material attractive or pleasing?" and "Is it new and in style?'* JSierefore, it is necessary for the salesperson to know the characteristics of the different kinds of materials so that she can talk them up, and be familiar with the novelty materials carried in her department. In order to do this she should make a point of knowing in v/hat materials the different styles are made up. This will also help her to find what the customer wants more quickly. Test Qwestions . 1. Fame five of this season's materials which are 'Ofted particularly for dress hats. 2. U"aat materials a*e used for sailors? For off-the- face hats? 3. In what materials do your sport hats come. - 61 - 65 • V^t facts about aanufacture can be pointed out to the customer in considering style? (1) Hand-^nade and custom-niade hats The most exclusive and expensive hats, such as the imported models, are hand-nade. Their particular beauty of line and color is the result of the work of an expert designer who knows just how to handle Lis raaterials. The style is the important element in these hats and it is for this exquisite workmanship that the customer pays. Usual- ly a label cf an eaolusive luake in a hat increases its value in the eyes of the purchaser. Besides these imported models there are a large number of hand- na.de hats made up in the store work rooms, usually copies of exclusive models. These hats are rarely duplicated and hence are individual although not so expensive as the Lmported models. Also many hats are nsde up to order for the customers. These are usually referred to as "custora-rsade" hate, and are also hand-made. In addition to the creation of the particular style, hand-made hats shov? time and care in the workmanship which is put on them. The triranings, such as beads, are sewed or by hand, the embroidery hand- worked and the linings and wirings nicely finished so that the whole effect is neat and Troll-made. In straw hats the material itself may be hand-\rt)ven. iiuch hats are called "body" or "one-piece" hats. They are usually more j-'liable and stronger than the braid hats of the same material and are r:2ade of fine quality straw. The hand-made braids are also finer and richer looking than the machine-made braids. (2) Eao^ory-^nade hats ?actory-nade hats are nade up in large quantities and, therefore, are perhaps not so distinctive in stylo as the hand-made ones as there are not so many of them. Ho./over, these hats come in a v/?.de variety of popular models so that it is easy to find an attractive and becoming style at a moderate price. V/hile the workmanrhip may not be so fine on these hats, unless a close exar.iination is made th^' frequently cannot be distinguished from the hand-made hats and for ordinary wear are quite as satisfactory. In coirmenting on hand-made hats then, the salesperson can point out the origiuality and beauty of the designs and the neat, clean finish of the workiianship. In selling the factory-made hats, the v/ide choice of styles and the effective general appearance of the hats for the price, can be tal;::ed up. Tiic fact that hats are seldom \rom more than one sea- son is another argument for buying an inexpensive hat, as doubtless the customer will want another hat when the style changes, so if she buys this one now she can get a better one later. Test Qjuestions. 1. Vfliat are the advantages of an imported model? E. What exclusive models do you carry in your depart- ment? -. 62 - 3. What are some of the reasons vfhy hand-made hats are expensive? 4. V*at poj.nts do you Ptfcally bring out in selling hand--irade hats? 5. ^Vhat can he said in favor of the factory-mofle hat? 6. How can you use the fact that styles cljange quickly in millinery in sellingr your merchandisp? 7. Select several styles of factory-made hats in your stock and notice hov/ they are made. V/hat do you notice about the \vay the triimning is put on? About the \vay the h?t is lined? 8. Do the same for a hand -made model? - 63 - CHAPTER II. BECOLUHGHiSa AND SUITABILITY 66 . What must a dustomer consider in choealng a beeomiijg and suitable hat? In selecting a becoming hat, that is, a style that looks pleasing and attractive on, the customer must consider, (1) Certain facts about the style of the hat (2 J Certain facts about her personal appearance (1) There are three ixnportant points to notice about the style of the bat: i. The shape, as line and fora ii. The material iii* The color (2) The points about personal appearance to notice are: i. Build ii. Features iii« Coloring If the hat is to be suitable as well besides noticing the three ■" : facts about style the customer must consider in addition: (3) Ho\/ the hat is to worn (3) In considering how the hat is to be vrorn two facts must be taken' into account; i. The costume ii. The occasion for V7hich the hat is to be worn A hat may be boconing and still be unsuitable. For instance, the line and color of a hat iaay be most pleasing on a customer when the hat alone is considered, but when the suit with which the hat is to be worn is taken into accoiint, the hat na.y look Liuite out of place, perhaps be- cause the colors clash, or the style of the hat is too elaborate for the suit. Hence, for a hat ^.o be entirely satisfactory, both becomingness aisd suitability must be cohsidered in making the selection. Test Questions. 1. \/hat are the two main facts a customer must consider in selecting a becoming hat? 2. VThat points must she consider about the style? A>out her personal appearance? 5. Think of two examples you have seen v/here customers bought becoming but imsui table hats, the hat being unsuitable in one case because it did not go w'th - 64 - 67. her costume, and in the other, because it was not appropriate for the occasion. How does the customer's rarsopal appearance determ ine the style of hat which v/ill be becoming? As v.-e have said, the customer takes into consideration her build, features and coloring in cho-asing a becoming style. This means that certain styles are particularly suited to certain types of people. Shapes, colors and materials becoming to one type of person may be far from ipleasing on another. For a hat to be becoming it must seem to belong to the wearer and to fit the head. A large broad-brimmed picture hat on a thin, small featured person seems out of place, while a small, round sailor on a large imposing figure nay appear even more incongruous. Bright, start- ling colors on persons with little color of their o'vn, or pale, weak colors on persons with vivid coloring show too sharif contrasts. In order to find the most becoming hats then, it is necessary for the salesperson to study the effect of different styles on different t3^es of customers. Test Questions. 1. vfliat two things must a hat do to be becoming? 68. How does the shape of a hat effect the wearer's build^ A person's build can be decidedly affected by the shape of the hat she wears, a. brimless hat tends to increase height, a straight brim cuts of the figure, while a curved or drooped brim makes the figure ap- pear even shorter, A turned-up brim, on the other hand, carries the eye upi/ard and nakes a person look taller. The effect of the shape of a hat on the build can be illustrated simply by looking at the four lines drawn below. They are all the same length, vy A Brimless or Close Fitting Sailor or Stradght brim Curved or Propped brim Off-the-face or Rolled b rim The effect of a wide brimmed hat is to make the figure appear shorter and the face thinner, while a close fitting or brimless hat heightens the figure and broadens the face. The figures below will illustrate this, length, and the circles the same size. The lines are the same - 65 - Y/ide brim Close fitting Keeping these facts about the shape and the siz« of the hat in mind, the salesperson can select the most becoming shapes for hor cus- tomers as far as build is concerned. It must be bom in mind, however, that while the statements given below may hold for a certain build, the customer's festuri;s may be considered alone, and where there is a con- flict between the style suited to the build, and the style required by the features, the style which overcomes the greatest defect must be chosen. Tnis may result in a compromise, selecting a hat with certain points becoming to both build and features, or in a style suited to the most prominent defect. Customers can be considered in t^vo classes as regards their build, (1) The well-proportioned figure (2) The ill-proportioned figure (1) The well-proportioned customer may be large, medium sized or small. In all three cases height and weight are well balanced so that the pro- blem df finding a suitable style of hat is fairly simple. i. The large, well-proportioned woman can \7ear large bats to advantage, although smaller close-fitting bats can also be worn. A rausli- room or poke is less becoming not being in keeping with the dignity of hep figure. Praetisally ai^y other shapes can be worn. ii. The mediiao-sized \7oman can wear any shaped hat except the large picture hat v/hich tends to eclipse her. (2) Ihere are four types of figures which must be ts^ken into account in buying a becoming style in a hat. i. Ine tall thin \TOman ii. The tall srout woman iii. The short; thJn woman iv. The short fat v/cman. i. The tall thin woman should wear a medium-sized hat, prefera- bly with a drooped brim vdiich will tend to lessen her height. Brimless hats will increase the appearance of height while veiy broad brims will maks her face too thin- Also straight brims, such as sailors, usually give too severe a line, while pokes or youthful mushroom shapes lack the dignity which belongs to this figure. ii. The tall stout figure requires a large hat to carry her size and make her face appear thinner. Drooped brims which hide the neck should be avoided, as they tend to make her look squat. Hats with rolling brims are likely to be becomxxig, especially chin-chin shapes. - 66 - iii. The short thin woman looks best in a small close-fitting hat \7hich increases her height and broadens her face. Small drooped hats such as pokes and mushrooms are also attractive if the customer does not object to emphasizing her smallness, iv. The short, fat worcan should wear a hat large enough to make her face look thin yet not wide enough to shorten her figure. She should avoid drooped hats v.'hich hide her neck and also brimless hats which broaden her face. Rolled brim hats' and off-the-face hats if not too round are becoming. Tricorns look particularly well on this type of figure. lest Questions. 1. Why is it necessary to consider both build and features in selecting a becoming shape hat? 2. 'ivhat effect do the following shapes have on the figure? Drooped brim? Brimless? Straight brim? Offrthe-face or rolled brim? 3. vyiiat shape hats tend to broaden the face. To make it appear thinner? How do these shapes effect the figure? 4. «Vhat types of customers should wear large brimaed hats^ Small off-the-face hats? 5. ViCiat styles should a short, stout person wear? A t£.ll stout person? 69. How do the wearer's features determine v:hat styles will be becoming? In deciding on the becomingness of a hat the wearer should look at it from two angles; (1} The front view (2) The side or profile (1) There are four points to notice in studying the front view, i. The sliape of the f^ce ii. The lines of the face iii. The hair iv. Glasses i* The three most important types of face to consider are: {a) The full, round face (b) The small thin face (cj The long thin face (a} For the ful^ round face and the flat face shapes which repeat or emphasise the curves of the face should be avoided, such as round, deeply rolled brims, brimless hats xvhich make the face appear fuller, or straight sailors the severe line of which offer too great a contrast. Hats with a brim deeper in the front than at the back and sides may make the face look slender, lledium sized hats with a slightly - 67 - rolled brim and tricorns can best be worn. (b) The small thin face looks best in small close-fitting hats which tend to broaden the face. Round sailors and small mushroom shapes are also bec(»ning. (o) The long thin face does not look well in a very drooped brim which onphasizes the long lines of the face. Severe straight brim hats are also trying on this tj^pe. Off-the-face hats or round slopes with softly rolling brins are usually becoming. ii. The lines 4n the face mxist be considered in selecting hats for the tired or old person. The deep lines from nose ta mouth, the sagging lines of the cheeks and wrinkles must not be emphasised. For this reason drooped brim hats which repeat the sagging lines and cast shadows on the face shoald be avoided. Soft curves in rather close- fitting models are more beccming, as in rolled brlii hats or draped tur- bans. iii. In considering the hair line it is important to make sure thftt the crown of the hat is on a line with the line of the head, X small crown which causes the hat to sit up high on the head, or a large crown extending beyond the line of the head are both displeasing. The oiB exception to this is the style which when made over a well fitting head size m£.y prove very becominej. The woman v;ho wears her hair close to her head may wear snflll hats or hats v;ith fairly large brims providing the crowns fit properly. The size of the crown is » particularly important point for the bobbed haired person to consider. This head-dress requires a I^t with a small head size. The young bobbed-haired girl with a slender face can wear toques and small off-the-face hats. Those with curled bobbed hair can v/ear mushrooms and pokes also. Wide-brimmed and rolled brimmed hats are becoroing to the broader face bobbed-haired type. For the straight bob toques and rolled and straight brim hate are good. The hair beocmes a. very perplexing question when it is done in an extreme fashion or when there is a great deal of it. In such cases the most important probleni is to find a hat ^ich will go on at all, which limits the selection from which to choose. The way the hair is done also affects the way the hat may be worn. The manner in which hats are worn varies with the seasons. Some seasons they will be worn straight, another OR»»on ^^t the side or well down over the forehead. However, if the hair is done elaborately at the sides, for example, it will be impossible to wear a hat exactly straight or if the hair is wDm in a large knot low in the neck, it is difficult to wear the hat very^low on the forehead. iv. Glasses have much to do with the becomingnesa of a hat. Some styles give a set, matronly lock, while pokes or youthful mushrooms styl,es seem out of place. The most becoming styles have a brim which comes over the trxce and softens the outline of the glasses. Small tur- bans emphasize the square corner mode by the edge of the glasses with the side of the face. -• 68 - (2) In studying the side viev/ or profile there are four points to consider, i. The shape of the head from front to back ii. The length of profile iii. The nose iv. The chin 1. If tho head is too short from front to bade trimming mnssed at the back of the hat or a long line extN>rding from the front to the back such as a quill or loops of ribbon, may correct this defect. A line extending across the front of a hat or trimming nassed at the sides tends to m'ike a head which is long from front to back appear wider and shorter. iii. The shape of the noss is very important. Care must be taken that the lines of a hat do not repeat or too strongly contradict the line of a long or crooked nose. A prominent nose is less Conspicu- ous under a brim \/hich extends beyond it. Turbans, for instance, bring the profile into sharp relief and accentuate the nose. Curved brims are more becoming than stjnight ones v/hich offer too great a contrast. If tne nose is very snubbed the hat should not turn up in front as in a rolled brim or poke, A drooped brim such as s. mus2iroom is becoming as it casts lengthening sbadoijs ever the uppe:? part of the features. If the nose is just turned up enough to be attractive it may be desirable to emphasize tliis feature. In auoh a case a turban or toquQ which brings the profile into relief may be becoming. iv. The chin is also an important feature to consider. 5Phe per- son with a sharp pointed chin should avoid narrow crowns, high trimmings ard drooped brims which tend to lergthen the face, k weak or receding chin, on the other hand, needs to be reinforced. A sailor or straight brim sometimes strengthens this feature, while a turban helps to fill out the lower part of the face. A hat which comes too far down on the forehead or turns too abruptly amy frcm the face contradicts the weak chin too strongly and should be avoided. Tricoms and sailors with rolling brims are becoming to the persons with the very square chin. !ISieEe styles do not emphasir.e tho profile as turbans and toques do, nor do they tend to strengthen the lower lurt of the face as do the drooped brim styles. For the person v/ith a double chin trimming at the lack of the hat serves to correct this defect, while trimming massed on top serves to make the double chin even more prominent. Too delicate lines or too severe ones will also accentuate a double chin. Test Questions. 1. V/hy is it necessary to look at a hat from the side as well as from the front? 2. 'That four points is it necessary to consider in studying the front view? In studying the profile? 3. '.That shapes are becoming to the small thin face? - 69 - Eae ICQg thin face? The full jround face? 4. What styles tend to emphasice the lines in the face? vyhat shapes should be worn? 5. v/hat is it important to notice about the c^o^vn of a has? 6. To what profiles are the following kinds of triran- ing becoming? Trimming massed at the back? Massed a^ the sides? High stand up trimmings or narrow crovms? 7. To v/hat profiles are the following shapes becoming? '^Jlxy7 Drooped brims? Turbans? Holled brims? StUnrs and straight brims? 70. \iihat must be noticed about the material used in selecting a becoming hat? In considering the most becoming material 1?harQ"ai9 two points tft be considered, (Ij The customer's build (2) The features and hair (1) The large woman should avoid materials ;zhich tend to increase her size. Glossy, shiny naterJ^aln as cired materials, satin, shiny straws, and metallic cloth give the appecrance of sine, while wool materials as duvetyn, and ve3our silk crepes and pliable straws give a softer line §nd are less conspicuous. (2) For the sharp fea-^ured person soft materials are desirable. Veil- ing with tulle or other shoer materials tends to lend a soft grace to the wearer. The round f::.ce, on the other hand, can wear the materials giving a harder liue, as satin, taffota and the heavy rough straws. Glossy materials such a^ cire satin are f requwitly used as facing for dull hair as they impart a sheen to it, while glossy hair is set off by dull materials. Te st Questions. 1. V/Iiat ira';er-.fl.l:i give the impression of size? 2. What materr.als shoild a person with shs.rp or thin fea.^-uro'j avo^(^'^ 3. ITSjce five natf;r'.''>.ls yon have in stock vAiich you think would be bocoming to such a customer. 71. vHhat must be considered in selecting a becoming color in a tat? In studying the colors which v/ill be becoming to the customer it is necessary co consider the following poJJits about her: (1) Her age (2 J Eer build '3) Eer personal coloring and ccmplexion (4J The color of her hair and eyes - 70 - (1) ObviouBly for the mature woman sedate colors are most becoming because they ajje in aSneeping vjlth. her age. Hetreating colors r.s bJ.ag, green and violet, grayed colors rather than pale colors and the more conservative combinations of colors used in the one-color and related color schemes are colors for iisi/uritsr. Per youth, pale or light shades are becoming. Pure colors, the gay advancing colors if they are becoming to the individual colovin;^, and more startling combinations Jf coloi« seen in the contrasting color schanes iuiay be used. (2) Build becomes a problem in selecting a becoming color \#ien the customer is large. Dark colors tend to reduce size so are preferable for the large customer to the lighter shades. For the same reason, re- treating colors are more desirab?.e than the \7aiTner, brighter advancing colors and one-color or re?.at3d color schemes than the more conspicuous contrasting color combiuations. (3) In considering the personal coloring of the customer tv/o points are important, i. The types ef coloring ii. The complesion i. The customer may have very vivid coloring, medium coloring or weak coloring. The individual with medium coloring does not present a problem. For the person with vivid coloring and possibly more viva- cious personality a more colorful scheme is permissable than that for the medium typo or the person with the weaker face. The neutral, color- less person should be careful not to get colors which xrill put her in the sliade. A qiiieter, but no less interesting color scheme should be cliosen by this type. ii. In considering the effect of certain definite colors on per- sons r/ith different personal coloring it must be recalled that in hats the color is reflected on the face, which means that the hat casts its complementary tinge on the face. 'That is, blue casts a yellow tinge on the face, red a green tinge, yellow a blue tinge and green a rosy tinge (See Question 12?.). Keeping this in mind, for the different types cf complexion the following colors will be found most becoming. Tlie important types of complerions to consider in selecting becoming colors in hats are, (a) I^le complexions (b) Rosy or ruddy complexions (c) SalloviT complexions (a) For pale complexions, greens and blues which reflect a rosy tinge on the face are becoming. Reds which casts a greenish tinge and also present too strong a contrast v/ith the lack of coloring in the face should not be worn. (b) The person with a rosy or ruddy complexion can wear yello\/s, blues and grays. Greens have a tendency to make the face too - 71 - ruddy and black \\/hen worn against a flushed face br.ijigs out the color- ing too much. Darker shades are tetter with the real red complQxion aui waim colors are better than cool ones which afford too great a con- trast* (o) For the sallow complexion, vsatm. grayed colors are good, and dull green which casts a rosy tinge. Orange and violet are also becoming, while pale blue, and black are poor. (4) The two other points to consider about the customer's personal coloring are, i. JSie color of her hair ii. The color of her eyes i. Customers may be divided into four classes for convenience according to the color of their hair. (aj !rhe golden blond (b) Auburn or chestnut (c) Dark brunette (d) Hed haired (a) For the light golden blondsp, blue, blue-green and violet throw a yellov/ tinge on the hair and enhance its yellow waimth. Tfflien the hair and skin is very fair, very delicate tones will emphasize this mild radiance, and lightness. (b) Rels, deep yellow and green are becoming to the person with auburn or chestnut hair. (c ) For the dark brunette contrasts of red, yellow or orange bring out the deep blue g;llnts in the hair. Black and dark contrasting colors are suited to this type. (d) Greens, blue-greens and black give waimth and richness to red hair. Reddish browrs are also beccining, while rose, pale blue and and orange are usually pocr. ii. The color o.T the eyes may be important in deciding on the color of a hat. This is ■pa.rti.c/ila.rly trie when the eyes are blue. In such cases the color of the eyes is rapeated in the hat as the color is not reflected in th^s case, but merely emphasized. Dark blue may help bring out the color. in gray eyes. In fact, dark blue is the most univer- sally becoming color^ being becoming to mere different types than any other one color, and probably being worn more than any other color exeept black. Test Questions. 1. IrThat four points about the customer must be con- sidered in selecting a becoming color? 2. For what kinds of persons are retreating colors, grayed colors and conservative combinations best? 3. V/hat colors are most becoming to a person with a - 72 - palB oomplGxion? A rosy complexion? A sallow complexion? Vfliy? 4. vVhat colors should blondes v/ear? Larlc brunettes? People with, red hair? V/hy? 72, \7tiAt is it necessary to con sxcloy In selecting a sjti table hatj The two important points to consider in selecting a suitable hat are* (1) The costume as a whole (2) 2he occasion lor \7hr.oh it is to be worn Ihese two lUcts should partly determine i. The shape or style of the hat ii. The material of which the hat is made iii. The color of the hat (1) i. The particular style of a costume with v/hioh a hat is to be worn \/ill determine the style of the hat selected to go with it. A very taiiorecS suit, for Instance, calls for a taJ.loresi hat, whereas em elaborate gown requires a style in millinery to match. ii. The costume will also determine the material of the hat t» some extent, A heavy, coarse straw does not go with light, filmy clothes^ nor should a fine hair bra.'Ld be worn with sport silks and ginghams as a rule. Frequently, in winter hats the material matches the suit •? coat, as 4uvetyn or velour. For midseason wear taffetas and satins are often worn with sillc dresses and suits. Iii, The color of a hat is probably even more definitely deter- mined by tho costume with \/hich the hat is to be worn. The hat may match the costxime in both color and shades, ms.y be the same color but a differ- ent shade, or be in contrast \/itii it. The important thing to make sure of is that if an attempt at matching is made that the result is not just fff color. (2) There are several points to consider as regards the occasion for which a hat is to be worn, i. The season of the year ii, v;here the hat v/ill be worn iii. Kev/ liiuch the hat will be worn i« Of course the season of the year determines the materials and to a large degree the particular styles which \7ill be worn. In addition, season has also much to do with color. For spring and summer the light, bright colors are appropriate while autumn and winter call for the daricer more somber colors. Occasionally bright reds and greens are worn in v/inter, but as a rule the more vivid colors look best in the brighter setting of spring and summer sun and sky. - 73 - ii. Natiirally where the hat iTill be worn is an important question in selecting a suitable style hat, Por business, for instance, small serviceable shapes, materia]^ which will not show hard wear and colors which are more or less conservative and sejrviceAbjR f\3r& best. For strictly dress occasions sport or vei^ tailored styles are rul^ out, the materials are usually more elaborate and expensive and the colors in keeping with the costume. Black is extensively used for dress Tsear, while the ligl^t shr^dew are used for afternoon and papty affairs. iii. Hew much a hat will bo worn will determine the sK*.table style to choose. If ft customer is selecting one hat for the season which she intends to wear on all occasions, the style should be rather consertative, the color one which can be worn with various costiunes and v/hich v/ill not show soil readily, and a material that will not easily show \>^ar. If, on the other hand, the customer expects to buy several hats during the season for different occasions, a variety of styles can be chosen with more care for appearance than serviceability. Test Questions. 1. What two points must be considered in selecting a suitable hat? 2* Se4.ect two costumes and decide en the most suitable hats in j-our stock to go with than, 3. What stjleB, including shapes, materials and colors are most suitable for spring and summer \TD3r when flnly one hat is bought? For autumn and winter wear? - 74 - CHAPTER III. SEaVICEaBILlTY Am COIFORT 73. \ghat can be broviSht to the customer's attept ioa a boutvthe se rvioe abAll ty; and comfort of a hat? ^^ Customers seldom are concerned about t^e durability; that is; the i^eariug quality or actual endurance of a hat, as ordinarily they do not wear a hat long enough to wear it out. They are interested in servicea- bility, or the quality of staying in good condition, however, for they naturally wish a hat to look well as long as they continue to wear it. Comfort is another necessary item to consider, for an article which Is worn as constantly as a hat must not interfere with the coatfort of the v/earer in any degree. In considering serviceability and comfort six points may.be brought to the customer's attentiont (IJ £he material (2) The trimming (3) The shape (4) The fit (5) The maisuf acture These five points will be t%ken up in detail in the following questions. Test Questions. 1, V/hat is meant by serviceability? 2, What ouestions lave you heard the customers ask Which show they are interested in serviceability and comfort? 3, What five points may be brought to the customer's attention in considering serviceability and comfort? What facts about material can be brovtght to the customer's attention in in considering serviceability and comfort? There are four questions which come to the customer's mind in con- sidering the serviceability and comfort of a hatj (1) \7ill the material wear well? (2) How can it be kept in good coniition? (3 J Can it be \torn on various occasions? {4j Is it comfortable? (1) In deciding the question v/hether a na.terial \rill wear well or not, such specific points as the following come tfpi i. Will the material rough up, split, OirsaX: or shew soil readily? - 75 - ii. Will the material spot ar fade? i. The salesperson rnast ha faaJliar ^th the charaa '"eristics of hor different raaterials in dscidias v.-hather a material will rough up, split, crack or show soil readily. Tho:-.e charaoreristics are given in the dis- cussion of materials in Book II, Chapter III. In addition, it may be well to note the following general facts about the different materials used in millineiy. Ihe finer, more pliable straws and land -made braids are less liable to break and crack than the coarr:3r, ma'jhine- niaci 9 straws, Chat is, the f infer the quality of straw, tho batter it will wear as a riale. In fabrics, it is well to know l:h=<.fc silk sheds the dur.t aui keeps cleaner than other naterials, and becau.^e it is light-vreight, catchos and shows the dust easily, ©lis is parti'^iilarly trj^e of pile and napped fabrics, ii. Certain straws and fabrics spot when they are rained upon, particularly if the hat is dusty. Wie lighter colors, of course, show this more than the darker shades. Oeri-ain colors also fade mere than others. Cavenders, pale blues ard taois are especially likely to fade. Black gets gray or broimish with wear. (2) There are various ways of keeping raaterials in good condition such as I i. Brushing al^mys after use -Mi. Steaming iil . '.V^shing, bleaching and dyeing i. Different materials require different kinds of brushes. Fab- ric hats and fine stra\7s should be brVJ? tied with a ?ad of velvet which brings out the texture,, not with a whirk broom which nughs and spoils the material. For rough straws the soft ta-t brush may be used. ii. Steaming brings up the nap in pile and napped fabrics, and also takes creases out of silk materials. iii. Straw hats may be rene\7ed by v^ashing, bleaching, in case of white straws, and dyeing. Por vQ.shing white soap and \7ann water should be used, cind then the hat should be stuffed with paper to hold its shape and left to diy. A sun bleach gives a cream \*iite color t3 the straw which is much lovelier than the dead white produced by the use rf oxalic acid, which in addition, weakens the sti'aw. Lemon juice is another good bleach. The color of a hat may be renewed by using any one of the prepared hat dyes on the market, care being taken to follov/ the directions given exactly and to first make sure that the hat is clean. (3 J A serviceable hat is one that can be worn not only f«r a long time v/ithout showing wear, but also on a variety of occasions. Materials, there- fore, that are suited to many occasions are serviceable. Uovelty materials in odd and light or brilliant shades are more for appearance than service- ability. (4) The reason, of course, has much to do with the comfort of a hat. Al- though velvets are worn in August and straws in February, the former prove - w - very vaim fcfr hot weather and the latter light for chill iveather, Silke such as taffeta anO. crepe are likely to be cool and light. In fact, the weight of a material has much to do A7ith comfort. Heavy rough straws, for instance, may tire the head, vifcile hair straws and lighter braids are more comfortable. Duvetyn and velour may be more comfortable than the heayie^ bulkier beavers and velvets, gest QHestienis« 1. What fonr questions does the customer a:Bk in considering the serviceability and cdmfort of the material used in a lat?. Z, liana three caterials in your stock this, season which will wear well, Uto which will rou^ up, split or craclc. Two which soil easily, ffliree v;hich keep clean. 3. X!h&t three methods may be suggested for keeping materials in good condition? 4i V/hat suggestions are you permitted to nske in your department for renewing materials ttetspot or rough up? For materials that fade? '^^' What foots about trinming can be brought to the customer's attention in considering serviceability and comfort? la consideriag triumiog from the standpoint of serviceability and comfort there are several questions the custwner has in mind. (XJ Vlll the triiaming \98ar well? (2) V/ill it keep clean or soil easily? (3) How can it be kept in good condition? (4) ^^il it be comfortable? (IJ !i3ie question of hoi7 well trimming will wear is dependent on the kind of trinming used. Feathers, for instance, are more perishable than ribbon* or flowers. Ornaments and beads nay possibly break off. However, if proper care is taken of the hat this may beoome a minor consideration. As a rule, trinming of good quality will wear the best. Well made feather trims, hand-made flowers and floivers of good material, good quality ribbon wear better than trinming of poorer make Jwid inferior material. (2) Whether trinming vrill keep clean or soil readily depends largely on the color* Itaturally light colors show soil i^ore readily. Also trinmings v^ich offer jsany creases and crevices for dust will be less likely to soil more ^juickly than the siigpler trimmings. (3) Trinming may be ke2>t in good condition in various ways depending on the kind of trimming used^ 1. Slathers may be veiled to keep them from spreading or break- ing. i??.umes may be sent to the cleaners to be cleaned and oiirled, or curled by hand by pulling several flues together between the thumb and the ba?hat must be noticed about the shape of a hat tc considering service- ability and comfort? There are tivo points to consider about the style or shape of a hat in deciding ■'.Aether it will be serviceable or noti (1) Whether it is a soft or stiff style (2} The size (1) Very soft hats made of materials which can be crushed without hurting the shape such as draped turbans arjd pliable straws are usually more serviceable than hats with brims that can be easily bent or crowns that can be dented. Stiff hats such as rough straw sailors, felts and beavers may also bo serviceable because the very stiffness of the material keeps the hat in shape. (2) IHie size of the hat has raiich to do with its serviceability. Small hats, either brimless or \n\,'n olc^o br3roa usually keep their shape and get less hard knocks than hats v/ith wide brims. Hats that can be set down flat without beuding the brim also retain their shapes better. Pokes and mushroom shapes, unless of stiff material, may get out of shape more easily than flat or rolled brim hats and off- the- face hats. Hie comfort of a hat depends largely on the wearer. Some people find a large hat as comfortable on as a small one. Hov/ever, for business wear, traveling ard rough weather the smaller shapes are more comfortable than the large ones as the brims do not interfere with the back of a seat or in a cro;?d, jior catch easily in the vTini. Test Questions. 1. What styles do you carry in your department this - 78 - season that you think are particularly service- able? 2, What t^eat'.cnn have yci hoard customers acfc which eh(nved they wauted a shapo which would te comf jrs*- abXe? 77 • #>at Pftints must be noticed in the fit of a hat? For a hat to fit well the follovr'.ng facts must he true» (1) The hat must set on the head a^ if It belonged there • (z) Ihe head size must be right (3) The croxm must be even with the outline of the head (1) FOP a hat to seen to belong to the head, it must not sit up hi^ or slip down too far over the eye. The particular manner in which a hat vdll be vova depends on the style of the hat asd the characteristic way hats are \\x>m. a given season. Zvery hat should seen to stay on v/ithout effort to keep it there on the part of the wearer. (2) 4 head size to be ri#it must not bind at any point nor make the wearer conscious of any portion of the hat pressing against her head» Eeither must a hat slide around on the head. If the original head size is not rig^t, adjusting the lining or inserting a bandeau may remedy this defect, A bardeau must be carefully put in, however, so that it does not show nor leave a red mark on the forohesid. A hat with th© right head size stays on the head once it is placed, without the wearer's constantly having to readjust it. Hat pins should be necessary only for additioiB-l security. If it is impossible to keep a hat on without the aid of a pin the head size is not right, (3) A hat with the base of the crown larger op smaller than the head does not properly fit. The cro\vn should fit just comfortably over the head line, neither binding the head nor leaving large spaces between the hat and tha head. The base of the crown should fit closely to the head ne-tt»tter wh^t the size of the brim. T est Q.uest i ogs, 1. What three points are necessary to have a hat fit properly? 2. V/hat can you do to make a hat fit properly if the head size is too large? to small? 78, What points about manufacture can be brouejht to the customer's attention in considering serviceability and comfort of a hat? There are two rcain facts to notice about the manufacture of a hat in considerii^ the serviceability and ccmfort'of a hatj 0.) The vny the hat itself is made (2) The way the hat is finished - 79 - (1) As a rule, haud-aade ani custom-made hats are more serviceable than factory-wade hats because the work on them is acre carefully done. One-piece straw hats, for instance, are more pliable and lasting than the stitched braids. Also, fabric liats made by hand are likely to be more carefully and securely sewed than hats made up in a factory. (2) The expensive hat? mada by hand are usually igore carefully finished than the cheaper ha'cEo Eio linings aro put in better, for example, and the wiring more eicactiy done r>o that neither pull out in wear. A care- fully lined hat is more comfortable than one in which raw edges or bixl- ky seams occur. 5or this reason when a customer is selecting a Mt which she is parti caiar about being comfortable, she frequently looks inside it and inspects the v.ay it is lined. tLfbotiy. Vkea the «>raa02Ship is particularly good, it may be made an excellent talking point when the aistonjer is interested In either serviceability •r comfort. Test gp.estions. 1. \7hat points about manufactiire can be used in your selling talk when the customer is interested in serviceability or comfort? Z, What styles in your stock are particularly desirable because of the way th^r are made? EOOE III INfDHUATION FOR REFZRETCE Chapter I. Dopartment Vocabulary Chapter II. Methods of leachirig - 80 - OH^PTEH I DEPAHOaiEHT VOGABULARY W, How can otir vocabulary help us in malciDg a sale? HJhJ-le the customer is probably most impressed by seeijig the h&* she is buying, she is f.lso largely influenced by what the jB-qlesperson flays about it. By describing the merchandise while she shows it, the salesperson can bring to the customer's attention the particular points lAlch she wishes to emphasise. On the other hand, she can utterly spojl a favorable by a careless remark. "Ehe reason for success in ono case and failure in another is probab3.y because the good salesperson chose carefully Just the \rords v/hich suited the merchandise and TShich would leave a favorable impression, whereas the other salesperson said the first thing that entered her head regardless of its appropriateness - suoh as, "!I!hat looks sweet on you" to a woman trying on a severe sailor. Prom this \m see that four pointK should be observed in describing merchandise. (1) Give as definite a description of the article as possible by choosing your vroids carefully and avoiding the use of general words that might apply to anything. For e-xample - "2hat»8 a pretty hat", does not bring out its importani features, whereas, "OSae shape of this hat has a lot of style", or "The clever way this hat is draped shows it is a French model" gives its out-standing characteristic appearance. (2) Suggest the good points instead of denying the bad; that is, use positive Tf^ther than negative statements. For example - say, "Here is a style in a lighter shade of green than the one I showed you", zather than, "!Ehis hat is not so bri^t as the one I just showed you." (3) Avoid exaggerations. For example, Oo say a hat is enonnous When you mean lai-ge or "simply stunning" v/hen you mean striking or distinctive is to lessen the customer's confidence in your ji:idgment. (4) Use the xrortts cheap and expensive with care. Remember that a thing may be cheap or expensive only -.Jhen compared vTith something else. For example, a tagal straw may appear cheap in comparirg it with a fine horse- hair braid but it may be of very good value in ccmparing it with ether hats of the sane material. Let the customer know what you are ccsnparing it with and show her you are speaking of value lather than of price. Avoid using the word cheap in any case, as the word is likely to offend the customer. Test Questions. 1. Why is % good vocabulary very Important for a salesperson? - 81 - E, What are the Tour points it is necessaiy to otserve in describing a hat? 3, Uhich of these do you thirk you should watch ucsu carefully? 80, What should guide vou in choosing words to describe a hat? Before you attempt to ccmment upon an article you shocild consider either nhat value the customer is loolcing for or what particular one you wish to enphasize. In millinery the principal values » customer looks for were fouiid to be, (1) Style (2) BecoiTiingness ar.d Suitability (3) Serviceability and Coiiifort Therefore, which one of these points you have decided should deter- mine Ifhe kinds of words you will use, for certain vrorde describe one value better than another. VThile an accuzate use of a fev/ words is better than an indiscrlmi^-^ate use of general terms, a rich and varied -rocabulary from ^•^hioh to choose will decidedly increase the effectiveness of your selling talk. For this reasoci a list lif descriptive words 1»hat can be used in displaying mei>- chandise is included. Test Cuestions* 1, V.hy is it necessary to consider the values you are trying to point out in choosing what kinds of words you rill us8? £• Y/hat happens when a salespereon uses the same words to describe any value? (Jive an example of some of the words she uses. 81, \7hat words may be used in describing the style of a hat? As a great number of words are used to describe the style ot a hat it seems best to put them under the separate heads of. (1) General effect (2 } Shape (3) Color (4) HatfirAAl (5) Ilaiiufacture or workmanship These points..will be taken up in the following questions. 82 , \7hat words sAi*l»t bo used to describe the general effect cf a , _s tyleSL IZhe general effect of the hat itself, or of the trinraing may bo described. > 62 - (1) The following words may be used to describe the general effect of the hat itself. * Attractive Chic Conservative * Conspicuous * Dainty * Bistinctive Dressy Every-diy * ElaTjorate * Effective ixolusive Extreme * Faihiouable * Fresh * Frilly * Gay * Jaunty Latest llannish * Neat New ' Hovel lert Plain Popular Fopular-2'i-lccd Practical Quaint Severe Simple Smart Striking IQilored !Prig Trim Ultra Unique Unusual Well-niad© youthful (2) Below are some words which may be used in describing the geneiral effect of trir-ining in addition to those words starred above. Since there are five distinct kinds of trinming used it will be best to group the words xuider the particular kinds of trimming to be described, i. V/ords which may be used to describe feathers Branched Jutting Cascade (falling in a cascade) ^sted Curled Pointed Delicate Hounded Ero oping Spread ilrect Streaming Fan-sh§ped Sweeping Fragile Tilted Frail Uncurled Graceful Veiled V/ords MThich may be useA in referring to flowers Adjectives Appliqued Artistic Bright Cheerful Delicate Field Frosted Hard-r^de ITouns Bouquet CJuster Garland Spray Wreath - 83 - iii. trimaing, V/ojxls which may be used in describing ribbons used as Words describing 'lie material itself are given elsewhere under imterial. The following v.ords refer merely to the way the ribbon is used and should be used in addition to those already etarrocJ, and those referring to material c Adjectives Braided Crushed D. raped Frect Looped Pcnd ant ;,hirred T.visted (hanging) Nouns Bow Chou (large rosette of ribbon or tulle) Gockade Co que (small ribbon bow J Jold Knot Loop Streamer 1^0 set te iv. V/ords which may be used to describe fabrics used for trimming will be found elsewhere under materials. V. The following v/ords may be used in referring to ornaments, bands and embroidery. Again it v/ill be necessary to refer to the words given under materials for descriptive terras to use for the various ma- terials used for ornaments, bands and embroidery, as well as to the starred words already given. Adjectives Appliqued Beaded Bnbroidered Jet lletal Tasted Shell Spangled Se.red Nouns Beads Buckles Carbochons (small buckles) Fancies (ornaments standing away from the hat) Pins Sequins (small metal discs) Slides Sticl:-ups Test Questions. 1, In :/hat five ways may the style of a hat be described? 2, :Tame three adjectives which might be used in describing the general effect of a style shovoi to an elderly woman. To a young girl. 3, Vitot woids might be used in describing the following styles? A sailor? A draped turban? k taiTfeta off-the-face hat? A wide-brimmed horse-hair hat? 4, V,i!hat words might be used to describe the following - 64 - Icizids of isr-liisming? Pink roses on a mushroom Iiat? A willow pltira? A cockade in front of a hat? Bnbroidery on the front cuff of a hat? 5. Select several different styles in your depart- ment and see \*at wo ids you can use to describe them. 83. \ghat m)r6s may be used :.n describing the shape of a hat? The following \;ords iray be used in referring to the shape of a hat* Brimless Bell crewu Charlotte Corday Chin Chin Cloche Cleft in brin Cxxrved brim Directoire Double brim Drooped brim Plange ((v;ide brim at High front cuff Irregular Large Ilushroom Off-the-face One^^plece Picture hat Poke Regular Rolled brim side) Hound fas'!; Questions. Sailor Slanting crown Slashed brim Small Straight brim lam !Ioque Turban Y/ide brim Flat Gainsborough li Hoi ice what styles you have in your department; which can be described in the above wcrds, 2, 2Iake sure that you understand just what each of these words means. 84. Mhat w^yds may be used to describe color effects? Words with \7hich it is necessary to become familiar in describing color effects fall into three groups. (1) Specific colors (2) Color effects (3) Color combinations (1) It is very important for the salesperson to be able to name the color she is talking abou^, especially when it |s a new color for the season. For in.-'tance, the customer would have much more confidence if the salesperson said "This hat is made up in periv;inkle blue which is to be \/orn a great deal this season*', tt^an if she merely said "fihis ha$p Is a^o made up in blue." To give all the colors completely would make too long a list. Moreover, many change their names from season to season. Therefore, those given below should be regarded onjy as a beginning toward finding out colors and being able to recognize thera. The buyer, .the assistant buyer and other salespeople can also point out the different colors as they appear in the ha-ts. Since more help is gained by actual observation, only very general definitions are given aad in some cases naany are grouped - M - together. Dais makes it necessary for the salesperson to distinguish between them or get someome to distinguish them for her. A safe rule to folloT? is to ask about aiay color which is unfamiliar. In addition, it is a wise plan to make a point of learning the new colors the minute they come in, ard making a list of them so that she wijl nn* for«*'* t)«w. Blues Alice Cadet Copenhagen Delft French Japan Old Blues with gray in them Baby - light blue Cornflower - lasender blue Electric ) Kings ) _ bright, intense blue Royal j Saphire ) Canard (duck - a little more sombre than Peacock j a very dark metallic green J Midnight - dark blue, almost black Navy - dark blue, but definitely blue Peacock - dark; greenish blue. Turquoise - light, greenish blue. Greens Apple - clear blue green Bottle - cark, dull green Bnerald - bright, clear green Hunter's - dark, bluish green Jade - clear green Eelley - much like emerald Nile - light, yellow green Olive - broiTnish green Olive-drab - daik, dull green Reseda - gray green Yellows iunber - deeper than gold and a little redder Buff - light, clear yelloi? Gold - dull yellow with a touch of red in it Honey - c:i>ear, deep yellow Lemon - pale yellow with a touch of green in it Ilaize - clear yellow Saffron - deep yellow Orange Burnt orange - dark, reddish orange Tangerine - like burnt orange, only lighter and brighter 86 - Reds American Beauty - blttlsh red Brick - raw, yellow red Cardinal - between crimson and scarlet Cerise - lavender red Crimson - darlCj. rich red Magenta - purple red Uaroon - duller than wine Scarlet - bright, transparent red ffarkey - (or Siam) - bright, dark red Wine - deep, clear purple red PT.rples anfi lavenders Burgundy - brownish purple Fuschia - deep, red purple ilauve - light purple Orchid - pinkish lavender Plum - deep, reddish purple Hoj'ai. - br.'.erht, rich purple Violet - bluish purple Wistaria - bluish lavender Pinlcs Apricot - yellow pink, deeper than peach Coral - light, yellov; pink Flesh - pale pink Old-rose - a dull, gray pink Peach - a very yellow pink Sose - deep pink Salmon - orange pink Browns Chestnut - a light, reddish birown Cordovan - dull, red bro^vn Drab - dull brown Henna - red brown Nigger - very dark bro\m Ri.iEt - similar to henna, but lighter Sepia - dark brown Tobacco - dark, reddish brown Tans' Beige - biscuit color Chrjnpagne - clear, light tan Zhaki - greenish tan Pongee - light, dull, yellow tan sand - light, yella>7 tan - 87 - Grays Battleship - dull, dark e^^y Beaver - brovm gray Caster - diill, blue grfty Fawn - soft medium light gray House - soft grey, lighter than fawn llinkel - dull gray, lighter than Battleship Hose tGupe - rose gray ;3ilver - lighter than steel Smoke - dull, dark gray Steel - clear, cold, light gray ''.faites Cream - \rhite with a little yello;7 Ivorj' - a little yellower than cream Oyster - grey white (2) Color effects. Glowing AdvsncijQg Intense Bright Pearly Clear fiestful Cool Sebreating Beep Silvery Delicate Soi'^tre D ingy S c imulat ing Dull Subdued S^.int Vivid Gray V/aiTi Golden Brilliant (3) Color combinations. Oh^i^Dgeable - see first one color then the other Ccnt.vadting - colors giving different effect Ono-';oned - sarie color upsd p-.fdor-.iuan!; - color whioh stands out Ea:rra">niouG - Re; a cod ~ colors giving same effect S^rJ icing - Tv.'o-toned, three-toned - combination of two or three colors Unusual - T est Questions. 1. Ask someone to point out the specific colors mentioned and study them until they are familiar to you. 2. ij"ind out v^at novelty colors are carried in your dspartnent this season. Write them do\3n. 3. Select several different styles ard describe the color effects produced and the kinds rf color combinations used. .86- - 68 - 65. \7hat words may be used to describe the material used? The words used in describing the material used in a hat may refer to. (1) (1) The texture (2) Tiie quality (3) The way in v;hich it is used yords describing ^e texture may refer to. i. The appearance ii. Jhe feel iii, The strength of the material 1. Appearance ielicate Pilmy pine Gauzy Glossy Lu&trous Rich Hough Sheer Shiny Shimmery Satiny Silky Smooth Sfraneparent (can see „ , through it) \7ooly i. Jeel Coarse Brittle Oool flimsy Piim Harsh Heavy Pliable Bough Smooth Soft Stiff Thick Warm yiiy ■JJooly iii« Strength Durable Pi-agile Perishable Strong Thin (2) Words referring to the (jpality of the material Defective Exceptioral Excellent Pine Genuine Goo& Hand-^TOven Imitation Inferior Machine-made Real (lace) Heliable (make) - 89 - Guaranteed Standard Hand-made Staple Superior (3) ybrds referring to the vzay in vdxich the material is noed. All-over (of one piece) A^pliqued Draped Bhibroidared Shirred on the brim Sraodced on the hrim veiled Test ^estions. 1. What three iacts may the words used in describing materials refer to? 2. See if you know the meaning of every word listed above. 3. Select several different styles in jrour stock and try to use some of the above woyds correctly in describing the appearance and the quality of the materials used. 86, V?hat words may be used in describing mamifacture or Troriananship? She follo\nng wo ids may be used in deBcribing manufacttire or \vorlaDanship. Careful Good Custom-made BasdMidda ^en ZJaohine-made Uxcellent Heat Exquisite Satiafactory . Piim Superior Bactory-nade Well-finished Test 3uestions, 1. Select a fe^v models in \7hich the woriODanehip is particularly good and notice \ih&t you can say about it. 2. V/hen \vould you draw the customer's attention to the •workmanship? 87 • TThat words may be used to describe becomingness and suitability? In talking about becomingness it is particularly necessary to point out just T/hat it is that makes a hat becoming. It may be the line, or the color or perhaps the texture of the material. For this reason many of the words used in describing materials, colors and line will be used when showing a customer rthy a hat is becoming* This means that - 90 - there are only a few .vords which can be used to describe the becoming - ness of a hat without describing the color, material or shape directly. This is also true when describing suitability. A hat is suitable be- cause of certajji features about the shape, or the color or material. However, there are a few words given below which can be used in addition to the words used in describing material, color and line. Appropriate Sensible Beccraing Smaipt Charming Striking Besirable Tasteful Girlish Suitable Gracei\il (line) youthful Te s t_ Ques t ion s . 1. V/hat is it necessaiy to do in ojrcwr to really convince a customer a hat is becoming? ^. Select q, hat from your stock and decide what you could say about its suitability. To what features of the hat \;ould your words refer? 88 • \ahat words may be used to describe serviceability and comfort? Again it will be necessary to refer to the words used to describe stylo, as words refering to materials shapes, color and manufacture, for both serviceabiiity and comfort depend upon these facts. In addition, the following words may be used. Adjustr.ble Durable Appropriate past (color) Binding Heavy Conservative Light Comfortable Snug Slose-fitting Suitable Baiacljebie (lining) Tight Well Test Questions. 1, TThat words can you used to describe serviceability? 2. Try a hat on yourself and describe Jiow it fits, 69 • V/hat cautions should be observed about certain words which are frequently used? There are tAvo types of words about which the salesperson must bo careful, (1) Words which have been over-v/orked and frequently used in a - 91 - careless way, (2) tfords which are not appropriate or correct to use in describ- ing millinery, (1) !Ehe words trhich are oveivworked nay be used if used with discrimina- tion. They should not be used in a general sense, but should always describe some specific fact about the article, othenvise, they mean little. The following are examples; Beautiful lovely Nice Pretty (2 J The words listed below should not be used in describing merchan- dise; Cheap Grand Glassy Nifty Clever Showy Coiiuettish Sporty Slegant Sweet Frenchy Swell Test Questions* 1, Thinite of a better v;ord to use than cheap; cute; sweet; grand« 2, Us£ the following v/ords in such a way that they will convey a definite meaning; beautiful; lovely; nice; pretty; charming. - 92 - CHAPTER II iTETHCiDS OP TiLlCHING 9*, How nay the manu.3.1 be used most efgectively? The information given in it may be used in the following \vay6: (1) It may form the basis for \veekly departmental meetings conducted by the buyer or his assistant or some representative of the training department. This has the advantage cf a course given on the floor, where conditions seem more natural than in the educational department, and where merchandise may easily be kept at hand to illustrate the various points brought up. (2) It may be used as a text for class room work. If th|a is done, it is assiimed that the educational representative wilT divide the material into the number of lessons desirable for the time at her disposal and the experience of the salespeople who are in the class. She can also adapt the amount of information to the needs of those who are attending the course. (3) It may serve as a reference book for salespeople. Any ono may read it without the help of other people, but for the best results it should be used in connection with talks, discussions, and demonstrations. If a salesperson entere the department during or at the close of a course, it is then necessary to give her a manual that she may read what she has missed, V.henever possible, the sponsor or the assistant should give her a test on the parts she has read. Since the material is arranged in question and answer form, it should not be difficult to study. The methods used will differ with the kinds of information taken up. Stock locacion, for example, will probably consist nainly of questions and answers of the where and what , while the information on materials, values, and technique will require demonstration and discus- sion as well, 91 . lihat method should be us3d in teaching the manual? Practical a.pplication is the only method which will be truly effective. It may take the following forms: (1) The questions given in the different divisions may be answered in class cr a salesperson reading the manual alone may study these questions for herself, (Z) Lists of written questions may be given to new salespeople who are learning stock. They ahould be answered after there has been an opportunity to study the merchandise. Ihe*"^ answers may be either oral or written. (3) JPtoints may be demons tr in a d©pip$«^ mont meeting. It is for the benefit of new people and the facts in it are given to them individually by the sponssr or the head of stock. Since it is written directly for the person \Vlio will teqch new people, it needs no special comment. The testing which follows up the study is of great importance. If it is not done carefully and promptly, the salesperson is very likely to get the idea that she may be told to do other things end may then be able to escape them because nobody sees that directions are followed up. .-. 94 - pother matter lahich should not ve neglected is impressing the new salesperson v/ith the willingness of experienced people to help her and to answer her questions. It is especially important that she be toid just whom to go to when she is in doubjt about anything. Unless there is some special point in the care of stock that the department head v/ishes to stress, this subject need not be taken up iu a meeting. It should be assigned to new salespeople to read carefully and its various directions should he emphasized by the sponsor or the head of stock when she tells the nav salesperson's duties and shows bow they should be per:?oimed. 95. H ow may Chamber T.I, on "Values which Customers Look for in Buying" be ■^ken UP? It is very important that this chapter on the explanation of th© meaning and importance of values ie thoroughly understood before the rest of the material is taken up. A separate study of Chapter J^, on Infcrm^tion on Materials and llanufacture, would logically follow. Tw» import-nt aids in teaching this material are the use of the test questions given in the manual and the display of merchandise to illustrate facts mentioned in the manual. In general there are four methods of studying the values desired by customers ^vhen they buy millinery. (1) The instrutStor may show certain hats and point out various details. This is usually the first thing to bd done. Example - The instructor may call attention to excellent lines in a hat. (2) Hats which illustrate various points may be held up and salespeople asked to name or discuss those points. (3) Hats may be displayed and salespeople may be asked to what type •f customers they should be shoim. (4) Different types of customers may be described and salespeople may be asked what styles of hats should be shown them. {^^ In studying this material the test questions should be carefully HI svmred. so that the instructor can be sure the points are clear before gjing farther. It migjit also be helpful to collect a list of customers' questions from the salespeople which will illustrate the points they are taking up. Hats can be shown and the different values pointed out as they are discussed. 96 • Hew m a y Cha pt e r III, on Information on Materials and llanufacture Necessary to Expla in va]ues. be studied ? The use of merchandise will be the best way to make this information clear. Hats of different toaterials can be sho^vn and the various charac- teristics pointed out. In this way the saleeperson can learn to connect the name of a material- with its appearance and selling points. Bifferent qualities of materials can be shown and the points brought out which - 95 - account for th©ee differences. The same method can 'be used in observing how the hats ai*e mari«, na.nd--jnado ani machine or factory-made hats can be compared, for instance, and the particular advantages of each dis- cussed. 97, How may Book II. on Specific Valu es in Hillinerv be studied? In this detailed discussion of the values customers look for in millinery, merchandise must be again used to make the information clear. The test questions must also be carefully answered. In Chapter I, on Style, hats can be displayed to illustrate the different points about line and foira color, material and manufacture. Questions on what particular points in the style of each hat should be broufjit to the customer's attention, and to whom they should show the various styles might be helpful, in addition to those given in the manual , In Chapter II, on Becoraingness and Suitability, different hats should be tried on different salespeople and the effects discussed, Jn Chapter III, hats should be especially coigpared to decide which are most serviceable or comfortable. This brings in discussion of materials, trimming, shapes, fit and manufacture. 98« How may Book III, on Information for Ileference.be used? Chapter I, on Department Vocabulary should be taken up in class. In this way the salesperson will learn to pronounce and use words correctly from the very first, \7hen a word is discussed the instructor may use it in a sentence to show what it best describes •r may ask some salesperson to do this, I^rticular stress should be laid on having each word describe some definite point or value in a hat and not be used in a very geneia.1 sense. ffiie salespeople should also be urged to go sver the lists of words from time to time in order that they may gradually acquire a larger vocabulary, ard also learn to use it for reference when they want to know how to describe certain effects, 99. VVhat svu^gestionfi gan :be p riven for a person who must read the manual alone? For the person studying the manual by herself the following sugges- tions may prove helpful. 1. Read the table of contents over carefiilly to see what the manual is about. 2. irote the division of the manual into the four books-. Technique •f Selling, Merchandise, Specific values in Jlillineiy, and Information for Reference, s» that if you wish to look up information on certain points you will kiiow to which books to refer. 3. As yeu start each book, note the chapter headings given in the special index for this book. Try to name ever thesA chapters to - 96 - yo-orself tefore starting to read the 'book, 4. As you read each question try to apply it to your ovm department by recalling your o\vn experience and problems on the subject it is discussing. 5« As you read the answer try to keep the question constantly in mind. Notice whether your own experience bears out the information given here. If there are seveial parts to an answer count them up and see if you can name thera without looking at the book. 6. Read only a few questions at a time, but think these over carefully and answer the test questions. If some of the points are not clear to you or you do not aggree with them talk them over v/ith someone whose judgment you trust. 7. AB far as possible try out the suggestions given in the manual and notice whether or not these suggestions have proved helpful. Check up in the manual those suggestions v7hich proved the most helpful. 8. notice Chat Book IV is called "Information for B.eference". Learn to use it for reference by getting into the hab^t of looking up descriptive words to use in.-lliving selling points in this book as occasion arises. Bead it over once carefully so that you may know what material is thore to which you can refer. 9. In reading the manual the first time indicate in some ^vay where you left off each tv^e so that when you return to it you may have no difficulty in finding your place. Then, before starting to read tiy to recall ii^iat you had read the time before. Be sure to notice the title of the chapter and the book in which you are reading each time. 10. He-read the manual from time to time to refresh your memory. Read especially those sections whi(Sh seemed to you the most vrorthwhile and v/hich gave you the most help the first time you read. Compare these sections with those which other salespeople in your department felt taluable, then re-read tlie sections they had chosen, as they mi^t prove helpful to you as well.