The material in the cuffs and the collar should be the same, and both the cuffs and the collar should have the same general shape. For example, if the corners are rounded on the collar the same type of corner should appear on the cuffs. The best shape for the opening of the collar and the best outline depend entirely on the figure and the shape of the face.

The cuffs and collar may be made of a texture contrasting with that of the dress but of a color harmonizing with it. A garment is always more interesting if some contrast is introduced. The possible combinations of textures and colors with a gown depend to a great extent on the personality of the wearer. For example, one person may look well in white linen collars and cuffs on a blue serge dress, while another person who may be less tailored in appearance or whose complexion may be less clear, finds it necessary to wear georgette collars and cuffs to prevent the transition from the dress to the collar to the complexion from being too pronounced. Therefore, the smallest part of decoration must be studied in relation to the person who is to wear the garment.

Some suggestive combinations of materials are as follows:

To be used with wool:

1. Georgette crepe will keep the gown all in a suede-like texture if combined with a dull material such as serge. It is a most becoming texture, because the light of its surface is broken up, and it is thin enough to allow the color of a dark gown to be seen through it, thus producing a gradual transition from the gown to the complexion. This is true of any of the thin materials.

2. Chiffon is more appropriate than Georgette crepe, for formal materials such as broadcloth; it is more formal but not so universally becoming.

3. Wash satin. The texture of wash satin causes it to reflect the light in large masses, and in itself it is very attractive. Since it is of a rather heavy texture, it makes a harsh contrast between the dress, the collar, and the complexion. It should be studied carefully with the gown and the person who is to wear it, before being chosen.

4. Organdie or swiss is a little more crisp than Georgette crepe and not so universally becoming. It gives a very fresh appearance to almost any wool gown excepting those made of the more formal materials, such as broadcloth.

5. Voile or handkerchief linen.

6. Linen or pique. Either linen or pique is very becoming to some persons but makes so harsh a contrast with the complexion that it is not becoming to all.

7. Novelty materials such as cretonne and suede, should be studied carefully before being combined with the average dress.

8. Broadcloth and serge. Woolen materials such as broadcloth and serge make interesting collars but add to the warmth of the garment.

To be used with silks:

1. Georgette crepe. 2. Chiffon. 3. Panne velvet. 4. Bolting cloth. 5. Organdie. 6. Net.

To be used with cottons and linens:

1. Linen. 2. Pique. 3. Poplin. 4. Voile. 5. Plain gingham or chambray, with plaid material.

Suggestive edge finishes for cuffs and collars:

1. Machine hemstitching or piquot. 2. Bias binding. 3. Hem turned to right side and held in place by a simple embroidery stitch (Fig. 82). 4. Hand scalloping. 5. Scalloped hem. 6. Scalloped facing. 7. Rolled hem made with colored threads. 8. Very small crocheted edge. 9. Footing.

10. Bermuda fagoting. 11. Hemstitching. 12. Wide facing of contrasting material. 13. Decorative machine stitching.