Modern Screen (Dec 1933 - Oct 1934)

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Get our valuable 64-page "Law Guide" and "Evidence" books free. Send for them NOW. LaSalle Extension University, Dept 3318-L Chicago On Dress Parade (Continued from page 72) there I'm telling you, if you are out for attraction purposes, there you have it. And over the blouse effect, a gray coat, gray fur collar with a purple orchid pinned to it. Baby, what an effect for a pure, young, protected girl. She knew how to get around the walls of chaperonage — did that girl. INGER ROGERS— did she step out^in the same picture, "Flying Down to Rio." Study her dancing frock when she whirls with Fred Astaire. Black, but how it fits, and then spreads into ruchings about the feet, not to mention ruchings over the shoulders. Don't deviate a step from her dress standard if you want to shine on the floor. Girls who have been too business-like — too intent upon being the good little bringing-in-the-bacon variety of female — do go to see how Ann Harding works out the problem, via clothes, in "Right to Romance." When her lover says to her, "I never knew what two yards of organdy could do for a woman," then you see the whole story. Study her striped organdy dress when she goes female instead of working-woman. Simplicity to a standstill — cape over shoulders, baby bow under chin, and with it, all that smartness. Only proving that you don't have to strive and struggle to be well dressed. Just do it in the sweet, simple way — in style. Ann Harding went back to her worka-day love but only after she had worn ruffles to her heart's content — see picture in black dress, with ruchings for shoulders, a muff and earrings. She could be pretty all right even though experience taught her that wasn't all ! It's not enough to be just all right. Goodness knows, Ann Harding's uniforms were becoming enough. Anyone with half an eye could see she was pretty and sweet with the handkerchief thing draped round her throat. But then, it seems to be a matter of record that males want a ruffle or two and a couple of rosebuds somewhere in the setting when they're out to be fascinated. They've been brought up on it and they like it. QUITE frankly rosebuddy and girlish is Marion Davies in "Going Hollywood." Her clothes in that picture are a real education in good taste for any youngish person. They give — subtly — the appearance of being absolutely natural for her type of girl, no pose, no striving after an effect. Take the several white bows under her chin, for instance. One is white pique, stiff and starched. And that, be it noticed, is the only note on a black frock. Just one other repeat note of the white, and that a snip of an ostrich tip on the side of the crown of a cocky sailor hat. She's just too cute for words in that get-up. Then, on another black dress, she wears a white ermine bow. Nothing stingy about it either. It's a good, wide, spacious bow. Note : Anyone can dress up an aging frock with a bow copied after one of Marion's. There's an idea for a new season. It is interesting to see in this picture, how in old-fashioned clothes, or newfashioned ones, in over-alls, dancing bloomers, even wrapped up in a blanket, Marion Davies looks swell. See the white organdy dress in the dream picture. Fussy, it might be on someone who failed to know how to carry it off, but Marion in that fluffy To Order Patterns The patterns are fifteen cents each. The book is fifteen cents when ordered separately — it is ten cents when ordered with a pattern. You may send stamps or coin — coin preferred. If you live outside of the United States, the patterns cost twenty cents each, the boolt twenty cents separately and fifteen cents when ordered with a pattern. No foreign or Canadian stamps will be accepted. Orders should be addressed to MODERN SCREEN Pattern Service, 149 Madison Avenue, New York, N. Y. In ordering, be sure to state size wanted. 114