The New Movie Magazine (Dec 1929-May 1930)

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EXITFLAPPER Hollywood adapts the new fashions to its own modes and moods By Rosalind Shaffer ing about it? Well, different things, all of them expensive and intricate, and a little beyond the home dressmaker's art. The prophets of these matterisms who arbitrate the mode in this its most exciting upheaval in recent years, How the first flapper of the screen modifies the new fashion to suit her individuality. Clara Bow wears a chiffon frock with soft ruffles that fall away at the front to give a youthful shortness. And please note, too, that Clara's bobbed hair is growing longer WHAT have you got on the hip, and where do you draw the line? Says Alice White to Clara Bow; sez you, sez me. Waistline, hiplines, hemlines. When they put Alice White in one of the new models, she looked like her mother. Many another agitated flapper has robed herself regally in the new modes, only to view with alarm the reflection in the glass, and to exclaim like the agitated old lady in the nursery rhyme, "Lawk a mercy, is it really I?" Are the lights of the cinema, and the lovely legs, to be concealed under a bushel, even of imported lace or expensive silk ruffles? Are the athletic waistlines to be pinched down to MidVictorian span? What are the lovely ladies of the screen do Catherine Dale Owen also wears her skirts short in front. This charming dance frock is of blue moire, with a natural waist .line, a full skirt and the very popular uneven hemline 68