The New Movie Magazine (Dec 1929-May 1930)

in sports apparel, absolute formality in evening wear THE FASHION REVOLUTION THE flapper mode had in its favor freedom, frankness, convenience. It was a fashion of youth, simplicity, slimness and good health. But it was unromantic, informal, and unflattering to the no-longer young. The new mode has in its favor sophistication, subtlety and feminine grace. But it must be modified for sport and street wear. to wear, and only the slender, rounded firmness of a good figure can wear it. Who better than the flapper? The most difficult line for the eye to become accustomed to, and to accept in the new mode, is the long line from the natural waistline to the skirt hem, when it is long. "The day is gone when the well dressed woman can wear sports clothes for afternoon, for parties, or for anything but sports. The tea gown, the formal afternoon gown, have arrived to stay. For street wear, I do not advise a very long skirt; a compromise mode such as the dressmaker suit, a feminine version of the tailored suit, with a half long skirt is advisable for shopping wear, and looks much smarter for the purpose. "The danger that large girls, like Marguerite Churchill and Lola Lane, will look older in long skirts, is something that can be avoided by making irregular hemlines. Lace appliqued in its natui'al scallops about the hemline, is one way to solve the problem for these tall girls." TAMES STEVENSON, designer *-» at First National for Alice White, Billie Dove, Dorothy Mackaill and Corinne Griffith, has problems to meet. Alice White frankly does not like the new modes, and Stevenson feels that dressing such a star in something not expressive of her personality and liking is not wise, no matter how modish it may be. Stevenson has met his problem with Alice by keeping her skirts just around the knee, even for evening wear, and in one black allover lace model, trimmed with pleating around the hem, he has added a cascade of pleating from one hip that falls far below the hemline and gives the modish effect. The body is closely fitted. Stevenson says: "The mode simply must be fitted to the personality. I believe that the flapper type, modified with a bit more roundness, will persist for a time at least. To put obviously unsuitable clothes o.n a star is to make her grotesque. All designers love The formal afternoon frock returns to favor, after being obliterated by the popularity of sport wear. Billie Dove wears a lace afternoon frock. Billie prefers the very long skirt to the flapper hemline. Below: Corinne Griffith's favorite sport coat is of dark blue jersey with wide patch pockets the new modes, as they give such scope, but there is plenty room for the individualist. "Dorothy Mackaill, although she has always looked best in strictly tailored things, can wear the sophisticated cut and line of this season very well. I have made a gown for her for evening with the princess line on one side, and the other side with a three-tiered cascade of godets falling from the natural waistline to the long hem. A smart dressmaker's suit for her has a fitted yoke with a V in front, met by an ascending V from the knee, below which the skirt flares to a long back. A tuck-in blouse with a straight cut coat, lavishly done with fox collar and cuffs, makes a lovely choice for street wear. The material is a soft broadcloth." TRAVIS BANTON, Paramount, designer, who plans clothes for Clara Bow and Nancy Carroll, considers the new modes highly flattering to the picture stars. 71