Photoplay (Jul - Dec 1931)

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They feel the color, notice the material and know whether the lines are good or bad. "But in pictures, an entire evening of impressions has to be given in a few shots; often in a few seconds in front of the camera. "I was criticized for changing a black velvet which I had bought from a famous house for 'What a Widow.'" She smiled. "I had to take that negligee off before the camera. Do you think you would have enjoyed seeing me struggle to pull it over my head? I slit it down the side so I could open it easily — to fit the action of the picture. " 'But slip-on gowns are in vogue!' the expert designers cry. "Now, just what difference does it make whether slip-on dresses are in style or not! You can't wear slip-on dresses for the screen when you have to remove them before the camera. What would happen to your hair, your makeup? IN 'Indiscreet' I wore a coat with tight sleeves. I had to remove the coat. We spoiled one scene after another because I couldn't remove that coat gracefully with those tight sleeves. We fixed the sleeves. We couldn't leave out the action. Grace was essential. The loose sleeves may not be so stylish, but we couldn't help that. "Again and again, we photograph materials before we make a gown from them. Why? Our materials must harmonize with the action. If we wish the action to stand out — the dress must not be so striking that it competes with the action; draws away the audience-attention. If we want the gown to stand out, we must be certain the material photographs to the best advantage. "We could not find the proper material for one gown in 'What a Widow.' We wanted a linoleum-block effect. We finally bought a plain material and had an art class stencil the proper design upon it. They used something which came off. My arms were tattooed with the black and blue of the design. That wouldn't have done for a personal gown, but it was all right for the picture." Even underclothes have to be created with an eye to camera astuteness. The least bulge in the wrong place stands out as though there were a boil on the actress's figure. Gloria wore a gown in "The Love of Sunya" into which she was sewed each time she wore it. It was literally molded and re-molded upon her. She tried various forms of undies, but found that there were none which did not show ridges under the microscopic eye of the camera. So she wore nothing beneath it. "I wouldn't have done that for the drawingroom. It wouldn't have been necessary. The naked eye would not have noticed the faint line beneath the garment. "Hats! Feathers on the side may be fashionable, but supposing there is a profile shot. The St ill m Freckle C Removes Freck FREE _ ne*tfl Aurora, III.. U. S. A. II o OOK^tl ■ 82 Beauty Dept.. send free ^^^^^^ booklet. Tells why you have ■^^^^^^ freckles — how to remove them. I Miss, Mr. or Mrs Address feather would block off your features. Styles for the screen often have to be a bit different from styles for the street. " But above all — actresses are not manikins displaying gowns. The gowns are to display actresses. A manikin shows off the gown. A gown, on the screen, shows off the actress. "And a gown must show off the specific actress who is wearing it. Norma Shearer — Greta Garbo. Gowns which fit their personalities, which fit the action of their pictures; which stand out or retreat according to the demands of that action. And gowns which can do all this despite the loss of the value of color and material. "For example, I must emphasize height; Greta Garbo probably tries to detract from height. I do not like straight lines for the screen or for my personal gowns. All my dresses, on the screen or off, are a bit longer in the back than in the front. The waistlines, the same. Down a bit in the back. On me, this line is more graceful. What if it isn't the mode? If I look better, taller, that is the answer." We asked her about keeping ahead of styles for the screen. A picture is made from three months to a year before it is released. Women's clothes are likely to change. "Ah, there is the difficulty for all of us. Sometimes I think one person's guess is as good as another. I saw 'The Trespasser' the other night. It is old-fashioned only in the clothes. "When I was getting ready to make the clothes, I wrote to Rene Hubert, who is now at M-G-M, but who was then in Germany. I asked him what would be correct by the time of my release date. "He sent me sketches which would be correct today. He was one year ahead of the release date. But his sketches were so different from the styles then, that I didn't dare use them. I made the clothes about half-way between the styles of that day and the styles of his sketches. Fortunately, they were all right. But any designer has to take a gamble on that problem." We also asked Gloria about the advisability of women copying clothes which they see on the screen. " /^\UR clothes are exaggerated for camera ^-'purposes. But a woman can take a gown from a picture and follow the general idea. Then, in her fittings, she can change it here and there — to fit her personality and the occasion on which she must wear it. She should do that whether she takes her general design from the screen or a fashion magazip.e. If you are clothes-conscious, it is just as easy to copy screen gowns as any other." "Would you be willing to have Chanel design gowns for the pictures you will make on your contract for United Artist? " She hesitated. "I would prefer not to have her experiment on me first. After all, I have spent twelve years learning about clothes for the screen. This is no reflection on Chanel. She has simply not had the training." The Prince of Fans CONTINUED FROM PAGE 48 Prince of Wales has a penchant for travel films and rarely misses a good one. The Duke of York is in favor of romance and is credited with a private predilection for Nancy Carroll, which is not altogether surprising, considering how much her screen nature — though not her appearance— resembles that of the Duchess. Prince George inclines towards comedy and Prince Henry to action drama. All find common ground in their admiration of the popular artists of the screen, of Chaplin, Garboj Chatterton, Jannings, Chevalier and Mickey Mouse. The Princes' visits to English film studios are much rarer than their attendance at London cinemas. This is not because the Royal Family is too high-hat to display polite interest in film personalities but because of the advantage which is taken of their visits to start a ballyhoo. Put the Princes down in Hollywood, however, and — well! Hol'yvvood is six thousand miles away from mother, father and the grand-motherly British press. Nevertheless, the recent advertising of " Extravagance," which asserts of June Collyer that "the girl who turned Royalty's head will turn yours," and is a scarcely veiled reference