Photoplay (Jul - Dec 1939)

are • If you want lips of siren softness . . . lips as smooth as satin . . . choose your lipstick wisely. Coty "Sub-Deb" Lipstick does double duty. It gives your lips warm, ardent, exciting color. But— it also helps to protect lips from lipstick parching. It helps lips to look moist and lustrous. This Coty benefit is partly due to "Theobroma." Eight drops of this softening ingredient go into every "Sub-Deb" Lipstick. In seven fashion-setting shades; 50^ or $1.00. For an " Air Spun" Make-up ... use Coty Lipstick with "Air-Spun" Rouge and "AirSpun" Face Powder. Textures blend magically. The colors of your skin, cheeks and lips harmonize, as Nature intended! SUB DEB LIPSTICK 10. Don't even look at gewgaws, ruffles, shirrings, gathers, different colored skirts and blouses, and belts that are even a little obtrusive. (Banton) And it goes without saying: You won't wear knitted clothes of any kind, color or description. You won't wear transparent materials like chiffon or organdy, or thick materials like cotton velvet or tweed. You'll carry bags and wear accessories in proportion to your size. You'll favor flat furs. You'll be careful not to have coats of a length to cut you off. You'll wear nothing doublebreasted. And you'll select shoes that look capable of supporting your weight. Your shoes won't be so short-vamped that they make you look as if, any minute, you were going to topple forward. And they won't have straps that cut into your instep. Hips Hips . . . Away! Eight dropaofTheobroma" go into every "Sub-Deb" LipSlick. Thai's ho*v Coty guards against lipstick parching. 1. Nine-tenths of the life of a gown is spent behind a dinner table, luncheon table, bridge table, or desk. So keep your hips obscure by having the interesting, focal point of your gown higher up, likely enough at the neckline. (Greer) 2. Broad shoulders counteract big hips — so build out the old shoulder line a little. (Greer) 3. Put your hips in dull black, or another dull, dark color for disguise. White, any light color, and any lustrous fabric will catch the light and throw the planes of your hips into relief, thus emphasizing them. Which is the very thing you don't want to do. (Royer) 4. Three-quarter or full-length coats with a slight swagger back are good. So are skirts cut with a slight flair, for ease. (Stevenson) 5. Modern women are inclined to have shoulders that are narrow and hips that are too broad. This dictates lighter color above the waist, dark color below it. (Head) 6. Wear pleats, stitched-down pleats especially, rather than gathers. And even the tiniest ruffle on or about large hips isn't to be trusted for one minute. (Head) 7. Have your skirts flare a little where the hips start, to give the illusion that it is the skirt and not the hips that extend. (West) 8. Don't, whatever else you do, have your skirts too short. For the less area there is to your skirt the more important every detail it covers will be. (West) And it goes without saying: You won't wear thick, bunchy materials over your hips. You won't have jackets that are exactly hip-length. You won't have pockets or any trimming whatever on or even near your hips to act as eyecatchers. And you'll shun fitted jackets and tight skirts as if they were a plague. The Middle Way* *In other words — your waistline. 1. If your middle way is more than it should be, define it faintly but don't emphasize it. Have no belts or sashes of a bright or a contrasting color of material. Avoid buckles, especially fancy buckles. And have no nipped-in effect at your waist. (Greer) 2. Don't be influenced for one second by your natural waistline. Experiment! Try out effects by raising or lowering your waistline. (Banton) 3. Have no traffic with wide belts. (Head) (Continued from page 29) 4. Suggest as much width above the waistline, via extended shoulders, as possible. This helps the illusion that the waistline is small. (West) 5. If your waistline is large — and likely enough your hips, too — but you are pleased with your line above the waist, keep the upper part of your costume light or bright and wear dark flowing skirts. And when the upper part of your costume is dark, too, pin a brilliant clip or pin high above your waist — as a decoy, to raise eyes. (Plunkett) Color Love It Wisely, Not Too Well 1. See to it, first of all, that you do not entertain a psychological dislike for any color. You may detest green, without realizing it. because you had a hateful green dress when you were a little girl. Or because there was a green gown in your life in which you had the most awful time. For a psychological prejudice for any color can cheat you of the effects you otherwise might achieve in it. (Banton) 2. There is a shade of beige and a shade of grey which you can wear — with profit. Find it! Remember grey, especially, clears the skin and is flattering to all ages. (Banton) 3. Any color that has grey in it will be softer and more becoming. Dusty pink, for instance, is infinitely better — on anyone — than a blatant pink. (OrryKelly) 4. Consider the color you wear in relationship to the color of your skin and your hair. The minute, for instance, that white appears in brown hair forsake brown — until your hair is wholly white. (Greer) 5. Beige with a pale pink tone in it — that beige which is almost naked in color — will tone beautifully with your skin and your face, and your hair will rise above it looking like something beautiful. (Irene) 6. Think twice about the dress that is startling in color — unless you are willing to be effective in a posterish fashion only. Your effectiveness will be more enduring if the color you wear has a unity with you. It can blend with your skin, the way that naked beige shade does. Or it can match your hair. Ash blondes, for instance, can wear an ashblonde gown with every confidence in the world that they will be subtlely lovely. It costs approximately one dollar a yard to have material dyed to match a sample of your hair. (Irene) Hats . . . Hats . . . Hats . . . 1. Hats that do not do something distinctive for your face aren't the hats for you, irrespective of how smart they are in themselves. (West) 2. A hat should be an attractive part of your costume, not something which commands the entire attention of the onlooker. (Stevenson) 3. If you're not pretty, go to town on unusual hats. Women with irregular features can wear wild, crazy hats with chic profit, and turn their unattractiveness into smart attraction. (Stevenson) 4. When hats go screwy, don't forget they should have beauty together with their eccentricity. (Banton) 5. Never buy a hat until you have worn it while you walked up and down, up and down, before a full-length mirror. For it's just as important for it to suit your figure as it is for it to suit your face. (Head) And it goes without saying: If you have a short neck or a plump neck, you'll wear hats with tiny brims, hats with no brims at all, or hats with brims that turn up. If you have a long neck, chapeaux that dip a little in the back will be most becoming. On the plump side, you must see to it that your hats do not make you look mature, and, always, your preference should be for hats that have lines which sweep upward. Big hips, of course, shriek to the heavens for hats that are fairly large. Those who are tall should wear large hats but never, never tall hats. And those who are small will be most charming in small hats, especially small hats that have up-rolling brims. Budgeteers — Stop! Look! Listen! 1. Women who have to dress economically— and who accomplish this with care — have an excellent chance of being the best-dressed women in the world. In the budgeteers' wardrobe everything must have its right place. Women with money, on the other hand, buy impulsively. And, too often, they do not have the right costume for the occasion. Also, they often indulge in a hat or a coat or a gown because they think it "amusing." And they are amusing in it. (Banton) 2. Beware of inexpensive dresses that are just a little too tight, that look as if they would be okay if just another half-yard of material had gone into them. The skimpy seams of these dresses won't hold. Get a larger size and have alterations. In both wear and appearance it will pay in the end. (Banton) 3. Inexpensive clothes try to hide their defects by ornaments. Be sure, always, that all the claptrap that comes on any such dress can be removed. (Greer) 4. If you're on a budget, stay away from high-styled clothes. Buy background clothes. It takes a woman with an unusual instinct to distinguish between a true fashion and a fad. (Adrian) 5. Run, run, run from anything that even promises to be a fad. For, the darling of October, done to death, won't remain a darling long. If you're a budgeteer, however, you'll have to keep right on wearing it. (Head) 6. Novelty fabrics and luxury fabrics like velvet and chiffon and lame are for the rich. Forget such things exist and concentrate on flat surface fabrics that will not catch or mat. (Head) 7. Buy no dress until you have considered the different effects you can achieve with it . . . such as changing the neckline with neckwear, wearing it under a tweed jacket for sport, and adapting it to evening wear with pearls. (Head) 8. Before you shop, take careful inventory of everything you have left over that you can use, even to accessories. And supplement your leftovers by the new things you buy. (Royer) 9. Look over your clothes after you've worn them. Turn them inside out. Make sure there is no place in the seam that needs a few stitches. When a spot appears, remove it. This not only will save dry-cleaning bills, it also will save your clothes from the inroads cleanings make upon them. (Royer) 10. Have one good black coat, without so much as a fur button on it. Then, later on, if your budget allows, buy one (Continued on page 82) 80 PHOTOPLAY