Photoplay (Jan - Jun 1941)

-~ k AATKJIT New! Exclusive! Positively can't twist, slip, or cut into shoulders! Kant-Kut straps end shoulder strap inters. The patented plastic stiff ener and easily adjusted "softie" pad prevent wrinkling, slipping off shoulders, cutting. Discriminating women, who know shoulder strap fidgeting lessens their poise are now wearing Kant-Kut Shoulder Straps. They xt ash beautijully, remain fresh looking. Attached properly to brassiere or foundation garment thev give a beautiful u[>li]t bust line contour. Straps come in tea rose shade, in popular price range. SPECIAL OFFER. ;/ your department store or corset shop does not carry them, send 25c direct to us tor a trial pair of straps sent prepaid. Kant-Kut Shoulder Strap Di v.: Traver Corp., 358 W. Ontario St., Chicago Ask your dealer for garments with K.ini Kut Shoulder Straps attached. ll"V,Tl. Dinner Ring; or Al Oo Ring with simulated Ruby and 3 brilliant marcositcs; M„,r choice, FOR selling I i [torn-bud Salve al 25i each. Order 4 salve. Send No Money. ROSEBUD PERFUME CO. BOX 17. W00DSB0R0. MARYLAND. %^* YOURHAII BOB & HAIR PINS TAey ffo/d ffetter m\ Bait Bob Pini for Curlers tend penny postcard for packet of Su-Ruc Pirn: Doubf£I ")ipped, RIcnd-Riic, Ginnic-I-ou and Paramount. Instructions for holding hair ^dM1! • \ mount. Instructions for holding hai bTaTjAB •■ I i ii pi Jccwllileyou sleep included. Stati ^^L^f -Jcolor of h.nr. St. i kit. ( until. I .»n ^■■^ Inc., I),pi. 14-B. Shelbyvillc III ... I [ealthful ! Stimulati m' ( lean sm< lling! 1 ji M 1 1 I I I \ — "the national mbilou n as bath substitute! Aim in I'trtr. LaPemder, II intrr%rrtn I50PROPYI ALCOHOL RUBBING COMPOUND DRUC, OEPARTMlNr and 5 & 10c STORES nothing quite matches. To avoid all that, Miss Lombard worked out a system. She began by selecting a basic color — blue it was that first time. Because it was winter, she built her daytime wardrobe around a furless blue woolen coat. (Unless you're going to buy several coats, don't get one that is furred, Carole suggests. It's much better to put your money into a good fur piece.) A slim skirt of the same material went with the coat and Carole chose arresting little scarves, chic little blouses to go with it. A velvet ascot and chinchilla cloth beret did noble duty for business. For afternoons or "dressy" occasions she wore the coat with a demure gray frock, gray accessories and a cross-fox fur. But where Carole's ingenuity really came into play was with the sleek black formal dress she bought. You know how evening clothes can bulge the budget to the bursting point? The secret is to make one formal serve a triple purpose. Carole's black dress went to dinner with a smart overblouse of matching material. It went dancing with a dusky pink chiffon scarf. Carole simply draped the scarf across the front and over the shoulders, held it in at the waistline with a clip, then let the chiffon panels foam clear down to the floor. It went dining out in restaurants with a tight-fitting lame jacket that had a surplice cut. EVEN today Carole plans her wardrobe * along the same principles. She goes into a huddle with the famous designer Irene. They plot out line . . . color . . . "She never comes in here two days before a party," Irene told me once, "and says she wants something terrific to wear at it. She buys the clothes she needs once or twice a year — and every costume is planned in advance down to the last detail. There's a certain symmetry and blending in her wardrobe that makes it outstanding and she probably has started more vogues than any two women in the world." For instance, months ago Carole tired of short jackets. "Let's do something different with them. Let's make them three-quarters." she said. Thus the high fashion in three-quarter length coats was born. She wears at least two of them in "Mr. and Mrs. Smith." It was Carole, too, who brought back the old-fashioned gold settings lor jewelry, who reintroduced headed dresses, who created one of the most popular Styles that ever swept the country, the shirtwaist dinner dress. This latter creation came about because of a pair of sapphire cuff links. They were a present to her and she didn't know what to wear with them. They were too beautiful for a mere shirtwaist. "They ought to go on a tailored dinner dress." thought Carole. Whereupon she and her studio di • eatcd the shirt waist formal and six months later every girl in America was clamoring for one. If it is becoming, it's good for you: That is Carole Lombard's style slogan. Take the new Lombard hats. Are they daffj mode of the present'.' The} He not! They're on the crushedturban elicit and they pull down over ■ • in a way that's Hatteni: frame. rleadgeai ha i itten to the point where it's idiotic." declared Carole. So liming her own. No dominant prints in her wardrobe. No bold pi. mis No bulky materials like heavy wool They've been as taboo on hei dress program as clothes thai fit tightly "II girls only knew how much bettei the} appeal n that tits Operating on the Lombard costume credo, Carole wears white with a splash of red carnations and the famous Lombard clips in "Mr. and Mrs. Smith" photoplay combined toith movif Miwiof easily," she said. Carole previews every new costume at home, even to purse and gloves, for a one-man audience — her husband, Mr. Gable. And Mr. G., who didn't know gingham from velvet in days gone by, is an appreciative spectator. One of the most interesting style secrets that Carole discovered was how to "spotlight" a costume. "A touch of color or trimming should be used much as you would use a spotlight," she explained. "But you can't 'spotlight' too many things or you divide the attention. That's why, if your neckline has special interest, elaborate gloves should never be worn. If your hat is particularly goodlooking, don't wear fancy shoes. Only one color or jewelry note should be played up on a costume." For example, on Carole's black crepe dinner dress with the bloused tunic and long sleeves, the "spotlight" is held entirely by the lovely clips and matching bracelets. On her formal of floating white mousseline, a corsage of gay carnations at the waist — with clips just below the shoulder straps repeating the color note — is the attention-riveter. (See the picture below.) If you have ever watched Carole try on a new dress, you realize there are more tricks in doing it than meet the eye! She doesn't just stand in front of the mirror; she does exactly what she's apt to do in that dress. She walks, strides, sits down — twirls, if it's a dancing frock. The thing is to see what the dress will do for you in action! "A candid-camera shot is the acid test of the well-dressed woman," said Carole. "If your clothes look right in that snapshot the family took when you were not looking, then you've passed a hundred perce; It's a long step, sartorially speaking, between the girl who was Jane Peters and Carole Lombard. But it's a step that every woman can learn to take. . . .