Photoplay (Jan-Jun 1950)

( Continued from page 77) but the man who wouldn’t like to date her. has yet to see her. Arlene knows she’s beautiful now but she worries some about being beautiful twenty years from now. Consequently, she never just slaps her make-up on and dashes cut. She allows herself plenty of time to cream her face properly, apply her make-up carefully, arrange her hair perfectly (and people have been known to rage as Arlene has spent twenty minutes or so over just one curl), then dress with utmost care. She designs her own clothes, even makes some of them herself, and though some of them are fussier than most of the other girls are wearing, they are perfect for Arlene’s personality. She entered the Metro commissary, one day, dressed in a three-quarter -length belted fur coat, with push-up sleeves, Mary-Jane shoes, a natural straw bonnet with velvet bow-ties under her chin and a few other accessories which other girls might have been tempted to leave off. “Oh no!” gasped another actress on the lot, deploring what she thought was Arlene’s utter lack of fashion sense. Then Don Loper, the designer, who knows a great deal about women’s clothes and their effect on personality, calmed her down. “You think she’s overdressed?” he questioned the unbelieving actress. “She’s not, really. Look around at the men in this place, every man has his eyes glued on her, wants to know who she is, can he meet her? No, Arlene isn’t overdressed. She knows exactly what she’s doing.” Arlene probably wears more make-up than any of the other girls, but it’s always applied so skillfully you see nothing but the total effect. Cyd, for instance, never wears much more than lipstick; her own coloring is so bright. Arlene, on the other .hand, uses foundation base, powder, rouge, a little mascara and eye-shadow — but all so daintily, so perfectly, that you’d swear she used nothing at all. That’s cosmetic application at its best. None of the other girls uses any eye make-up, with the exception of Barbara Lawrence, whose long lashes are so light she needs mascara to make them noticeable, even in the daytime. The freest soul is Betsy Drake. The most independent, the most unconventional. Even in a town full of beautiful women, she refuses to rise make-up and wears her hair short and uneven. You have to take her as she is or not at all. And sinfe she has the best-looking man in town as her exclusive boy friend, and since her career is going great guns, Betsy’s policy of being natural is paying off. She’s a tight, wiry, slim young thing who wears sweaters and skirts most of the time and the simplest of dresses when she goes out. She’s direct and outspoken, even though she stutters a bit when she talks. Her voice sounds a trifle affected, but since it’s always the same, it’s undoubtedly natural. Betsy lives in a small house she rents. She has a maid who keeps her in clean laundry, although the only one of the whole group who does everything for her self is Allene Roberts. The others have their mothers or a cousin (Arlene) keep up their intimate wardrobes. Betsy’s hair is straight and she never has it curled, except when it’s necessary for a picture. Otherwise, she has it trimmed once a month, then washes it herself. As for oil massages or any other “extra” beauty care, she says she really should, but she never remembers. Betsy, like all the other girls, can’t stress personal cleanliness enough as the first and foremost rule of beauty. PAT NEAL is 'the most worldly of all these girls. She, too, lives alone in a hilltop house with her books, her records and her really fine paintings — one, an original that she gave up a fur coat to own. Her skin’s dreamy, so she uses very little on it, just a light foundation cream and lipstick. She believes in short hair, but has to keep hers long for pictures. Her bosses insist. Pat’s features are small, surprisingly enough, although they photograph considerably larger. Her eyes are great and deep and meaningful. And those eyebrows are all hers. She has the real oldtime consumingfire attitude toward her career, the stuff of which stars are made. At thirty, she’ll probably be the greatest of them all. The lipsticks of all these girls are softer and lighter. Nail polish is pinker, quieter, in line with the clothes colors. And everybody has gone all out for black. It’s a black year— even for the very young girls — for the first time in years. These girls can’t afford designer-styled clothes (probably wouldn’t want them if they could; too faddish, too transient) but they love the rich materials, the brocades, the metallic threadings, the satins. These girls are normal, natural, young — and very personality conscious. Everything they wear must make their personalities more understandable, more definite. When I say that none of our lovely young stars-to-be goes in for custom-made originals, I must exclude Pat Neal, who’s suddenly gone completely clothes-mad. She was in Europe for “The Hasty Heart,” you remember, and while there she made a trip to Paris and bought several breathtaking Dior originals. Pat’s so tall that she can wear anything and look divine in it. Side swishes, pencil-slim sheaths, velvet profile berets; she gives them more dash and color than any twentytwo-year-old Kentucky belle has the right to impart. And she rarely wears flats; neither does she wear platforms. Just good solid heels that seem to melt into the rest of her costume with no undue attention attracted to them. All of these future stars, with the possible exception of Barbara, who can bounce with energy and vitality even with four hours of sleep, are careful about plenty of rest and a good balanced diet. They’re grand girls and in looks, they put those who still abide by the elaborate, oldfashioned beauty routine to shame. The End ll.ave confidence in the clothes you buy, says Leah Rhodes, talented Warner Brothers designer, who designed the Shirley Temple Photoplay Pattern dress on page 76 Wherever you live you can buy PHOTOPLAY FASHIONS If the preceding pages do not list stores in your vicinity where Photoplay Fashions are sold, please write to the manufacturers listed below: Checked dress: Townfield, 1410 Broadway , New York , N. Y. Jersey dress with studded bell: McArthur Ltd., 1372 Broadway, New York, N. Y. Jersey dress with pleated skirt: Jerry Gilden, 498 Seventh Ave., New York, N. F. Nyralon bra : Flexe.es, 417 Fifth Ave., New York, N. Y. Youthful girdle: Kleinert Rubber Co., 485 Fifth Ave., New York, N. Y. Nylon marquisette bra: Peter Pan, 312 Fifth Ave., New York, N. Y. Latex girdle: International Latex Corp., 350 Fifth Ave., New York, N. Y. Nylon taffeta bra: Bestform, 64 W est 23rd St., New York, N. F. Longer girdle: Jantzen, 350 Fifth Ave., New York, N. Y. There can be no peace with polio! We must steadily wage war against infantile paralysis if we are to avoid the tragic record of 1949 when nearly 40,000 American families were invaded by this dread disease. Don't fall behind in this fight for humanity JOIN THE MARCH OF DIMES JANUARY 16-31 p H 0 T 0 P L A Y 79