Picture-Play Magazine (Sep 1925 - Feb 1926)

For Wear in the Sunny South 57 page is worn by Corinne Griffith in her forthcoming picture, "Infatuation." It is of heavy crape in an exquisite pastel shade, its only trimming is embroidery of manyistered dots and its narrow embroidered A narrow string belt ties at the natural waist line. a model of charming simplicity and would be a delightful one for a young girl. It is of soft crepe de Chine, simply trimmed with wide hemstitching outlining the childish round neck and odd little strap sleeves. The embroidered and scalloped skirt is worn very short, and is simply gathered to the hemstitched belt at the normal waistline. A bunch of tiny roses at the waist completes this girlish dress. Miss Griffith also sponsors the scarf in this gown. This one is of soft maline, attaching to the hat at the right of the underbrim and winding around the neck and shoulders in soft folds. With this dainty costume Miss Griffith carries a longhandled parasol, a picturesque adjunct to the summer costume that has rather fallen into disuse of late years. Although evening and dance frocks cannot be said to change much in weight and material from season to season, those worn in the accompanying sketches have a definitely springlike quality which makes them ideal for, the near future for either home or Southern wear. The one at the top of the page is worn by Joan Crawford, who is playing Irene in Edmund Goulding's production of "Sally, Irene and Mary." It is an exquisitely beautiful gown, of blue, orchid, and pink chiffon, which hangs in rhinestone-dotted points from the nor-; mal waistline, where rhinestone bandings, in odd pointed effect. Continued on page 108 Lily an Tashman, in "Bright Lights," wears this delightfully girlish gown of pink georgette and cobwebby A dance frock of satin and chiffon worn b\ Joan Crawford in "Sally, Irene and Mary. ' A feature of almost all the spring frocks is the voluminous scarf, an example of which Miss Griffith wears with this gown. It. too, is of heavv crape, matching the gown in color and reaching to the hem of the dress. The afternoon frock next in this group shows the bustle effect which will be seen on many of the spring models. It is a vogue faintly reminiscent of the picturesque styles worn in the '80s with the gathered overskirt and voluminous bow. This gown is of heavy moire silk, in a soft-tan shade, and is worn by Dorothy Mackaill in "Joanna." Miss Mackaill wears a beige fox scarf with this costume and a smart little hat of the same material as the gown. The young lady standing next to Dorothy is Claire Windsor, wearing a smart one-piece frock which depends for its trimming upon taffeta fruit in gay colors, which appear on the sleeve and skirt. This dress features the cape effect which, in this instance, is detachable, tying at the neck with wide streamers hanging down the front. Although the original model of this gown was navy blue in color, this is a style which would be charming in any of the high shades suitable for warm weather, a soft beige shade, for instance. The cape effect is a style to which I am particularly partial, as it is almost universally becoming, and in the case of a slender figure, takes away the slightly bare effect of the plain round neck. The last gown in the group is also worn by Corinne Griffith. It is A tight bodice of g old tissue and a flaring skirt of filmy net make the whole of the striking dance frock that Greta Nissen wears in "The Luckv Ladv."