Photoplay/Volume 37/Issue 1/Photoplay's Style Forecast from Hollywood
Photoplay's Style Forecast from Hollywood
Edited by KATHERINE ALBERT
KNEES are as scarce in Hollywood as silent movies. Figures are figures this year. Our old friend, the Hollywood line, demanded by producers to give sex to their pictures, and scorned by all the designers, has come into its own. For four years Clara Bow has been tugging her dresses in at the waist and pulling them tight around the hips. For four years designers have screamed with rage when Clara passed by. But now she's showing Paris what the well-dressed woman wears.
We are wearing photographic clothes, whether we know it or not, because Hollywood tells us what to wear. Alice White, another horrible example in the matter of dress, has always pushed her little hats off her forehead. A cameraman hates a brim like De Mille hates a tin bath tub. The electricians can't do anything with a face half concealed by a drooping chapeau.
Well, look at the smartest hats this year. They're right back off the face, with the noble brow as conspicuous as the candidate for mayor on the day before election. And if you let a wisp of hair show, nobody speaks to you.
Paris calls the fitted figure line and the brimless hat new and original, and the best houses include them in all collections. Hollywood can laugh up its fur cuff. It's been wearing them for years. And the Paris designers who have scorned the Hollywood mode are gnashing their teeth and rounding in their seams.
On the following pages are the best that the Hollywood dressmakers have to offer. Howard Greer, Sophie Wachner, David Cox, Jean Swartz and Edward Stevenson design and execute their gowns in Hollywood. And they're doing original models. Let France take a look at them for a change.
The screen is the broadcasting medium for fashion. The new lines, the new modes, the new note is on the screen. Hollywood has the last word. You take your fashion orders from the films, young woman—and like it!
Paris calls this a new line. The dress was designed in Holly wood by Howard Greer and it conforms to the mode that has prevailed in films for the past seven years. It's just another indication that Hollywood leads in fashion. The Empire feeling is new, but the curves are the same. Margaret Livingston wears it. It is made of black chiffon, trimmed with a single rhinestone ornament
The new Hollywood hat trend. Lilyan Tashman wears this one of grey brushed wool with the sides rolling like a coffee cake. It is pushed back off the forehead without a wisp of hair showing. Even for sports she uses a veil
This is the most sensational costume in Hollywood this season. When it was displayed at Howard Greer's exclusive opening, gentlemen gasped and ladies fainted. Here Dorothy Mackaill wears what looks like a simple white chiffon frock with a gold lamé coat generously trimmed in red fox fur. But wait!
The coat is removed, but the wide band doesn't go along with it. Instead, the fur remains on the dress. Whoever thought of combining white chiffon and red fox? Oh, anything can happen in Hollywood. This is the most typical film dress of the year, simple in line as it is. It is called "Nuit dé Noel"
The afternoon frock at the left weighs a ton or two, but it's all for dear old fashion's sake. Sharon Lynn wears it. Sophie Wachner of Fox designed it. Tiny black and white beads cover it completely. For the smart tea
Ermine again, and black velvet, with a gardenia at the throat, all elegant simplicity. Vera Reynolds selects this gown from Jean Swartz and accents its smartness with a snappy mesh bag and a veiled hat
See what happens when a nice gal like Margaret Livingston wears a gown like this (below) from Howard Greer. The Egyptian influence is in the multi-colored blouse. The skirt is black tulle. And a $10,000 antique necklace
Ethelind Terry wears this green soleil hat (at the left) right off her forehead with no hair showing
Blue tweed, white flat crepe, black fox and fast color suede and kid shoes. Howard Greer calls this "Flirt," and Virginia Valli is ready for almost any sports event
"This Thing Called Love." Thus Howard Greer sentimentalizes over this flowered taffeta dancing frock of pale pink (right). Julanne Johnston wears it and you'll recognize your little pal, the Hollywood line, which has become Paris' last word. Two tiny ruffles give this gown a tone
That wild Russian influence cropping up again in Hollywood. Joan Crawford is responsible, for she has selected these vivid purple pajamas (left) hand-worked in cross-stitch pattern in red, blue and yellow. Satin, by the way, is Joan's favorite fabric
Not little Bessie Love, so very sophisticated and chic! Yessir, here she is, in one of those frightfully plain, vampish hats. Had you thought of cutting off the brim of last year's chapeau? Try it and see what happens
No, no, June Collyer (right) is not playing in a costume picture. This is the Greer creation she wears when she sips tea with Buddy Rogers. Not a solitary panel relieves the severe ankle length of this gown, which is form fitting and generously flared
When Howard Greer designed the above dress he threw down his shears and called it a day. This favorite is known as "Jerry," and is made of red chiffon tweed, so soft you can draw it through a wedding ring if there's one lying about. Worn by Julanne Johnston
Joan Crawford did the dinner dress at the right with her own little thread and thimble. Maybe those ladylike lines show the Fairbanks influence. It's long and dignified, with three circular tiers and a cape. You can't go wrong on black satin this year
What-ho, our old friend the rabbit is now called lapin. That's the fur chosen for the cape that is the accent of this beige wool street dress with wool lace. Gwen Lee wears it like a lady. Jean Swartz mode!
Who said women aren't getting more feminine? That perky little bow adds just the proper note to Vera Reynolds' red felt hat, at the left. Hollywood considers it smart to wear a brilliant hat with a dark suit
There's a new name for this fur, but it's still good old chipmunk. A dash of the pelt is used on the dark yellow tweed frock in a bow and pockets. Margaret Livingston selected it from Howard Greer's Maison
Here's our old friend the bouffant (above), considerably tamed by the sophisticated mode. If you're Janet Gaynor's type you can wear this dancing dress of painted pale pink voile, designed by Sophie Wachner. At the right, Corinne Griffith wears a salmon colored velvet and chiffon negligee from Greer, with the waistline raised by a wide girdle. Remember when Lucille did it?
This is as modern as next year's best seller. Covered up knees, raised waist-line, concealed pleats make this sports frock the last rave. Worn by June Collyer. Designed by Howard Greer
Look what Photoplay Magazine found in Lilyan Tashman's shoe closet. They are old Greek sandals in green and gold. The only modern note is that four inch heel. For evening
It wouldn't baffle Freud a bit if this gown (right) haunted your dreams. Any good psycho-analyst would tell you your suppressed desire was to look like Dorothy Mackaill. The ensemble? Oh, yeah, it's of blue velvet with a double fox collar in white and silver. Howard Greer created it
Let it rain. Just button up your overcoat (it's called "Wimbledon" by Greer) and be as smart as Dorothy Mackail in tweed hat to match and Shuglovs in the same soft brown shade
Ethelind Terry is a stage star who came to Hollywood to wear rose velvet and lace pajamas, like the above, designed by David Cox. Below, Olive Borden goes futuristic in black and white satin by Edward Stevenson
That's not a new poodle on Anita Page's cuff. It's just a little fox head that didn't have any other place to go, so Jean Swartz, creator of this evening ensemble in sheer white chiffon, velvet and fur, stuck it on the cuff. And to think Anita's dad feels he must chaperon her!
There's 14-karat gold spun in that thar coat. Actually! Lilyan Tashman couldn't take a chance on having it tarnish on Eddie Lowe's dress suit. The marvelous wrap was designed by Willard George and the fox collar was dyed to match the color of Lil's hair exactly. Neat trick?