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Don Bestor, above, of Benson's famous orchestra, and Ralph Williams, below, are two of the many artists who endorse Conn quality.



 nightgown. It is the sort of garment that makes serving on movie censorship boards a real pleasure. Her newest negligee is a riot of black satin and lace with silver brocade. It's pretty, of course, but when you see it, ask yourself if it would be practical for a woman who has to get the family breakfast?

another one of Gloria's negligees is of apricot and silver chiffon and it is made to match an apricot nightgown. But be careful how you choose apricot silk; it is only becoming to women who have very white skin. You have probably noticed that Gloria only wears the most trying colors. And she gets away with it.

Pola Negri is more cautious than Gloria about disrobing for the benefit of an enthusiastic public. Pola hasn't been in this country long enough to know that posing for the public in your underwear is one of our quaint native customs. Rags were royal raiment for Pola in her German-made pictures, even though they were never worn for virtue's sake.

However, in The Cheat, I hear that Pola actually walks up to the edge of the famous Lasky bath-tub. And she makes the trip in a bathrobe of sealing wax red and white with flowing sleeves. The robe is draped in Russian blouse effect. In Bella Donna her negligee was of white chiffon with beads and ermine trimming. And there was one brief glimpse of her in a radium silk nightgown trimmed with filet lace and with a bed-jacket of crepe satin.

most smart foreign women, Pola likes white lingerie, made of the finest silk or hand-drawn linen. It's a wise vamp who knows that soft white is more disastrous than black jet.

Anna Q. Nilsson is a good model for tall blondes to imitate—if they can. Anna is one of those rare girls who can wear blue without making it seem insipid. In The Rustle of Silk, she donned a blue satin brocade negligee which she wore over orchid lingerie. She looks well in grey, too, especially when the grey is outlined in black. For another scene, the Lasky wardrobe department furnished her with a green and magenta chiffon tea gown which was trimmed with rich gold net, ported at $25 a yard.

Leatrice Joy is rather too ingenuous to make a perfect lingerie model. Her smile usually outshines her clothes. Still in Four Chances she wears a negligee of yellow and silver with pale yellow taffeta lingerie underneath. And another of pink and white, covered with frills and edged with marabou. It is all very well for movie stars to wear marabou because they can send their clothes back to the wardrobe department as soon as they show signs of wear. But marabou is apt to shed its fuzz after a few weeks' wear and there you are, looking shabby!

Leatrice, who is a brunette like Pola, also wears sealing wax red trimmed in fox fur and, because she has white skin, she can dare to wear apricot pajamas—when the script calls for them.

was a flannelette heroine when she worked for Mack Sennett. You cannot stand the hard work of slapstick comedy unprotected by anything but a layer of chiffon. But Louise cuts loose in her first vamp part—that of Mabel in The Gold Diggers and she is going to prove to the world that she, too, has a chiffon soul. May McAvoy and Lois Wilson have never vamped a man in all their screen careers and so their lingerie has never caused the Lasky wardrobe department to work overtime.

The whole history of the "right" and "wrong" in lingerie is told by Louise Dresser in Ruggles of Red Gap. When Louise first appears, she is garbed in what is called snappy stuff on Main Street, Red Gap. Some of her negligees illustrate what is decidedly not being done this season. Crude, stuffy, lace affairs that look as though Louise had sacrificed the family Battenberg curtains. Uncouth and "rough diamond" tea gowns with big, flaunting bows and the stripes running all the wrong way. Expensive but declasse.

Louise goes to Paris and buys some negligees guaranteed to bring out the morality committee of Red Gap. Paris almost succeeds in making her over but, like Cousin Egbert, she can be pushed only so far. Therefore her lingerie doesn't quite measure up to Gloria Swanson's.

Many of the studios employ extra girls and sometimes leading players as fashion models. And so it is the duty and pleasure of these girls to pose in lingerie. While Jacqueline Logan is a discreet little ingenue on the screen, she occasionally obliges the Lasky publicity department by donning one-piece bathing suits and disastrous negligees. She appeared in one tea gown of Delft blue embroidered in copper. Like Bebe Daniels, Jacqueline looks well in fluffy, frilly things.

So far as lingerie is concerned, Nita 