Photoplay (Jan - Jun 1919)

PHOTOFL \\ M AGA/.l N I \i)\ i It i im \t. Si i iio\ From the Skin Out i c ontmued from pa^t ji t were in. nil cntirelj oi feathers, and the wardrobe department followed this infor ■nation, the feathers wen dyed and pasted by hand on the enormous patterns cut. The armour worn by Farrar as Jeanne w.i wrought from German silver l>\ the besl silversmith obtainable and wa .Hiilieiitu in i-\iT> detail However, the largest part of the work i-m connection with up to date ami .id Vance dressin . \ soon a a script is ready for produ< lion a copy i> sent to the head oi the ward robe department, who studies it carefullj lor several days She attempts first to visualize the character and then to work out clothes that Mich a character would choose. (.This i not hunk, either, for beautiful gowns have been discarded by sev designers because they were out of chari Then she consults with the director, the star it there is one, and tin' art director After that she block out her costumes. -elects the materials from her >tock. buys what -lu has not on hand, arranges fittings to -uii the players who arc probably work ing on another picture and are hard lo get, and -elects the garments to be worn bj extra people. (A star never wear a gar merit twice, but it is brushed up and held over for extras.) The wardrobe department at Lasky's ii>erhap the largest and best equipped on the coast. Mrs. A. B. Hoffman, the de signer and modiste, make at least one and often two trips a year to New York, ex actly as the buyer tor a smart shop might do. While she i there, she visits the theatres, goes to the smart hotels, tea rooms and cafes, accepts social invitations and in this manner takes a look at everything that has to do with concealing or revealing the human form divine. She does her buy in;.' and returns with hats, gowns, suits, furs, wraps, shoes, stocking-, underwear and material of all kinds — to saynothing of ideas. Screen history repeats the fact that the camera does not lie. It cannot be tricked into conveying the impression that cheesecloth i georgette or that cotton back satin is the real article. Material register with a Faithfulness that has caused more than one motion picture magnate to tear out his lew remaining locks upon viewing itemized bills for lace at $62 a yard, such a Dorothy Phillip's negligees sometimes call for. Xo mere man can understand the importance to the feminine mind of the hang of a skirt. There is something about a badly hung skirt that has much the same effect as an overripe lobster. But a man will come away from a picture declaring that it *s too bad Miss Blatz's ankles are so big. Now Mi- Blatz's ankles may be of the caliber that entitles her to a place in the front row of the Follies, but a skirt that hikes up in the front and has a tail behind, or that droops dejectedly at the will make Annette Kellerman's nether extremities look like they belonged on a grand piano. Poor materials cannot be made to photo graph with any swing, and this fact has been discovered by long experiment with cheap substitutes in the effort to reduce the cost of production. Things that are supposed to be good must be good — be it velvet. pu?sy willow taffeta, chiffon, tricolet or charmeuse. And don't kid the camera. This of course is not true in comedy where the motto is "She's all right but -he's all wrong." The eccentric touch is the necessary thing. 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