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FEBRUARY 1925
slippers worn with contrasting stockings. Thus is the suggestion of youtn and general frothiness subtly heightened. If she is planning an outfit for a Society bride, the designs must be conservative as well as youthful. Afternoon and evening frocks are graceful, trailing affairs in order to invest the wearer with a certain amount of dignity. Consider the clothes of Agnes Ayres in Bought and Paid For, or those which appeared with Enid Bennett in the latter reels of The Fool's Awakening.
AY/hen the picture is an accomplished fact, the clothes are still an asset. At Lasky's most prodigal of all the studios in sartorial matters, the dresses are refurbished for the use of extras in future productions. Sometimes it is Only necessary to camouflage with some new drapery or a striking tie, but frequently the entire garment is torn up and the material cleaneo, pressed and re-fashioned.
And it is whispered on the sets that Gloria Swanson dislikes extremely to see an extra player promenading about in a re-hash of one of the wonderful gowns which have graced her own fair shoulders.
At Goldwyn's they believe that to tamper with a dress like, this destroys its personality. Many of their creations appear in several pictures, as for instance the gorgeous brocaded wrap which was worn by Mae Busch in The Christian and also by Eleanor Boardman in Soul's for Sale.
Afterwards the clothes are sold off at a fraction of their value to the company's stenographers, telephonists and other women workers. This probably accounts for it being so difficult to distinguish between a star and a seamstress during the evening exodus from
Seamstresses and expert dressmakers carrying out the original designs for costumes used solely in the studios.
Picr\jre s and Pichure puer
Right: A corner of a work room wherein movie modes are made.
Fur cloaks like this one abound in the movies.
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A lounging robe worn by Claire Windsor which looks as though it had got the Cross-Word Puzzle fever badlv.
Culver City, when all the Goldwyn folk are going home.
Norma and Constance Talmadge, two of the kindest-hearted girls in Filmland, give their " old clothes " to the prop-boys and electricians to take home to their wives. The only exceptions to this rule were the excruisite period costumes Norma used in Ashes of Vengeance.
Come few of these she presented to the various players by way of souvenirs, but the majority were carefully laid away with a view to some future spectacle picture.
The independent players, whose expenses come out of their own pockets and not from the capacious treasury of a wealthy Corporation, buy their dresses as they go along. When the film is complete, they ring up one of the wardrobe dealers whose crowded little shops abound in the side-streets of Los Angeles.
He is only too ready to purchase any wearing apparel they wish to dispose of, for he knows he can easily sell it again at enormous profit.
Hettie Ckimstead.