We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
Costuming the Picture
With one large studio using more than eight hundred thousand yards of cloth per year, an approximate figure of seven million yards for all film-making plants would be conservative. This great array of materials would permit the making of a new dress, or a new suit of clothes, for 90 per cent of all the men, women, and children in the city of Chicago. Or it would make a triple width carpet between the cities of Los Angeles and San Francisco.
The experts handling such an expensively immense amount of cloth fall in two groups. They may be modern designers, Adrian, Newman, Banton, Wakeling, Omar Kiam, or Orry Kellv, or such a wizard in the production of "character" clothes as the late "Mother" Coulter.
"Mother" Coulter, who died happily at a ripe old age, wrapped up in her personality and her achievements all the challenge to the imagination there is in the work to which she gave her life. Her concern was not with what people will wear next summer, or fall, or winter. Her province was the past, and the unusual in costumes.
Nearly fifty years ago, Lucy Coulter, a young actress, used to while away stage waits by needlework. In New Orleans one night the wardrobe mistress of the companv was taken ill, and "Mother" Coulter was pressed into service. Later she made costumes for Weber and Fields and for scores of other theatrical producers. She made Marie Dressler's first costume some forty years ago, and continued making all of her character costumes until Miss Dressler's death.
"Mother" Coulter used to relate humorously that the
[ml