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Talking Pictures
largest costume she ever made was a pair of pants for an elephant, and the smallest a sweater for a white mouse. During her lifetime she made trailing draperies for a Cleopatra and hoopskirts for a Barbara Frietchie. As a costume "ager" Mrs. Coulter was esteemed as the greatest. She had on her cluttered desk a veritable witch's collection of secret brews and concoctions through and by which she could give new cloth the effect of wear and age.
The charm and delight there is in imaginative, creative work of this sort is perhaps proven by the fact that no one could make "Mother" Coulter retire. She literally "died in harness," beloved by the elder employees, adored by the younger to whom she was a wise and mellowed mother confessor.
Colorful as is the work of the character wardrobe mistress, the focal person in any modern film studio costume department is the head designer. He or she must be a person who dreams of beautiful and attractive clothes, and who can make those dreams a reality of fabricated cloths.
The designer may create clothes for an absolutely modern story of the present day, or conceive some fascinating series of costumes for a dance number, or dig deep into research for elaborate period presentations. That famous painting, The Procession of the Magi, was only one of hundreds photographed in Italian and French art galleries before work was started on the five thousand costumes for Romeo and Juliet.
To get a special effect a designer expends both his genius and his materials in a prodigal manner. Forty
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