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Costuming the Picture
dresses at formal functions. If three of these were unbecoming to the star of the picture to be made, it is obvious which gown would be chosen.
Tailors, able to produce overnight a smooth-fitting uniform of the days of Napoleon, are standard figures among the eight hundred employees required in a typical wardrobe at the height of activity. Dye experts may try a dozen different tints for a certain costume before tests reveal which tint gives the best photographic effect. Dry cleaners work busily quite oblivious of the fact that drama is being photographed in the stages not far from their quarters.
Enough dry cleaning is done in a big studio to care for the needs of all the citizens in Sioux Falls, South Dakota, or Shamokin, Pennsylvania. Superfine needlework is in demand. For nine weeks one costume for Greta Garbo required the undivided attention of eight needlewomen from the great center of this craft, Guadalajara, Mexico.
The storeroom for raw materials in a big studio wardrobe is challenging to the imagination. When a Chinese picture was being made, hundreds of bolts of heavy, hand-woven cloth came in on every freighter from the Orient. They had been purchased in Chinese markets by special buyers sent westward for that purpose. There are bolts of heavy old-fashioned sateens; bolts of chiffon; of gingham and percale; spools of thread by the thousands, and needles by the millions.
Proper accessories are as important as the costume itself. Every wardrobe keeps hundreds of shoes of all styles and sizes, thousands of belt buckles and handbags,
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