The Butte inter mountain., 1903-10-30

the stores OH Sixth avenue and broadway.
except the simple ones which are turned
out by dressmakcrs."
What would you say is the secret of
your work. That is, the keynote that
makes it different from ordinary costume
designing, for the woman of fashion,"
Exaeoeration.
Casually speaking, | would say exag
geration. You see. If | note anything on
the street, at the theater, at the restaurant,
which attracts my attention, and | think
there are possibilities in il for stage pro-
duction. | accentuate it, put i'll little
tang. | make the hats higher on the side
and push them forward little, make big
chains where the woman of fashion wears
small ones. tilt the skirts here, there or
the other place wherever the mode indi-
Gates, only the fitting is more pronounced.
Emphasis is the secret of success III
stage costumng. Then with color | make
striking contrasts, big, broad dashes."
where do you get your ideas p was
asked. Some from observation, but the
most of them are absolutely the result of
inspiration, impulse. whatever you may
call it. | have few books by famous
costumcrs--thosc OF Racinet and ketsch-
rer, for instance-and | have read them
carefully but at the best the can only
suggest. One has to depend on oneself
for the originality, which is the secret of
success in stage costuming. as i'll every
other form OF arr"
DO YOU see much change in your pro-
fesson since you have been in America r
Demand Increases.
Il have been here five years, and with
every season have more work to do, and
| find the probability that stage rroduc-
tions will become more and more magnti-
cent, which means, of course. that more
designs will be needed. For instance, when
| began my work for American managers.
Weber K Fields had but IL girls in the
chorus. Today they have IS. which means.
a you can imagine, an immense amount
OF extra work for them alone.
Men want to be amused by the dancing
and posing of shapey girls, and they want
constant charge, although they probably
do not analyze the reason for this or the
method OF its satisfaction. This involves
tremendous outlay of brain fag in think
ing up new combinations and finding some
thing which has not been sprung on the
public before
"Do you make a special study of the
actresses whom you are costuming" was
asked
THAT depends. In the case Of star.
il j am not well acquainted with her APP
pcarance, complexion, hair coloring, figure,
height etc., ask for an interview, but
when | am costuming a chorus it it not
necessary"
His Own Master.
do the managers ever restrict you in
your IDEAS"
"They used to. but now | can dictate
my own terms. | simply will not allow a
costume to be spoiled by anybody elses
ideas on the subject. unless happen TO
think them better than my own
"Do you have anything to do with
costume after ii leaves your hands 7"
20. yes, | usually attend dress re-
hcarsal. | take along man or woman TO
take notes and sit in the front and watsh
the girls as they come out.
Sometimes make radical changes and
sometimes trining ones, but | insist upon
!. having those changes made. If they are
necessary. No matter how well one may
have imagined the effect of certain com
binations of color. when one sees them Ell
masse under the calcums there will he
different Impressions produced and while
as a general thing not much alteration is
required, what there is is essential"
What becomes OF all these beautiful
Costumes"
Chorus Girls Careless.
"Thc chorus girl is VIGOROUSLY careless
of her costumes probably because she
does not provide them herself. They rarely
last beyond one season. sometimes moi even
that The aces. chiffons. silks and thin
materials, OF which SO many Of these are
made. are pershabe and can not be reno
vatcd.'
What would you say il cost the man
asement to put on an average play, that
is the cost for the design, and having the
costumes made up?
Roughly speaking I should say SIS 900
but. OF course, one can only give a general
estimate. 1t might be $4,000 or $4,000;
a change in the costume for one chorus
would mean hundreds Of dollars
"Do the actresses for whom you design
ever make any suggestions which they
want you TO follow"
"Oh. sometimes, little personal ideas are
given which | try to use, if possible. The
only way TO do with woman is to let her
have her own way. Then you won't have
any trouble. 1t is hard, though, some
times, when there are two women and
only one way
He Is Foxy.
lie showed stunning costume design.
You see that? That was intended for
the design for the widow in a rccostuming
of one Of the new plays. A second widow,
one who was to go on the road in the
same play, came in and saw it. She inn
medately insisted upon having that par
ticuIar costume or she wouldn't play.
Il tried to hedge, didn't dare tell her
that it was intended for her rival. Just
then the first widow comes in and asks
nonchalanty il her costume design was
finished. She saw it in the others hand.
Then there was trouble"
what happened?'
ooh, | suppose | compromised. Told
the second that her particular style of
beauty deserved something better and Of
fered TO replace the desingn she had by