The mirror. (Stillwater, Minn.) 1894-1925, 1907-01-10
Che Costume Designer.

forms, and hundreds of other details
must be secured from classified copy,
if the designer hopes to work with dis
patch. To give you an idea of the
Importance of the designer, l shall un-
dertake to describe to you the costum-
ing of three separate branches of the
profession; the drama, an extravaganza
and burlesque performance, such as
may generally be seen at our cheaper
theatres.
now ask you to imagine yourself a
manager of theatre, and about to place
dramatic production upon the stage.
You may find that the author has
CHOSEN the sixteenth century as the
time, and laid the scene in France,
Japan or some other picturesque land,
for it is necessary that the opportunity
be given to make costumes and scenery
beautiful. The artist, taking old en-
cravings as basis, draws the plates,
adding or eliminating until he produces
costumes that are gorgeous and beWil-
dering, but which still resemble in a
vague way the period represented.
With the dresses of the star be must
be especially careful. She is sure to
have her own ideas about the matter,
and these must be carried out and
blended with the ideas of the designer,
TO make her as near perfect picture
as possible. II she happens to be stout
her costumes must be of dark color
and vertical stripes. But should she
be thin, light colors will make her ap-
pear of more generous proportions; in
fact, art must accomplish what nature
has overlooked. She usually requires
a number OF changes and appears per-
haps first as beggar maid, or a flower
girl with torn gown, skirts coming just
below the knees, and silk stockings, for
in comic opera, 10 matter how poor
the character to be represented may be-
she must never be without silk hosiery
An old straw hat trimmed with gay
flowers completes the costume if she is
very poor. To make it more effective
the people on the stage, must be gowned
as magnificently as possible so that hel
poverty may be more apparent. This
Of course, is all arranged by the cos.
tune designer.
Then the stage must have gorgeous
, evening dress fairly dazzling in its
| ha oct ok Oh
!, as a boy, which costume must be fetch
ing, even if it gets out of the period OF
, the play to some extent. Ifthe star is q
, man he is probably comedian and his
costumes must be funny, must be of such
J a nature that they will create laugh
before he speaks, as nothing is left un
- done to produce comic effects. Many
actors have their own ideas, but the
designer must add and change and de
everything possible to improve upor
them.
J After the star and principals come
, the chorus, whose costumes are made
usually in sets of six or eight from eact
, plate and here the artist must be al
] his best. He must consider the effects
of grouping and the backgrounds, fol
5 the chorus must always. help the pic
= ture without intruding upon or detract
) ing from the effect produced by tht
more important people ON the stage
There are exceptions to this rule tho
: such as sextets and similar features
! which must display gowns as rich as il
3 is possible to make and which art
3 marvels of the costume designers art
In extravaganza the sort that is made
l especially to amuse children of all ages
3 there are strange beasts, birds, dwarfs
: giants, etc. These are generally crea
t tions of the property man, but giants
Q if my memory serves me right, com,
+ within the lines of theatrical costum
:. ing. The giant is, in most cases
= dressed in padded coat, has wig will
r an enlarged head, and walks on silt
8 arranged in boots. He can walk, rul
Q or sit down in very high chair, bu
: cannot perform many other acts.
: The third and last phase of theatrlca
d costuming that shall mention, wher
n color runs riot and consistency doe
: not exist, is in burlesque, now almos
! confined to the cheaper theatres. n
/ doubt you will be surprised when tel