The Birmingham age-herald., 1913-08-28
Julian Eltinge in the Theatre Magazine.

Julian Eltinge in the Theatre Magazine.
IL ROM my experience. 1t occurs to me
to say that if women would spend
= less time in blindly following the
arbitrary commands of fashion and
give more attention to finding out the
most attractive means of draping their
figures the results would be more satisfac-
tory both to the wearer and the behelder.
My advice to women on the subject of an
artistic toilette is to go to the art gall
leries and study the arrangement of drap-
cries in statutes and painting done by
the hands of the masters. They might also
profit from the poise of the figures, for
will wager that not one will be found
either standing like soldier or lounging
in an ungraceful position.
Another step which was difficult to mas
ter, and which, 10 the artist, at least, is
never mastered completely. was the con-
trast Of color and tints. woman may
have a gown of the most costly texture,
woven on the finest looms, and yet when
worn the effect will be disappointing IL
there is not enough contrast to bring out
the beauty of the materials. l would not
attempt to lay down a set of rules on
this point.
There are no such things as rules for
correct dressing. The wearer must de-
pend upon her taste, and If that taste be
bad it isewell to leave the matter to the
Judgment of an efficient modste and hope
for the best.
| cannot go to a modiste, order "just
a simple little gown" or IAN elaborate
one for evening wear and leave the
selection of material and design to her.
Rather, l have to give personal super
vision to everything almost said to
every stitch.
First | have to bring myself to the mem
tai attitude of the woman" whom | am
to present. What are her needs What are
her physical characteristics, her colorlng,
her form? DO flowing lines suit her best
or the straighter ups and downs of tall
ored garments?
Having decided those most important
questions I outline first in my mind and
then on paper, indicating the chosen
colors. a sketch of the gown
Then | must select the material person.
ally. for that is a task that cannot
be delegated to another with any sats-
faction to myself. What l fould TO be
the hardest part ofsthe designing was the
convincing of the costumer that / knew
what I wanted better than anyone else
possibly could. BY this time. that diff
cufty had been eliminated through my
continual hammering at the people who
make my stage clothes.
There are so many things to consider in
in the art-or should | say science?-
of dressing that it would be difficult to
enumerate them all. But take the hair,
for instance. Some women imagine that
because they have red hair they should
is a mistake. Red hair is so rare and
so beautiful it should be accentuated by
a robe of turquoise or purple or green.
Then there are the eyes to consider, and
the complexion. Parsennes have trick
of inserting a dash Of black velvet some
where to bring out and emphasize the
pink and white of the cheeks, arms and
neck.
| know that the greatest difficulty in
physical makeup: to disguise myself IN
fine clothing is comparatively an easy
matter. May | be pardoned for touch
of the personal2 | am a man around the
six foot mark, and Of what you might call
husky build My hands and feet are
not at all petite; but when ! am "wom-
an they must at least appear so. Also
must have the fresh complexion OF a
girl or a well preserved woman in all my
roles. To change the characteristics Of a
mans face to those required by my parts
is no small undertaking. 1t REQUIRES ex-
actly one hour and half before every
performance to do it.
I begin-it seems crude to say it'll begin
by shaving After THAT there are a. num-
Der of grease paints of varying shades OF
flesh color to put on, powders of differ
ent texture and color, rouge on my lips
MY eyes must be built OUT to stimn'
late the almond shaped eyes of a girl
The lids l touch with blue grease paint.