Arizona republican., 1921-01-26
Monstrous Glass-Roofed Buildings House Love Scenes in Drawing Room and Stormy Quarrels in Boudoir Going at Same Time-Why Color Is Important Thing in Pictures.

fin, and after she has posed in them before the camera - not for moving pictures. but merely for stills to be used in publicity-they will be taken apart and their materials will be util- ized for other costumes. Mary Miles" is so important person that she must never wear her publicity gowns for a film picture.
 And so little Mary Miles" stands in hot room on a hot day, being fitted with one winter gown after another which she is destined never to wear. And she's beautifully patient. albeit bit plaintive. about 1t. That's part of the fun of being a successful nov ing picture actress.
 But now Mrs. Chaffin is ready to show off her special department of the big moving picture organization. She employs 65 women in her sewing room; there are 20 more in the stock room; just ct present she has eight flower makers on her staff. She is unlimited in the amount of money she may spend.
 Some Clothing Bills
 She shows shelf after shelf filled with lovely things. Here is a Queen of Sheba costume made for Ethel Clayton. The wholesale rate cost of the materials that went into 1t was just S1000. Here is another S1000 af- fair-a wedding gown this time, made for Agnes Ayres. Here is a pair of butterfly wings that cost, what with thelr spangly iridescence, about $700.
 They were just completing in the sewing room a hundred fancy dress costumes for a ballroom scene in The Furnace" now in the process of film ing. They have an order for 50 new and original bathing suits, and a day and a half in which to execute 1t.
 Satin and brocade and velvet, and lace and organdy and gingham dresses-froclxs for every occasion and every personality are hung in glass doored wardrobes labeled and cata- logued, and, each with the freshness of the never-worn on it. Most of them never will be worn again, but after waiting a certain length of time will be taken apart and made up again into something new and strange.
 Color and Texture
 The wardrobe room has cases for millinery of every description; still others for jewels; 1t has drawers Nlled with ermine and mole and sable even l ing coats. There Is a case filled with beaded and brocaded bags; there are parasols of fanciest whimsy-a flock or WnlIe Sueue ones, TOT instance, W1tf appliqued borders of black and white foulard roses. silk for the back ground, says Mrs. Chaffin, wouldn't have done as well; it takes the suede to give a certain texture in the picture That's just a sample of the detail tC which they are going these days. AnC | 1t is the same with color as with tex ture.
 Have lnspirationaI Value
 You can't fake color" says the de- signer, and her wardrobes are afirt with variegated brilliance-lavenderr and purples and bright flaming greens and every color which does not say tht camera nay. You get their value fl the pictures" explains Mrs. Chiffin "and Fbesides, there Is the inspirations effect of working with-and in-them.
 Evidently the pupils of ''The Charm School"-we've left Mrs. Chaffin's do main now, and are back in the glass topped studio-have taken the colo lesson we'll to heart. Yesterday I say them cascading out of the building fo
 lunch, like so many flowers spille
 from one of those magic cornucopia
 made by the prestidigitators dear {
 the memories of childhood. Toda
 they're at work; at least they're sittin
 about on piles of lumber, on odd bit
 of furniture and on benches. waitin flor work. "The Charm School" yo
 must know, IS the story of a youn man who inherits a girls boardin