STAGE COSTUMES
ON THE stage, as on the street, effective costuming is a matter of good taste. The dancer must be particular always to appear in a costume in keeping with the idea and character of the dance. The producer will be certain to adhere to this rule in all cases where the company supplies the stage costumes, as is customary. In vaudeville, or in a home-talent show, where the dancer furnishes the outfit, the same rule of fitness and appropriateness must be observed, or the resulting incongruity will greatly mar the presentation. Have your stage costumes prepared with the idea of creating proper atmosphere for the dance you are giving or the scene in which the dance appears.
There are special designers of stage costumes in all the large cities, here and abroad. Bakst, the Russian artist, is a name all have come to know because of the bizarre effects he creates for the stage. In London, Comelli was an outstanding name as costume designer for the Drury Lane productions; Erte, in Paris, and there are many others abroad. New York has several concerns of the first grade whose work along these lines is in evidence in the best theatres throughout the country and overseas.
The first step in costume making for the stage is made when the costume designer and the scenic artist are brought together under the producing director to arrange and settle upon a definite color scheme for each act and scene, so that colors of costumes and stage settings shall be in full harmony throughout. This is most important for the pictorial effects and is given careful study. With the color schemes effectively planned, there follows a further conference between producer and costume designer, in which plot, locale, atmosphere, characters, lyrics, music, and everything else with a bearing on the dance or play in contemplation is fully gone over and considered. The personality of the principals is given attention, and the various possible effects of the ensemble or chorus groupings, evolution and pictures are carefully planned, with regard to lights and color effects.
The designer thus consulted submits pencil sketches of his ideas. The next step is a water color design in the actual colors to be employed. The accepted costume plate in color becomes now the working basis for the actual process of manufacturing the garments. The cost of these color plates for each design is at least five dollars, but usually more, as high as $25.00 sometimes, before a garment is cut or a stitch taken, the price for a costume plate or design depending a good deal upon the standing or reputation of the designers.
Materials as well as colors are given careful thought. Sometimes the artist's design is made around a sample of the actual materials, though usually the color idea is developed first and the goods to be used in the garments considered later. The quality of the material for stage costumes should be the very best to be had regardless of cost. It is unquestionably true that the best is the cheapest in every way. Not only do costumes of cheap fabrics not hold together, and the colors fade out when exposed to the strong modern stage lights, and repairs and renewals become a frequent necessity, but the very people on the stage who are compelled to wear the inferior costumes are literally let down to a lower level in morale as a consequence.
A CORNER OF WARDROBE ROOM