Costume Illustrations
Hair and Makeup
Location
PDF: Client_Branding
Citations: MoodboardCitations4
Understanding Adrian’s Aesthetics
Board 1:
Board 2:
Board Citations: AdrianBoardCitations
New York Vintage Visit
http://www.newyorkvintage.com
After looking at books of Adrian’s bias cut gowns and tailored suits, it was incredibly fun and interesting to see items from the 1930’s and 1940’s up close and personal that were constructed the same way. With the tailored suit outfits for women I noted how there was padding in the shoulders and how the seams were sewn on the tailored jacket to accentuate the bust and make the waist smaller. With the Bias cut dresses, I payed close attention to wear the fabric was cut and the seams were sewn, especially where the skirt of the dress connects with the bodice of the dress. I only wish I could have seen these garments on an actual model.
Red Velvet Two Piece. 1940
Black Silk Crepe Gown but on the bias with hand embroidered beading. 1930
Printed Lamé and Mocha Velvet Biad-cut evening gown. 1930
Black Jacquard Taffeta Evening Gown with Silk Trim, Bias cut. 1930.
This is a photo of the costume and fashion designer Adrian. He is also known as Gilbert Adrian, although he was born as Adrian Adolph Greenberg. The photo comes form the Fashion and Model Directory. The page discusses how Adrian was vital in creating Hollywood as a center for glamour in the 1930’s, designing costumes for 250 films including The Wizard of Oz. He created iconic looks for actresses like Joan Crawford with her broad-shouldered suits and dresses.
(“Gilbert Adrian Greenberg – Fashion Designer | Designers | The FMD.” The FMD. Accessed April 23, 2015. http://www.fashionmodeldirectory.com/designers/gilbert-adrian-greenberg/.)
PDF: AdrianPart1
Adrian designed countless costumes for MGM in the 1930’s. He is known for designing gorgeous gowns and costumes and for making Hollywood the center for glamour. In a time when Hollywood and cinema became a form of escapism for people, Adrian’s designs gave women something to admire and a fantasy they could play into. He dressed many famous actresses including Katherine Hepburn, Jean Harlow, Greta Garbo, and Joan Crawford. One of the most iconic styles that he designed is the broad shouldered look for Joan Crawford (pictured above). This style and puffed sleeves he designed for Crawford for the movie Letty Lynton became a major style for women of the time and still inspire designers today. Another major project that Adrian is known for is designing the costumes for The Wizard of Oz, including Dorothy’s ruby slippers.
(“Gilbert Adrian : Fashion, History.” Gilbert Adrian : Fashion, History. Accessed April 24, 2015. http://theredlist.com/wiki-2-23-1249-1254-view-1930s-profile-gilbert-adrian-3.html.)
(“Joan Crawford – the Forgotten Queen of Style.” All Aboard For Skinkers Swamp. July 16, 2012. Accessed April 24, 2015. https://allaboardforskinkersswamp.wordpress.com/2012/07/16/joan-crawford-the-forgotten-queen-of-style/.)
PDF: AdriansWork
Adrian’s New Project:
“The Philadelphia Story” (1940) is being remade current day. The Story will follow the basic plotline of a high society woman (Tracy) who is preparing for her second marriage to wealthy man after she ended her first marriage in divorce. Her ex-husband, a writer for a newspaper wants revenge and takes a fellow journalist with him as we gets involved in the wedding. Tracy, finds herself confused, conflicted and learns a lot about herself in the process. Adrian designed all of the costumes for this movie. For the remake, the garments will stay true to some of Adrian’s signature elements.
1.)Take notes, and names of people that are of interest to you for future research.
People: Blondie, The Ramones, Ed Koch, Talking Heads, Patti Smith, 44 Caliber Killer, Bambaataa
2.) Name the neighborhood and venue names where these different groups were forming.
Hip-hop: The Fever and in parks in The Bronx, block parties.
Punk rock: CBGB in the Lower East Side
Disco: Studio 54, Times Square area, Paradise Garage
Gay culture: The Loft
3.) Which scene do you think you would’ve been involved in, in 1977? What job would you have liked to have at the time?
I think certain elements of the Punk Rock scene would have been really fun to experience, especially the music scene. I think it would have been really cool to hang out at CBGB a few nights. I also think that going to some of the DJ battles and parks in The Bronx would have been like a party to witness.
Stephen Burrows was born in Newark, NJ in 1943. He went to an arts high school and then Philadelphia Museum College of Art. Later he graduated from Fashion Institute of Technology in 1966. He initially became interested in fashion because he loved to mambo dance and wanted to design dresses for the girls to wear while dancing. In 1973 he was invited to as one of the first American designers to show in Paris. He has received multiple awards from CFDA and Coty American Fashion Critics Awards. Burrow’s clothing is often bright and disco styled. His clothing also captures the hippie-esque freedom of the 60’s by incorporating fringe and free flowing silhouettes.
1. Pat Cleveland, 1969
2. Stephen Burrow’s “Commune” in his first collection for Stephen Burrow’s World for Henri Bendel, 1970
3. Deanna Lambert, 1969
(Pictures from “Stephen Burrows: When Fashion Danced”)
Yves Saint Laurent/ Halston
1. Draw or sketch any pieces that are inspiring to you.
2. Note three moments in the timeline for each designer that would be interesting to further research.
Yves Saint Laurent – 1958, Laurent shows his first couture collection at Dior dubbed the “trapeze,” 1971, Laurent shows his vintage-inspired “Forties” collection to great criticism from the press, 1975, Laurent continues to grow his business but is increasingly reclusive with a close-knit circle of friends, colleagues, and muses.
Halston – 1959, Halston leaves Lily Dache and starts working for Bergdorf Goodman in the custom millinery salon where he will meet many of his most prominent clients, 1972, Halston launches his ready-to-wear line “Halston Originals” and shows the first ultra suede shirtdress in its debut collection, 1980, Halston goes on a world tour to promote American fashion, visiting China with all of his “Halstonettes.”
3. Name the Jewelry designer that collaborated with Halston: JC Penny
4. What Music is playing in the exhibition? Disco Music!
Lauren Becall
1. Draw or sketch any pieces that are inspiring to you.
2. Note three moments in the timeline that would be interesting to further research.
Her time as a new movie star in 1944, her influence in fashion in the 60’s, and her ongoing influence as she got older in 2011 in the fashion world.
3. Note an accessory designer mentioned in the exhibit: Gucci
4. Note any films that Becall starred in that seem interesting to you: To Have and Have Not, Sex and the Single Girl
Interview with my father, G. Douglas Swinford on the 1967 Summer of Love in San Francisco.
How old were you then?
“I was 16 years old. I had turned 16 in August.”
Where were you living, and what were you doing?
“I was living in Merrillville, IN and I was in high school going into my junior year. Getting my driver’s license was a big deal. I was going to public school, going out with my friends to cruise in the car and hang out at the McDonalds. I could not wear blue jeans in school except on casual Friday, and I had to wear a belt. I could not have hair that went over the top of my ears. I was also in summer school that summer for English because I had flunked and I was in Driver’s Education. I remember class started at 6am but I was done with everything at noon.”
How did you hear about the events in San Francisco (if at all), and what was your reaction at the time? Were your impressions of the hippies positive, negative, or some combination of the two — and do you now think those impressions were justified?
“I heard about it on the news on TV. I remember it being told as some party or something going on. There were only 4 channels on the TV. The pictures I saw were college students with long hair and interesting clothes. The opinion was a negative opinion I guess, I didn’t really care, they seemed like they were partying to me and I knew they were doing drugs. I wasn’t offended by it, but I was like “well okay..” thats all the way in California. You sort of looked at hippie’s like whats your deal? What are you going to do when you get older? I thought it was a little stupid, but I didn’t let it bother me since they weren’t hurting anyone. Woodstock in 1969 happened right after I graduated high school. I had registered for college, but I had to go down and register for the draft. I heard about this giant concert happening in upper state NY and I heard about all the amazing rock performers there for free and I wish I had seen that but my parents wouldn’t have let me go. The Charles Manson murders also happened that summer. I don’t know if my impressions were justified. A lot of these hippies have now become positions of authority and some of them like government programs now and I think thats strange. I didn’t have anything really against hippies, they were nice and peaceful people, I just didn’t really identify with them. They were the liberal, peaceful protesters and I understand why they were protesting Vietnam, and they didn’t trust the government. I still have my fringe jacket and my belt with the peace sign on it from that time. Vietnam was just a debacle, Johnson messed that up, it wasn’t right. I knew guys who went over to Vietnam and they told me stories when they got back. I had decided that if I got a draft number that I would enlist because I didn’t want my parents to pay for college for me and then possibly have to go over after and die. I got number 295, so I didn’t get drafted.”
If someone had offered you a ride to San Francisco to join the hippies that summer, how might you have responded?
“Uhhh sorry my parent’s won’t let me go. I definitely would have considered it but my parents would not have let me go. It was not up for discussion. I did let my hair grow a little past my ears after high school which was a small rebellion.”
Protest Through Clothing
Diana Vreeland – Vogue Editor in Chief
Vogue Fashion Editorial of Choice
Clarke, Henry, Vogue’s Eye View: Summer in the City of Dreams — Udaipur. Photograph. From: Vogue. New York: Conde Nast Publications, Jun 01, 1967. Pages 84 – 109.
Vogue Fashion Editorial Photographed by Richard Avedon
Avedon, Richard, Fashion: Cher-Okee: The New Indian Territory in Fashion. Photographed: Cher. From: Vogue. New York: Conde Nast Publications, Aug 15, 1970. Pages 76 -81.
Vogue Editorial with “Space Age’ as a Trend
Vreeland, Diana, Fashion: Paris Fashion: The Editor’s Report. Photograph. From: Vogue. New York: Conde Nast Publications, Mar 01, 1965. Page 104-105.
Diana Vreeland – Harper’s Bazaar Fashion Editor
Cover of Choice
Avedon, Richard, “Cover: Harper’s Bazaar.” Photograph. From: Harper’s Bazaar. New York: Hearst Magazine Inc., January 01, 1952.
Editorial of Choice
Dahl-Wolfe, Louise, “The Home Front,” Photograph. From: Harper’s Bazaar. New York: Hearst Magazines Inc., May, 1943. Pages 38-44.
Harper’s Bazaar “Why Don’t You…”
Vreeland, Diana. “Why Don’t You…” Photograph. From: Harper’s Bazaar. New York: Hearst Magazines Inc., September 01, 1936. Pages 82-83.
Diana Vreeland: The Eye Has to Travel notes