Under the Influence -- My Man Godfrey

I could say that this movie made our list of "Influencers" solely based on Carole Lombard's amazing 1930s fashions created by Travis Banton, but that would not be completely true.  The truth is that we watch this movie mainly because we are totally infatuated with William Powell -- and the clothes are an added benefit.  (Sorry Mr. Banton!)  Powell's mix of humor and wit added to his ability to be smooth and debonair is pretty much unmatched in Hollywood history to us.  Cary Grant might come in second, but Powell wins the award every time.  Definitive proof of this is 1932's "Jewel Robbery"-- our first real "AHA!" moment of just how sexy Mr. Powell could be.  Watch it now if you haven't seen it.  You won't be sorry.  We promise you.  But more on that fine film later. (Wink.)

Not to say that Powell's co-leads are not just as important in his films -- probably most famously, Myrna Loy from "The Thin Man" series.  She is necessary and absolutely delightful!  And Carole Lombard is just as necessary as the dizzy Irene Bullock in "Godfrey."  Powell excels (along with his co-stars) at creating the chemistry needed to build iconic roles and duos; that's why we still talk about his movies 80 years later.  It's missing from so many movies nowadays.  Today we go for easy jokes and cheap shots.  In the golden age of Hollywood, the writing and acting worked together to create magic -- the quick banter and back-and-forth, subtle visual gags and expressions, and the ability to make glamour and romance seem both attainable and far away.  Powell had a real affection for his co-stars; he and Lombard had been divorced for three years when "Godfrey" was made, but he insisted that she was perfect for the role.  Somehow I don't see that happening with actors today.

But, as much as we swoon over Mr. Powell, we really do love Banton's creations for Carole Lombard in the film.  Banton created statement pieces, and every outfit is met with an "oooohhhhh" whenever Irene bounds into the picture.  We first see her in a completely beaded gown and coat that communicates exactly how rich she is -- in direct comparison with Godfrey's "Forgotten Man."  And man, are those beads liquid!

You're hit with that beauty from the get-go!  It's like a ton of bricks has slammed into you, and then it just keeps going and going and going throughout the movie. 

You want fancy sleepwear -- you got it!

 

Need to lounge in style -- sure!

I'm looking for something sheer and swirly -- here you go!

What's a good dress to faint in?  Why, bias cut with floral appliques!

And finally, what can I wash dishes in?  Definitely this stunning floral frock!

Relevant for today?  Absolutely.  Here's a roundup of some new pieces that could have taken their inspiration straight from Irene's closet.

Alexander McQueen, Fall 2017

Marchesa, Spring 2018 RTW





Loup Charmant

Naeem Khan 2012/13

Yanina Couture, 2018





Erdem S/S 2018

If you haven't seen it -- then watch it.  Oh, and don't forget about "Jewel Robbery"! You won't regret it -- wink, wink!

Junk Love: Black and White and Cool All Over

There are many films that have exploited the awesomeness of graphic black and white in their sets and/or costume design, but none hit the mark in quite the same way as Sex and the Single Girl. Want a quirky, seriously manipulative romance with a tall, dark, and handsome Tony Curtis type? First, you need to ask yourself: Do I look like Natalie Wood, circa 1964?

If, tragically, the answer to that question is a dull and depressed no, then your only recourse is to close your eyes, throw your arms wide, and free-fall backward into the cool fantasy world promised by this movie. We'll start with your decor, which is the best first step from a psychological perspective. (Others may say you must start from within, but I promise you this: mid-century furniture will never make you feel fat. It will only boost your endorphins, which you can use later to push you through the whole personal transformation part.) So, if your movie fantasy living room looks like this:

Your actual living room needs a little of this:

From here

Vintage Hollywood Regency lamps; From here

Not vintage, but still cool; On Etsy

From here

To add a little contrast to your life, and because everyone needs a chaise....

Vertical stripes are so slimming, aren't they? Now upgrade the fantasy to this chair, and see what happens:

Vintage Gio Ponti chair

In the bedroom, you must be a woman of mystery. Check out the bed (which I couldn't find a closer shot of) and try to describe it in three words or less. Can you? No one should be able to describe you in three words or less, either.

So imagine this one, painted black of course, with stark white bedding:

From here

You will need to be both intellectual and provocative, which people will understand as soon as they see your collection of semi-grotesque linoleum block or woodcut prints representing various elements of the human psyche (did I mention that you might need a PhD for this fantasy?).

As long as you stick with black and white and bold, you have plenty of options to choose from (my particular favorites are the Jim Flora illustrations below). Just remember--solid black frames!

Vintage Jim Flora illustration; www.jimflora.com

Vintage Jim Flora illustration; www.jimflora.com

1970s block print; On Etsy

And now that we have the set dressed, so to speak, it is time to become a goddess, 1960s-style.You might not look like Natalie Wood, but if you can pull off a dress like this, you're under the right stars....

www.chronicallyvintage.com

The Skinny -- That Bazaar-ly Funny Face

I'm sure you're well aware by now that we are classic movie super fans.  And that we looooove fashion from the 1940s, 50s, and up.  So, logically, the 1959 movie Funny Face really has it all for us.

Audrey, Astaire, and Avedon-worthy fashion photography.  What could get better than that?

But did you know that the movie really is based on the magazine, Harper's Bazaar? 

It's true.  Fred Astaire's character, Dick Avery, is modeled after Bazaar fashion photographer Richard Avedon.  Avedon worked at the magazine from 1945 - 1965.  He liked to show a woman's character in photographs -- making her move, telling a story, or just basically making a model more than a pretty woman in pretty clothes.  Selling fashion was about selling a lifestyle, and Avedon's photos captured that lifestyle.  Dick Avery in the movie says, "What’s wrong with bringing out a girl who has character, spirit, and intelligence?"  And that was Avedon all over.

An Avedon cover for Harper's Bazaar

Wait, though!  It goes even further.  Kay Thompson's character of Maggie Prescott -- the editor of Quality magazine -- was based on Harper's editor, Diana Vreeland.  Vreeland was editor from 1936 - 1962, and is pretty much thought of as the quintessential fashion editor.  She is said to have invented the word, "Pizzazz!", and made sweeping pronouncements about fashion.  You know, much like Maggie Prescott's opening number -- THINK PINK! -- and her constant complaints that things need "More pizzazz!"

Kay Thompson as Maggie Prescott

Well, to be honest, Maggie's close, but let's be more accurate. What Vreeland really said is, "I adore that pink...It’s the navy blue of India."

Portrait of Diana Vreeland

I'm sure we'll get more in depth with Vreeland and Avedon on a later date, but for today, with a tropical storm dumping rain on us -- I'm just loving the thought of a movie marathon.  Starting with Funny Face...

The Skinny: Gilbert Adrian

"Tigress Ensemble", from Adrian's 1949 collection

A Connecticut native, Adrian Adolph Greenberg began designing costumes while a student at the New York School for Fine and Applied Arts (now Parson's) in the early 1920s. He transferred to the school's Paris campus, where his designs caught the eye of Irving Berlin, who hired Greenberg to do the costumes for The Music Box Revue in 1922 and 1923.

Although he continued to produce costumes for Berlin's endeavors, his first real movie job was designing for an MGM production called The Merry Widow in 1925. The same year, he was commissioned to design custom costumes for Rudolph Valentino, as well as the wardrobe for the introduction to The Gold Rush. This work brought him to the attention of Cecil B. DeMille, one of the most famous film directors of the era (and possibly all time), who hired Greenberg to be the head of his wardrobe department. In 1928, DeMille signed with MGM, taking the designer with him, and when DeMille parted ways with the studio, Greenberg signed a contact directly with MGM, and worked for them until 1942.
 

Adrian gown for Eve Arden, Ziegfeld Girl (1941)

Adrian gown for Joan Crawford, Letty Lynton

Greenberg created a pseudonym using his father's name and his own first name, and was frequently credited as "Gilbert Adrian" for his costume work. However, the majority of his films simply stated "Gowns by Adrian" in the credits, and the name "Adrian" became known as a fashion institution of the 1930s and 1940s. In fact, when stores began producing knock-offs of his designs, the tag or advertisement often stated that the piece was "Adrian style" or "Adrian cut."

Adrian draped brown taffeta gown

His work is legendary--not only did he design the costumes for The Wizard of Oz (including the infamous ruby slippers!), he did gowns for Katharine Hepburn in Woman of the Year and The Philadelphia Story, as well as Marie Antoinette (1938) and The Women (1939), which featured a dazzling fashion show of Adrian's finest designs. Other films featuring costumes by Adrian include Ninotchka (1939), Broadway Melody of 1940, Lady be Good (1941), and around 242 other films. Leading ladies like Greta Garbo, Judy Garland, Greta Garbo, and Norma Shearer frequently wore his designs, and he is credited with creating Joan Crawford's iconic "triangle" look, with broad shoulders and a tiny waist. In fact, his looks for Joan Crawford are among his most famous, particularly those featured in The Bride Wore Red and Letty Lynton. He also perfected the classic 1930's-style bias-cut gowns that became Jean Harlow's signature style.

Beaded ensemble for Joan Crawford, The Bride Wore Red

Katharine Hepburn, The Philadelphia Story

Adrian gown for Marie Antoinette

Greta's Mata Hari costume weighed 50lbs.

Adrian also designed ready-to-wear for exclusive stores in several cities. He was particularly known for his hooded suits, which added an air of mystery to the woman who wore them.

And in case you are unfortunate enough to have never seen The Women (the original, of course, as the new one is a waste of film), you can view it here: http://www.tcm.com/mediaroom/video/337425/Women-The-Movie-Clip-Into-The-Future.html


*Information obtained from www.imdb.com and www.tcm.com