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Today’s Inspiration:
A History of Fashion Through People
A series of true stories about individuals who changed the world of fashion,
redefined the the word 'style', impacted the history of what we wear and why we wear it.
Shorter versions of these biographies & stories are published 5 days per week on Instagram. (@rachel.elspeth.gross)
A History of Fashion Through People
A series of true stories about individuals who changed the world of fashion,
redefined the the word 'style', impacted the history of what we wear and why we wear it.
Shorter versions of these biographies & stories are published 5 days per week on Instagram. (@rachel.elspeth.gross)
Babani - November 2, 2019
Today’s Inspiration: Babani
In the first few decades of the 20th century, Maison Babani was the only (Parisian) house besides Poiret to own a license to sell Fortuny textiles & designs, including the pleated silk Delphos gowns. Around 1905 Babani had a series of advertisements in fashion magazine Le Figaro-Madame, which showed wealthy ladies wearing (his take on the) robe japonaise, which he had reworked into “elegant peignoirs”. This was a successful campaign, which took advantage of the fad in the early 20th C for western ladies to wear nagajuban (Japanese, robe worn under a traditional kimono); his negligees became incredibly popular, he became the most successful designer/retailer for this type of garment.
French, but born in the Middle East, Vitaldi Babani opened his house on the Boulevard Haussmann in 1894. The designer/retailer sold his own designs (under the label Babani) as well as imported ‘exotic’ clothing and goods (fabric, embroidery, art). From the quantity of writing available about the impact of his early years, it seems likely that Babani’s aesthetic was impacted by his upbringing, gave him a fundamental appreciation for the crafts, motifs and embroidery found in countries like Turkey, India, Japan and China. His original designs were definitely impacted by his love of eastern textiles, as much of his own body of work is recreations of traditional costumes from various eastern cultures.
From (approximately) 1915 (20?) until it closed in 1940, Babani sold his son Maurice’s original designs in the eponymous atelier. There are suggestions that Babani owned embroidery workshops in Kyoto & Constantinople, but there is very little documentation. Katharine Hepburn wore a white Babani dress (crushed velvet with gold embroidery) when she married Ludlow Ogden Smith in 1928.
In the first few decades of the 20th century, Maison Babani was the only (Parisian) house besides Poiret to own a license to sell Fortuny textiles & designs, including the pleated silk Delphos gowns. Around 1905 Babani had a series of advertisements in fashion magazine Le Figaro-Madame, which showed wealthy ladies wearing (his take on the) robe japonaise, which he had reworked into “elegant peignoirs”. This was a successful campaign, which took advantage of the fad in the early 20th C for western ladies to wear nagajuban (Japanese, robe worn under a traditional kimono); his negligees became incredibly popular, he became the most successful designer/retailer for this type of garment.
French, but born in the Middle East, Vitaldi Babani opened his house on the Boulevard Haussmann in 1894. The designer/retailer sold his own designs (under the label Babani) as well as imported ‘exotic’ clothing and goods (fabric, embroidery, art). From the quantity of writing available about the impact of his early years, it seems likely that Babani’s aesthetic was impacted by his upbringing, gave him a fundamental appreciation for the crafts, motifs and embroidery found in countries like Turkey, India, Japan and China. His original designs were definitely impacted by his love of eastern textiles, as much of his own body of work is recreations of traditional costumes from various eastern cultures.
From (approximately) 1915 (20?) until it closed in 1940, Babani sold his son Maurice’s original designs in the eponymous atelier. There are suggestions that Babani owned embroidery workshops in Kyoto & Constantinople, but there is very little documentation. Katharine Hepburn wore a white Babani dress (crushed velvet with gold embroidery) when she married Ludlow Ogden Smith in 1928.
Tom Tierney - November 1, 2019
Today’s Inspiration: Tom Tierney
Tierney thought that Pope John Paul II was incredibly fascinating, and convinced his publisher to buy a collection of paper dolls of the pontiff by promising to not show the Pope in his underwear (just a cassock). One day a visitor to Rome brought a copy of the book to a public event and when she got her turn to greet the Pope, she asked him to autograph it. John Paul was so amused that he asked her where he could get his own copy, after blessing the one she brought. This lead to Tierney signing (and selling!) dozens of copies for the Vatican over the years.
Born October 8, 1928 in Texas, he learned to draw in childhood. Tierney earned his fine arts BFA at the University of Texas, spent time studying at the University of Colorado, before moving to NYC to work as an illustrator. He started off doing freelance fashion illustrations for department stores (like Macy’s, Gimbels, Lord & Taylor). His parents followed him to the city, his father became his business manager as his career began to take off. The family bought nineteenth-century brownstone (entire house) on the West Side, near the center of Manhattan.
The first year that his parents were in NYC, Tierney made his mother a paper doll book as a Christmas Gift. It was intended as a sentimental nod to mama’s favorite childhood toys; the dolls were her favorite actors, with the outfits they wore in her favorite films, stars like Clark Gable and Jean Harlow. Of course, proud mama showed the handmade gift to her friends, one of whom happened to be a literary agent, who saw potential and got Tierney to play with the concept more. In 1976 Prentice-Hall published his first doll collection (30 from the 30’s). An artist from Dover Publications loved it, brought it to his editor; in 78 Dover published ‘Glamourus Movie Stars from the 1930’s’ - which is still in print today. It was the first collection from what would become a more than 30 year relationship between Tierney and Dover. THough they began as a personal gift, paper dolls became Tierney’s career, and he would produce (on average) 1 book a month for Dover.
His dolls were a sort of overview of costume and fashion history, they included real clothing from notable eras in fashion, as well as illustrations of movie stars, historic figures, or “ fictional characters that model the fashions of bygone eras” (complete with stories, the liner notes of his books are all a WEALTH of information) to tell the stories of individuals who could have worn the clothes/costumes from whichever subject the book covered. Over the decades that Tierney worked with Dover, more than 150 collections of his dolls were published (this isn’t including the coloring books or other art books he also wrote/illustrated over the years). After his parents retired (returned to Texas) Tierney moved to a massive farm upstate, converted one (of 4!!) barns into a personal research library.
Over the course of a 40+ year career, artist/fashion illustrator Tom Tierney sold more than 4 MILLION paper dolls. In the last years of his life, Tierney ran a paper doll shop (back in Texas) and lived in an apartment above the store. He would autograph every doll book he sold. Tierney died in 2014 at 85, from lung cancer. His family kept the store going, to honor his memory, until every item was sold, including the stock of autographed dolls. The New York Times credited him with reviving the ‘lost art’ of paper doll making.
“My work is a pleasure” -Tom Tireney
Tierney thought that Pope John Paul II was incredibly fascinating, and convinced his publisher to buy a collection of paper dolls of the pontiff by promising to not show the Pope in his underwear (just a cassock). One day a visitor to Rome brought a copy of the book to a public event and when she got her turn to greet the Pope, she asked him to autograph it. John Paul was so amused that he asked her where he could get his own copy, after blessing the one she brought. This lead to Tierney signing (and selling!) dozens of copies for the Vatican over the years.
Born October 8, 1928 in Texas, he learned to draw in childhood. Tierney earned his fine arts BFA at the University of Texas, spent time studying at the University of Colorado, before moving to NYC to work as an illustrator. He started off doing freelance fashion illustrations for department stores (like Macy’s, Gimbels, Lord & Taylor). His parents followed him to the city, his father became his business manager as his career began to take off. The family bought nineteenth-century brownstone (entire house) on the West Side, near the center of Manhattan.
The first year that his parents were in NYC, Tierney made his mother a paper doll book as a Christmas Gift. It was intended as a sentimental nod to mama’s favorite childhood toys; the dolls were her favorite actors, with the outfits they wore in her favorite films, stars like Clark Gable and Jean Harlow. Of course, proud mama showed the handmade gift to her friends, one of whom happened to be a literary agent, who saw potential and got Tierney to play with the concept more. In 1976 Prentice-Hall published his first doll collection (30 from the 30’s). An artist from Dover Publications loved it, brought it to his editor; in 78 Dover published ‘Glamourus Movie Stars from the 1930’s’ - which is still in print today. It was the first collection from what would become a more than 30 year relationship between Tierney and Dover. THough they began as a personal gift, paper dolls became Tierney’s career, and he would produce (on average) 1 book a month for Dover.
His dolls were a sort of overview of costume and fashion history, they included real clothing from notable eras in fashion, as well as illustrations of movie stars, historic figures, or “ fictional characters that model the fashions of bygone eras” (complete with stories, the liner notes of his books are all a WEALTH of information) to tell the stories of individuals who could have worn the clothes/costumes from whichever subject the book covered. Over the decades that Tierney worked with Dover, more than 150 collections of his dolls were published (this isn’t including the coloring books or other art books he also wrote/illustrated over the years). After his parents retired (returned to Texas) Tierney moved to a massive farm upstate, converted one (of 4!!) barns into a personal research library.
Over the course of a 40+ year career, artist/fashion illustrator Tom Tierney sold more than 4 MILLION paper dolls. In the last years of his life, Tierney ran a paper doll shop (back in Texas) and lived in an apartment above the store. He would autograph every doll book he sold. Tierney died in 2014 at 85, from lung cancer. His family kept the store going, to honor his memory, until every item was sold, including the stock of autographed dolls. The New York Times credited him with reviving the ‘lost art’ of paper doll making.
“My work is a pleasure” -Tom Tireney
Natacha Rambova - October 30, 2019
Today’s Inspiration: Natacha Rambova
When Natacha Rambova left her lover/mentor Theodore Kosloff (dancer/choreographer), he shot her in the leg. Born in 1897, in Utah as Winifred Shaugnessy, had changed her name to the more exotic, Rambova while studying ballet at Kosloff’s school. Before things went bad, she became a designer (costume/set/art director) for his company. At first uncredited, but after accompanying him to Hollywood (circa 1917) to work in film, found success on her own. It has been said that Rambova is (at least in part) responsible for bringing Art Deco sensibilities to film for the first time. She preferred Poiret over Chanel.
While working as an art director for Alla Nazimova (There were rumors of romance between Nazimova and Rambova, but these seem to be false, likely because 2 strong women working well together was scary) she met actor Rudolph Valentino when they worked together on 1921’s Camille, they married in 1922.(This was a scandal as he was still married to his first wife. Oops.) In 1922 the Rambova designed the costumes/sets for Nazimova’s Salomé (based on the Aubrey Beardsley illustrations for Oscar Wilde's play). Erté himself publicly announced himself to be a fan.
Rambova became her husband’s manager and transitioned him into more “highbrow” films. She wanted to get him free from the studio system so that the couple could start their own production company. He panicked, signed a bunch of new contracts, most of which forbid Rambova from ever being on set. They broke up in 1926, supposedly he wanted kids and she did not. She moved to NYC to focus on fashion, though her couture career was brief, ending with the Depression.
She moved to France next where in interest in mysticism led to her becoming a “self taught” Egyptologist, writing and editing for important publications, collecting “museum quality” Far Eastern and Egyptian art. 300 pieces of her collection she donated to The Utah Museum of Fine Arts.
Rambova died in 1966 (she was 69), of scleroderma, though it has been speculated that her death was caused by anorexia, from which she had supposedly suffered for most of her life.
“Even her worst enemy has admitted the genius of Natacha, that unquenchable flame of ambition that sweeps out from her ruthlessly.” -journalist Herb Howe
When Natacha Rambova left her lover/mentor Theodore Kosloff (dancer/choreographer), he shot her in the leg. Born in 1897, in Utah as Winifred Shaugnessy, had changed her name to the more exotic, Rambova while studying ballet at Kosloff’s school. Before things went bad, she became a designer (costume/set/art director) for his company. At first uncredited, but after accompanying him to Hollywood (circa 1917) to work in film, found success on her own. It has been said that Rambova is (at least in part) responsible for bringing Art Deco sensibilities to film for the first time. She preferred Poiret over Chanel.
While working as an art director for Alla Nazimova (There were rumors of romance between Nazimova and Rambova, but these seem to be false, likely because 2 strong women working well together was scary) she met actor Rudolph Valentino when they worked together on 1921’s Camille, they married in 1922.(This was a scandal as he was still married to his first wife. Oops.) In 1922 the Rambova designed the costumes/sets for Nazimova’s Salomé (based on the Aubrey Beardsley illustrations for Oscar Wilde's play). Erté himself publicly announced himself to be a fan.
Rambova became her husband’s manager and transitioned him into more “highbrow” films. She wanted to get him free from the studio system so that the couple could start their own production company. He panicked, signed a bunch of new contracts, most of which forbid Rambova from ever being on set. They broke up in 1926, supposedly he wanted kids and she did not. She moved to NYC to focus on fashion, though her couture career was brief, ending with the Depression.
She moved to France next where in interest in mysticism led to her becoming a “self taught” Egyptologist, writing and editing for important publications, collecting “museum quality” Far Eastern and Egyptian art. 300 pieces of her collection she donated to The Utah Museum of Fine Arts.
Rambova died in 1966 (she was 69), of scleroderma, though it has been speculated that her death was caused by anorexia, from which she had supposedly suffered for most of her life.
“Even her worst enemy has admitted the genius of Natacha, that unquenchable flame of ambition that sweeps out from her ruthlessly.” -journalist Herb Howe
Anna Hill Johnstone - October 29, 2019
Today’s Inspiration: Anna Hill Johnstone
Al Pacino had been called ‘the midget’ by producer Robert Evans, who wasn’t thrilled with the casting of the actor in The Godfather. With a tilted hombourg & brooding suits, costume designer Anna Hillstone Johnson (Johnnie, nickname) helped transform the (at the time, relatively unknown) actor and created the film look for the American Gangster. Johnnie’s costume design career lasted almost 50 years, she designed the costumes for at least 60 films, some of the most important films made between 1960-1980.
Born in South Carolina in 1913, raised in Virginia, Johnnie graduated Barnard in 1934, she began to work as a seamstress for theatre, became an assistant to both Irene Sharaff and Lucinda Ballard. She would eventually design the costumes for more than 2 dozen Broadway productions and for 5 of Elia Kazan’s Plays. Her first credited film work came from Ballard, who got her an assistant costumer job on 1948’s Portrait of Jennie.
Around 1954 she began what would become a decades long association with Kazan, she was the Wardrobe supervisor for On The Waterfront (1954). She designed the costumes for 7 of his films, including East of Eden, Splendor In The Grass, & The Last Tycoon.
Johnnie had a similar work relationship with Sidney Loumet, she designed the costumes for 13 of his films, including Serpico, Dog Day Afternoon, & The Wiz.
Johnnie was married to (mechanical engineer) Curville Jones Robinson for more than 50 years, he died in 1989. Johnnie, a 2-time Oscar Nominee (Godfather, Ragtime), died on October 16, 1992 at the age of 79. She had no immediate survivors. In 2006 her memory was honored by the Costume Designer’s Guild, who entered her into their Hall of Fame.
Al Pacino had been called ‘the midget’ by producer Robert Evans, who wasn’t thrilled with the casting of the actor in The Godfather. With a tilted hombourg & brooding suits, costume designer Anna Hillstone Johnson (Johnnie, nickname) helped transform the (at the time, relatively unknown) actor and created the film look for the American Gangster. Johnnie’s costume design career lasted almost 50 years, she designed the costumes for at least 60 films, some of the most important films made between 1960-1980.
Born in South Carolina in 1913, raised in Virginia, Johnnie graduated Barnard in 1934, she began to work as a seamstress for theatre, became an assistant to both Irene Sharaff and Lucinda Ballard. She would eventually design the costumes for more than 2 dozen Broadway productions and for 5 of Elia Kazan’s Plays. Her first credited film work came from Ballard, who got her an assistant costumer job on 1948’s Portrait of Jennie.
Around 1954 she began what would become a decades long association with Kazan, she was the Wardrobe supervisor for On The Waterfront (1954). She designed the costumes for 7 of his films, including East of Eden, Splendor In The Grass, & The Last Tycoon.
Johnnie had a similar work relationship with Sidney Loumet, she designed the costumes for 13 of his films, including Serpico, Dog Day Afternoon, & The Wiz.
Johnnie was married to (mechanical engineer) Curville Jones Robinson for more than 50 years, he died in 1989. Johnnie, a 2-time Oscar Nominee (Godfather, Ragtime), died on October 16, 1992 at the age of 79. She had no immediate survivors. In 2006 her memory was honored by the Costume Designer’s Guild, who entered her into their Hall of Fame.
Chester Weinberg - October 24, 2019
Today’s Inspiration: Chester Weinberg
On April 24, 1985, Chester Weinberg died from complications related to AIDS; the world was still cruel enough to think if this as “weird pneumonia” or “gay cancer”. Of course, many others had already died from AIDS/HIV, but he was (arguably) the first big fashion name to lose his life to the disease. This was before the deaths of Perry Ellis, Willi Smith, Halston. There was so much stigma related to his cause of death that he “was virtually written out of the history books.'' The NYT gave his cause of death as ‘encephalitis’. Years later Calvin Klein memorialized Weinberg in a full page spread in WWD, & dedicated a scholarship (Parsons) in his honor.
Weinberg was born in 1930, in NYC, studied design at Parsons, worked at many 7th Ave brands before becoming co-designer for Leonard Arkin in the 50’s. In 63 he designed for Teal-Traina, and opened his own house in 66. His first collection was incredibly well received and it has been said that his work helped to define the American Look of the 60’s and 70’s. He designed evening gowns and daywear, using the best textiles in the world.
His label closed around 1975, he did freelance work before making his comeback- Weinberg became design director for Calvin Klein Jeans in 1980, had been consulting for Klein since about 78. It was a monster powerhouse under his reign.
Some of his clients included Barbra Streisand, Dionne Warwick, and Nancy Reagan. He taught at Parson’s and at the Art Institute in Chicago; Donna Karan, Isaac Mizrahi, and Marc Jacobs were all his students. In 1970 he won the Coty Award.
“Mr. Weinberg made distinguished clothes that gave American labels the cachet that was, until then, linked exclusively to French clothes.” - NYT Obituary
On April 24, 1985, Chester Weinberg died from complications related to AIDS; the world was still cruel enough to think if this as “weird pneumonia” or “gay cancer”. Of course, many others had already died from AIDS/HIV, but he was (arguably) the first big fashion name to lose his life to the disease. This was before the deaths of Perry Ellis, Willi Smith, Halston. There was so much stigma related to his cause of death that he “was virtually written out of the history books.'' The NYT gave his cause of death as ‘encephalitis’. Years later Calvin Klein memorialized Weinberg in a full page spread in WWD, & dedicated a scholarship (Parsons) in his honor.
Weinberg was born in 1930, in NYC, studied design at Parsons, worked at many 7th Ave brands before becoming co-designer for Leonard Arkin in the 50’s. In 63 he designed for Teal-Traina, and opened his own house in 66. His first collection was incredibly well received and it has been said that his work helped to define the American Look of the 60’s and 70’s. He designed evening gowns and daywear, using the best textiles in the world.
His label closed around 1975, he did freelance work before making his comeback- Weinberg became design director for Calvin Klein Jeans in 1980, had been consulting for Klein since about 78. It was a monster powerhouse under his reign.
Some of his clients included Barbra Streisand, Dionne Warwick, and Nancy Reagan. He taught at Parson’s and at the Art Institute in Chicago; Donna Karan, Isaac Mizrahi, and Marc Jacobs were all his students. In 1970 he won the Coty Award.
“Mr. Weinberg made distinguished clothes that gave American labels the cachet that was, until then, linked exclusively to French clothes.” - NYT Obituary
Eleonora Garnett - October 23, 2019
Today’s Inspiration: Eleonora Garnett
Eleonora Garnett had an incredibly tragic start to her life. She was born in (Estonia) 1902, got married at 15 to the head of the Tsar’s personal guard, her family only agreed because they thought it was a safe way for her to survive the revolution. The couple would often travel with the Tsar on his yacht, one night when the royal party was ashore they were attacked by revolutionaries and Garnett’s infant daughter was killed in front of her.
Garnet and her husband escaped, fled to Shanghai for asylum (as many did) and had a baby boy. The situation got dire, they quickly ran out of money. the husband killed himself, the baby died of pneumonia. She was left alone in one of the poorest parts of the city.
Garnett's mother had died young, leaving behind a husband and two daughters. Garnett was sent to be raised by an aunt, her sister had stayed with the girl’s father.
Alone in Shanghai, Garnett began to work as a seamstress. She eventually figured out how to get herself to Paris, and ended up training/working under Molyneux. She returned to Shanghai where she opened her own atelier, it became one of the most successful houses of the era. She married Luciano Riggio, a fantastically wealthy entrepreneur, no children but Garnett did adopt her nephew when her sister (a prima ballerina) died suddenly of leukemia. She opened an atelier in Rome, operated out of her own villa.
In 1949 the family immigrated to the US, Garret continued to design, she had been importing her designs to America from Italy for years. She simultaneously maintained boutiques on Park Avenue and the Via Sistina. Though she did costumes for at least one film in the 1960’s, designed clothing well into the 1970’s I cannot find any information on her death.
Eleonora Garnett had an incredibly tragic start to her life. She was born in (Estonia) 1902, got married at 15 to the head of the Tsar’s personal guard, her family only agreed because they thought it was a safe way for her to survive the revolution. The couple would often travel with the Tsar on his yacht, one night when the royal party was ashore they were attacked by revolutionaries and Garnett’s infant daughter was killed in front of her.
Garnet and her husband escaped, fled to Shanghai for asylum (as many did) and had a baby boy. The situation got dire, they quickly ran out of money. the husband killed himself, the baby died of pneumonia. She was left alone in one of the poorest parts of the city.
Garnett's mother had died young, leaving behind a husband and two daughters. Garnett was sent to be raised by an aunt, her sister had stayed with the girl’s father.
Alone in Shanghai, Garnett began to work as a seamstress. She eventually figured out how to get herself to Paris, and ended up training/working under Molyneux. She returned to Shanghai where she opened her own atelier, it became one of the most successful houses of the era. She married Luciano Riggio, a fantastically wealthy entrepreneur, no children but Garnett did adopt her nephew when her sister (a prima ballerina) died suddenly of leukemia. She opened an atelier in Rome, operated out of her own villa.
In 1949 the family immigrated to the US, Garret continued to design, she had been importing her designs to America from Italy for years. She simultaneously maintained boutiques on Park Avenue and the Via Sistina. Though she did costumes for at least one film in the 1960’s, designed clothing well into the 1970’s I cannot find any information on her death.
Natalia Goncharova - October 22, 2019
Today’s Inspiration: Natalia Goncharova
Around 1915, in Geneva, Goncharova designed the costumes for ‘Liturgy’, an expansive, religiously themed ballet sponsored by Sergei Diaghilev (Ballet Russes), the music for it was written by Stravinsky. The ballet was never performed but became famous after Goncharova released prints of her illustrations for its costumes.
Born 1881, Goncharova’s father was an architect, she grew up on her family's country estate(s). The family were “impoverished aristocrats” whose fortunes had originally come from textile production, she understood fabric completely. Goncharova’s whole family was highly educated and extremely socially liberal. She moved to Moscow when she was about 10, her formal art training began when she was 20. Goncharova became an important avant-garde painter, eventually an apparel/costume designer. Mikhail Larionov was her life-long partner.
Around 1920 Goncharova and Larionov moved to Paris, where she continued to design for the Ballet Russes, all while exhibiting her paintings at several significant salons. In the mid 1920’s she created some incredibly intricate evening wear, exquisitely embroidered, inspired by Russian folklore, which was sold under her own name in Marie Cuttoli’s boutique; she also designed for Cuttoli’s House of Myrbor.
Goncharova was an astonishingly prolific artist, worked in many mediums in multiple successful artistic careers that spanned decades. She was a painter, a sculptor, and a designer. Even though she was ill for many of the last years of her life, Goncharova continued to make and show her art until her death in 1962, at 81. ‘It was she who made the shirt dress fashionable.’ - Sergei Diaghilev
Around 1915, in Geneva, Goncharova designed the costumes for ‘Liturgy’, an expansive, religiously themed ballet sponsored by Sergei Diaghilev (Ballet Russes), the music for it was written by Stravinsky. The ballet was never performed but became famous after Goncharova released prints of her illustrations for its costumes.
Born 1881, Goncharova’s father was an architect, she grew up on her family's country estate(s). The family were “impoverished aristocrats” whose fortunes had originally come from textile production, she understood fabric completely. Goncharova’s whole family was highly educated and extremely socially liberal. She moved to Moscow when she was about 10, her formal art training began when she was 20. Goncharova became an important avant-garde painter, eventually an apparel/costume designer. Mikhail Larionov was her life-long partner.
Around 1920 Goncharova and Larionov moved to Paris, where she continued to design for the Ballet Russes, all while exhibiting her paintings at several significant salons. In the mid 1920’s she created some incredibly intricate evening wear, exquisitely embroidered, inspired by Russian folklore, which was sold under her own name in Marie Cuttoli’s boutique; she also designed for Cuttoli’s House of Myrbor.
Goncharova was an astonishingly prolific artist, worked in many mediums in multiple successful artistic careers that spanned decades. She was a painter, a sculptor, and a designer. Even though she was ill for many of the last years of her life, Goncharova continued to make and show her art until her death in 1962, at 81. ‘It was she who made the shirt dress fashionable.’ - Sergei Diaghilev
Sophie Fedorovitch - October 18, 2019
Today's Inspiration: Sophie Fedorovitch
In 1953 Fedorovitch (F) died by accident, there was a gas leak, the house has since been referred to as ‘the gothic box’. A plaque in her memory is still there.
Fedorovitch was born in 1893 in Minsk, studied painting, traveled around Europe, moved to London around 1920. Before she ever designed a costume she was an established painter. She made the costumes for most of Fred Ashton’s (one of the most significant 20th c choreographers) ballets, but also designed for de Valois, Tudor, Howard, as well as for theatre and opera. She designed costumes for Fonteyn.
She met Ashton through dancer Marie Rambert, who knew the (then) painter from the occasions when she had come to the studio where Rambert danced to draw. Around 1925 Rambert invited Sophie to a meal after a class, Ashton joined. They literally immediately become best friends. “the greatest luck I ever had was when she walked into
Rambert’s studio and I loved her from that day.” Sophie became Ashton’s collaborator and confidant, designing costumes & sets for his ballets, but also taking part in the development of his ideas, allowing him to discuss any/every detail that he needed to work out. The partnership/friendship lasted for 20 years, until Sophie’s death.
A ‘mistress of understatement’, Sophie was known for her ‘spartan’ lifestyle, her lack of interest in a social life. But she made friends with the dancers she costumed, followed their careers, supported their work. When Ashton struggled to find/keep work in his early career, Sophie got a friend to lend him money (he was supporting his mother), got the children of friends to take his dance classes (apparently made certain that the students actually attended). She lent him cash to audition for Nijinska and when she died, most of her estate went to him. He dedicated a ballet to her memory.
It is impossible for me to write about Sophie Fedorovitch without the deepest emotion, for in her death I lost not only my dearest friend but my greatest artistic collaborator and adviser.
-Ashton
In 1953 Fedorovitch (F) died by accident, there was a gas leak, the house has since been referred to as ‘the gothic box’. A plaque in her memory is still there.
Fedorovitch was born in 1893 in Minsk, studied painting, traveled around Europe, moved to London around 1920. Before she ever designed a costume she was an established painter. She made the costumes for most of Fred Ashton’s (one of the most significant 20th c choreographers) ballets, but also designed for de Valois, Tudor, Howard, as well as for theatre and opera. She designed costumes for Fonteyn.
She met Ashton through dancer Marie Rambert, who knew the (then) painter from the occasions when she had come to the studio where Rambert danced to draw. Around 1925 Rambert invited Sophie to a meal after a class, Ashton joined. They literally immediately become best friends. “the greatest luck I ever had was when she walked into
Rambert’s studio and I loved her from that day.” Sophie became Ashton’s collaborator and confidant, designing costumes & sets for his ballets, but also taking part in the development of his ideas, allowing him to discuss any/every detail that he needed to work out. The partnership/friendship lasted for 20 years, until Sophie’s death.
A ‘mistress of understatement’, Sophie was known for her ‘spartan’ lifestyle, her lack of interest in a social life. But she made friends with the dancers she costumed, followed their careers, supported their work. When Ashton struggled to find/keep work in his early career, Sophie got a friend to lend him money (he was supporting his mother), got the children of friends to take his dance classes (apparently made certain that the students actually attended). She lent him cash to audition for Nijinska and when she died, most of her estate went to him. He dedicated a ballet to her memory.
It is impossible for me to write about Sophie Fedorovitch without the deepest emotion, for in her death I lost not only my dearest friend but my greatest artistic collaborator and adviser.
-Ashton
Gina Fratini - October 16, 2019
Today’s Inspiration: Gina Fratini
In her last year at the Royal College of Arts (at 17 she had been one of the first students to enter the university's new fashion design program), Gina Fratini met the iconic African-American dancer Katherine Dunham, and ended up touring the globe with her company; helping with costumes and learning to create elegance on a tiny budget.
Fratini was born in 1931 in Kobe, Japan, and was her early childhood was spent traveling between the Middle East, Burma and India. Her father was a titled colonial service officer. The beauty (and textiles) she saw in her formative years must have been an influence on her design work. Like many of her social class, she attended boarding school (Gloucestershire).
Fratini moved to London in 1953 (was a homemaker in the 50’s) she started her company in 1964, with barely any funding- she worked from home, bought cotton and silk (she preferred natural fibers) at retail. By the 1970’s she was one of the top British designers. Her designs were dramatically different from the shorter look of the mid 1960’s- her work has been described as a mix of fantasy, romance and fairy tale (her Italian surname came from her 2nd of 3 marriages). She won the Dress of the Year Award in 1975.
Known for her “cobble-brushing” (Grace Coddington's lovely way of saying long), heavily decorated evening wear that was as theatrical as it was feminine. She had princesses(!!) Diana, Anne and Margaret as clients, as well as Raquel Welch, who wore her designs in her private life AND insisted that Fratini be the one to design the costumes for her film ‘Bedazzled”. Because Fratini's designs were so complicated, so expensive to recreate, they were seldom knocked off.
She closed her business in 1989, but kept designing for Princess Diana, did some contract work for Norman Norell. The Victoria & Albert Museum and the Costume Museum in Bath both have her work in their permanent collections. Gina Fratini died at 85, in 2017 in London.
‘I believe Elegantes [sic] want to dress up even if they are headed for the kitchen. A firm fashion attitude makes living palatable.’
-Gina Fratini
In her last year at the Royal College of Arts (at 17 she had been one of the first students to enter the university's new fashion design program), Gina Fratini met the iconic African-American dancer Katherine Dunham, and ended up touring the globe with her company; helping with costumes and learning to create elegance on a tiny budget.
Fratini was born in 1931 in Kobe, Japan, and was her early childhood was spent traveling between the Middle East, Burma and India. Her father was a titled colonial service officer. The beauty (and textiles) she saw in her formative years must have been an influence on her design work. Like many of her social class, she attended boarding school (Gloucestershire).
Fratini moved to London in 1953 (was a homemaker in the 50’s) she started her company in 1964, with barely any funding- she worked from home, bought cotton and silk (she preferred natural fibers) at retail. By the 1970’s she was one of the top British designers. Her designs were dramatically different from the shorter look of the mid 1960’s- her work has been described as a mix of fantasy, romance and fairy tale (her Italian surname came from her 2nd of 3 marriages). She won the Dress of the Year Award in 1975.
Known for her “cobble-brushing” (Grace Coddington's lovely way of saying long), heavily decorated evening wear that was as theatrical as it was feminine. She had princesses(!!) Diana, Anne and Margaret as clients, as well as Raquel Welch, who wore her designs in her private life AND insisted that Fratini be the one to design the costumes for her film ‘Bedazzled”. Because Fratini's designs were so complicated, so expensive to recreate, they were seldom knocked off.
She closed her business in 1989, but kept designing for Princess Diana, did some contract work for Norman Norell. The Victoria & Albert Museum and the Costume Museum in Bath both have her work in their permanent collections. Gina Fratini died at 85, in 2017 in London.
‘I believe Elegantes [sic] want to dress up even if they are headed for the kitchen. A firm fashion attitude makes living palatable.’
-Gina Fratini
Norman Norell - October 15, 2019
Today's Inspiration: Norman Norell
After a few bad jobs, someone suggested that Norman Norell go see Hattie Carnagie,he spent the next 12 years working for her. Norell studied the haute couture she imported from Paris, worked diligently behind the scenes, made endless industry contacts. He left in the early 40’s after a disagreement about whether costumes he designed (for a film,“Lady in the Dark”) were too complicated to reproduce commercially.
He was called The Dean of American Fashion Designers, the American Balenciaga, his designs called The Rolls‐Royces of the Fashion Industry. Norell was born in Indiana in 1900; his father ran a clothing store. By 1919 he was studying apparel design and illustration at Parsons (NYC) and spending all his free time at the public library where he absorbed the history of fashion/costume. By 22 he was designing silent film costumes, then began to work for Carnagie.
Around 41 he entered into a partnership with Anthony Traina, which lasted until Traina retired in 60. The label was Traina-Norell.
Norell was intrinsically linked to the American Look that during WWI, began to shift the idea of Paris as the world’s sole fashion center. His work was part of the reason 7th Ave is as important as it is today.
It wasn’t until the 60’s that had his own house, which had unbridled success. This was because of his reputation, as well as the value he placed on craftsmanship and handwork. He said it was never hard to find skilled workers “if you pay them well enough.” Norell continued designing until he suffered a stroke on October 15, 1972, 1 day before a Met retrospective of his 50 year career. He never regained consciousness, and died 10 days later.
“I never had time to do the things a designer is supposed to do, I escaped that my whole life.”
-Norman Norell
After a few bad jobs, someone suggested that Norman Norell go see Hattie Carnagie,he spent the next 12 years working for her. Norell studied the haute couture she imported from Paris, worked diligently behind the scenes, made endless industry contacts. He left in the early 40’s after a disagreement about whether costumes he designed (for a film,“Lady in the Dark”) were too complicated to reproduce commercially.
He was called The Dean of American Fashion Designers, the American Balenciaga, his designs called The Rolls‐Royces of the Fashion Industry. Norell was born in Indiana in 1900; his father ran a clothing store. By 1919 he was studying apparel design and illustration at Parsons (NYC) and spending all his free time at the public library where he absorbed the history of fashion/costume. By 22 he was designing silent film costumes, then began to work for Carnagie.
Around 41 he entered into a partnership with Anthony Traina, which lasted until Traina retired in 60. The label was Traina-Norell.
Norell was intrinsically linked to the American Look that during WWI, began to shift the idea of Paris as the world’s sole fashion center. His work was part of the reason 7th Ave is as important as it is today.
It wasn’t until the 60’s that had his own house, which had unbridled success. This was because of his reputation, as well as the value he placed on craftsmanship and handwork. He said it was never hard to find skilled workers “if you pay them well enough.” Norell continued designing until he suffered a stroke on October 15, 1972, 1 day before a Met retrospective of his 50 year career. He never regained consciousness, and died 10 days later.
“I never had time to do the things a designer is supposed to do, I escaped that my whole life.”
-Norman Norell
Vera West - October 13, 2019
TODAY'S INSPIRATION: VERA WEST
Around 3 AM, on the night after her birthday in 1947, the body of Vera West was found by her tenant, Robert Landry, in her swimming pool dressed in a nightgown. Landry was a photographer, retired at the age of 33, he had done contract work for Life magazine. He came home, saw all the lights were on in the main house, heard the dogs Vera owned whimpering poolside. The police came to West’s North Hollywood home where they found 2 notes in her bedroom, both on torn greeting cards, both addressed to ‘Jack Chandler’.
“This is the only way. I am tired of being blackmailed,”
“The fortune teller told me there was only one way to duck the blackmail I’ve paid for 23 years- death.”
Vera’s husband was named Jacques (Jack) C. West, and apparently everyone assumed the notes were intended for him. The couple had fought the day before; he was out of town on business when she was found. When he returned home, Jack denied knowing anything about blackmail, said something to the effect that there could not have been one. He claimed to be “thoroughly acquainted” with his wife’s finances, that he would have noticed any odd or recurring payment. The husband also told law enforcement that his wife had trended towards depression, that paranoia from her was not unusual. An empty bottle of sleeping pills was found, but excused away because Vera & Jack both used them regularly. The case quickly went cold as it seemed to be a suicide. But the coroner refused to sign the autopsy report and Jack had the (custom built) home bulldozed before disappearing completely. There is no documented information about him after 1948.
From 1928-1946 West designed the costumes for more than 400 films made by Universal Pictures. Her work was mostly for leading ladies in horror movies, period pieces and science fiction. Some of the most iconic screen heroine looks of the era were her designs, including The Bride of Frankenstein, Dressed To Kill, Dracula and The Mummy.
Almost nothing is known about her early life- We do know that Vera was born in Pennsylvania around 1900 (the exact date and year are unknown), that she got a degree at the Philadelphia Institute of Design, and worked at an atelier owned by Lucille, Lady Duff-Gordon in New York City. In New York historian W. Robert Lavine says that “she [Vera] learned how to get along with rich, often spoiled women who demanded special attention.” It seems that Lucile had taken her under her wing, mentored the young designer. Then something happened, a mysterious scandal (Baby? Crime? Lover?), likely (or possibly) the source of blackmail, if that really happened. Very quickly, Vera moved across the country and restarted her career and life in Hollywood.
Within a very few years she was Head of Costume Design for Universal, replacing Lucia Coulter (the ‘mother’ of design) when she retired. West’s first credited film was 1928’s The Man Who Laughs. She dressed her leading ladies in snappy suits of tweed in the first act of a film (or something thematically similar), then a slinky evening gown in the next. Almost always, the third major costume was a white gown, often satin, a nightgown or formal dress; a wedding gown. Unclear if this was an explicit nod towards a wedding before anything to romantically serious was hinted at on screen, but given the (post 1934) Hays Code, it is pretty likely that a semblance of chastity was a studio requirement.
In 1946 West left Universal, apparently tired of making movies. She opened a boutique/atelier at the Beverly Wilshire Hotel, or, she designed a line of dresses for a store at the hotel. Reports are conflicting.
No fortune teller was ever discovered, no blackmailer ever appeared; it might be impossible today to piece together how hard anyone tried to chase down those leads. The husband sold everything, razed their home, and fell off the earth. The autopsy report apparently never got signed. No one seams to know what happened to the lodger. Even the press, who were posting endless articles in the days following her death, stopped their investigative work. The frenzy surrounding the mystery of her death disappeared as soon as it had begun. The articles about Vera’s death tapered off quickly, and when the case went cold, so did all the leads that could have led to further interest from the public. The New York Times reported that the case was under investigation. That article was never followed up with any new information.
Vera West is buried at Forest Lawn Memorial Park in the Hollywood Hills. In 2005 she was inducted into the Costume Designer Guild Hall of Fame.
Her entire life was, and still remains, a mystery.
Around 3 AM, on the night after her birthday in 1947, the body of Vera West was found by her tenant, Robert Landry, in her swimming pool dressed in a nightgown. Landry was a photographer, retired at the age of 33, he had done contract work for Life magazine. He came home, saw all the lights were on in the main house, heard the dogs Vera owned whimpering poolside. The police came to West’s North Hollywood home where they found 2 notes in her bedroom, both on torn greeting cards, both addressed to ‘Jack Chandler’.
“This is the only way. I am tired of being blackmailed,”
“The fortune teller told me there was only one way to duck the blackmail I’ve paid for 23 years- death.”
Vera’s husband was named Jacques (Jack) C. West, and apparently everyone assumed the notes were intended for him. The couple had fought the day before; he was out of town on business when she was found. When he returned home, Jack denied knowing anything about blackmail, said something to the effect that there could not have been one. He claimed to be “thoroughly acquainted” with his wife’s finances, that he would have noticed any odd or recurring payment. The husband also told law enforcement that his wife had trended towards depression, that paranoia from her was not unusual. An empty bottle of sleeping pills was found, but excused away because Vera & Jack both used them regularly. The case quickly went cold as it seemed to be a suicide. But the coroner refused to sign the autopsy report and Jack had the (custom built) home bulldozed before disappearing completely. There is no documented information about him after 1948.
From 1928-1946 West designed the costumes for more than 400 films made by Universal Pictures. Her work was mostly for leading ladies in horror movies, period pieces and science fiction. Some of the most iconic screen heroine looks of the era were her designs, including The Bride of Frankenstein, Dressed To Kill, Dracula and The Mummy.
Almost nothing is known about her early life- We do know that Vera was born in Pennsylvania around 1900 (the exact date and year are unknown), that she got a degree at the Philadelphia Institute of Design, and worked at an atelier owned by Lucille, Lady Duff-Gordon in New York City. In New York historian W. Robert Lavine says that “she [Vera] learned how to get along with rich, often spoiled women who demanded special attention.” It seems that Lucile had taken her under her wing, mentored the young designer. Then something happened, a mysterious scandal (Baby? Crime? Lover?), likely (or possibly) the source of blackmail, if that really happened. Very quickly, Vera moved across the country and restarted her career and life in Hollywood.
Within a very few years she was Head of Costume Design for Universal, replacing Lucia Coulter (the ‘mother’ of design) when she retired. West’s first credited film was 1928’s The Man Who Laughs. She dressed her leading ladies in snappy suits of tweed in the first act of a film (or something thematically similar), then a slinky evening gown in the next. Almost always, the third major costume was a white gown, often satin, a nightgown or formal dress; a wedding gown. Unclear if this was an explicit nod towards a wedding before anything to romantically serious was hinted at on screen, but given the (post 1934) Hays Code, it is pretty likely that a semblance of chastity was a studio requirement.
In 1946 West left Universal, apparently tired of making movies. She opened a boutique/atelier at the Beverly Wilshire Hotel, or, she designed a line of dresses for a store at the hotel. Reports are conflicting.
No fortune teller was ever discovered, no blackmailer ever appeared; it might be impossible today to piece together how hard anyone tried to chase down those leads. The husband sold everything, razed their home, and fell off the earth. The autopsy report apparently never got signed. No one seams to know what happened to the lodger. Even the press, who were posting endless articles in the days following her death, stopped their investigative work. The frenzy surrounding the mystery of her death disappeared as soon as it had begun. The articles about Vera’s death tapered off quickly, and when the case went cold, so did all the leads that could have led to further interest from the public. The New York Times reported that the case was under investigation. That article was never followed up with any new information.
Vera West is buried at Forest Lawn Memorial Park in the Hollywood Hills. In 2005 she was inducted into the Costume Designer Guild Hall of Fame.
Her entire life was, and still remains, a mystery.
Biki - October 12, 2019
TODAY'S INSPIRATION: BIKI
Biki would pack & number the clothing she designed for Maria Callas when she went overseas so the diva would put each outfit together as intended. This was not controlling- the singer underwent a “metamorphosis” from ingneue to singer to world-famous star, part of which was a significant weight loss & did not feel sophisticated enough to navigate the perils of fashion at this pivotal point in her career. So thee couturier created an elegant, effortless system and style for the soprano and then kept her assistance to herself.
Born Elvira Leonardi (1906), the dressmaker (or tailor, her choice, but hated being called a designer) worked under the moniker Biki, a nickname given to her by her grandfather, Puccini (yes, that composer; the name was an abbreviation of the Italian word for “naughty girl”). After spending time in Paris as a student, she decided to dedicate her career to fashion. Her early work was heavily influenced by contemporaneous french design.
After a false start designing lingerie with fellow aristocrat Gina Cicogna, there seems to have been some financial issues that killed the partnership.
Biki opened her Milan atelier in 1936 (it was the bottom floor of er home), held her first solo show on May 5, 1936 (the same day that Mussolini announced the “return of the empire”). That same year she married Robert Bouyeure (art collector? Historian?) they had a daughter about a year later. The couple would stay married until Robert died (sorry I do not have a year).
After WWII ended, the economic boom that followed allowed the art and design trades to return to their pre-war glory. The ‘Made in Italy’ movement was part of this, and Biki was one of it’s important pioneers. By the 50’s Biki was one of the biggest names in Italian fashion, her son-in-law worked under her, and he had been an assistant to Jacques Fath. Biki started to work with Callas in 54, they continued until the singer died in 77. Over the years Biki grew her empire, opened shops across Europe, and in 1969, Japan.
Most of her (affluent) clientele were La Scala opera theatre actors (think Callas) she also had ladies like Esther Williams & Jeanne Moreau as clients.
Her legacy includes more than just skill as a designer. She is unique as businesswoman, as one of the first examples of women who showed, in eras that suspected such a thing would be impossible, that women were just as capable as men to run an enormous (and successful) business, and at the same time, make the time to produce the creative work her business was based on.
Biki worked until 1996, she died at her Milan home in 1999 from a blend of the flu & bronchitis. The dressmaker was 92. ‘I just want to dress beautiful women’
Maria Tallchief - October 11, 2019
TODAY'S INSPIRATION: MARIA TALLCHIEF
America gave the Osage tribe the worst land, saving the farmable land for white farmers. In 1984, oil was found on Osage Territory, the tribe became wealthy. Tallchief began her dance training at home.
When Tallchief was 8, the family moved to LA to help her dance career, her at home training had been by a sketchy teacher. The family lived in Beverly Hills, but Tallchief was still greeted with ‘war whoops’ and questions about scalping in her ballet classes. Racism was a constant undertone.
At 12 she was training under Nijinska, a famous choreographer, the ‘‘formidable pedagogue’ mentored her & got Tallchief a trip to NYC to train with Ballet Russe de Monte Carlo (BRMC). Tallchief joined the company, and met the Balanchine (B). The BRMC was the ensemble he used in 1944. Balanchine was enthralled by Tallchief; they married in 1946. “Passion and romance didn’t play a big part in our married life.” B founded the New York City Ballet around 1946, Tallchief was the star. In ‘49 he created her the role of Firebird, she became a prima ballerina. When she danced Sugarplum Fairy, she became the most popular Ballerina in America. B created too many roles for her to list. They divorced in 1950.
After the divorce, she returned to the BRMC, paid $2,000/week- making her the highest paid dancer in the world. She was the first American to dance at Moscow's Bolshoi Theater. She retired from the stage in 1966, was the director of the Lyric Opera (Chicago) for most of the 70’s and opened the Chicago City Ballet in 1981.
Tallchief died in 2013 in Chicago.
“When you thought of Russian ballet, it was Ulanova, with English ballet, it was Fonteyn. For American ballet, it was Tallchief.”
Norma Moriceau - October 10, 2019
TODAY'S INSPIRATION: NORMA MORICEAU
Director George Miller hadn’t bothered much with costumes in the first Mad Max film. The clothes were basically biker jackets, more expensive leather for the main characters, cheap vinyl reproductions for most of the cast. The sequels required more, as the story delved deeper into the post apocalyptic world the first movie mostly hinted at. Luckily for Miller, Norma Moriceau (who grew up near Sydney, but was living in London in the early eighties) was spending time in the 70’s and 80’s costuming films in Australia. The director met the designer, and movie magic was made. In London, Moriceau ran with the Westwood/McLaren punk crowd; she had styled ‘The Great Rock’n’Roll Swindle’ (a sort of mock-umentary about the Sex Pistols and their manager, Malcolm McLauren). For the second and third installments of the "Mad Max series, Moriceau put together chainmail, fetish gear, rawhide, & seemingly endless hand soldered bits of metal to create the iconic look we today associate with the films.
Born in 1944, Moriceau moved to the UK around 1964, hoping to model, & ended up styling fashion shoots for periodicals. After bit parts in some tiny films, she designed the outback period costumes for an Australian film Journey Among Women (1977-which has been called the worst movie ever made). The late 70’s were spent (in Australia) designing more contemporary film costumes. She costumed Crocodile Dundee (there's a lot of writing about turning Paul Hogan into a ‘plausible’ hero).
Moriceau costumed: Dead Calm (89, BEST MOVIE), The Punisher (89), Patriot Games (92), Wide Sargasso Sea (93), No Escape (94), The Island of Dr. Moreau (96). She designed costumes for the opening of the Sydney Olympics in 2000. In 2015 she was too sick to participate in the Fury Road reboot of Mad Max, Jenny Beavan, her successor, inherited the crates of epherma Moriceau had been collecting and storing for the newest installation of the series.
She died of cancer in 2016, no children & without a long-term romantic partner. It seems that even life long friends and colleagues felt they knew very little about her.
Eiko Ishioka - October 8, 2019
TODAY'S INSPIRATION: EIKO ISHIOKA
Jennifer Lopez asked costume designer Eiko Ishioka, during filming of "The Cell" if the collar on one of her costumes could be made more comfortable. Eiko said “No—you’re supposed to be tortured.”
This was only the second film that Eiko had costumed, the first was Coppola’s “Dracula”; which earned her an Oscar.
Born in Tokyo in 1938, Eiko’s father was a graphic designer, and though supportive of his daughter’s interest in art, warned her against a career in what was a male dominated field in Japan. She studied graphic design anyway, worked in advertising and won Japan's most prestigious advertising award years before her 30th birthday. She became the foremost art director in Japan, and one of the best in the world.
A few achievements; a Grammy for her design of a 1986 Miles Davis album, nominated for 2 Tony’s in 1988 for M. Butterfly, designed the uniforms for 4(!!) teams at the 2002 Winter Olympics, designed the costumes for the opening ceremony of the 2008 Summer Olympics, the costumes for the Cirque du Soleil “Varekai” show in 2002, the costumes for Grace Jones’s “Hurricane” tour in 2009, and designed the costumes for the ill-fated “Spider-Man: Turn Off the Dark”(2011).
Eiko designed costumes for films “The Fall” (2006), “Immortals” (2011), and “Mirror Mirror”(2012- she died before the films release).
In 2011 she married a long time friend and collaborator, Nico Soultanakis. Eiko died at 73 in 2012 of pancreatic cancer. She was honored with a Google doodle on July 12, 2017, which would have been her 79th birthday. “When you make a movie, you don’t get exactly what you want—you never do—you get percentages...Except for Eiko. She got what she wanted.” -Coppola
Jennifer Lopez asked costume designer Eiko Ishioka, during filming of "The Cell" if the collar on one of her costumes could be made more comfortable. Eiko said “No—you’re supposed to be tortured.”
This was only the second film that Eiko had costumed, the first was Coppola’s “Dracula”; which earned her an Oscar.
Born in Tokyo in 1938, Eiko’s father was a graphic designer, and though supportive of his daughter’s interest in art, warned her against a career in what was a male dominated field in Japan. She studied graphic design anyway, worked in advertising and won Japan's most prestigious advertising award years before her 30th birthday. She became the foremost art director in Japan, and one of the best in the world.
A few achievements; a Grammy for her design of a 1986 Miles Davis album, nominated for 2 Tony’s in 1988 for M. Butterfly, designed the uniforms for 4(!!) teams at the 2002 Winter Olympics, designed the costumes for the opening ceremony of the 2008 Summer Olympics, the costumes for the Cirque du Soleil “Varekai” show in 2002, the costumes for Grace Jones’s “Hurricane” tour in 2009, and designed the costumes for the ill-fated “Spider-Man: Turn Off the Dark”(2011).
Eiko designed costumes for films “The Fall” (2006), “Immortals” (2011), and “Mirror Mirror”(2012- she died before the films release).
In 2011 she married a long time friend and collaborator, Nico Soultanakis. Eiko died at 73 in 2012 of pancreatic cancer. She was honored with a Google doodle on July 12, 2017, which would have been her 79th birthday. “When you make a movie, you don’t get exactly what you want—you never do—you get percentages...Except for Eiko. She got what she wanted.” -Coppola
Millicent Rogers - October 5, 2019
TODAY'S INSPIRATION: MILLICENT ROGERS
After the Anschluss (annexation of Austria into Germany, 1938), Rogers (who was hiding in the Alps after a threat against her son) was 2x arrested by ‘Hitler’s Henchmen’ for flying an oversized American flag outside her home & refusing to take it down.
Rogers, born in 1902, was the heiress granddaughter of Henry Rogers, Standard Oil tycoon. As a child she contracted rheumatic fever, doctors told her family that she would never make it to 10. When she made it into adulthood she was warned that becoming pregnant would kill her (she did suffer bad health her whole life) her but survived 3 divorces, 3 children, & numerous heart attacks and illnesses.
In the 20s, she was a fixture in gossip rags and newspaper columns. Her distinctive style led to friendships with designers like Mainbocher, Adrian, Schiaparelli, & Valentina. She was such good friends with Charles James, such a source of inspiration to the imperious designer, that her influence sometimes looked like collaboration. Her collection of James’ pieces became the beginning of the Brooklyn Museum of Art's costume collection.
And the romances… supposedly an Italian prince wanted to marry her, Mussolini stopped the wedding. After a flirtation with the Duke of Windsor, Ian Fleming fell madly in love with her. She moved to New Mexico after Clark Gable broke her heart, & spent her final years (successfully) lobbying for Indian art to be classified as historically significant and protected.
Rogers died on Jan 1, 1953, after aneurysm surgery, 1 month before her 51st b-day. Hundreds of Pueblo Indians attended her funeral. She is still credited today as an influence on major fashion designers. Galliano credited her as an influence on his S/S 2010 Dior collection.
After the Anschluss (annexation of Austria into Germany, 1938), Rogers (who was hiding in the Alps after a threat against her son) was 2x arrested by ‘Hitler’s Henchmen’ for flying an oversized American flag outside her home & refusing to take it down.
Rogers, born in 1902, was the heiress granddaughter of Henry Rogers, Standard Oil tycoon. As a child she contracted rheumatic fever, doctors told her family that she would never make it to 10. When she made it into adulthood she was warned that becoming pregnant would kill her (she did suffer bad health her whole life) her but survived 3 divorces, 3 children, & numerous heart attacks and illnesses.
In the 20s, she was a fixture in gossip rags and newspaper columns. Her distinctive style led to friendships with designers like Mainbocher, Adrian, Schiaparelli, & Valentina. She was such good friends with Charles James, such a source of inspiration to the imperious designer, that her influence sometimes looked like collaboration. Her collection of James’ pieces became the beginning of the Brooklyn Museum of Art's costume collection.
And the romances… supposedly an Italian prince wanted to marry her, Mussolini stopped the wedding. After a flirtation with the Duke of Windsor, Ian Fleming fell madly in love with her. She moved to New Mexico after Clark Gable broke her heart, & spent her final years (successfully) lobbying for Indian art to be classified as historically significant and protected.
Rogers died on Jan 1, 1953, after aneurysm surgery, 1 month before her 51st b-day. Hundreds of Pueblo Indians attended her funeral. She is still credited today as an influence on major fashion designers. Galliano credited her as an influence on his S/S 2010 Dior collection.
Today’s Inspiration: The Merci Train
On February 3, 1949 more than 25,000 people came to see the docking of the merchant ship Magellan, which had a 49 train cars packed with "gifts of gratitude". It was the ‘Merci Train’ (sometimes called the Gratitude Train) and there was a car for each of the United States (one to be shared by Washington, DC and Hawaii).
It was a gift of thanks to the US, who had donated $40 million (food & other supplies) which were sent to France & Italy in 1947. The idea for the donations from the United States had came from journalist Drew Pearson, who was determined to exercise compassion for the devastation Europe had suffered.
The boxcars sent as the Gratitude Train were cars that had been used to US soldiers during the war, to and from battle. These cars had no seating, no windows, no bathrooms- they were not designed for human travel. Around 40 soldiers had been packed into each car, many of whom never returned home.
More than 6 million citizens of France & Italy took part in this gift; the trains contents included fine art, priceless historical artifacts, handmade crafts (some made by children) & 49 fashion dolls from haute couture houses. The dolls were each dressed in historic costumes that dated from 1715 to 1906. Each designer (or house) created a doll dressed in a look they found to be inspiring. Every single doll is a masterpiece, miniatures of fashion from of the world’s best designers. Each doll is complete with hairstyles and era appropriate accessories, specific to the year the doll represents.
Some of the designers who participated (by year of doll) were: Marcel Rochas (1715), Jean Bader (1733), A. Reichert 1755), Lucille Manguin(1779), Germaine Lecomte (1892), Jean Desses (1774) Maggy Rouff (1785), Mendel (1787) & Jacques Griffe (1788).
The fabrics used were donated by French firms, and La Syndicale de la Couture de Paris donated the entire collection to the Brooklyn Museum, and are now part of the Costume Institute’s permanent collection.
On February 3, 1949 more than 25,000 people came to see the docking of the merchant ship Magellan, which had a 49 train cars packed with "gifts of gratitude". It was the ‘Merci Train’ (sometimes called the Gratitude Train) and there was a car for each of the United States (one to be shared by Washington, DC and Hawaii).
It was a gift of thanks to the US, who had donated $40 million (food & other supplies) which were sent to France & Italy in 1947. The idea for the donations from the United States had came from journalist Drew Pearson, who was determined to exercise compassion for the devastation Europe had suffered.
The boxcars sent as the Gratitude Train were cars that had been used to US soldiers during the war, to and from battle. These cars had no seating, no windows, no bathrooms- they were not designed for human travel. Around 40 soldiers had been packed into each car, many of whom never returned home.
More than 6 million citizens of France & Italy took part in this gift; the trains contents included fine art, priceless historical artifacts, handmade crafts (some made by children) & 49 fashion dolls from haute couture houses. The dolls were each dressed in historic costumes that dated from 1715 to 1906. Each designer (or house) created a doll dressed in a look they found to be inspiring. Every single doll is a masterpiece, miniatures of fashion from of the world’s best designers. Each doll is complete with hairstyles and era appropriate accessories, specific to the year the doll represents.
Some of the designers who participated (by year of doll) were: Marcel Rochas (1715), Jean Bader (1733), A. Reichert 1755), Lucille Manguin(1779), Germaine Lecomte (1892), Jean Desses (1774) Maggy Rouff (1785), Mendel (1787) & Jacques Griffe (1788).
The fabrics used were donated by French firms, and La Syndicale de la Couture de Paris donated the entire collection to the Brooklyn Museum, and are now part of the Costume Institute’s permanent collection.
Giorgio Sant’Angelo - 07/07/2019
TODAY'S INSPIRATION: GIORGIO DI SANT'ANGELO
In 1967, while working in textile design, Giorgio di Sant'Angelo was fiddling with some chunks of plastic and ended up fashioning them into geometric jewelry. Diana Vreeland, who was the editor of Vogue in 67, happened to see them and then his work started getting featured in the glossiest of fashion press.
Count Giorgio di Sant'Angelo was born in Florence but was raised in Argentina, on his grandfather’s farm. After studying architecture in Barcelona (and art at the Sorbonne), he moved to California in the1960’s to work for Disney. In an effort to blend in, Sant’Angelo dropped the ‘di’ and his title from his name.
He had a love for stretch fabric long before such a textile became mainstream. He knew his clients liked the freedom to move without sacrificing killer style. These were ladies like Bianca Jagger, Faye Dunaway and Lena Horne. He was also fascinated by traditional handicrafts, by tribal cultures, by things that were made well, and made by hand. He used everything from leather, feathers, beads, and actual fabric in his work. These designs were created in the perfect place, and the perfect time, this was the epitome of American/European boho chic in the 1970’s.
In 1968, he received his first Coty Award- for jewelry- and 2 years later his apparel collection won its own Coty. In 1988 he won a CFDA award. Giorgio Sant'Angelo died of lung cancer in 1989. He was only 56. ''In the beginning, none of us had a penny...We shared our food. The girls would come and fit the clothes for me at night, after their other jobs.''
In 1967, while working in textile design, Giorgio di Sant'Angelo was fiddling with some chunks of plastic and ended up fashioning them into geometric jewelry. Diana Vreeland, who was the editor of Vogue in 67, happened to see them and then his work started getting featured in the glossiest of fashion press.
Count Giorgio di Sant'Angelo was born in Florence but was raised in Argentina, on his grandfather’s farm. After studying architecture in Barcelona (and art at the Sorbonne), he moved to California in the1960’s to work for Disney. In an effort to blend in, Sant’Angelo dropped the ‘di’ and his title from his name.
He had a love for stretch fabric long before such a textile became mainstream. He knew his clients liked the freedom to move without sacrificing killer style. These were ladies like Bianca Jagger, Faye Dunaway and Lena Horne. He was also fascinated by traditional handicrafts, by tribal cultures, by things that were made well, and made by hand. He used everything from leather, feathers, beads, and actual fabric in his work. These designs were created in the perfect place, and the perfect time, this was the epitome of American/European boho chic in the 1970’s.
In 1968, he received his first Coty Award- for jewelry- and 2 years later his apparel collection won its own Coty. In 1988 he won a CFDA award. Giorgio Sant'Angelo died of lung cancer in 1989. He was only 56. ''In the beginning, none of us had a penny...We shared our food. The girls would come and fit the clothes for me at night, after their other jobs.''
Madame Eta Hentz - 07/06/2019
TODAY'S INSPIRATION: MADAME ETA HENTZ
Once the L-85 fabric restrictions related to WWII ended (and once the war ended and there were things to celebrate) clothing became fancier, more embellished, and designers like Eta Hentz were once again able to play with volume and silhouette.
Born and educated in Budapest, Hentz immigrated to the United States around 1923 and began her career in the US as head designer for wholesaler Maurice Renter. This partnership lasted for decades. Hentz’s first brand was called Eta, Inc., and it became Ren-Eta in the 1940’s. In the 40’s she also began to be called Madame Eta- and the designer created some of her most well known designs, dresses with names like “Walls of Troy” and the “Warrior’s Lady”. (The particularly ancient-Roman looking dresses are from this period.) She had other collections In the 40’s with themes like ‘the middle ages’ and ‘Cape Cod’. The collections received a lot of positive press.
Hentz was a contemporary of designers like Nettie Rosenstein and Pauline Trigère. Hentz made luxury RTW, garments she would “custom finish” for her wealthy clientele. Her work was never mass produced. Hentz was known for her well proportioned petite versions of her designs. She was attentive to details and was known for her use of tasteful decorative elements.
Unfortunately, there isn’t a lot of writing about her work generally (though the Brooklyn branch of the Met Costume Institute has quite the collection of her work), and after the 1940’s it’s hard to find extant examples of her work, or biographical information.
Once the L-85 fabric restrictions related to WWII ended (and once the war ended and there were things to celebrate) clothing became fancier, more embellished, and designers like Eta Hentz were once again able to play with volume and silhouette.
Born and educated in Budapest, Hentz immigrated to the United States around 1923 and began her career in the US as head designer for wholesaler Maurice Renter. This partnership lasted for decades. Hentz’s first brand was called Eta, Inc., and it became Ren-Eta in the 1940’s. In the 40’s she also began to be called Madame Eta- and the designer created some of her most well known designs, dresses with names like “Walls of Troy” and the “Warrior’s Lady”. (The particularly ancient-Roman looking dresses are from this period.) She had other collections In the 40’s with themes like ‘the middle ages’ and ‘Cape Cod’. The collections received a lot of positive press.
Hentz was a contemporary of designers like Nettie Rosenstein and Pauline Trigère. Hentz made luxury RTW, garments she would “custom finish” for her wealthy clientele. Her work was never mass produced. Hentz was known for her well proportioned petite versions of her designs. She was attentive to details and was known for her use of tasteful decorative elements.
Unfortunately, there isn’t a lot of writing about her work generally (though the Brooklyn branch of the Met Costume Institute has quite the collection of her work), and after the 1940’s it’s hard to find extant examples of her work, or biographical information.
Sophie Gimbel - 07/03/2019
TODAY'S INSPIRATION: SOPHIE GIMBAL
Sophie Gimbel was the rival of Hattie Carnagie. In the 1940’s either Gimbel or Carnegie sold more clothing than any other American designer, but Gimbel was the first American designer to be featured on the cover of Time magazine (September 29, 1947). Born in 1898 in Texas, Gimbel designed clothing for her dolls as a child. After the end of her first marriage (for the duration of which she had designed costumes for local theatre performances in Philadelphia), she was hired by Adam Gimbel to work as a stylist for Sak’s Fifth Avenue in 1926. By 1931 she had been asked to (and had accepted) the role of in-house designer for the Salon Moderne. She also married Adam in 1931, though it might have looked like nepotism, Gimbel knew the quality of her work would be the best response to any naysayers, so returned to work the Monday after her Saturday wedding.
Gimbel’s designs were sold alongside French couture, she put on 3 fashion shows a year to exhibit her work. When she took over, the Salon was not successful, & it certainly wasn’t thought of as a bastion of style. In her new position, she began to design costumes for Broadway productions (50 in 2 years!!) to generate interest in her work- it worked, sales at the Salon literally tripled.
Gimbel’s clients included Marlene Dietrich, Hedy Lamar, Claudette Colbert, & Rose Kennedy. Gimbel designed the look Lady Bird Johnson wore for her husband’s Presidential inauguration in 1965. She is credited with creating the culottes (shorts that look like a skirt). She was outspoken and opinionated- she didn’t care about trends & her designs were elegant, timeless- & made of the most expensive fabrics.
Gimbel died of a heart attack at the age of 83 in 1981. “I believe there should be a law against short shorts…I don't show the bosom, the stomach or the fanny, clothes that do, belong in the beachwear department.”
Sophie Gimbel was the rival of Hattie Carnagie. In the 1940’s either Gimbel or Carnegie sold more clothing than any other American designer, but Gimbel was the first American designer to be featured on the cover of Time magazine (September 29, 1947). Born in 1898 in Texas, Gimbel designed clothing for her dolls as a child. After the end of her first marriage (for the duration of which she had designed costumes for local theatre performances in Philadelphia), she was hired by Adam Gimbel to work as a stylist for Sak’s Fifth Avenue in 1926. By 1931 she had been asked to (and had accepted) the role of in-house designer for the Salon Moderne. She also married Adam in 1931, though it might have looked like nepotism, Gimbel knew the quality of her work would be the best response to any naysayers, so returned to work the Monday after her Saturday wedding.
Gimbel’s designs were sold alongside French couture, she put on 3 fashion shows a year to exhibit her work. When she took over, the Salon was not successful, & it certainly wasn’t thought of as a bastion of style. In her new position, she began to design costumes for Broadway productions (50 in 2 years!!) to generate interest in her work- it worked, sales at the Salon literally tripled.
Gimbel’s clients included Marlene Dietrich, Hedy Lamar, Claudette Colbert, & Rose Kennedy. Gimbel designed the look Lady Bird Johnson wore for her husband’s Presidential inauguration in 1965. She is credited with creating the culottes (shorts that look like a skirt). She was outspoken and opinionated- she didn’t care about trends & her designs were elegant, timeless- & made of the most expensive fabrics.
Gimbel died of a heart attack at the age of 83 in 1981. “I believe there should be a law against short shorts…I don't show the bosom, the stomach or the fanny, clothes that do, belong in the beachwear department.”
Fernando Sanchez - 06/05/2019
TODAY'S INSPIRATION: FERNANDO SANCHEZ
As a teenager, Sanchez went with his mother to Jacques Fath’s fashion shows in Paris. He later sent a portfolio of his designs to Fath, who recommended that he train at the L'École de la Chambre Syndicale. In design school, Sanchez met Yves Saint Laurent, who became a life-long friend. Much later in life he would buy St. Laurent’s Moroccan vacation home. St. Laurent’s partner Pierre Bergé said "He was the greatest admirer of Saint Laurent… I was very touched by that attitude, because it can be difficult from time to time to accept that your greatest friend, the one you knew when you were very young, became the more famous designer."
Sanchez was born in Antwerp, Belgium in 1935, and after design school began to work for Nina Ricci. He next began to work for his friend Saint Laurent who was then designing for Christian Dior. First as a design assistant, and later as a lingerie designer for Dior’s licensees. He next designed his own line for Warner’s, a New York company. He also designed evening wear.
Sanchez was one of the first designers to create innerwear (he didn’t like his work being called lingerie “It's clothes that you can wear for more than one purpose, you don't have to be stuck in the bedroom to wear them.") he called his clothing “homewear”.
He designed the Costumes for Madonna’s “Like a Virgin” music video, and the lingerie Cher wore in “Witches of Eastwick”. "Seductive, luxurious, trendsetting, and expensive…[he] has been given credit for reviving interest in extravagant underthings…” said WWD of Sanchez’s work. He was the winner of multiple Coty Awards and a CFDA award in 1981. He died in June of 2006 from complications related to a disease related to a sand-fly bite.
As a teenager, Sanchez went with his mother to Jacques Fath’s fashion shows in Paris. He later sent a portfolio of his designs to Fath, who recommended that he train at the L'École de la Chambre Syndicale. In design school, Sanchez met Yves Saint Laurent, who became a life-long friend. Much later in life he would buy St. Laurent’s Moroccan vacation home. St. Laurent’s partner Pierre Bergé said "He was the greatest admirer of Saint Laurent… I was very touched by that attitude, because it can be difficult from time to time to accept that your greatest friend, the one you knew when you were very young, became the more famous designer."
Sanchez was born in Antwerp, Belgium in 1935, and after design school began to work for Nina Ricci. He next began to work for his friend Saint Laurent who was then designing for Christian Dior. First as a design assistant, and later as a lingerie designer for Dior’s licensees. He next designed his own line for Warner’s, a New York company. He also designed evening wear.
Sanchez was one of the first designers to create innerwear (he didn’t like his work being called lingerie “It's clothes that you can wear for more than one purpose, you don't have to be stuck in the bedroom to wear them.") he called his clothing “homewear”.
He designed the Costumes for Madonna’s “Like a Virgin” music video, and the lingerie Cher wore in “Witches of Eastwick”. "Seductive, luxurious, trendsetting, and expensive…[he] has been given credit for reviving interest in extravagant underthings…” said WWD of Sanchez’s work. He was the winner of multiple Coty Awards and a CFDA award in 1981. He died in June of 2006 from complications related to a disease related to a sand-fly bite.
Clare West - 05/31/2019
TODAY'S INSPIRATION: CLARE WEST
In 1923 Clare West designed 25 costumes for ice-age characters without sewing, simply because the concept hadn’t been invented in the pre-historic period. This work was for a Cecil DeMille film called “Adam’s Rib” which was one of at least 10 films West costumed for the director (she also created handmade jewelry from real feathers and bones for the film).
West was one of the first costume designers for Hollywood and her work on 1916’s “Intolerance” was the first time a film used period costumes for its cast. In this early era of cinema actors often wore their own clothing or studios purchased items off the rack. Her role as the official ‘Studio Designer’ was the beginning of what we now think of as a costume department.
Over the course of her career she designed costumes for at least 28 films (silent movie, really early in the history of Hollywood) and dressed stars like Bebe Daniels and Gloria Swanson. Her designs were elegant, extravagant and ornately constructed. Schiaparelli was a fan of West’s work.
West also designed the costumes for “The Birth of a Nation”, an extremely problematic film that it is at least in part responsible for those awful white hooded robes we still associate with despicable racism today. It is not clear if the white robes were West’s original design, though there is evidence that they were a romanticized take on the medieval shifts worn by the Knights Templar.
In 2003 West was posthumously admitted into the Costume Designer’s Guild’s Hall of Fame.
In 1923 Clare West designed 25 costumes for ice-age characters without sewing, simply because the concept hadn’t been invented in the pre-historic period. This work was for a Cecil DeMille film called “Adam’s Rib” which was one of at least 10 films West costumed for the director (she also created handmade jewelry from real feathers and bones for the film).
West was one of the first costume designers for Hollywood and her work on 1916’s “Intolerance” was the first time a film used period costumes for its cast. In this early era of cinema actors often wore their own clothing or studios purchased items off the rack. Her role as the official ‘Studio Designer’ was the beginning of what we now think of as a costume department.
Over the course of her career she designed costumes for at least 28 films (silent movie, really early in the history of Hollywood) and dressed stars like Bebe Daniels and Gloria Swanson. Her designs were elegant, extravagant and ornately constructed. Schiaparelli was a fan of West’s work.
West also designed the costumes for “The Birth of a Nation”, an extremely problematic film that it is at least in part responsible for those awful white hooded robes we still associate with despicable racism today. It is not clear if the white robes were West’s original design, though there is evidence that they were a romanticized take on the medieval shifts worn by the Knights Templar.
In 2003 West was posthumously admitted into the Costume Designer’s Guild’s Hall of Fame.
Andre Ani - 05/28/2019
Clément Henri Andreani, who later worked under the moniker Andre-Ani for MGM in the silent film era, had an unlikely beginning to a glamorous career. Orphaned in childhood, he suffered from a congenital spinal deformity and was lucky to have family (an Aunt Quinta) and family friends to support his recovery and to help him get the arts education he needed to work in fashion,
Andreani began working for a graphic design/printing firm when he was 16 (c. 1904). He would later make use of the skills he picked up when printing directly onto the textiles he made his costumes from. His hard work had him teaching at the School Of Costume Design (Los Angeles) by the early 1920’s. In 1925 MGM hired him to replace Erte, which is an unimaginable task. In 1928 he began to work for Universal Pictures.
Andreani was known for absolutely meticulous work, intricate beyond what other costume designers would have produced for the stage or screen. He maintained the edict that a movie star’s costume must “…do something for her” and he worked hard to design as much as 3 seasons in advance to ensure his leading ladies were always predicting the trends of the future. A July 12, 1938 St. Lewis Star & Times article (remember I told you about how fashionable St. Louis was?) details the occasion when Andreani desgned an entire (personal) wardrobe for Mae West. West was a client who (and the author makes it clear that this was said with “a fine abandonment of discretion”) that had a tendency to go for the “gaudy and flashy”.
Andreani worked with actress like Greta Garbo, Bette Davis, Norma Shearer and more during his nearly 20 year career designing costumes for (then) silent films. He had strict rules for his designs- broad shoulders, full skirts, feminine evening gowns, an emphasis on tailored sleeves and fitted bodices. Its not to say that he would’t deviate- the designer just knew how to dress his starlettes to their advantage. Andreani died in 1953 at age 52.
Andreani began working for a graphic design/printing firm when he was 16 (c. 1904). He would later make use of the skills he picked up when printing directly onto the textiles he made his costumes from. His hard work had him teaching at the School Of Costume Design (Los Angeles) by the early 1920’s. In 1925 MGM hired him to replace Erte, which is an unimaginable task. In 1928 he began to work for Universal Pictures.
Andreani was known for absolutely meticulous work, intricate beyond what other costume designers would have produced for the stage or screen. He maintained the edict that a movie star’s costume must “…do something for her” and he worked hard to design as much as 3 seasons in advance to ensure his leading ladies were always predicting the trends of the future. A July 12, 1938 St. Lewis Star & Times article (remember I told you about how fashionable St. Louis was?) details the occasion when Andreani desgned an entire (personal) wardrobe for Mae West. West was a client who (and the author makes it clear that this was said with “a fine abandonment of discretion”) that had a tendency to go for the “gaudy and flashy”.
Andreani worked with actress like Greta Garbo, Bette Davis, Norma Shearer and more during his nearly 20 year career designing costumes for (then) silent films. He had strict rules for his designs- broad shoulders, full skirts, feminine evening gowns, an emphasis on tailored sleeves and fitted bodices. Its not to say that he would’t deviate- the designer just knew how to dress his starlettes to their advantage. Andreani died in 1953 at age 52.
Edward Stevenson - 05/24/2019
In 1954 Edward Stevenson got a call from a dear friend he had worked with at RKO while he was head of the costume department and she was trying to make a film career out of B-list roles. The old friend was Lucile Ball, and she was calling to get him to work on this project she knew was going to be an unprecedented success. He agreed, and by 1960 he was the exclusive designer for her ENTIRE BRAND. That is how Stevenson ended up with his clothing projected into thousands of homes across America, a fact that is still true today. Stevenson and Ball worked together for the rest of the designer’s life, until he died of a heart attack while shopping for fabric in 1968.
Stevenson’s entire career was filled with positive, decade’s long friendships with brilliant women. While in high school (he moved to Hollywood from Idaho while attending high school, in order to gain relief from a chronic asthma like condition), his neighbor introduced him to her cousin, Gloria Swanson, who was so taken with the teenager that she introduced him to her friend, world famous designer Andre-Ani, who just so happened to be working for MGM. Obviously, one of Stevenson’s first costume department jobs was working as Andre-Ani’s assistant.
In 1935 he began working as an assistant to Bernard Newman at RKO, and when Newman left Hollywood he recommended Stevenson be his replacement, a post which was offered and accepted. He continued to design for the studio until 1950 when his contract ran out. Supposedly he didn’t particularly like Howard Hughes and didn’t want to do it again.
There are too many famous people and films to possibly list all his work, but his films included Citizen Kane, David & Bathsheba, & It’s a Wonderful Life. He designed iconic looks for films starring Maureen O’Dowd, Ginger Rogers and Greta Garbo.
He won an Academy Award for his work (shared with Edith Head) in 1961 for The Facts OF Life.
Stevenson’s entire career was filled with positive, decade’s long friendships with brilliant women. While in high school (he moved to Hollywood from Idaho while attending high school, in order to gain relief from a chronic asthma like condition), his neighbor introduced him to her cousin, Gloria Swanson, who was so taken with the teenager that she introduced him to her friend, world famous designer Andre-Ani, who just so happened to be working for MGM. Obviously, one of Stevenson’s first costume department jobs was working as Andre-Ani’s assistant.
In 1935 he began working as an assistant to Bernard Newman at RKO, and when Newman left Hollywood he recommended Stevenson be his replacement, a post which was offered and accepted. He continued to design for the studio until 1950 when his contract ran out. Supposedly he didn’t particularly like Howard Hughes and didn’t want to do it again.
There are too many famous people and films to possibly list all his work, but his films included Citizen Kane, David & Bathsheba, & It’s a Wonderful Life. He designed iconic looks for films starring Maureen O’Dowd, Ginger Rogers and Greta Garbo.
He won an Academy Award for his work (shared with Edith Head) in 1961 for The Facts OF Life.
Redfern & Sons - 05-21-2019
Before John Redfern began offering tailored women’s clothing, the concept was inert- the idea of tailoring was based on utility and not considered to be decorative or high-end. It could be argued that Redfern was really the first house (from Britain anyway) to offer sportswear for women. Before Redfern, there were no sporty, jaunty options for ladies of leisure to wear while yachting, riding, or perambulating, as ladies of the late 19th century were known to do. Redfern responded to the open niche in the market, and created two piece suits for women; jackets and skirts that were gorgeous and useful.
J Redfern (JR, b 1820) was the son of a tailor (SR). With the help of his sons, JR opened a “Ladies Tailoring” house in London, a couture branch in Paris, and an imports/fur shop in NYC. At one point the house employed more than 80 seamstresses and tailors who lived and worked at the firm.
After designing the bridal party’s gowns for the daughter of a wealthy doctor in 1869, Redfern began to attract more attention from the fabulously wealthy families which would support the brand well into the next century. In 1879 Redfern designed a traveling dress called the “Jersey Lily”, named after Langtry, the famous actress who had commissioned the design. By the 1880’s the house was patronized by royals and aristocrats from across Europe, though the American branch never took off with the same velocity. In 1889 the house was named Dressmaker By Royal Appointment to the Queen (of England). The house also produced formal wear and ‘Specialty’ undergarments (I think this means their proprietary corset?) In 1916, after the death of JR, under the direction of his sons, [now] Redfern, Ltd designed the first, official women’s uniform for the Red Cross. The brand floundered after, and locations closed and reopened until 1940, when it finally closed for good.
J Redfern (JR, b 1820) was the son of a tailor (SR). With the help of his sons, JR opened a “Ladies Tailoring” house in London, a couture branch in Paris, and an imports/fur shop in NYC. At one point the house employed more than 80 seamstresses and tailors who lived and worked at the firm.
After designing the bridal party’s gowns for the daughter of a wealthy doctor in 1869, Redfern began to attract more attention from the fabulously wealthy families which would support the brand well into the next century. In 1879 Redfern designed a traveling dress called the “Jersey Lily”, named after Langtry, the famous actress who had commissioned the design. By the 1880’s the house was patronized by royals and aristocrats from across Europe, though the American branch never took off with the same velocity. In 1889 the house was named Dressmaker By Royal Appointment to the Queen (of England). The house also produced formal wear and ‘Specialty’ undergarments (I think this means their proprietary corset?) In 1916, after the death of JR, under the direction of his sons, [now] Redfern, Ltd designed the first, official women’s uniform for the Red Cross. The brand floundered after, and locations closed and reopened until 1940, when it finally closed for good.
Vera Maxwell - 05/20/2019
