Archive for the ‘fashion’ category
This post is in conjunction with the Hollywood Revue’s 2nd Annual Film in Fashion Blogathon! Angela, the lady of the manor, has rounded up a splendid roster of participating blogs and the Pictorial is honored to be counted among them! Head on over to the Hollywood Revue and check out all of the submissions!
By the late 1960s and early 1970s, that once radiant glow of Hollywood had dulled; the grand dream machine was a Miss Haversham of its former glory. Rot had set in on the studio system and was in a state of complete disrepair. The stars that once lit the celluloid galaxy had, if not fallen, were slowly dying off. Old Hollywood had hemorrhaged from the inside and its death blow was dealt in 1967, when a film about two notorious Depression-era bank robbers challenged the very notion of filmmaking and ushered in a new approach to making movies. From 1967 until around 1975, there was a revolution in the film industry that has come to be known as “New Hollywood”. New Hollywood cinema brought radical new sensibilities to filmmaking, blazing a trail to create the framework of the film industry that we know today. The studio system that had manufactured Hollywood glamour for decades had decayed to the point of collapse and the fresh, adventurous young mavericks– Arthur Penn, Francis Ford Coppola, William Friedkin– were pushing boundaries, challenging morality and not giving a damn.
This post is in conjunction with today’s Fashion in Film Blogathon behing hosted by the lovely Angela at The Hollywood Revue!
Scene: Main Street, USA. 1937. Boy and girl at the local theatre watching the new Carole Lombard comedy Nothing Sacred. Lots of laughter, lots of coddling. The sight of Lombard in a voluminous yet slinky black dress catches both of their attentions. The Boy: “My god,” he thinks, “look at those [insert female euphemism of choice].” The Girl: My god,” she thinks, “look at that dress!”
She wants it.
She needs it.
She is instantly convinced that owning it will make her fella think her [euphemisms] are every bit as noteworthy as Lombard’s.
And Hollywood, that eager opportunist, was ready to oblige.
Enter, stage left, a start-up by New York entrepreneur Bernard Waldman called Cinema Shops– a nationwide chain of retail outlets dedicated to bringing big-screen fashion to small town shops. Read more ►
This film is a fine bottle of 1962 French romantic-comedy that has aged with the same charm and class as its lead characters. From the opening titles, you know you’ve got yourself a winner: directed by Stanley Donen, music by Henry Mancini, title cards by Bruce Binder, Audrey in Givenchy. A real 90-pointer.
Grant and Hepburn, just minutes into the film, are in top form. Hepburn, spunky, witty and wonderfully dressed in Givenchy couture, is a natural alongside the tongue-in-cheek, been-there-done-that, gray-haired Grant. Read more ►
Sexy “Oomph Girl” Ann Sheridan (sorry Ann–we know you hated that nickname, but darn it all if it doesn’t fit!) packed a walloping punch of ooh-la-la. Beautiful, ballsy and brainy, she was an electrical presence on screen that could rescue any picture from a case ho-hum doldrumery. (<–not a word. but ought to be.) TCM aired The Man Who Came to Dinner recently and, of course, her gold-digging diva is to die for.
But what really walks away with the picture is, sorry, this Orry-Kelly gown.
This is suggestive early 40s fashion at its haute, passing itself off as whimsical couture. Those are HANDS, after all, allllll up and down Sheridan’s front.
Adrian suggested the same sort of wink-wink-nudge-nudge playfulness with Rosalind Russell in The Women:
We see what you’re up to, Adrian…
The LA Times reported this morning that some of the costumes worn by Vivien Leigh in the film Gone With the Wind, arguably amongst the most iconic creations in film history, have been fading away at a research library in Austin, Texas. The Harry Ransom Center has, however, just launched a public initiative to raise the $30,000 needed to properly restore and preserve Scarlett’s gowns, which are, at present, too fragile for public exhibition.
From the website: The Center would like to display the costumes in 2014 as part of a major exhibition celebrating the 75th anniversary of Gone With The Wind. The Center also wants to be able to loan the dresses to other museums around the world.
We are currently raising funds to restore the dresses, to purchase protective housing suitable for shipping them to other institutions, and to purchase custom-fitted mannequins that will allow them to be properly displayed.”
They include Scarlett’s famous “curtain dress,” her dangerously sexy birthday frock, her green dressing gown, wedding gown (hubby no. 1) and blue peignoir.