Creating the Illusion: A Fashionable History of Hollywood Costume Designers by Ali MacGraw, Donald L. Scoggins, and Jay Jorgensen

935a9dd754077ee-261x361.jpg Author Ali MacGraw, Donald L. Scoggins, and Jay Jorgensen
Isbn 9780762456611
File size 74MB
Year 2015
Pages 416
Language English
File format PDF
Category art


C R E AT I N G THE ILLUSION CreateIllusionTextKaz.indd 1 5/1/15 2:57 PM CreateIllusionTextKaz.indd 2 5/1/15 2:57 PM C R E AT I N G THE ILLUSION F A S H I O N A B L E H I S T O R Y OF HOLLYWOOD COSTUME DESIGNERS A JAY JORGENSEN AND DONALD L. SCOGGINS CreateIllusionTextKaz.indd 3 5/4/15 10:51 AM F O R T H E A L B R E C H T F A M I LY —J.J. FOR PAT, NORMA, DAVID, AND GAYLENE —D.L.S Page 1: The Wardrobe department at MGM. Page 2: Lana Turner is assisted by wardrobe women for Ziegfeld Girl (1941). Costume design by Adrian. Page 5: Costume designer Jean Louis in the workroom of Columbia Pictures. Page 6: Marlene Dietrich in Kismet (1944). Costume design by Irene. © 2015 BY JAY JORGENSEN AND DONALD L. SCOGGINS PUBLISHED BY RUNNING PRESS, A Member of the Perseus Books Group All rights reserved under the Pan-American and International Copyright Conventions Printed in China This book may not be reproduced in whole or in part, in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system now known or hereafter invented, without written permission from the publisher. Books published by Running Press are available at special discounts for bulk purchases in the United States by corporations, institutions, and other organizations. For more information, please contact the Special Markets Department at the Perseus Books Group, 2300 Chestnut Street, Suite 200, Philadelphia, PA 19103, or call (800) 810-4145, ext. 5000, or e-mail [email protected] ISBN 978-0-7624-5661-1 Library of Congress Control Number: 2015935930 E-book ISBN 978-0-7624-5807-3 9 8 7 6 5 4 3 2 1 Digit on the right indicates the number of this printing DESIGNED BY JENNIFER K. BEAL DAVIS EDITED BY CINDY DE LA HOZ Typography: Kabel, Brandon Text, Bembo, and Berthold Akzidenz Grotesque RUNNING PRESS BOOK PUBLISHERS 2300 Chestnut Street Philadelphia, PA 19103-4371 VISIT US ON THE WEB! CreateIllusionTextKaz.indd 4 5/1/15 2:57 PM CreateIllusionTextKaz.indd 5 5/1/15 2:57 PM CreateIllusionTextKaz.indd 6 5/1/15 4:29 PM C O NT E N TS F O R E WO R D B Y AL I M AC GR AW I N T R O DUC T I O N 10 8 CHAPTER ONE: THE SILENT ERA 12 Orry-Kelly 166 Robert Kalloch 180 Walter Plunkett 188 Irene 202 Charles Le Maire 216 Edith Head 226 Jean Louis 244 Helen Rose 256 Irene Sharaff 266 William Travilla 278 Sophie Wachner 14 Ethel Painter Chaffin 16 Clare West 18 Margaret Whistler 24 Peggy Hamilton 26 Madame Violette 27 Natacha Rambova 28 Howard Greer 32 Lucia Coulter 36 Erté 38 André-Ani 42 Kathleen Kay 46 Mitchell Leisen and Natalie Visart 48 CHAPTER TWO: THE GOLDEN AGE Coco Chanel 56 Edward Stevenson 60 Dolly Tree 64 Bernard Newman 67 Milo Anderson 72 Omar Kiam 78 Gwen Wakeling 80 Herschel McCoy 82 Royer 86 Adele Palmer 90 René Hubert 92 Renié 98 Bonnie Cashin 102 Leah Rhodes 106 Vera West 108 Marjorie Best 114 Michael Woulfe 116 Howard Shoup and Sascha Brastoff 122 Elois Jenssen 126 Cecil Beaton 130 Adrian 134 Travis Banton 154 CreateIllusionTextKaz.indd 7 CHAPTER THREE: THE MODERN ERA 54 292 Norma Koch 294 Dorothy Jeakins 296 Theadora Van Runkle 302 Donfeld 308 Theoni Aldredge 313 Anthea Sylbert 318 Paul Zastupnevich and Burton Miller 322 Bob Mackie 330 CHAPTER FOUR: CONVERSATIONS ON DESIGN IN THE MODERN ERA 338 May Routh 340 Albert Wolsky 346 Helen Colvig 352 Raquel Welch 356 Betsy Heimann 360 Colleen Atwood 364 Ellen Mirojnick 370 Gary Jones 374 Kym Barrett 378 Penny Rose 382 Mark Bridges 385 Lizzy Gardiner and Stephan Elliott 388 B I B L I O GRA PHY 390 P H O T O G RA PHY CRED I TS 396 I ND E X 397 AC K NO WLED G M EN TS 400 5/1/15 2:58 PM CreateIllusionTextKaz.indd 8 6/9/15 10:45 AM F O R E WO R D BY A LI M AC GR AW I happen to love the movies. As accidental as it was that I I certainly cannot. I love the subtle, sometimes radical, feelings turned out to be a film actress, I have always adored sitting of change and osmosis that happen as the layers and choices of in a darkened theater, feeling myself leave my seat to float costume are presented: I instantly feel myself sinking more and away to another projected reality. It has always been—and more into character. The boost that this gives is indescribable, and always will be for me—pure magic. If it soon becomes it totally catapults the actor into the period, the mood, and the wildly popular for people to “watch films” on tiny wrist watches, way of moving and being in the film. It is invaluable—and huge I shall be crushed! I will campaign fiercely for the return of the fun, too! original scope and wraparound wonder of movies as we have I am so happy that Jay Jorgensen and Donald L. Scoggins known them for more than a century. I want to be enraptured have written this incredibly thorough and readable history of the and transported by the entire creative scope and detail of that costume designers who have worked in film from the silent era fabulous, contemporary art form: Motion pictures. to the present. Creating the Illusion is a veritable encyclopedia of Probably because my earliest great job was working behind the great talents who have costumed us actors throughout the the camera for one of the top photographers of the 1960s, Melvin entire history of film. Some have inspired fashion. Others have Sokolsky, I was educated early on as to just how many people it recreated historical costume with astonishing accuracy. But all takes to create the best pictures, moving as well as still. And when I have contributed enormously to the beautiful and moving dream did my first big film, Goodbye, Columbus, I was immediately aware that remains the original magic of the movies. of (and grateful for!) the contribution of each and every member —ALI MACGRAW, APRIL 2015 of the crew. I knew from that beginning that it is impossible for an actor to step onto the scene and be totally and solely responsible for the success of a film. I have remained in awe of the specific and huge talents of each contributor to every movie in which I acted, and this most certainly includes the costume designer. I have always loved costume, and fashion, too . . . “dress up,” I think it is called. This goes back to my childhood and continues to this day. Certainly the way we dress ourselves in real life tends to set the tone for how we present ourselves, whether deliberately or unconsciously. But what happens as an actor when we are helped by a brilliant costume designer to create a character is so major that it is impossible to overstate the help it offers. I know that some great, great actors are able to convey the nuances of the character they are portraying with virtually no assistance, but Oscar-nominated and Golden Globe-winning actress Ali MacGraw began her career as a photographic assistant to Diana Vreeland at Harper’s Bazaar. Miss MacGraw later worked as a model and stylist for Vogue. In 1969, she received critical acclaim in her first movie, Goodbye, Columbus, and a year later starred opposite Ryan O’Neal in Love Story, which remains one of the highest-grossing films in Hollywood history. She starred in The Winds of War (1983) and Dynasty (1985) on television and made her Broadway stage debut in 2006. A lifelong animal welfare advocate, Miss MacGraw lives in the hills north of Santa Fe. OPPOSITE: Ali MacGraw in Love Story (1970). Costumes by Ed Brennan and Linda Howard. FOREWORD CreateIllusionTextKaz.indd 9 9 6/9/15 10:45 AM INTRODUCTION W 10 hen I began collecting Hollywood Los Angeles. Multiple movie companies soon sprang up within costume little a stretch of several blocks along Allesandro Street, later renamed information was available on the Glendale Boulevard. These early American producers put little costume designers. Auction companies emphasis on costume. “When motion pictures were still too young set their prices almost entirely on to talk, it was the privilege of the star to report to a studio garbed the star depicted, with little thought given to the creator of in her red dress, or her blue, or her white—just as she preferred,” the sketch. I always thought it inequitable that the careers of wrote Talking Screen magazine contributor Dorothea Hawley fashion designers spawned a large number of articles, books, and Cartwright in 1930. “It mattered not the least that she wore the sometimes even movies; yet the lives of costume designers—whose same gown as a Tennessee mountain girl in one picture, and as a work so influenced those fashion designers—remained largely society belle in the next.” sketches in 1992, undocumented. Living in Los Angeles, whenever I met someone Fabled producer D. W. Griffith was among the first filmmakers who worked in the costume design field, I pestered them with to realize that relying on the actors’ personal wardrobes often questions about their work and the history of the industry. compromised effective storytelling and diminished a film’s overall I had always hoped that my friend David Chierichetti would impact. On The Birth of a Nation (1915) and Intolerance (1916), one day write the book I wanted to read. David had written he not only budgeted money to costume his players, but he also Hollywood Costume Design in 1976, which was the first overview hired a designer to create costumes specifically tailored to each of design in films. David had known many of the designers of production. Both practices would eventually become industry Hollywood’s Golden Age at a crucial time—when they were standards, though early producers could not spend as lavishly as retired and could speak freely of the highs and lows of their careers. Griffith had. Over the years, he told me many of the stories that did not make Fittingly, the capital to support this phenomenal growth in it into his book. One day while we were having lunch, I asked wardrobe departments came from entrepreneurs who had done well him when he was going to finally write a book with all of those in the fashion business. Eager to become Hollywood studio moguls, stories. “I’m never going to write another book,” he said. “That these investors poured their manufacturing profits into the fledgling will be up to you.” film industry. The roll call of early studio executives reads like a fine So I set out to write the book I always wished existed. Many department store’s vendor list. Paramount founder Adolph Zukor questions intrigued me. What made a designer seek a career in had been a furrier in New York. William Fox of 20th Century-Fox films? What were their relationships with stars and directors? And fame had been a dress manufacturer. Samuel Goldwyn had worked often, why did they leave the industry midcareer? for a glove company, and Louis B. Mayer of MGM had been an Our story begins in 1909, when Southern California’s antique and button dealer. Universal’s Carl Laemmle had been a ubiquitous sunshine and its distance from motion picture camera haberdasher. Because of their backgrounds, these men appreciated inventor Thomas Edison and his patent lawyers enticed producer the value of good clothing. They did not hesitate to turn their movie William Selig to make films in the Edendale neighborhood of profits back into their wardrobe departments. HOLLYWOOD COSTUME DESIGN CreateIllusionTextKaz.indd 10 5/1/15 2:58 PM L. L. Burns, a collector of thousands of Native American artifacts, jewelry, weapons and clothing, founded Western Costume in 1912, partially in response to the ridiculous and inauthentic ways that Native Americans were being costumed in films. Indigenous wear was often just a random assemblage of beads, feathers, and furs that bore no resemblance to authentic dress. Burns quickly developed a reputation for supplying historically accurate Western wear and expanded his collection to include other periods. For the most part, the first wave of designers and costumers hired by the studios came from theatrical backgrounds. Nepotism was also common, as many hires had a son, daughter, or husband already employed by the studio. The mothers of actresses Mildred Harris and Virginia Norden were both hired to costume Thomas Ince’s films. The wife of actor Frank Farrington had begun her costuming career on Broadway before being hired by Thanhouser Company in New Rochelle, New York. But Hollywood was But even census records needed to be scrutinized. Many female the Wild West, and it attracted a group of talented designers and designers, though clearly divorced, often told census takers they dressmakers looking to make better lives for themselves at the were “widowed.” Through intense research, every effort has been dawn of the film industry. These are the stories. made to separate fact from fiction. In doing my research, I found that frequently studio biographies Please be advised that you will encounter stories that don’t fudged many details of designers’ lives, and many have come to be mince words, nudity, murders, suicides, vamps, and villains. After accepted as fact and are repeated over and over, particularly on the all . . . it is about the movies. Internet. Some designers claimed to have worked in or owned —JAY JORGENSEN, MARCH 2015 fashion salons in Paris or New York, when records show they never even lived in those cities. More often than not, designers’ generally accepted birth dates could vary widely from their official birth records. Census records often gave a very different account of the early years of some designers from what has been known. CLOCKWISE FROM TOP LEFT: An early silent film set. • Mack Sennett’s studio in the Edendale section of Los Angeles. • On the set of Cleopatra (1917), Theda Bara’s revealing costume stands in stark contrast to the modest clothing worn by wardrobe personnel. INTRODUCTION CreateIllusionTextKaz.indd 11 11 5/1/15 2:58 PM 12 HOLLYWOOD COSTUME DESIGN CreateIllusionTextKaz.indd 12 5/1/15 2:58 PM CHAPTER ONE THE SILENT ERA D uring the Silent Era, fantasy, rather than practicality, dominated costume design. In the 1910s, Hollywood regarded fashionable clothes as mere objets d’art that held a special allure for female moviegoers. In the 1920s, clothes became decidedly something more. Seemingly overnight, clothes transformed into statements expressing shifting societal norms for women. The Flapper (1920), starring Olive Thomas, perpetuated a new image for women, one of independence, one that embraced the hedonism of the Jazz Age, and thwarted the restrictions of Prohibition. Before the institution of the 1930 production code, male moviegoers packed theaters to be titillated by flesh- revealing costumes that would be daring even by contemporary standards. Biblical epics were excellent vehicles to get stars into flimsy costumes while nominally appearing respectable. Designer Margaret Whistler’s “gowns” for Betty Blythe in The Queen of Sheba (1921) included gossamer, see-through, breast-revealing bodices, and one ensemble comprised of ropes of pearls, and nothing else. As the 1920s wound down, Hollywood designers made a concerted effort to make clothes that were modern, elegant, and more believable as clothing. While they were still out of the price range for the average American moviegoer, the clothes had more relevance and were more wearable than the clothes worn by “vamps” at the beginning of the decade. O P P O S I T E : Greta Garbo in The Temptress (1926). Costume design by André-Ani. CreateIllusionTextKaz.indd 13 5/1/15 2:58 PM SOPHIE WACHNER In 1923, the New York Times referred to Clare West, Ethel Painter Chaffin, and Sophie Wachner as “three of the best known film costumers” in the nation. Sophie Wachner was born on November 5, 1879, to Hungarian immigrants Sigmund and Marie De Wolfe Wachner in Akron, Ohio, where her father ran a saloon. A teaching career was the natural choice for young Sophie, who grew up helping her mother raise six younger brothers and sisters. After graduating from Akron Normal Training School on June 2, 1899, Wachner was immediately hired by the Akron public schools. In 1909, Wachner’s aunt Frederica De Wolfe convinced her niece to join her in New York and design for Broadway productions. After several Broadway successes, Wachner’s father, Sigmund, quit his liquor business and became the principal in the ladies’ new design firm De Wolfe, Wachner & Company. Wachner and De Wolfe designed for Broadway for nearly a decade, ending when Wachner moved to Los Angeles to become director of costumes for Goldwyn Studios in 1919. She remained at the studio until 1924, by which time it had transitioned into she always shopped and cared for clothing much as an economical Metro-Goldwyn-Mayer studios. mother of a large family. What she bought for stars she purchased Wachner approached designing in a unique way. “When I have informed myself thoroughly on the requirements of my particular with a view to cutting down and making over for lesser characters in other pictures, she said. assignment,” she once said, “I relax and wait for inspiration. It Whatever factors may have contributed to Wachner’s ousting usually comes to me at dinner time, when I have enjoyed a good from Fox, they did not seem to diminish her ongoing success. She meal and am listening to good music.” She designed for more than and husband Harold Powers opened their own ladies ready-to- a hundred movies during her career, including He Who Gets Slapped wear shop, which they jointly operated until Harold’s death on (1924) with Lon Chaney and Lady Windermere’s Fan (1925) with October 8, 1943. In 1936, Wachner came out of retirement from Ronald Colman. Her most creative project, Just Imagine (1930), the movie business, designing for David O. Selznick’s Little Lord required Wachner and collaborators Alice O’Neill and Dolly Tree Fauntleroy. She would do two more films, one in 1938 and another to design for humans and Martians in 1980 New York City. in 1939, both for 20th Century-Fox. Wachner died on September Wachner would end her career at the Fox Film Corporation in 13, 1960, in Los Angeles. She was eighty. 1931. She had signed a “long-term contract” with the William Fox Studio on September 17, 1928, as head of its costume department, but newly reorganized Fox Film fired her three years later. Her friend, actress Jeanette MacDonald, called it a petty cost-savings move. Ironically, Wachner had told the press a decade earlier that 14 ABOVE, TOP TO BOTTOM: Sophie Wachner • Myrna Loy and Will Rogers in A Connecticut Yankee (1931). OPPOSITE: A starlet in Fox Movietone Follies of 1929. Costume design by Sophie Wachner. HOLLYWOOD COSTUME DESIGN CreateIllusionTextKaz.indd 14 5/1/15 2:58 PM CreateIllusionTextKaz.indd 15 5/1/15 2:58 PM CreateIllusionTextKaz.indd 16 5/1/15 2:58 PM ETHEL PAINTER CHAFFIN Another designer popular with the press, Ethel Painter Chaffin, became head of wardrobe at Famous Players-Lasky in 1919. She was born Ethel Painter on January 14, 1885, in Pasadena, the studios attach to their talents,” wrote syndicate reporter Jack second of two children born to Alzono and Hannah G. “Nannie” Jungmeyer of the trio in 1923. “Motion Picture costuming, once Negus Painter. Her father was a real estate agent who died when a slipshod and casual consideration, today is one of the most Ethel was eight years old. A year later, Nannie married Albert important and often the most expensive factor in movie-making.” Royal, M.D., a Pasadena physician who had been widowed two Unlike her colleagues, Chaffin did not consider an actress’s years earlier. Ethel and her older brother, Harry Painter, both personal tastes a factor when creating a design. “I design gowns attended the prestigious private college preparatory school,Throop for directors rather than stars or leading women,” Chaffin said Polytechnic School (now Polytechnic School) in Pasadena. in 1921, an unexpected statement for its time. “They generally Ethel attended the Hopkins Art School (now San Francisco Art have more to say about what the feminine characters in a motion Institute) in San Francisco. Following a brief marriage to John S. picture will wear than the ladies themselves.” Barber, whom she wed on May 29, 1904, Ethel returned home to Chaffin moved to MGM in 1924, where she designed for Pasadena and worked as a dressmaker for a local department store. Norma Shearer in The Tower of Lies (1925) and Marion Davies in In 1914, Ethel married George Duclos Chaffin, a fine arts Lights of Old Broadway (1925), among others. In 1925, she worked merchant. She opened her own dress shop and by 1919, word of her on King Vidor’s production of The Big Parade (1925), one of dressmaking talents reached studio execs at Famous Players-Lasky, the most successful and well-regarded films of the silent era. She who hired Chaffin to head their wardrobe department. For the next retired from film design later that year. six years, Chaffin designed for the studio’s biggest stars, including Pola Negri, Gloria Swanson, Nita Naldi, and Bebe Daniels. During their marriage, the Chaffins took numerous trips to Europe for pleasure combined with business. George acquired By 1923, Chaffin, along with Wachner and Clare West, had art for his import business, and Ethel bought fabrics and observed revolutionized movie costuming, at least in the eyes of the press. European fashion trends. On one of these trips, George Chaffin “These women have elevated it to the dignity of an art. And died on board the R.M.S. Carinthia on September 3, 1927. Ethel handsome salary checks attest to the importance the respective never remarried. She spent the rest of her life in Los Angeles making gowns for private clientele. She died there on December 30, 1975. OPPOSITE: Gloria Swanson and Milton Sills in The Great Moment (1921). FAR LEFT: Norma Shearer in an Ethel Painter Chaffin costume in Pretty Ladies (1925). LEFT: Carmel Myers in Ben-Hur: A Tale of the Christ (1925). Costume design by Harold Grieve and Ethel Painter Chaffin. THE SILENT ERA CreateIllusionTextKaz.indd 17 17 6/9/15 10:46 AM CLARE WEST One of the greatest enigmas of silent-film era costuming must be Clare West, the first individual to achieve celebrity status as a costume designer. Appearing on the Hollywood scene in 1914 with no appreciable of the Fine Arts costume department,” Motography magazine experience or training, West designed for the screen’s biggest stars announced in its March 11, 1916, issue. Other than the fact that in some of the most well-regarded silent-era classics, and then West had indeed been hired by D. W. Griffith’s studio, nothing else seemingly vanished. in the announcement was true. West had never lived in New York, Born Clara Belle Smith on January 30, 1879, in Missouri, West nor had she ever left the country. was the sixth of eight children. Her parents, Abraham Chapman West was a savvy innovator who happened to be in the Smith and Jane “Jennie” Smalley married shortly after Abraham right place at the right time. In 1914, director D. W. Griffith was returned from serving in the Civil War. Throughout West’s readying a film in Los Angeles that would make cinematic history. childhood, the Smiths eked out an existence farming in Caldwell “Miss West had been an ardent picture fan, and the idea came to and adjoining Clinton counties, northeast of Kansas City. her that a unit in costuming would greatly improve a picture. She On August 24, 1898, West married salesman Otis Oscar Hunley presented her dress plan to David Griffith and ‘sold’ him the idea in Missouri. The couple made their home in Billings, Montana. so well that she was given the opportunity to costume The Birth of When the couple divorced in 1902, West was awarded custody of a Nation (1915),” Jean Mowat wrote in 1927 of West’s entry into their only child, one-year-old Maxwell Otis Hunley. A year later, film design. West married musician Marshall Elmer Carriere in Tulare County, Based on The Clansman, a novel and play by Thomas Dixon Jr., California. Their first son, Leonard Carriere, arrived in 1908 in The Birth of a Nation starred Lillian Gish, Mae Marsh, and Henry B. Bakersfield, California. Shortly after that, the couple moved to Walthall in a tale about family and friends divided by the Mason- Missoula, Montana, where Marshall opened the Carriere School of Dixon Line during the Civil War. Fans today revere the film for Music. He and a business partner, Charles Freshwater, also owned cameraman Billy Bitzer’s pioneering cinematic techniques. Sadly, and operated the Star Theater, a venue for traveling acts. Around the film also suffers from blatant racism. Filming took place from 1912, Carriere sold his interest in the theater to Freshwater, and July to November, 1914, in the San Fernando Valley. West shared moved his family, which now included a third son, Lester Carriere, costuming duties with Robert Goldstein, who owned a costume to Los Angeles. house in Los Angeles and supplied authentic Civil War uniforms, Carriere and West divorced soon upon their arrival in Los which were still available in 1914. West dressed the prominent female Angeles. Carriere remained in town playing piano for silent movie stars, including Mae Marsh in a well-known tattered post-war houses. West, who had developed a penchant for sketching gowns, dress. Wanting to greet her returning brother in splendor, Marsh’s began selling her designs to makers of fine clothes and peddling character, Flora, styles pieces of cotton to resemble fur accents on her artistic talents to the film industry. her dress, referred to in the intertitles as “Southern Ermine.” The details of how West actually acquired her design skills The Birth of a Nation made millions at the box office, despite are lost. She probably learned to sew as a Missouri farm girl, and protests at screenings organized by the National Association for likely took note of the costumes of the various acts booked at her the Advancement of Colored People (NAACP). Its depiction of husband’s theater in Montana. But as she gained fame as a costume African Americans as inferior people bent on interracial marriage designer, the press unabashedly ascribed to West a truly impressive résumé. “Madame Clare West, a trained Parisian designer and formerly head of ‘The Maison Clare’ in New York is now head 18 OPPOSITE: Mae Marsh inscribed this photo of herself in costume for The Birth of a Nation (1915) to Clare West. HOLLYWOOD COSTUME DESIGN CreateIllusionTextKaz.indd 18 5/1/15 2:58 PM CreateIllusionTextKaz.indd 19 5/1/15 2:58 PM

Author Ali MacGraw, Donald L. Scoggins, and Jay Jorgensen Isbn 9780762456611 File size 74MB Year 2015 Pages 416 Language English File format PDF Category Art Book Description: FacebookTwitterGoogle+TumblrDiggMySpaceShare Marilyn Monroe made history by standing over a subway grating in a white pleated halter dress designed by William Travilla. Hubert de Givenchy immortalized the Little Black Dress with a single opening scene in Breakfast at Tiffany’s. A red nylon jacket signaled to audiences that James Dean was a Rebel Without a Cause. For more than a century, costume designers have left indelible impressions on moviegoers’ minds. Yet until now, so little has been known about the designers themselves and their work to complement and enrich stories through fashion. Creating the Illusion presents the history of fashion on film, showcasing not only classic moments from film favorites, but a host of untold stories about the creative talent working behind the scenes to dress the stars from the silent era to the present day. Among the book’s sixty-five designer profiles are Clare West, Howard Greer, Adrian, Walter Plunkett, Travis Banton, Irene, Edith Head, Cecil Beaton, Bob Mackie, and Colleen Atwood. The designers’ stories are set against the backdrop of Hollywood: how they collaborated with great movie stars and filmmakers; how they maneuvered within the studio system; and how they came to design clothing that remains iconic decades after its first appearance. The array of films discussed and showcased through photos spans more than one hundred years, from draping Rudolph Valentino in exotic “sheik” dress to the legendary costuming of Gone with the Wind, Alfred Hitchcock thrillers, Bonnie and Clyde, Reservoir Dogs, and beyond. This gloriously illustrated volume includes candid photos of the designers at work, portraits and wardrobe tests of stars in costume, and designer sketches. Drawing from archival material and dozens of new interviews with award-winning designers, authors Jay Jorgensen and Donald L. Scoggins offer a highly informative, lavish, and entertaining history of Hollywood costume design. About TCM: Turner Classic Movies is the definitive resource for the greatest movies of all time. It engages, entertains, and enlightens to show how the entire spectrum of classic movies, movie history, and movie-making touches us all and influences how we think and live today.     Download (74MB) American Classic Screen Profiles The Film Crew of Hollywood Disney’s Most Notorious Film Marilyn Monroe: Her Films, Her Life Sturtevant: Warhol Marilyn (Afterall) Load more posts

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