Gowns By Adrian

"Gowns by Adrian: The MGM Years, 1928-1941 is the first comprehensive look at this prodigiously talented designer in his glory years at Metro-Goldwyn-Mayer. The result of more than 10 years of research, access to previously unavailable MGM personnel files, and containing many unpublished photographs and complete filmography, Gowns by Adrian brings us into the design studio and onto the sound stage and makes us privy to the everyday give-and-take between designer and star. For the reclusive Garbo, Adrian was the only designer who understood her wish to avoid revealing necklines or fur; Shearer was particular in another way: two versions of every dress were de rigeur before she would choose one of them; and Crawford, was there ever a star more demanding or more determined? As Adrian once exclaimed, "Who would have thought that my entire reputation as a designer would rest on Joan Crawford's shoulders!""--BOOK JACKET.

From ruby slippers to fashion runways, Adrian: A Lifetime of Movie Glamour, Art and High Fashion is a visual celebration of the life and work of the man behind some of the most memorable fashions of Hollywood's golden age. This book is a bright and vivacious look at the fashion, art and homes of one of the most celebrated fashion designers of the twentieth century. Adrian (1903-1959) designed costumes for over 150 Hollywood productions, including fabulous gowns worn by such iconic actresses as Greta Garbo, Norma Shearer, Joan Crawford, Judy Garland, and Katharine Hepburn. He then went on to found one of the most popular and influential fashion labels of the mid-twentieth century, Adrian, Ltd. He had a passion for art and interior design, as seen in his impeccably decorated homes, which he shared with his wife, Hollywood movie star Janet Gaynor, and his personal paintings and sketches. The man who created the famous ruby slippers worn in The Wizard of Oz was also the first American designer honored with a retrospective at the Smithsonian Institution, and his influence can still be felt on the runways in New York and Paris today. This is the first book on the famed Hollywood fashion and costume designer to be published with the cooperation of his family. With a foreword by the designer's son, Robin, as well as a treasure trove of never-before-seen images and anecdotes taken from Adrian's unpublished manuscript, this is the definitive book on the life of the legendary designer.

This book highlights and showcases many of Adrian great costume and fashion designs from the 1920s through the 1950s. Not only are his timeless glamour gowns, period costumes, and amazing show-girl costumes shown from the movies, but also his impeccable suits and beautiful gowns from his private label. The ten years of Adrian Ltd. are summarized year-by-year, and his life with Janet Gaynor and his taste for decorating and art are described.

"Do not be misled by the title of this book. It is a study of Taiwan's bridal industry but it is also a fine ethnography of marriage in contemporary urban Taipei. With great subtlety, Bonnie Adrian shows us how much marriage in Taiwan has changed and how many of the old ways it has retained. She does so with wit and humor."—Margery Wolf, author of A Thrice-Told Tale: Feminism, Postmodernism, and Ethnographic Responsibility "Faced with the puzzle of the ubiquitous bridal photography in Taipei, Bonnie Adrian has produced a model ethnography of media-saturated contemporary life. Ethnographically adventurous, analytically smart, and warmly human, this book cleverly unpacks the ways women’s canny choices in Taiwan are forged at the intersection of everyday worlds of inter-generational tension, fantasies fed by a keenly competitive local culture industry, and global imagery tied to the transnational beauty industry. Unlike many who work on globalization, Adrian has not lost sight of the ways that gender and family are still at the heart of people’s social worlds and women are not victims."—Lila Abu-Lughod, author of Veiled Sentiments and Writing Women’s Worlds

This handsome collection pays tribute to seven great Hollywood designers; the three mentioned in the subtitle plus Travis Banton, Jean Louis, Irene, and Orry-Kelly. Two female figures (with separate attachable heads for each star) model exquisite gowns created for Vivien Leigh (Gone with the Wind), Lana Turner (Ziegfield Girl), Marlene Dietrich (Shanghai Express), Bette Davis (Jezebel and All About Eve), Rita Hayworth (Gilda), and Gloria Swanson (Sunset Boulevard), among others. Dover Original. 2 dolls and 30 full-color costumes on 16 plates.

Ann Sheridan, Rita Hayworth, Lana Turner, Hedy Lamarr, Dorothy Lamour, Veronica Lake, Gene Tierney, and Maria Montez in gowns by Adrian, Travis Banton, Jean Louis, Edith Head, Oleg Cassini, Vera West, and other top Hollywood designers. A must for paper doll fans and lovers of costume design and film history. 16 plates.

MGM Style is an overview of the career and achievements of Hollywood’s most famous art director. Cedric Gibbons was the supervisor in charge of the art department at Metro-Goldwyn-Mayer film studios from its inception in 1924 until Gibbons chose to retire in 1956. Lavishly illustrated with over 175 pristine duotone photographs, the vast majority of which have never before been published, this is the first volume to trace Gibbons’ trendsetting career. At its height in the late 1930s and early 1940s, Gibbons was regularly acknowledged by his peers as having shaped the craft of art direction in American film; his work was recognized as representing the finest in motion picture sets and settings. Gibbons and his associates constructed the villages, towns, streets, squares and edifices that later appeared in hundreds of films, and whose mixed architecture stood in for army camps and the wild west, Dutch New York and Dickensian London, ancient China and modern Japan. Inspired by the work of Le Corbusier and the Bauhaus masters, as well as the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris and Frank Lloyd Wright’s experiments with open planning, Gibbons championed the notion that movie decor should move beyond the commercial framework of the popular cinema

This lavish volume is the first to celebrate the designs of duo Mark Badgley and James Mischka, the authorities on the evening dress. After meeting at Parsons School of Design in New York and embarking on separate apprenticeships at major fashion houses, Mark Badgley and James Mischka joined forces to form Badgley Mischka in 1988. By the time Winona Ryder walked the red carpet at the 1996 Academy Awards in their gown encrusted in crystal and pearl beads, the design duo had become synonymous with elegant and luxurious evening dresses. Informed by a streamlined 1940s Hollywood silhouette while employing exquisite beads crafted in India, Badgley Mischka have become the arbiters of old Hollywood glamour. Their commitment to classic American beauty continues to reign on the red carpet today. As Mark and James say, “glamour always works.” Badgley Mischka follow in the great haute-couture tradition of legendary fashion houses such as Christian Dior and Adrian, who continue to inspire them season after season. These pages showcase the long-celebrated silhouettes—skinny beaded dresses, fishtail and ball gowns, and cocktail dresses—inspired by the masters of a bygone era. Embellished modern evening gowns imbued with the allure of Hollywood’s golden age have been Badgley Mischka’s signature voice for more than twenty-five years, and this book is a celebration of the evening dress in all its shimmering glory.

Violet-eyed siren Elizabeth Taylor and classically handsome Montgomery Clift were the most gorgeous screen couple of their time. Over two decades of friendship they made, separately and together, some of the era’s defining movies—including Cat on a Hot Tin Roof, The Misfits, Suddenly, Last Summer, and Cleopatra. Yet the relationship between these two figures—one a dazzling, larger-than-life star, the other hugely talented yet fatally troubled—has never truly been explored until now. “Monty, Elizabeth likes me, but she loves you.” —Richard Burton When Elizabeth Taylor was cast opposite Montgomery Clift in A Place in the Sun, he was already a movie idol, with a natural sensitivity that set him apart. At seventeen, Elizabeth was known for her ravishing beauty rather than her talent. Directors treated her like a glamorous prop. But Monty took her seriously, inspiring and encouraging her. In her words, “That’s when I began to act.” To Monty, she was “Bessie Mae,” a name he coined for her earthy, private side. The press clamored for a wedding, convinced this was more than friendship. The truth was even more complex. Monty was drawn to women but sexually attracted to men—a fact that, if made public, would destroy his career. But he found acceptance and kinship with Elizabeth. Her devotion was never clearer than after his devastating car crash near her Hollywood home, when she crawled into the wreckage and saved him from choking. Monty’s accident shattered his face and left him in constant pain. As he sank into alcoholism and addiction, Elizabeth used her power to keep him working. In turn, through scandals and multiple marriages, he was her constant. Their relationship endured until his death in 1966, right before he was to star with her in Reflections in a Golden Eye. His influence continued in her outspoken support for the gay community, especially during the AIDS crisis. Far more than the story of two icons, this is a unique and extraordinary love story that shines new light on both stars, revealing their triumphs, demons—and the loyalty that united them to the end. “Casillo weaves an engrossing story about the intertwined lives of his subjects — the parallel worlds of privilege that they came from, the personal misfortunes that each suffered and the seemingly inextricable path that led to that fateful night. The author approaches them both with sympathy and comes away with a melodrama as good as any that they ever starred in.” —The New York Times “In a riveting new book that brings Hollywood's golden age to life with colorful, well-researched details and interviews with stars who knew Taylor and Clift, Casillo explores the intense bond the two shared.” —People Magazine

Classic Hollywood Style explores iconic looks from the golden era of Hollywood, covering 35 films from the 1920s to the end of the 1960s. Caroline Young looks at the history and social context of the costumes through stories from the production, photos, interviews and original costume design sketches, and tips on how to 'get the look' today. While we celebrate the glacial elegance of Grace Kelly and the skin-tight sexiness of Marilyn Monroe, behind every look on screen was the costume designer who shaped the image. In the golden age of Hollywood, designers like Edith Head, Adrian and Travis Banton became stars in their own right. Women queued up to see the latest Joan Crawford and Greta Garbo release to lust after the glamorous costumes the stars would wear on screen. Department stores shamelessly mass-produced copies of gowns, film magazines would preview the new looks and women ran up their own versions on their sewing machines. In the 1960s women lowered their hems and sported berets to look just like Faye Dunaway in Bonnie and Clyde. Even today, an article on the little black dress will inevitably make mention of Audrey Hepburn. Every one of these films has perfectly captured a moment of fashion zeitgeist or has become an indelible image of cinema, whether it is Garbo in a trenchcoat in A Woman of Affairs, Joan Crawford's shoulder pads in Mildred Pierce, Rita Hayworth's strapless dress in Gilda, James Dean's red windbreaker in Rebel Without a Cause or Steve McQueen's ivy league style in The Thomas Crown Affair. Through archived records, studio press releases, behind the scenes memos, costume designer sketches and notes, censorship records and articles from magazines of the time, this is a behind-the-scenes look at the classic costumes of the silver screen.