#GILBERTADRIAN

[defunctfashion]

Gilbert Adrian | Film Costume | c. 1936 ・・・ Costume worn by Greta Garbo in ‘Camille’. ・・・ #gilbertadrian #ootd #gretabarbo #glamour #sparkle #film #opulence #movie #costume #fashion https://www.instagram.com/defunctfashion/p/BvSvKvsg_rb/?utm_source=ig_tumblr_share&igshid=q27hpxd7ro89

[museumatfit]

#MyMFIT / Adrian: Hollywood and Beyond (2017)

Via Lin 

[the-sleeping-muse]

Hedy Lamarr in a Gilbert Adrian dress for Ziegfeld Girl (dir. Robert Z. Leonard,1941)

[janeroserocks]

Over 24 vintage ties just listed on #etsy #linkinbio #calamityjanestimewarp #vintageshop #vintageclothing #mensvintage #vintageties #mensties #vintagenecktie #mensvintageclothing #giftsforhim #giftsformen #giftsfordad #buyvintage #shopsmall #shopvintage #gilbertadrian https://www.instagram.com/p/Bqp0DYOgjlN/?utm_source=ig_tumblr_share&igshid=1xok8epgnruxl

[officialrunwaymagazine]

#nuancier #violet @katestrasdin To the cinema for Star Wars this afternoon, a Post-Christmas treat. I was struck by the similarities between Gilbert Adrian’s 1952 design for the film Lovely To Look At now @museumatfit and Laura Dern’s drape dress as Admiral Holdo designed by Michael Kaplan #starwars #thelastjedi #filmcostume #moviecostumes #hollywood #starwarscostume #costumedesign #costumedesigner #michaelkaplan #gilbertadrian #1960s #1960sfashion #1960sdesign #dresshistory #fashionhistory #moviehistory @runwaymagazines #runwaymagazine

[fashionavenuenews]

Gilbert Adrian (1903-1959) built his career as a costume designer at Metro-Goldwyn-Mayer, where he worked on more than 250 films, including The Wizard of Oz. His creations for glamorous actresses such as Joan Crawford and Katharine Hepburn inspired women of all ages. Macy’s and other retailers recognized this as a marketing opportunity and opened small boutiques within department stores across the country — “cinema shops,” featuring ensembles based on costumes seen in Hollywood films. To promote them, MGM released a short film in 1940 entitled “Hollywood: Style Center of the World.” Encouraged by the success of the cinema shops, Adrian opened a fashion house in 1942 and began to create looks that appealed to his new leading lady: the American woman.

This exhibition, Adrian: Hollywood and Beyond, highlights both Adrian’s ready-to-wear and his costumes,  while focusing on his innovative use of textiles. Beginning during his Hollywood days, fabric was central to Adrian’s aesthetic. He employed an arsenal of techniques — such as appliqué, piecing, mitering, pleating, and draping — to build dynamic garments in which the materials are as celebrated as they are integral to the design. Adrian worked with and endorsed different textile manufacturers throughout his career. Indeed, his final collection in 1952 was dedicated to the “beauty” and “integrity of fabric.”

Long evening dress in ivory rayon crinkle crepe printed with surrealist design of gray shattered monument stones with black shadows and yellow ancient inscriptions of keys, insects, eyes, timepieces, words, arrows, birds; deep-V suplice bodice with cap sleeves, asymmetrical black draped capelet, flared train

  Adrian, evening dress, 1947, USA, textile by Salvador Dalí/Wesley Simpson, Gift of Lola Walker, P90.69.1 Adrian, two-piece evening ensemble, circa 1944, USA, Gift of Lola Walker, 70.40.2

Wesley Simpson, a New York textile converter who transformed the illustrations of artists such as Marcel Vertes and Ludwig Bemelmans into pattern repeats, provided Adrian with exciting rayons to animate his designs. Also during Adrian’s career, the textile industry embraced growing public interest in the fine arts — a connection that becomes clear when considering his rayon evening gown made from a Wesley Simpson print, based on an illustration by Surrealist artist Salvador Dalí (himself a frequent contributor to the fashion and textile worlds). Adrian recognized the value of this spectacular textile and composed a gown that is a harmonious union of print and fashion design. Using drapery and appliqué, he extended Dalí’s shadowy boulder motif into a dark capelet.

Adrian frequently used organzas, taffetas, and mousselines from Bianchini-Férier, a French silk mill that has produced fabric for couturiers since the nineteenth century. Although Adrian preferred to use rayon crepes to achieve his slim silhouette in the early 1940s, later in his career he turned to the lightness of Bianchini silks to create voluminous eveningwear. Adrian made Bianchini fabrics the focal point of his fall 1949 collection. Inspired by Africa, he chose textiles that ranged from a lamé snakeskin to a warp-printed silk tiger stripe.

Purple and brown horizontal striped wool suit with contrast vertical stripe peaked lapel, midriff panel and skirt; semi-fitted, with shoulder pads, single waistline button, calf-length skirt

Adrian, day dress, 1943, USA, printed rayon, 70.40.8 Adrian suit, 1945, USA, woolen textile by Pola Stout, 66.110.1

Adrian collaborated with woven textile designer Pola Stout throughout the 1940s.  She sent striped and checkered wools to Adrian, who sketched garments inspired by her work and then returned the samples to be rewoven to his specifications. In Adrian’s hands, a restrained suiting fabric could become a bold and unique garment, often by means of mitering, the cutting and piecing together of fabric at an angle. Adrian’s collaborations with Stout resulted in some of his most celebrated suits, described by Vogue as “never melodramatic, never dull.” Designers who were trying to meet wartime fabric restrictions adopted the distinctive triangular silhouette — square, padded shoulders narrowing into a slim-hipped skirt — that Adrian had already perfected.

While best remembered for his tailored daytime looks, Adrian was also a skillful and inventive draper. He used this technique in both his film and fashion work to create glamorous evening gowns. In a stunning example from his last film, Lovely to Look At, Adrian draped a continuous length of fabric from the waist to a billowing sleeve, encircling the wearer to create a dramatic hood. In the exhibition, the costume is paired alongside a deceptively simple black dress from one of his earliest ready-to-wear collections. In both, Adrian’s unconventional and refined use of silk jersey is a highlight.

Adrian, costume, 1952, USA, from the film Lovely to Look At, 70.8.18 Adrian, suit jacket, circa 1950, USA, 73.66.1

From an examination of Adrian’s construction techniques and applications of textiles, a clear picture of the designer emerges — as both artist and engineer. As Eleanor Lambert, fashion publicist and founder of New York Fashion Week, wrote in a review of Adrian’s spring 1952 collection, “The fabric is the first signal that the costume is an Adrian.” His appreciation of textiles and their design potential set Adrian apart in Hollywood and beyond.

Adrian: Hollywood and Beyond has been organized by the graduate students in the Fashion Institute of Technology’s MA program in Fashion and Textile Studies: History, Theory, Museum Practice, with the support of Sarah Byrd, Ariele Elia, and Emma McClendon.

Share using #AdrianBeyond and on Twitter and Instagram.

    FIT MUSEUM – Adrian: Hollywood and Beyond Gilbert Adrian (1903-1959) built his career as a costume designer at Metro-Goldwyn-Mayer, where he worked on more than 250 films, including 

[shabbydoll]

[missnouvelleblog]

The print on this 1940's GILBERT ADRIAN chevron dress 💙 #noveltyprint #vintage #borderprint #gilbertadrian #adrian #vintagestyle #vintagefashion #1940s #1940sfashion #missnouvelle

[defunctfashion]

Gilbert Adrian | Film Costume | c. 1938 ・・・ Costume worn by Gladys George in her portrayal as Madame du Barry in ‘Marie Antoinette’ ・・・ #gilbertadrian #marieantoinette #glamour #madamedubarry #film #movie #costume #fashion https://www.instagram.com/defunctfashion/p/BvPt5ZtgUdA/?utm_source=ig_tumblr_share&igshid=1ti7vpzmfo5uz

[sheniq]

#Repost @lydia1940s ・・・ The only thing better than a 10 minute long fashion scene is when it is a Adrian 10 minute long fashion scene!! He returned to MGM for a final film, 1952's Lovely to Look At. In this musical, Broadway producers Tony Naylor (Howard Keel), Al Marsh (Red Skelton) and Jerry Ralby (Gower Champion) are having difficulty securing funds for their latest show. Then Al learns he has inherited half of a salon in Paris from his Aunt Roberta. The three men travel to France, where they attempt to stage an extravagant fashion show to revitalize the struggling business, now run by Roberta's nieces, Stephanie (Kathryn Grayson) and Clarisse (Marge Champion). #gilbertadrian #vintagefashion #retrofashion #retrofashionshow #fashionshow

[insidethemood]

FROM FASHION: Gilbert Adrian, 1952 — Fashion East, Fall 2021 An honorable mention to my RLF (real life friend) @martiriosway , because great minds just think alike 😘 ...I popped on this one while looking for Adrian’s tiger gown...she found the tiger gown while looking for this one...and we ended up with the same posts!!! Love you ❤️ #gilbertadrian #fashioneast #fashioninspiration #insidethemood https://www.instagram.com/p/CLref0mAmQV/?igshid=1xnebrev0ay7n

[defunctfashion]

Gilbert Adrian | Film Costume | c. 1938 ・・・ Costume worn by Norma Shearer in her portrayal of Marie Antoinette in ‘Marie Antoinette’ ・・・ #gilbertadrian #ootd #marieantoinette #glamour #silver #sparkle #film #opulence #movie #costume #fashion https://www.instagram.com/defunctfashion/p/BvR5dEGgc1Y/?utm_source=ig_tumblr_share&igshid=b8vsx73wn7nc

[sheniq]

Follow #lydia1940s Part 3. Zsa Zsa Gabor appears in lovely to look at 1952. Tony Duquette designed the sets,props and costumes. The setting in a Paris fashion house is a great excuse for extended fashion show sequences, and Lovely to Look At takes full advantage. MGM lured famed costume designer Adrian back to the studio for this film. He had been head of MGM's Costume Department from the late 1920s until 1941 when he left to start his own fashion house. The studio publicized his return, and there is a nice meta-moment in the movie when Keel mentions "Adrian, the great American designer." This was Adrian's last movie. MGM spared no expense, and Adrian created some spectacular costumes for the fashion show extravaganza, reportedly costing $100,000, and the finale is a wild example of opulence for opulence's sake. The outfits are amazing, and the sets and staging are just as magnificent. It was the last sequence to be filmed, but before they began director Mervyn LeRoy was called away to another project. MGM asked Vincente Minnelli to step in and direct it. Minnelli later said he wanted to give Adrian's lavish designs "as extravagant a mounting" as possible, and he certainly did. Minnelli's involvement explains some of the rich color, imaginative staging, and dreamlike quality of the sequence. *classicflix.com #gilbertadrian #1950sfashion #vintagefashion #retrofashion #retrofashionshow #fashionshow

[insidethemood]

FROM FASHION: “The Tigress” evening ensemble, created in 1949 by Gilbert Adrian for his wife Janet Gaynor. The black, beige, and orange silk taffeta chiné and gold lamé dress (from the Brooklyn Museum Costume Collection at The Metropolitan Museum of Art) was part of the Autumn/Winter 1949 collection inspired by Adrian’s trip to Africa.— Roberto Cavalli by Fausto Puglisi, Fall 2021 #tiger #thetigresse #gilbertadrian #adrian #robertocavalli #faistopuglisi #fashioninspiration #insidethemood https://www.instagram.com/p/CLobG-5AR6O/?igshid=1c9j4pue8rt4k