Monday, June 20, 2022

You're Invited! HISTORY OF FASHION IN FILM 1920s-1980s: ART DECO ELEGANCE Online Event 7/17

July 17 will be the next event in my 7-part online series on the History of Fashion in Film. It features what I consider The Style Essentials - films with iconic costume design from the 1920s to the 1980s that immediately impacted fashion and continue to influence fashion today.


Sunday, July 17
4 pm - 5:30 pm PT (7 pm - 8:30 pm ET)
Tickets $20 - register on Zoom


The second event Art Deco Elegance focuses on the style icons from the 1930s - Marlene Dietrich, Joan Crawford, Kay Francis, Jean Harlow, Claudette Colbert, and Ginger Rogers.

The Style Essentials featured in this event:

Morocco (1930)
Shanghai Express (1932)
Letty Lynton (1932)
Trouble in Paradise (1932)
Dinner at Eight (1933)
It Happened One Night (1934)
Top Hat (1935)
Swing Time (1936)
The Women (1939)

Each presentation will include stills from the movies along with images from today's fashion accompanied by a conversation about the history, costume and fashion designers, and backstories of the stars.

In case you missed the 1920s event live, you can view THE JAZZ AGE on demand on Vimeo.

Visit the GlamAmor Events page for details on upcoming events.

Saturday, June 18, 2022

Special Guest on TCM's FOLLOW THE THREAD Series


As I continue my History of Fashion in Film series online - the 1920s can be viewed on demand and the 1930s are July 17 - Turner Classic Movies (TCM) has launched their own series celebrating costume design called Follow the Thread. Inspired by the Met Exhibition and hosted by Alicia Malone, fashion designers and costume designers speak to the complexity and impact of costume design in film. It airs every Saturday night in June and July. 



TCM has made this an even bigger event with more programming on HBO Max. The 72 films featured there will be accompanied by mini-documentaries on various aspects of fashion in film. I am one of the Special Guests featured in these programs, which can also be seen in interstitials in between movies on air. You will find me included in The Stars and Their Designers and Dressed to Kill: Films, Crime, and Fashion



I shot my segments during the TCM Classic Film Festival in April with producer Courtney O'Brien (pictured above) and director Anne McGill Wilson. Their invitation actually came as a complete surprise. The TCM Talent team reached out to me while I was hiking atop the Santa Monica mountains, and they sent a car to whisk me across town to the Roosevelt Hotel for the shoot. I have known many of TCM's production team for years, so it was a wonderful afternoon.



Speaking about the influential costume design on air


Have fun with Follow the Thread 
and I'll see you in July for the History of Fashion in Film 1930s!


Friday, June 17, 2022

Watch HISTORY OF FASHION IN FILM: THE JAZZ AGE on Vimeo!

 

Last weekend, a couple hundred fans of film and fashion came together online to celebrate the Jazz Age for the first event in my History of Fashion in Film 1920s-1980s series! We discussed the costume designers and style icons from the earliest days of Hollywood through the 1920s - focusing on Gloria Swanson, Clara Bow, Joan Crawford, Greta Garbo, and Louise Brooks.

The Style Essentials featured in this event:

Why Change Your Wife? (1920)
Her Husband's Trademark (1922)
It (1927)
Our Dancing Daughters (1928)
A Woman of Affairs (1928)
Pandora's Box (1929)

If you could not join us live, you can now watch the event on demand! You can either view the video on Vimeo or click "Watch Now" in the player below. 

The next event will be celebrating the 1930s and Art Deco Elegance on Sunday, July 17 - you can get more information and register on Zoom. Bring on the glamour!





To illustrate the influence of Gloria Swanson's early 1920s style from Why Change Your Wife?
I wore Xscape's plum one-shoulder gown with a thigh-high slit



See you in July!

Saturday, April 30, 2022

You're Invited! HISTORY OF FASHION IN FILM 1920s-1980s: THE JAZZ AGE Online Event 6/12

On June 12, I'll be launching my 7-part online series on the HISTORY OF FASHION IN FILM. It features what I consider The Style Essentials - films with iconic costume design from the 1920s to the 1980s that immediately impacted fashion and continue to influence fashion today. There will be one event per decade.


Sunday, June 12
4 pm - 5:30 pm PT (7 pm - 8:30 pm ET)
Tickets $20 - register on Zoom


The first event in the series THE JAZZ AGE focuses on the style icons from the earliest days of Hollywood through the 1920s - Gloria Swanson, Clara Bow, Joan Crawford, Greta Garbo, and Louise Brooks.

The Style Essentials featured in this event:

Why Change Your Wife? (1920)
It (1927)
Our Dancing Daughters (1928)
A Woman of Affairs (1928)
Pandora's Box (1929)

Her Husband's Trademark (1922) will also be discussed.

This is the series that started it all for me - evolving from a 3-day seminar at the Fashion Institute of Design & Merchandising (FIDM) to an elective course at Woodbury University to a speaker/screening series at the historic Egyptian Theatre. So many of you have asked me to continue my online events, and this series will celebrate every era that you love.

Visit the GlamAmor Events page for details on upcoming events.

Saturday, January 15, 2022

Cinema Style - Katharine Hepburn Toasts the New Year in Kalloch for 1938's HOLIDAY


Because we recently celebrated the New Year along with costume designer Robert Kalloch's birthday on January 13, I wanted to share a piece on Holiday that I originally wrote back in 2015. I really love the story behind the film, especially how significant it was to the evolution of Katharine Hepburn. I've also updated the piece to share replicas of the Paul Flato jewelry that still exist today thanks to Joseff of Hollywood. 

Here's to a (hopefully) happy 2022!

-----

Though much has been written about Katharine Hepburn's film career, surprisingly little has been dedicated to 1938's Holiday. It was directed by the great George Cukor, her longtime friend and the man behind 10 of her most memorable movies, including her debut in A Bill of Divorcement (1932). Holiday was their fourth picture together and the one right before the real turning point of her career - The Philadelphia Story (1940). In many ways, Holiday made that play and subsequent movie possible, and presented Kate to the world in a role that many critics now consider archetypal Hepburn. One can certainly see it in the strength and vulnerability of the character as well as her style. And like The Philadelphia Story, the origins of Holiday and the evolution of the Hepburn persona both begin on Broadway.

Holiday was first seen as a play in 1928, which Phillip Barry wrote with his friend Hope Williams in mind. Hope was an heiress who shocked her aristocratic family when she started on the stage after encouragement from Barry and another friend. Similarly, Holiday's lead character of Linda Seton longs for independence from her family, one where money seems to be its master, and it's someone outside the Setons who finally inspires her to strike her own path. Once Hope found her own path, she was a great success on Broadway.  She was unique as an actress - "a skinny, androgynous New York society girl with close-cropped taffy-colored hair, a crooked smile, and an emphatic arm-swinging stride." That flat-footed walk along with her dead-pan delivery endeared her to audiences and announced a new kind of star on the stage. Everything about her seemed to be polished and effortless.

Someone who was fascinated with the "Park Avenue Swagger Girl" was her Holiday understudy - Katharine Hepburn. Kate was young and relatively inexperienced, not to mention "too 'fresh and perky' for her own good." She found she could never quite connect with co-stars who all went to the same finishing school and seemed to speak their own language. Hope and her friends were determined to keep Katharine off the stage; Hope even performed with a horrendous case of the flu. As a result, Kate went on only once in all of Holiday's 229 performances. That one time was quite enough. Instead of playing the part of Linda Seton, she found herself trying to imitate Hope Williams and became "conscious of getting no response to lines that usually elicited peals of laughter." It was an "unsettling experience" for the young actress.

As a result, Kate's vocal coach Frances Robinson-Duff introduced her to Laura Harding. Harding was another heiress whose father - Chairman of the Board for American Express - left her millions. She, like Hope Williams, had gone to finishing school and appeared in amateur theater before trying to make it a career. Laura and Kate became fast friends. They were roommates in a theatrical boarding house a la Stage Door, performed in summer stock at the Berkshire Playhouse, sailed to Mexico for Hepburn's divorce, moved to Hollywood, and then lived together there. Before the start of their relationship, 

Kate was brash, spontaneous, and unconventional. Laura, sleek and impeccably tailored, always knew the thing to do; she knew what good taste was all about. Where Kate's "impossible" gravelly voice cracked and squeaked with unrestrained excitement, Laura spoke in low, carefully modulated tones.

It's not that Kate didn't have her own dignity and grace, and it wasn't that she didn't have a wonderful upbringing in Connecticut and an enviable education at Bryn Mawr. But she was often aloof, often awkward, more than a bit bohemian in her behavior and appearance, and definitely had a few "rough edges." But after her relationship with Laura and all that time spent studying Hope Williams "as though she was a part in a play," no one west of New York could tell the difference between Kate and true society girls. In fact, the transformation was so successful that even the Hollywood press circulated rumors that she, too, was an "heiress to untold millions."


Heiress Hope Williams playing Linda Seton in Holiday on Broadway (above)


American Express heiress Laura Harding (above left) with Kate and others during summer stock,
and together at the NY airport before heading to Miami and then Mexico for Hepburn's divorce


It was about then that Katharine met director George Cukor for the first time. He was casting for A Bill of Divorcement (1932) and requested that RKO shoot a screen test of her. Though he found her speaking style from the stage a bit too affected, he was taken by her natural grace and instincts as an actress; he was moved by how she simply lowered a glass of water to the floor. What's most significant about her screen test, though, is that she chose to perform a scene as Linda Seton from Holiday. By this time,  Holiday had already been made into a movie with Ann Harding and Mary Astor. But years later, when Cukor decided to film his own version of the play, he immediately thought of Kate.

Hepburn had some challenges to deal with first. Today we may look on her as one of the greatest actresses of all time, but it's important to remember that she was struggling in Hollywood in the late 1930s. The Theater Owners of America published a list of actors they considered to be "Box Office Poison" and included Kate on the list. RKO had such little faith in her that they were set to cast her in a film with the unfortunate title Mother Carey's Chickens (a real production that got made with Anne Shirley and Ruby Keeler). It would have been her last film with RKO, so Kate decided to buy herself out of her contract for $75,000 rather than succumb to that horror. She then allowed herself to be loaned out to Columbia to work with Cukor on Holiday.  

Despite Cukor's endorsement and the fact that she had already won an Oscar for Morning Glory (1933), she was not who the studio really wanted. Irene Dunne was their first choice (due to her recent success The Awful Truth with co-star Cary Grant), and there were others such as Joan Bennett and Ginger Rogers who were of interest. But there's no question that Kate really had the edge, especially considering her extensive experience with the play and years spent studying the upper class. This time, when presented with the role of Linda Seton, she knew exactly how to play the part. And with it, she would put the finishing touches on the Hepburn persona.

Not only was the character now perfect for her, but she would work with a costume designer who really understood her aesthetic as well. That's not to say Kate hadn't worked with supremely gifted costume designers before; in fact, she had just worked with Howard Greer, formerly Paramount's head of costume design, on Bringing Up Baby (1938). But to my mind, Holiday is where we finally get a sense of what would be known as Hepburn style and that's due to the talent of the great Robert "Bobby" Kalloch.


Kalloch sketching in his office at Columbia (above)
and discussing fabric with Ida Lupino


Known simply as Kalloch in screen credits, Bobby was born in New York City and had a long association with the New York School of Fine and Applied Arts (now known as Parsons). He both attended school there and then taught as one of its professors. There he mentored a young design student named Adrian Adolph Greenberg, who became better known to the world as Adrian. This is significant because Adrian would head MGM's costume design department and become known for his partnerships with actresses such as Joan Crawford, Jean Harlow, and yes, Katharine Hepburn. His first picture with her was a mere two years after HolidayThe Philadelphia Story (1940). They would follow that masterpiece with Woman of the Year (1942), another highly influential film on fashion.

Kalloch was highly skilled as an artist. After his time at Parsons, he joined the prestigious Lucile couturier. He started as a sketch artist and then quickly progressed to dress designer. Lucile was a great source of talent for the film industry; several other great costume designers, notably head costume designers, came from working at Lucile or with its head Lady Duff-Gordon - Howard Greer (Paramount), Travis Banton (Paramount), and Vera West (Universal). Kalloch was particularly renowned in his time, designing custom-made high fashion for royalty, the social elite, and revue stars. At the height of his international fame, Kalloch was invited to head Columbia's costume design department by Harry Cohn, who was hoping to improve the reputation of his "Poverty Row" studio. Kalloch would do just that and be known for iconic work on films like It Happened One Night (1934) and His Girl Friday (1940). Both are on the list of The Style Essentials on GlamAmor for their influence on fashion both then and now. Kalloch would work at Columbia for nearly a decade before joining MGM in the early 1940s just as his friend Adrian was about to say goodbye to the studio forever.

Not only is Kalloch a brilliant designer, but he communicates so much about the characters of Holiday's Seton sisters without them even uttering a word. Julia is clearly very feminine, loves dressing up and showing her wealth through fur and jewelry (courtesy of the legendary Paul Flato). Linda, in comparison, leans toward the tom-boyish and is much more comfortable in simple separates, like blouses and skirts. She might own a fur coat, but it is worn in a very casual manner. Even her evening gown at the family's grand New Year's Eve party is subtle in its elegance and sharply contrasts with everyone else. That long sleeve gown happens to be a great example of how Kalloch's clothes for Linda Seton reflect some of what we now know to be Katharine Hepburn style as well.

Holiday is a true transition moment for Katharine Hepburn. In one respect, it is the culmination of all she learned leading up to that point from her years in the theater and then in early film at RKO. In another respect, it is the starting point for the rest of her career; it is right before she returns to Broadway to The Philadelphia Story (written specifically for her by Holiday's Phillip Barry), and then bringing that play back to Hollywood to start a successful career at MGM. 

The persona she crafted for herself, both onscreen and off, has much of its origins tied to Holiday. And thanks to costume designer Kalloch, it is also a testament to her style and the foundation of what other designers, like Adrian, would build upon. Along with co-stars like Cary Grant, Lew Ayres, and Edward Everett Horton (who also played Nick Potter in 1930's Holiday), Kate's performance is terrific and the story is surprisingly relatable today. If you haven't seen it before, I encourage you to do so. And if you have already seen it, I encourage you to take a fresh look at its style. All hail, the Great Kate.


New York City's Park Avenue


Johnny Case (Cary Grant) arrives as the home of his new love Julia Seton,
and is both confused and blown away by the grandeur in which she lives


These shots of the interior of the Seton mansion shows just why the
 art direction by Stephen Goosón and Lionel Banks was nominated for an Oscar


The first of the Seton family we meet is Ned (Lew Ayres),
the kind but neglected son who frequently turns to alcohol to escape



Next we meet his fiancée Julia (Doris Nolan) looking every bit the debutante in her Kalloch ensemble
complete with large fur muff and triple-strand of pearls




Next we meet Ned and Julia's sister, Linda Seton (Katharine Hepburn), who is also dressed in fur
but there is something more sensible about her separates underneath




When Johnny returns to meet the patriarch of the family and ask for Julia's hand in marriage,
he finds Linda in a room - part living room, part playroom - that's different than the rest of the mansion



Linda might compare herself to her favorite childhood toy,
but she is clearly very beautiful in an understated way



Kalloch does a great job at distinguishing the sisters in their costumes -
Julia loves dresses and being adorned with jewelry versus Linda who loves a simple blouse and skirt



Julia in Kalloch's beautiful silk night clothes to ask her father (Henry Kolker) for permission to marry -
it's interesting that then starlet Rita Hayworth tested for the part of Julia, but was judged too inexperienced



A lavish New Year's Eve party is thrown to announce the engagement,
a large party that was much against Linda's wishes, who wanted to throw her sister a smaller affair




Linda takes refuge in the playroom away from the mayhem of the event
as do Johnny's best friends Nick and Susan Potter,
played by the great character actors Edward Everett Horton and Jean Dixon



Ned also joins the fun group,
and watches as Linda and Johnny perform a feat of acrobatics



This trick shows both Cary's experience from his days in vaudeville
as well as Kate's natural daring and love of anything physical




This might be my favorite gown of Kalloch's - long sleeve, crew-neck, and seemingly simple 
with a narrow open back - and exemplary of what would be known as Hepburn style



Another gorgeous gown of Kalloch that is perfect for the character of Julia -
shiny metallic, perfect for a New Year's Eve party, with slim straps that split around an open back



Note that underneath her sleek gown, Kalloch has included a surprising ruffled petticoat 
that is exposed when the two dance together



I also adore the Paul Flato diamond necklace that Kalloch used to accessorize the gown
along with a brooch to pin a chiffon scarf to the front to add a little detail


Eugene Joseff so loved Flato's pieces that he copied them for Joseff of Hollywood -
Kristin Joseff featured several pieces of jewelry from their archive at one of my talks in 2019,
including layered necklaces and a brooch similar to the ones in Holiday



Though Hepburn is known for her partnership with Spencer Tracy,
she had incredible chemistry with four-time co-star Cary Grant



Happy New Year!


Though the engagement is finally announced, one can see that Johnny is no longer happy about it -
nor is Linda, who slowly descends the stars from the playroom to join the party


Gorgeous full-length view of my favorite gown from Holiday



Johnny tries to uphold his own vision of the future - 
taking a holiday after years of working successfully to find the meaning of his life -
but is abandoned by Julia


Concerned, Linda approaches the Potters who are now her friends as well -
once again in sensible separates that include a checked blouse



After looking in vain for Johnny, Linda now approaches Julia to help sort things out



Once again, Kalloch shows us the dramatic contrast between the sisters in their costumes -
Julia in a highly feminine evening gown with floral centerpiece (above)...


...and Linda in more subtle long sleeve dress 
but with marvelous detail at the shoulder and another slit of an open back




As Johnny arrives for the final showdown, note how much his own look has evolved -
from a baggy ill-fitting suit with a bowtie in the opening scenes 
to a tuxedo with tails at the party to this tailored suit



With the engagement to Julia broken, the Seton family says farewell to Johnny


As Linda says so long, we can see Kalloch's brilliance in her high-neck dress -
fabric is pinned over her shoulder with buttons and another brooch so it resembles a scarf


Also note the big bracelet - sized to be really seen on screen -
and her pinky ring, which was Kate's favorite piece of Flato jewelry from the film


Kristin Joseff models the Joseff of Hollywood copy of the ring that Kate wore in Holiday
at my talk before the TCM Classic Film Festival in 2019 
(note: the jeweled balls are not attached to the ring and move as you move while wearing it)



As the ship prepares to sail, Johnny performs an acrobatic flip-flop to celebrate the journey
just as Linda decides to leave her family behind to join them



It's bon voyage for Johnny and Linda and a wonderful holiday together



Sources

Dooley, Roger.  Scarface to Scarlett: American Films in the 1930s.  New York:  Harcourt Brace Jovanovich, 1981.

Hepburn, Katharine.  Me: Stories of My Life.  New York: Alfred A. Knopf, 1991.

"Holiday."  American Film Institute.  Web.  1 January 2015.  http://www.afi.com/members/catalog/DetailView.aspx?s=&Movie=4592

"Holiday."  TCM.com.  Web.  1 January 2015.  http://www.tcm.com/tcmdb/title/209/Holiday/notes.html

Joseff, Kristin. Conversations with author. 2018-2019.

Lambert, Gavin.  On Cukor.  New York:  Rizzoli International Publications, Inc., 2000.

Leaming, Barbara.  Katharine Hepburn.  New York: Crown Publishers, Inc., 1995.

Leese, Elisabeth.  Costume Design in the Movies.  New York: Dover Publications, Inc., 1991.

Mowis, I. S.  "Robert Kalloch."  IMDb.  Web.  1 January 2015.  http://www.imdb.com/name/nm0436056/


Photos

Screen shots by Kimberly Truhler for GlamAmor
Additional photos courtesy of Doctor Macro and Kalloch.org

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