Monday, July 22, 2013

Cinema Style--Romy Schneider's Sleek Summer Style Courtesy of Courreges in LA PISCINE

Summer is unquestionably my favorite time of the year and I always celebrate on GlamAmor with a little cinema style. One year I dove into the life of bathing beauty Esther Williams and her impact on swimsuit design and fashion. Another year I marveled at Marilyn Monroe as she flaunted her fabulous figure in swimwear, which she modeled throughout her career. And because there's little I love as much as lounging poolside on a sultry summer day, this year I bring you the beachy glamour of Jacques Deray's La Piscine (1969).

The French-Italian film focuses on four people--one couple (Romy Schneider and Alain Delon) and a father and daughter (Maurice Ronet and Jane Birkin)--who holiday together at a villa along the French Riviera. The South of France was first put on the map in 1956 with Roger Vadim's classic And God Created Woman, which was set in Saint-Tropez. It starred a then relatively unknown Brigitte Bardot and turned the siren into a superstar. As a result, the Cote d'Azur then became the location of choice for other French movies of the late 1950s and 1960s. Interestingly, these films also showcased costumes created by the finest French fashion designers. And God Created Woman featured the frisky Brigitte in Pierre Balmain. In Bonjour Tristesse (1958), Jean Seberg battled Deborah Kerr in Hubert de Givenchy. Yves Saint Laurent practically launched his career dressing muse Catherine Deneuve in both Belle de Jour (1967) and La Chamade (1968). And in La Piscine, costumes are by the great Andres Courreges.

Part of what makes La Piscine so fascinating is that it is a cavalcade of Courreges classics. As a minimalist, modernist, and often a futurist, he was an important part of 1960s fashion. He became known for geometric shapes and silhouettes that stood away from the body rather than hugging it. And the lengths of his dresses went to extremes, whether very long (maxis) or very short (both he and Mary Quant are credited with making the mini). Courreges was associated with vibrant colors as well, mostly in a primary palette. Green. Blue. Yellow. Red. You can see examples of this in his clothes for another Cote d'Azur classic Two for the Road (1967). White may have been his favorite color, though; he started his line in 1961 with a trouser suit and Little White Dress, and you'll see several samples of white in this 1969 film as well. Swimwear was even a specialty of Courreges, so how apropos for producers to invite him to costume La Piscine.

Three of the film's international lead actors--Austria's Romy Schneider, France's Alain Delon, and England's Jane Birkin--are equally fascinating. Adding to the intrigue of La Piscine is that the plot onscreen, which includes sexual jealousy, somewhat mirrored that offscreen. Romy and Alain had been engaged in real life; their relationship lasted from 1958 to 1963, ending when Delon was caught in an affair with Nico (of The Velvet Underground). But despite their breakup, the former lovers always remained great friends and their chemistry as co-stars is stronger than ever in La Piscine. All three stars were at their peaks of popularity when the film was released and today are considered icons in the world of fashion. Though I focus on Romy in this piece, you'll also see some serious Birkin style such as a signature robe trapeze mini dress.

As I frequently discuss, there are several ways that costume design is interconnected with fashion design. One way is that many costume designers started and/or ended their careers in fashion. Another--such as the case of La Piscine--is that sometimes fashion designers would design for film. Andres Courreges' costuming for these characters is a capsule collection of modern 1960s French style. That said, one cannot help but see their timelessness as well, and the impact they've made on our American classics. Fashion designers Michael Kors, Ralph Lauren, Calvin Klein, Tommy Hilfiger, and Jenna Lyons (of J. Crew) are all examples of those who have been influenced by La Piscine. The swimsuits alone continue to inspire design in companies from Eres to Roxy. Even Romy's makeup--the bronzed skin, smoky lined eyes, and nude toffee-colored lips--appears all over today's fashion runways and advertising campaigns. There is a lot to appreciate and it all helps you understand the significance of this incredibly stylish film.

Dive into La Piscine for yourself and see why I am so smitten with Romy's sleek and sensual style. Happy Summer!

Marianne (Romy Schneider) wears swimsuits of only white or black, such as this halter one-piece

accessorized with a thin tortise-shell headband and bronzed makeup

Romy struts around the pool in a black halter bikini
before the admiring eyes of her former lover Alain Delon

Eventually Marianne is also under the admiring eyes of houseguest and former lover Harry (Maurice Ronet)
as his daughter Penelope (Jane Birkin) looks on

Another stunning suit--absolutely adore the simplicity of this white one-piece
with thin straps and a deep back

In contrast, model-actress Birkin wears a fashion-forward white bikini by Courreges with crochet coverup...

no wonder Delon doesn't know where to look

Marianne ponders her passion for Jean-Paul in this cream colored silk dress
with my favorite--a low back

An example of preppy inspiration from this movie--tucked-in blouse with turned up collar,
navy flat front pants, matching espadrilles, woven tote, and tortise-shell sunglasses

My love for vintage cars is satisfied as well in La Piscine...houseguest Harry drives a Maserati

and a row of other great European cars line up for the big party at Marianne's

Courreges loved to experiment with fabrics and Romy sparkles in her tank dress at the party

This green silk gown (again, backless) is a great example of the boxier cut and bright colors beloved by Courreges...
note how the look has been made more beachy with light blue espadrilles

An updo is paired with diamond earrings and bronzed beach glamour,

a look that is repeated time and time again on today's fashion runways

Jealousy builds among the group and hits its height at their private party

When the drama intensifies, Marianne is dressed in a lot of innocent white...
both Birkin and Schneider in a signature robe trapeze by Courreges

Classic Courreges--the final outfit of the film is a timeless solid white A-line shift dress,
which is styled with highly edited delicate accessories (love the sunglasses, above)

The cast of La Piscine says adieu
from the film's famous pool on the French Riviera

Monday, June 24, 2013

Elizabeth Taylor's First Wedding Gown Sells for $188,175 at Christie's

On Wednesday, June 26th, Christie's will auction off the first wedding gown of Elizabeth Taylor. It is a momentous occasion. Created by MGM legend Helen Rose and a gift from the studio, this influential dress is right at the crossroads of costume and fashion design. I was thrilled when its current owner (still married after wearing it for her own 1974 nuptials) reached out and invited me to inspect the ensemble before it was whisked off to London for sale. Our meeting at the Christie's offices in Beverly Hills was astounding...witnessing firsthand the level of quality and craftsmanship that came from the team at MGM. Christie's then honored me further by asking me to write the article that accompanies the gown in the auction catalog. That article is reprinted below and I've followed it with photographs that help illustrate the story of this iconic gown.

POST AUCTION UPDATE: With Christie's estimates ranging from $50,000 to $75,000 before the auction, the gown ended up selling for $188, 175! It was truly exciting to watch it all live and yet another example of the value of design that stems from classic cinema.

____

When Elizabeth Taylor married Conrad “Nicky” Hilton, Jr. in 1950, it was one of the most golden moments of the Golden Age of Hollywood. Already a veteran actress at age 18, Elizabeth was a mere year away from her Oscar-nominated performance in Metro-Goldwyn-Mayer’s A Place in the Sun (1951). This was her very first marriage and, because she was also still so young, there was a genuine innocence and optimism about the occasion. Everyone wanted to be there—the Beverly Hills wedding and Bel Air reception made up the social event of the year. MGM boasted “more stars than there are in heaven” and the 700 guests represented the A-list of Old Hollywood. Greer Garson, Gene Kelly, Ginger Rogers, Fred Astaire, Esther Williams, and Van Johnson are just some of who came to congratulate the bride. Guests also included co-stars Spencer Tracy and Joan Bennett from Father of the Bride (1950), which MGM marketed and skillfully scheduled for release mere weeks after this wedding. Even columnist Hedda Hopper, “a veteran scrutineer of visionary Hollywood brides from the days of Vilma Banky and Norma Shearer to Shirley Temple [and] Deanna Durbin,” called the event “the Hollywood wedding of weddings.”

The real star and center of this “wedding of weddings” was this dress. A gift from MGM and designed by their legendary costume designer Helen Rose, it was (and still is) so extraordinary that photographs of it have appeared all over the world--from newspapers to tabloids to LIFE magazine. Today it appears in the pages of fashion and continues to act as inspiration to the industry; in fact, this off-the-shoulder illusion gown has become iconic. With “25 yards of shell-white satin sprinkled with bugle beads and tiny seed pearls trailed by 15 yards of satin train,” it is exactly the kind of elegant design for which Helen Rose was known. She always started by sourcing the most luxurious of fabrics, and there’s a special luminous depth to the satin in this gown. It exudes a warm glow in certain light that looks beautiful against the skin. And, according to current owner, the fabric even sounds beautiful…there is a soft slow swishing whenever one moves across the room.

Everything about this gown was custom designed with Elizabeth Taylor in mind. Since she was celebrated for her voluptuous figure, Helen added a built-in corset to the dress so it could be “tightly cinched to emphasize Elizabeth’s waist and bust.” Apparently, they took that as far as they could; it’s reported that Elizabeth gasped when she was sewn in on the day of the wedding. Even the veil of “10 yards of shimmering silk illusion net” was carefully considered and attached to a pearl-covered Juliet cap in order to fairly float around Elizabeth. The project was so extensive and had such priority at MGM that 15 people worked full-time (likely more) for two to three months straight on it. It took several people just to complete the painstaking pearl and beadwork. The level of craftsmanship of this garment is so high it would be near impossible to recreate. That’s the magic of Helen Rose and might of MGM.

Historically, there are several great relationships between designer and star in Hollywood. Adrian and Joan Crawford. Travis Banton and Marlene Dietrich. Hubert de Givenchy and Audrey Hepburn. And then there is Helen Rose and Elizabeth Taylor. For those who are not familiar with her work, Helen was a two-time Oscar winner—dressing Lana Turner in The Bad and the Beautiful (1952) and Susan Hayward in I’ll Cry Tomorrow (1955). With Father of the Bride, she and Elizabeth began a special bond and the resulting collaborations through their careers continue to influence us today. Consider the iconic wardrobes Helen created for Elizabeth in Cat on a Hot Tin Roof (1958) and Butterfield 8 (1960). They made an immediate impact on fashion; copies of the slips and cocktail dresses from both movies went on to become bestsellers in stores. They continued to be so popular, in fact, that Helen included the designs in her own line when she segued to fashion from her career at MGM.

Their relationship went beyond great design, too. Elizabeth considered Helen one of her closest friends and the two women would remain friends for years. Helen was there with Elizabeth through her triumphs—including her Best Actress Oscar for Butterfield 8. But perhaps most importantly, she was there for Elizabeth’s tragedies as well; Helen was one of the few called in time of genuine need. Their relationship grew stronger when Elizabeth's beloved husband, producer Mike Todd, suddenly died in a plane crash during filming of Cat on a Hot Tin Roof. She would later say that playing the part of Maggie and having Helen by her side saved her life during that difficult time.

Because Helen was known for always achieving Louis B. Mayer's one standing order to "just make them look beautiful" and treated everyone with great respect, she worked wonderfully well with all of her colleagues and clients. In addition to Elizabeth, many of the biggest were personal friends--Grace Kelly, Lana Turner, Lena Horne, Lauren Bacall, and Esther Williams were all considered like sisters. Helen was so close to them that she frequently designed their offscreen wardrobes as well. Needless to say, this often included their wedding gowns. Perhaps her most famous is Grace Kelly’s when she became the Princess of Monaco, especially since that very design recently inspired Kate Middleton’s wedding dress by Sarah Burton (for Alexander McQueen). Helen was known for doing wedding dresses so well that Zsa Zsa Gabor once said, "A beautiful Helen Rose chiffon dress, a little Dom Perignon, some caviar, and dammit, you’re married again!”

It is impossible to overstate the significance of this dress when it’s Elizabeth Taylor’s first wedding gown and designed by Helen Rose. Few dresses have as deep a historical connection to both film and fashion. It’s an example of a legendary designer and star working together in perfect harmony, and the result is something that has made a lasting impact in fashion. Though the Taylor-Hilton marriage would quickly end, Elizabeth’s appreciation for all that went into this dress never did. You now know all the reasons why. As its current owner mused, “For all the days the gods gave Elizabeth beauty, intelligence, and charm; but they gave her only a handful of days of innocence. This gown celebrates Elizabeth’s days of innocence.” It also celebrates the timeless style of an icon.

Kimberly Truhler

Film and Costume Historian
Founder of GlamAmor

Reprinted from Christie's POP CULTURE auction catalog (No. 9467)

Elizabeth arrives to a flurry of photographers

Love in the pages of LIFE magazine

and other media outlets around the world

Guests included many film greats including Elizabeth's co-star Van Johnson

Straight from the pages of the Christie's catalog

where you'll also see my article right alongside the iconic gown

Global coverage of this auction has included the NY Daily News (above), UK's Daily Mail,

Huntington Post, Los Angeles Times, Marie Claire, Anna Dello Russo, and MSN (below)

Another Helen Rose creation that is similar, but different...

Elizabeth's onscreen wedding gown for Father of the Bride (1950)

Two other iconic Elizabeth Taylor-Helen Rose design collaborations--

Cat on a Hot Tin Roof (1958) and BUtterfield 8 (1960)

Turning the tables--Elizabeth doing Helen Rose's hair at MGM

around the time of her 1950 nuptials (video below)

Legacy of Elizabeth's wedding gown includes two other icons--Grace Kelly's Helen Rose in 1956

and Kate Middleton's Sarah Burton (for Alexander McQueen) in 2011

Wednesday, June 19, 2013

TCM Classic Film Festival 2013--Saturday with Jane Fonda and Cybill Shepherd at the Chinese Theater

Though my Friday night at the recent TCM Classic Film Festival was a late one due to my hosting A Foreign Affair (and then afterward toasting with champagne), I still knew I would have to rise and shine early Saturday morning. Each year of the festival, TCM has hosted a handprint ceremony at Grauman's (now TCL) Chinese Theater--Peter O'Toole and Kim Novak have been past honorees. This year was dedicated to Jane Fonda. Though often controversial, the woman has had an incredible career--both on and off camera--and an even bigger life. The daughter of legendary actor Henry Fonda, there is genius in her genes. She also inherited a strong work ethic and real dedication to her art. As an actress, she was so believable in a wide variety of parts. For example, within the span of one year, her roles ranged from the drama of The China Syndrome (1979) to the comedy of 9 to 5 (1980)...and both stories were equally timely. Her greatest performance was perhaps with On Golden Pond (1981), where she bought the screen rights to be able to act opposite her father. She ended up getting Henry Fonda the Oscar he always deserved.

My media credentials allowed me to be seated on the red carpet right in front of Jane as she signed the cement, and she was absolutely stunning. She could not have looked better. Jane is one of those people who practices what she preaches when it comes to health and fitness, and the result is perfect posture and a fantastic figure. Even the jaded paparazzi could not help but ooh and ahh over her through the ceremony. When they shouted how "great" she looked, it was clear they genuinely meant it. She exuded pure joy at being there, too, which was refreshing...several times acknowledging her father and how thrilled she was to have her handprints next to his at the iconic theater. TCM host Robert Osborne, Maria Shriver, and Lily Tomlin gave heartfelt tributes to their friend followed by Jane's son Troy Garity. More family and friends were lined up alongside the podium including brother Peter Fonda and stepmother Shirley Fonda as well as Eva Longoria, Rosanna Arquette, and Jim Carey. The photographers went nuts snapping pictures throughout the event.

The rest of Saturday afternoon--and much of Sunday, too--was spent at the movies and seeing some of the great guest talks at the Roosevelt Hotel. Historian Cari Beauchamp put on a wonderful presentation of her Women of Early Hollywood, which of course featured Mary Pickford, Frances Marion, and someone I know well, Marion Davies. Max von Sydow, star of my festival favorite Three Days of the Condor (1975), spoke with Leonard Maltin at length about his career with directors ranging from Ingmar Bergman to Woody Allen. Screenings at the festival included many of The Style Essentials here on GlamAmor such as Gilda (1946), It Happened One Night (1934), Bonnie and Clyde (1967), and Mildred Pierce (1945). I was fortunate enough to stand right next to that film's star, the ageless Ann Blyth, as she spoke with Robert on air about her life in and out of Hollywood.

Mildred Pierce was a movie I had to miss on the big screen as it was scheduled opposite the one I hosted Saturday night--Flying Down to Rio (1933). Rio was a popular choice with the festival audience because, though Dolores del Rio and Gene Raymond received top billing, this was the first movie Fred Astaire and Ginger Rogers starred in together. With everyone dancing in costume design by both Walter Plunkett and Irene, the film was such fun to introduce. TCM made things even more fun by pairing me with Cybill Shepherd in front of the appreciative crowd, and we talked about what impacted us most about Rio's style. She was positively charming and another reason that the theater was packed for the film. You can see our entire discussion in the video below.

A huge thank you to TCM once again for yet another incredible festival and offering me the opportunity to be a part of it all. I was so honored and thrilled to be there. Can't wait for 2014!