A DRESS FOR DIANA
Here’s something to add to your Christmas list. For any bride who is a fan of Princess Di or want’s a closer look at the making of her dress, A Dress for Diana is a real gift. Written by her designers, David and Elizabeth Emanuel, we can tour through that spring and summer of 1981 when the world waited for shy Di to emerge from a gilded carriage to become a real live princess.
The day Diana did emerge from that carriage swathed in tulle and taffeta, her storybook gown opened up so many new possibilities. Suddenly bridal designers and manufacturers could innovate and even break a few rules. Overnight Diana with the help of the Emanuels eclipsed the granny gown and cookie cutter bridal uniforms of the time.
David Emanuel’s first book, Style for All Seasons came out in 1983 after the wedding when the husband-wife design duo from Great Britain were the hottest thing to hit the fashion scene. Style for All Seasons showcased the work of these magnificent design talents that the world wanted to see more of. Pre Steam Punk, the Emanuels' gowns were a little bit Belle Epoch, a little bit Boho and certainly a welcome change after so many years of 1970's funk.
Courtesy of CBS NEWS
Courtesy of CBS NEWSOne look at the Emanuel's most recent release A Dress for Diana and with the click of a mouse this book was on its way from Amazon . . . I was not disappointed once I read it front to cover in one sitting. It isn't one of those tell all books. I'm a bridal designer so I wasn't all that much interested in reading about Di's lovers or the Emanuel's eventual split. No, this is a book about the design process and that special designer-client relationship. What I loved most was its colorful and visual timeline from concept to creation of Diana’s gown. It was like stepping into a time tunnel and being let in on one of the best kept secrets of the century with David and Elizabeth guiding me/us through their Brook Street atelier. There are many sketches and variations on the dress Diana finally chose; photos of the dress as a work in progress, even the flower girls weeks before the wedding. The fabric was custom woven and the designers were firm about wanting a one-of-a-kind weave that wouldn't be duplicated. The most inspiring thing about the book is the way the designers not only created a dress but a whole look for the wedding party to coordinate with the scale of this grand celebration. I really recommend this book . . . a lovely gift for sure.
Happy (belated) Thanksgiving!
Hope everyone had an awesome Thanksgiving! We sure did!
There is so much to be Thankful for: family, friends, good health, chocolate.. my husband and puppy! ohh and coffee! :o)
There is so much to be Thankful for: family, friends, good health, chocolate.. my husband and puppy! ohh and coffee! :o)
CONTEMPORARY GLAMOUR
Wrapping up glamour week I’ve saved the best for last. Feast if you will on pieces of this delicious eye candy from a few modern designers. Using the inspiration of Hollywood and bits of costume glamour, satins, crepes and charmeuse are just a few fabrics used to support those special touches like dramatic sweeps of train, floral necklines and metallic trims.
SALUTE TO ADRIAN: THE KING OF HOLLYWOOD GLAMOUR
When Hollywood designers are mentioned two stand head and shoulders above all others: Adrian and Edith Head. Head of course had flair and that remarkable staying power. In a highly competitive arena, she outlasted just about every designer for two generations in Hollywood(or was it 3?). Then there was Adrian. He just had magnificent talent. Born Adrian Adolph Greenberg, he was head of costume at MGM from 1928-1942 in a time that would mark his fourteen-year reign one of the most innovative in Hollywood. His inventive, often shocking designs are still state-of-the art today and evoke glamour always. He dressed Jean Harlow, Joan Crawford and Norma Shearer and was instrumental in helping make them beautiful for the camera, so they would eventually go on to become icons. He borrowed from everywhere and everything using his free reign as a costumer to flow over into fashion. Seventh Avenue had particular interest in Joan Crawford’s screen wardrobe and the MGM publicity machine made sure pieces from her 'movie wardrobe' were in stores in time for the release of her pictures. Adrian’s famous Letty Lynton dress you see here in white organdy is an example; Macy’s in New York sold half a million copies of it (not bad for 1933 when most of the world was feeling hard hit by economic depression).
Joan Crawford in Letty Lynton 1932
Joan Crawford in Letty Lynton
Joan Crawford in Letty Lynton
Adrian also had a unique flair for hats and exotic headpieces. Above is a jeweled turban that would go on to become a late thirties-forties trend in fashion. The net bow below would make a dynamite bridal headpiece in any era. 
Joan Crawford in When Ladies Meet 1941
Joan Crawford in When Ladies Meet 1941
Though the pieces directly above and below would still be considered radical even these days, they are great examples of Adrian's inventiveness as a designer. Check out the hooded crepe veil below incorporating veil and dress all in one.
Joan Crawford in When Ladies Meet 1941
Joan Crawford in When Ladies Meet 1941
Adrian and the public saw Crawford as a fashion plate despite her rather wonky body for showing off clothes. If you look at her in swimsuit photos, her legs are stumpy and short and she has ultra-broad shoulders and a long, thick waist. A real designer's challenge, Adrian helped Crawford become the most fashionable woman in Hollywood, surprisingly not by covering all her flaws but accenting them. The Letty Lynton dress with big, puffy shoulders is a case in point. So is the dress below from Dancing Lady. Later, Adrian went on to design the man-tailored suits with broad shoulders known today as 'The Crawford Look'.
Joan Crawford in Dancing Lady 1933
Jean Harlow was gorgeous. The first to go platinum and braless, Adrian accentuated her hair and breasts by dressing her in clingy, slinky, bias-cut satins that, in those days, resembled sexy nightgowns. Adrian also played up these body-hugging, boudoir chic silhouettes by sometimes adding feathers and fur.
Jean Harlow
Joan Crawford in Dancing Lady 1933
Jean Harlow was gorgeous. The first to go platinum and braless, Adrian accentuated her hair and breasts by dressing her in clingy, slinky, bias-cut satins that, in those days, resembled sexy nightgowns. Adrian also played up these body-hugging, boudoir chic silhouettes by sometimes adding feathers and fur.
Jean HarlowLook at the magnificent bias-cut beauty above. Wouldn't it rock as a gown for an evening or beach wedding?
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