1903–1959 Adrian

[DosViolines]

Woman's Evening Dress, circa 1948
Costume/clothing principle attire/entire body, Peau de soie and silk crepe, Center back length: 61 in. (154.9 cm)

lacma.org

 

[DosViolines]

Woman's At-Home Dress, 'The Egg and I', 1947
Costume/clothing principle attire/entire body, Printed rayon crepe, a) Dress center back length: 57 in. (144.78 cm); b) Belt: 57 1/8 x 1 1/2 in. (145.1 x 3.81 cm)

lacma.org

 

[DosViolines]

Woman's Evening Dress, 'Patrician', 1947
Costume/clothing principle attire/entire body, Silk crepe georgette, crystal beads, sequins and rhinestones, Length from shoulder: 60 in. (152.4 cm)

lacma.org

 

[DosViolines]

Woman's Suit (Jacket and Skirt), circa 1949
Costume/clothing principle attire/lower body; Costume/clothing principle attire/upper body, Wool twill, a) Jacket center back length: 27 in. (68.6 cm); b) Skirt center back length: 33 in. (83.8 cm)

lacma.org

 

[DosViolines]

Woman's Cape with Hood, early 1950s
Costume/clothing outerwear, Compound twill wool, Center back length: 62 in. (157.48 cm)

lacma.org

 

[DosViolines]

Woman's Two-Piece Evening Dress, 1950-1955
Costume/clothing principle attire/lower body; Costume/clothing principle attire/upper body, Rayon crepe marocain, a) Dress center back length: 51 in. (129.5 cm); b) Cape center back length: 76 in. (193 cm)

lacma.org

 

[DosViolines]

Dress from the same collection as the one posted here.

Woman's Evening Gown, 1951
Costume/clothing principle attire/entire body, Silk chiné taffeta and silk organza patterned plain weave, Center back length: 50 in. (127 cm)

During the eighteenth century the silhouette of French dress skirts evolved into a wide horizontal profile. The understructure that achieved this shape was the panier (basket). Manifested at the beginning of the century as modest protrusions at the hip, the panier expanded to a width of six feet as the century progressed.

During the twentieth century, numerous designers were inspired by paniers. Gilbert Adrian used pleats and petticoats to create the effect, while Christian Lacroix chose textiles with body and substance. Thierry Mugler ingeniously allowed the stiffness of heavy cotton twill and tailoring to act as a structural device.

lacma.org

 

[DosViolines]

thefrock

 

[Girlfriend1]

*Please do not quote images*
doylenewyork

Zac Posen, Zac Posen, Zac Posen.

 

[DosViolines]

Adrian velvet hat, 1940s

This unique, softly sculptured velvet hat is an ingenious takeoff on the beret. Like a traditional beret, the top can be tilted and draped to suit the wearer. The top is a flat piece of self-lined velvet attached to a head band.

The headband adds a slight lift and definition to the crown, while holding the hat on the head. The front section is stiffened with black net. The hat was originally sold at the Julius Garfinckel store in Washington.

vintagetextile

 

[SomethingElse]

c. 1947.

operagloves.com

 

[DosViolines]

As a costume designer for MGM during Hollywood’s Golden Age, Gilbert Adrian (born Adolph Greenberg) dressed, among other stars of the studio, Katharine Hepburn, Joan Crawford, and Greta Garbo in some of their most famous roles. His dramatic ensembles were such an important element of a film that his involvement was announced in the opening credits. In 1942, parlaying his wide renown, Adrian established a fashion house that was an immediate success. His signature silhouette was characterized by wide, padded shoulders and a narrowed hipline. An Adrian design often incorporated a technique of elaborate piecing, especially with complicated mitering of stripes in graphic geometries.

With this gown, Adrian recalls his earlier Surrealist designs from the 1939 movie The Women, in which a fashion show features not only sumptuous haute-couture gowns but also a series of exaggeratedly fantastical designs that reference Elsa Schiaparelli’s collaborations with Salvador Dalí. The fabric used in this gown is most likely an example from a series of designs Dalí created for the American textile manufacturer Wesley Simpson. Adrian introduced a signature whimsy to the Surreal landscape of the print by inserting a shadowy profile at the gown’s left shoulder. He created this subtle jeux d’oeil with typical virtuosity through careful piecing—an especially difficult technique with slippery rayon crepe—rather than by the simpler process of appliqué.

Gilbert Adrian (American, 1903–1959). Print by Salvador Dalí (Spanish, 1904–1989). Dress, 1947. Light blue rayon crepe with pink, black, and gray printed Dalí motif and patches of polychrome printed rayon crepe appliqué. The Metropolitan Museum of Art, New York, Gift of Jones Apparel Group, USA, 2002 (2002.326.26a–c).

blog.mode

 

[DosViolines]

Two-piece Dress and Cape, ’Shades of Picasso’, 1944
Rayon crépe

Maeder, Edward. Salute to California: 50 Years of Fashion, 1930-1980. Los Angeles: Los Angeles County Museum of Art, 1980, p. 10, cat. no. 1

lacma.org

 

[DosViolines]

Woman’s Two-piece Suit, 1946-1948
Worsted wool twill

lacma.org

 

[DosViolines]

Gilbert Adrian (United States, 1903 - 1959) , Bullock's Department Stores
Woman's Evening Dress, 1947
Printed rayon crepe

lacma.org

 

[DosViolines]

Circa mid 1940's Adrian Original with draped cut-in-one sleeves, jewel collar neckline with tie and full circle skirt sewn at waistband and attached tie belt; fashioned of ivory silk printed on the front and back bodice with occupied red hen house and on skirt with finely feathered rooster in variegated sizes and positions in red, pink, black and green. All original artwork by Adrian. Known as "The Egg and I" print from his 1947 spring-summer collection and documented on page 153 in the book "Adrian" by Christian Esquevin.

Adrian was known for designing limited theme fashion collections such as Animals and Americana to name just a few. Approximately only 10 dresses were made in the Henhouse theme, which makes this quite rare.

marilynglass.com

See post #82

 

[DosViolines]

Circa mid 1940's Adrian Original with draped cut-in-one sleeves, jewel collar neckline and full circle skirt sewn at waistband; fashioned of alternating wide bands of ivory and black silk printed in black on the front bodice and around full skirt with 2 women holding hands surrounded by hens. Full black applique on back bodice. Gold sequins around heads of women. All original artwork by Adrian.

Adrian was known for designing limited theme fashion collections such as Animals and Americana to name just a few. This is an example of his Americana/Pennsylvania Dutch motif. Quite rare and very few were produced.

marilynglass.com

 

[lotusgreen]

that shades of picasso outfit is wonderful

 

[iluvjeisa]

I found this shot from an old Interview. Scanned by me.

 

[jexxica]

I just watched The women (1939).

mary hall pinterest

Joan Crawford in an unused Adrian gown for "The Women", 1939

Terezinha Guimaraes pinterest

my vintage hat shop pinterest

patricia pinterest

Norma Hanneken pinterest