I always thought so. Since a good portion of my youth was spent in front of a TV set watching Busby Berkley and Astaire-Rogers flicks, it’s not surprising I created quite a few gowns along the lines you see here. And if you’ve checked out most designer bridal lately, the Astaire-Rogeresque glamour is allover the fashion radar.
The 1930s Glamour Era was an interesting one. For the first time in the history of couture, it was Hollywood setting fashion—not Paris. Yes, Paris back then was still the pinnacle of excellence in craftsmanship but suddenly the world looked to the movies for change and fashion inspiration. Why? Because Golden Hollywood attracted some of the most remarkable talent in the world—including costume designers--all huddled close, bouncing extraordinary ideas off one another. Add to that designing for story characters and they were free to utilize creative techniques complimentary to scene and storyline. For instance, a heroine was considered interesting if she lived in a penthouse; her character would demand an exquisite wardrobe. Thus, if in a particular scene she was throwing a real hissy fit, once she did the 180 turn to clinch the dramatic exit, she showed off a three-foot train and low draped V-back on her way out. A lot of this ranting went on in Astaire-Rogers films. Despite some flimsy plot lines though, Astaire-Rogers films were marked by innovative choreography and fashion that now belongs to the ages.
The famous white satin and ostrich, 'Feather Dress' from Top Hat, designed by Bernard Newman.
The 1930s Glamour Era was an interesting one. For the first time in the history of couture, it was Hollywood setting fashion—not Paris. Yes, Paris back then was still the pinnacle of excellence in craftsmanship but suddenly the world looked to the movies for change and fashion inspiration. Why? Because Golden Hollywood attracted some of the most remarkable talent in the world—including costume designers--all huddled close, bouncing extraordinary ideas off one another. Add to that designing for story characters and they were free to utilize creative techniques complimentary to scene and storyline. For instance, a heroine was considered interesting if she lived in a penthouse; her character would demand an exquisite wardrobe. Thus, if in a particular scene she was throwing a real hissy fit, once she did the 180 turn to clinch the dramatic exit, she showed off a three-foot train and low draped V-back on her way out. A lot of this ranting went on in Astaire-Rogers films. Despite some flimsy plot lines though, Astaire-Rogers films were marked by innovative choreography and fashion that now belongs to the ages.
The famous white satin and ostrich, 'Feather Dress' from Top Hat, designed by Bernard Newman.
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Watch the Video from Top Hat. Ginger in Bernard Newman's famous feather dress. http://www.youtube.com/watch?v=NWmK9Xl82CU
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Watch the Video from Top Hat. Ginger in Bernard Newman's famous feather dress. http://www.youtube.com/watch?v=NWmK9Xl82CU
The Gay Divorcee Video http://www.youtube.com/watch?v=-g3PDipYS5I&feature=related