FIDM Museum Blog

Howard Greer

Today's post on Howard Greer was written by costume historian Shelly Foote. From 1994-2004, Shelly worked with the Costume Collection at The National Museum of American History as the Assistant Chair in the Division of Social History. Retired since 2004, Shelly is closely involved with the Costume Society of America and is also researching a book on Howard Greer. As part of this process, Shelly has examined and researched Howard Greer garments in the FIDM Museum collection. In this post, Shelly shares some of her findings on the work of Howard Greer.

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HOWARD GREER

Howard Greer (1896-1974), born in Illinois and raised in Nebraska, was fascinated by the world of fashion and theater as a young man. So, after college, he pursued and obtained a position with Lucile (Lady Duff Gordon), first at her establishment in Chicago and then in New York. After his military service in World War I he asked to be mustered out in Paris – where he reconnected with Lucile.

He returned to New York in 1921. After designing a few garments for the theater, he was offered a job in Hollywood with Famous Players-Lasky (later Paramount). He designed for many films which featured the silent movie star, Pola Negri. Unfortunately, many of these movies have been lost. In 1925 he was made head of the wardrobe department.

In 1927 Greer opened a couture salon in Hollywood patterned after the House of Lucile, both in how the salon looked and how the garments were made. Patronized by Hollywood movie stars, his collections were featured in movie and fashion magazines and Women's Wear Daily. Garments were rumored to take weeks to produce, required frequent fittings and were notoriously expensive.¹ Garments made by Greer incorporated fine quality fabrics and were beautifully finished.

Greer continued to design for the movies on a freelance basis, most famously for Mary Pickford in Coquette (1929) and Katharine Hepburn in Bringing Up Baby (1938).

Greer and Travis Banton, who had also worked at Paramount, formed a short-lived partnership in 1938. FIDM Museum owns the only known existing garment from this partnership - a heavily embroidered and beaded jacket worn by Marlene Dietrich.

Evening Jacket worn by Marlene Dietrich
Travis Banton/Howard Greer
c. 1936
Department of Recreation and Parks, City of Los Angeles, FIDM Museum
INV. 1137

Moschino Cheap and Chic

By the time Franco Moschino (1950-1994) introduced his "Cheap and Chic" line in 1988, he had already earned a reputation as the irreverent "court jester" of the fashion world. From the time he debuted his first "Couture!" collection in 1983, Moschino treated fashion as an absurdist playground. Models were sent down the runway with candy-box tops instead of hats, wearing dresses patterned with faux tire tracks or dressed in giant Moschino shopping bags instead of garments. Tailored suits featured quirky details such as a collar made of teddy bears or pockets resembling miniature purses. "Stop the Fashion System" was a favorite catch-phrase, used in Moschino ad campaigns and as a logo on garments. Moschino considered being a fashion designer "a superficial, stupid job," stating that he was more interested in the "social-psychological aspect" of fashion.¹

Cheap and Chic sweater
Franco Moschino
1992-1994
FIDM Museum Purchase
2005.5.26

Presentations abroad!

As mentioned in this post, FIDM Museum staff are constantly engaged in collection oriented research. Currently, Christina Johnson (Collections Manager) and Kevin Jones (Curator) are at the Fashion & Materiality symposium hosted by the Centre for Fashion Studies at Stockholm University in Stockholm, Sweden. Click on the link above for more information on the conference and the other presenters. Today's post consists of their respective presentation abstracts and images. Enjoy!

“In my case the face was created.”¹ Fashion and Identity in the Life of Marlene Dietrich

by Christina Johnson

Marlene Dietrich was married to the same man for over fifty years. She did not gain notoriety in Hollywood until age thirty. She was a mother and grandmother. She was self-conscious to the point of obsession regarding her perceived bodily imperfections. She was a recluse for the last ten years of her life. She longed to be accepted, admired, and loved. These personal facts are in direct opposition to Dietrich’s public identity. She was a bisexual siren with multiple lovers. She was a self-assured woman who took pride in showcasing a “perfect” body, eternally youthful and beautiful. She basked in the admiration and awe bestowed upon her from legions of fans and friends. A glamorous public identity was materialized by Marlene Dietrich through her appearance.

This paper will study fashion and identity in the life of Marlene Dietrich focusing on a rare group of her garments and accessories from the FIDM Museum in Los Angeles. This significant collection is comprised of over fifty personal wardrobe and movie costume ensembles in addition to twenty pairs of custom shoes donated by Dietrich to a now-defunct museum from 1964 to 1966 before arriving at the FIDM Museum in 1990. These pieces date from her early career in Berlin, her Hollywood years, USO tours, and stage performances.

Snapshot of Marlene Dietrich during her USO tour
1944-45
Museum Purchase

Marlene Dietrich purchased this paisley gown in Los Angeles in the early 1940s and wore it frequently, as evidenced by the many extant photographs. During her 1944-45 USO tour, she was photographed wearing the gown onstage, as seen in the snapshot above. Dietrich also wore the gown in the 1948 film, A Foreign Affair. The image below shows how this illustrious gown is stored at the FIDM Museum.

Gown worn by Marlene Dietrich
Irene
c. 1941
Department of Recreation and Parks, City of Los Angeles, FIDM Museum
INV. 3633

This embellished jacket was part of Dietrich's personal wardrobe.

Evening Jacket worn by Marlene Dietrich
Travis Banton/Howard Greer
c. 1936
Department of Recreation and Parks, City of Los Angeles, FIDM Museum
INV. 1137

Detail of INV. 1137

Hollywood Scandal! : Edith Head and Celanese “Star in Crepe”
by Kevin Jones

This is a convoluted story of eleven dresses in the FIDM Museum’s Hollywood Costume Collection. The collection came as a loan to FIDM in 1990 from the City of Los Angeles, California, after being stored in an abandoned city jail for more than twenty years. Many of the garments have been exhibited around the world as authentic; half of these gowns, though, are spurious. While dressing the costumes for an exhibition, it was noticed that some of them did not look as they appeared in publicity stills. Were these the same garments? Had they been altered? A detailed analysis of the gowns ensued. The gowns’ provenance, though, proved to be the thriller of this drama.

In 1960, the rayon manufacturer Celanese teamed with Paramount Pictures costume designer Edith Head to launch a new material called “Star in Crepe” by showcasing eleven original “Golden Era” crepe gowns in fashion shows in the United States, with contemporary interpretations of the garments to inspire consumers to purchase the new material so they too could dress like a star. The first fashion show was held at The Plaza Hotel in New York. Thereafter, identical copies of the gowns and their interpretations were worn in fashion shows around the country. Later, the costumes were donated to Hollywood Museum Associates, an organization planning a museum of Los Angeles movie history. The copy gowns were donated to various other institutions. By 1968, Hollywood Museum Associates was defunct, bailed out of debt by the City of Los Angeles who twenty years later loaned the eleven gowns to the FIDM Museum.

Which famous dresses are these? Who were the movie queens wearing such beautiful creations? Have any of the original dresses survived? Stay tuned for the ending to this most dramatic Hollywood Scandal!

Sketch of the gown worn by Greta Garbo in the film Inspiration

Gilbert Adrian design for Greta Garbo in Inspiration, 1931
Modern Screen Magazine, March 1931
Image courtesy of Richard Atkins
FIDM Museum

Actual gown worn by Greta Garbo in Inspiration

Gilbert Adrian for Greta Garbo in Inspiration, 1931
Silk velvet and rhinestones
Image courtesy of the Drexel University Historic Costume Collection, PA
Gift of Mrs. Thomas E. Burns Jr., 76-1-1ab
Photography by Dave Gehosky
Image courtesy of the Drexel Digital Museum Project , http://digimuse.cis.drexel.edu

Fake version of the gown worn by Greta Garbo in Inspiration, created in 1961.

Fake by Edith Head for Celanese Corp., 1961
Representing Greta Garbo in "Inspiration," 1931
Department of Recreation and Parks, City of Los Angeles, FIDM Museum

Image of model wearing fake Inspiration gown in 1961 fashion show.

Fake gown by Edith Head for Celanese Corp., 1961
Representing Greta Garbo in Inspiration, 1931
Model wearing the costume for a Celanese Fashion Show, 1962
Department of Recreation and Parks, City of Los Angeles, FIDM Museum

1 Dietrich, Marlene. Marlene. trans. Salvatore Attanasio. New York: Grove Press, 1989.

Robe de style

Today’s featured Study Collection ensemble highlights a type of dress most often associated with the Parisian designer Jeanne Lanvin (1867-1946). Called a robe de style, the upper portion of the dress is slim and close-fitting, while the skirt is full and rather long. The fullness in the skirt is a result of built-in panniers at each hip. These built-in wire structures, shaped like small baskets, extend the line of the dress horizontally, emphasizing the hips. This look hearkens back to the 18th century, when panniers were worn on a regular basis by European and American women. This historic reference was noted by American fashion writers who often referred to the robe de style as a “quaint” or “period style” dress.

Robe de style
c.1923
Gift of Ms. Sandra Coleman
S2005.851.1