"Coats by Adrian"

During the Golden Age of Hollywood, MGM costumer, Gilbert Adrian was one of THE greatest  fashion innovators, famed for the legendary day and evening wear he designed for the Studio's A-list stars.

Less flashy, but equally intricate and beautifully structured, were his softly tailored coats. Below, Norma Shearer, Robert Montgomery, Greta Garbo and Joan Crawford model some seldom seen  Adrian outerwear, just in time for the chilly season.




Robert Montgomery

Ah, the classic trench coat!  Worn by MGM's up and coming leading man, Robert Montgomery in the 1931 film "Private Lives". Robert was Norma Shearer's personal choice as co-star for the adaptation of Noel Coward's smash 1930 Broadway and London production. He wore it so well that Vanity Fair magazine featured this photo by Tony von Horn, one of the first female photographers at Conde Nast.

Vanity Fair-September, 1931

Robert Montgomery in MGM publicity still-1931

Norma Shearer

Classy, classic Norma Shearer ruled the MGM lot in the early 1930s.  The petite dynamo, who happened to be Mrs. Irving Thalberg, wore some snappy Adrian coats in movies such as Private Lives--adapted from Noel Coward's smash Broadway hit of 1930.

Greta Garbo:

A Woman of Affairs 1928, was a stylish film par excellence.  Greta Garbo was dressed in snappy, sporty looks, and, of course the famous "Green Hat", the title of the book from which the film was adapted.



Jacket, gloves, scarf and 'Green Hat'

Trench coat with plaid lapels from A Woman of Affairs--so chic, it could be worn today.

"A Woman of Affairs" 1928




Full length photo of plaid-lapel coat

The clip below shows Greta Garbo's sense of humor as well as detail of the coat.

Plaid lapels and buckled cuffs with scarf accent

With Dorothy Sebastian in "The Single Standard" 1929

With the advent of the 1930s, styles changed.  The dropped waists were gone and a softer, draped silhouette was in fashion.  For the ultra-stylish 1931 Inspiration, Adrian designed the coat below for Greta Garbo: belted with oversize sleeves, buttoned cuffs and a shawl collar.





Greta Garbo and Robert Montgomery-Inspiration, 1931

 Another view of Garbo's Inspiration coat, without the cap

Adrian's belted ensemble for Garbo from the time of Susan Lenox: Her Fall and Rise,1931, reflects the newer look without sacrificing the tailoring she loved.




Softest, draped tailoring for Garbo, 1931

Joan Crawford:

Adrian's muse, Joan Crawford, definitely got to wear the most interesting of his designs.  The double-breasted, belted wool trench modeled by Joan below, was photographed by Ruth Harriet Louise in 1929.




Photos by Ruth Harriet Louise-1929

The coat from "Possessed" is one of Adrian's most elegantly crafted.  Fabric was pulled through loops at the neck and waist to form what looked like bows. An asymmetrical 1930s hat topped off the amazing look.



"Possessed" 1931

Even the sleeves have the bow-like detail

In "Chained" 1934, a frizzy haired Joan got to wear a rarely seen white wool coat which is so brilliantly cut and sewn, it dazzles this jaded writer and designer. 

Special Guest Star:  Kay Francis

Seldom seen in MGM productions, lovely Kay Francis (below with Charles Bickford) adorned 1930's Passion Flower wearing a knockout Adrian wardrobe, including this classic wool trench.

The amazing thing about Adrian's designs above, was their timeless quality.  Any and all of them could be worn today and considered up to the minute.  That is the mark of true style.

Definitely Crème de la Crème!

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Jewison's Jewel: The Thomas Crown Affair

 

In 1968 Canadian film maker Norman Jewison produced and directed a rare gem of a movie. He used revolutionary film editing techniques in the form of split-screen images, which had been introduced at Expo '67 in Montreal. 

 

The score was written by Michel Legrand, and including "Windmills of Your Mind" which would win an Oscar for Best Original Song.

 

Steve McQueen was dressed in bespoke Savile Row suits; Faye Dunaway by the Oscar nominated Theadora Van Runkle, who had created a sensation with "Bonnie and Clyde".

 

 

 

Splitting the Screen:





Stunning Poster in Greek

Bored millionaire Thomas Crown plans a bank heist that has all the markings of "the perfect crime".  None of the participants know each other and none have met Crown. Crown doesn't need the money; it is just a game to him.

 

 

 

 

Vicki Anderson Investigates:

Stylish and sharp as a tack Independent Investigator Vicki Anderson (Faye Dunaway) is called in to help the police--specifically, Detective Eddie Malone (Paul Burke).

 

 

 

 

Costumer for Faye Dunaway, Thea Van Runkle, dressed Vicki Anderson in a series of softly-tailored, flirty length, feminine and sexy suits.

 

It doesn't take long for Vicki to suspect Thomas Crown as the mastermind in the heist. Now she must prove it.

 

The Polo Match:

Vicki attends one of Thomas Crown's polo games, to photograph him in action.  He notices the chic blonde in the red Ferrari--a car he will see again.



 

 

 

 

 

 

 

 

  

 

 

The Art Auction:

 

 

Crown approaches Vicki at an elegant Art Auction and questions her. He queries, "Whose head are you after?"  She  replies, "Yours."

 

 

 

 

  

 

 

Evening on the Pier:

 

 

The pair have a dinner date on the Pier.  Thea Van Runkle's original sketch for Faye Dunaway's outfit is below.

 





 

 

 

 

 

 

 

 

 

 

The Chess Date:

The next scene is cinematic legend.  Thomas invites Vicki to his home for a game of Chess. Their attraction is heightened and culminates in one of the most amazing screen kisses ever.

 

Below, a short video clip of the screen kiss, so expertly filmed that it still dazzles the senses.

 



Van Runkle's dress for Faye Dunaway in this scene, is one of the highlights of the movie. With a demure, side-buttoned coat over top, the mini dress is a backless halter of taupe chiffon and a long tie decorated with a cameo brooch.



Dune Buggying at the Beach:

 

Crown and Vicki spend time at the beach, where he is building a house. They tear around in a Dune Buggy--a beautiful couple, having a wonderful time.



Eddie Malone:

 

Eddie Malone, played nicely by Paul Burke, does not approve of Vicki's method of entrapment. He warns her that she is in way over her head. 



 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

These scenes gave Ms. Van Runkle a chance to garb Dunaway in still more fabulous suits. The designs are so  smart and classic they still do not appear dated--forty-six years later.  

 

 

 

 

Beacon Hill Lovers:

 

 

 

Vicki and Thomas are falling in love.  In the stills below, they kiss atop Boston's famed, historic Beacon Hill.  Faye's casual, long colour-blocked gown could be worn today.  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 In Thomas Crown's private sauna, Vicki learns that there will be another heist.  Their game of cat and mouse is almost at an end.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Back to the Beach: 

 

 

Crème de la Crème never reveals endings, even if they are common knowledge.  Thomas and Vicki spend some more alone time at the beach, but there is a foreboding.  

 

 

 

 

 

Vicki must decide between Thomas and her job. Why is it always the female protagonist who must do this?

 

 

This is one movie I never tire of.  It is sassy, stylish and clever. Truly a feather in the cap of everyone involved in its making, but especially Norman Jewison.

 

 

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