This juicy fashion tidbit comes from the March 27, 1950 issue of Quick Magazine:
Hollywood designer Adrian, disregarding Pairs and N.Y., pronounced that there will be no drastic change in the daytime silhouette for the next 50 years, added that the death of the “New Look” proved that attempting to insinuate violent fashion changes in modern times is futile.
Adrian's Fashion Prediction, 1950
Adrian, costumer for Irving Berlin and Cecil B. DeMille productions as well as Valentino films, is said to have been “responsible for creating and refining the images of actresses such as Joan Crawford, Norma Shearer, Jean Harlow and his favorite, Greta Garbo” — but clearly he was off the mark with such sentiments & statements about the death of New Look fashions and “violent fashion changes” being futile in modern times.
From our lovely vantage point of having seen not only Adrian’s future but the very 50 years he spoke of become history, one cannot avoid questioning the story that is told of this designer… No matter how lovely his work was — and it was lovely, just look at the gowns in 1939’s The Women — you have to more critically look at the story here.
Adrian Gowns, The Women (1939)
The story goes that Adrian, frustrated by WWII’s smaller film budgets and shifting values, took up his own fashion design label & shop where he could more freely & grandly express himself & his glamour ideals. Adrian, Ltd. was born:
When Adrian decided to leave the world of costume design in 1941 and open Adrian Ltd, he could have had no knowledge of how perfect his timing would prove to be. With the Nazi invasion of Paris in 1940, all contact with the French fashion industry halted. As nearly all American designers based their designs on those originating from Paris, the absence of information from France created a fashion vacuum. American designers stepped up to the plate, and soon began to create fashions based on an idealized American lifestyle. These new fashions were often casual, practical and made of durable fabrics. Both New York and Los Angeles fought for the title of “America’s Fashion Capitol.” The February 19, 1941 title of a Los Angeles Times article declared, “East and West Struggle for Fashion Dictatorship,” and suggested that Los Angeles would win the battle, ultimately becoming “more powerful in its sway over the civilized world than Paris ever thought of being.”
Adrian debuted his first collection for buyers in January of 1942 at the May Company department store in Los Angeles. Buyers were not particularly excited about this initial collection, so Adrian held another show in February of the same year. This show was a great success and Adrian was soon selling his designs in department stores throughout the country.
But as we, with all due respect (because I do love Adrian’s work!), look at the context here: one clearly sees an aging fashion designer struggling with changing times and fashions.
On one hand, we must admire Adrian for taking a stand for glamour by saying, “It was because of Garbo that I left M-G-M. In her last picture they wanted to make her a sweater girl, a real American type. I said, ‘When the glamour ends for Garbo, it also ends for me. She has created a type. If you destroy that illusion, you destroy her.’ When Garbo walked out of the studio, glamour went with her, and so did I.”
On the other, we have to recognize that Harlow & Garbo, these were not the forms and fashions — nor even the female ideal — of the 1940s & beyond.
Refusing to change his views, his fashion statements, Adrian was able to exploit his status as a famous Hollywood costumer to a (wealthy) public hungry for fashion — and if they wouldn’t readily accept it, he could afford to hold on & push it with such little competition. But New Look fashions continued until, approximately, the mid 1960’s, years after Adrian’s death in 1959 — and there sure were violent fashion changes after that. Perhaps those statements by Adrian from the 1950 magazine clipping sound more desperate than simply catty now; they do to me.
If all this sounds cynical or unkind, I don’t mean it to be; I’m simply pointing out that fashion is both a commerce & an ideal, both of which sit within the context of culture at a specific time — and must change as the culture/times change. You can manipulate, you can create, you can even exploit conditions such as limited competition; but you cannot stubbornly refuse to change and still go on forever.