Fashion & Film, Part II
Twenty seven club is a new podcast about famous musicians who died prematurely. In sometimes mysteriously at the age of twenty seven. This podcast is hosted by me. Jake Brennan Creator and host of the hit music and true crime. Podcast disgrace that season one features twelve episodes in the life and Death Jimi Hendrix? The Twenty Seven Club contains adult content and explicit language. You can listen to the twenty seven club on the iheartradio APP apple podcasts. Every PODCAST WATCH OUT FOR YEARS. Trust the history of fashion production of iheartradio and Ooh over seven billion people in the world. We all have one thing in common every day. We all get dressed weapon to trust the history of fashion a podcast. We explore the WHO. What when of why we wear. We are fashion historians and your host April Callaghan and Cassidy Sacree. Welcome dress listeners. To part two of our series on the history of fashion and film we found this topic particularly fitting for the launch of season. Three it because of course we are currently in the midst of international fashion week. Yes and last week. We talked about the origins of the semi-chaotic relationship between fashion and Hollywood film. But we only got into the nineteen thirties so today. We're moving out of the thirties and into the nineteen forties. Which of course takes US straight into World War Two and on the show? We've talked a lot about fashion and war as it relates to Europe during World War One and World War Two but less so about the relationship fashion and war in America and it's actually incredibly fascinating because throughout the nineteen thirties. America's changing perception of their homegrown talent was reflected in Ariz- leading fashion magazines. Such as Vogue and Harper's bazaar at both of those magazines began to feature American fashion designers more and more throughout the decade. Elizabeth Haase reflected on this transitory period in American fashion in her book. Fashion is spinach which was published in nineteen thirty eight and in it. She writes quote in the late twenties ninety percent of the drawings and photographs. Where the work? A prison couturiers and. She's talking about Vogue and Harper's bazaar and then she says many pages and both magazines are now devoted to close created in America for American Life. The outbreak of World War Two and nineteen thirty nine mark significant shift in the fate of American designers who having continued to operate in the shadow of Paris throughout the nineteen thirties. Were suddenly left to stand all on their own and during the German occupation of Paris from June nineteen forty to August nineteen forty four. Many of the leading French couture houses were forced to close and those that did remain open did so under severely limited operations and some pretty severe restrictions as well right and for those of our listeners. Who might not have heard? April actually did a fantastic interview on stuff. You Mr History class which we featured a couple months ago so check it out if you want to learn more about fashion world war two so for the French fashion industry. This meant that communication with America during World War Two. It meant that one of their most important export markets was almost entirely broken and in one thousand nine hundred one after American designers and manufacturers presented promising fall and spring collections New York Times fashion journalist Virginia Pope well. She declared Murck City to be the fashion center of the world and AIRCON designers may have come into their own during the war but they did so under restriction and regulation beginning in nineteen forty two American fashion designers had to grapple with restrictions imposed by regulation l eighty five which were government imposed sanctions at severely limited. Just what designers could and could not produce the purpose of l. eighty-five was to conserve materials. Needed for the war effort and this included fabrics such as silk cotton wool. Leather Rubber Nylon. So you know pretty much. Every material that you need to make clothing and footwear and the regulations thus restricted just. How much material could be used in the making of new garments so we had campaign such as make-do-and-mend which encouraged people to avoid shopping altogether by mending their old clothes. Something we of course support very much today. L. eighty-five essentially challenge the very nature of the fashion industry itself. As we all know depends on the production of new seasonal clothing styles to stimulate consumerism and as we establish last episode Hollywood films while they were actively complacent and encouraging fashion consumption throughout the nineteen thirties and costume designers like their fashion designer. Counterparts were not exempt from L. Eighty five regulations during the war in an eighteen. Forty four article in the New York Times renowned Hollywood costume designer. Edith head called L. Eighty five quote. The greatest boone ever came to fashion designers in Hollywood so it would appear casts that in the nineteen forties costume designers still considered themselves as fashion designers. And she goes on to say about eighty-five quote. It vanished super luxury and brought us all down to Earth. Today we create sensible styles for women the kind that they can actually wear and she goes on to say how. Well I remember the day when we would swirl Fox skins around the hem of a secretary address or wipe satin uniform on a trained nurse. Now we hold to stark realism and by this time had been the head designer at paramount. For seven years she had taken over for her predecessor. Travis Banton in nineteen thirty seven and head like baton began her career in film working with Howard greer in the nineteen twenties as a costume illustrator before climbing the ranks and indeed head is certainly one of the most prolific and fame designers from the Hollywood golden age. Numerous books have been written about this prolific designer who April has eight Academy Awards for best costume design and wait for it. She has four hundred and forty four credits. On that's intense. She worked for almost sixty years in the film industry so she had an incredible career her first credit it dates to nineteen twenty five and her last film is dead. Men Don't wear plaid with Steve Martin. That released after her death in nineteen eighty two so she died in one thousand nine hundred. One at the age of eighty. Three head is quoted and Margaret Bailey's nineteen eighty-two book those Glorious Glamour Years as saying quote. I do not consider a motion picture costume designer necessarily a fashion creator because we do the script tells us to if we do a period piece then we recreate fashion. That was done before. And if we have a character role we do character close. It is only by the accident of a script that calls for fashion an actress that can wear fashion that some of the beautiful clothes will emerge. I don't consider myself a designer in the sense of fashion designer. I am a motion picture costume designer. So just how did head go from identifying as a fashion designer in Hollywood and the nineteen forties to firmly distinguishing herself as a costume designer by the end of her career? I love this answer. You pro because it actually lies with the advent of yours new-look which is a little unexpected as many of us know nineteen forty seven witnessed this dramatic and sudden change in fashion. Thanks to the unprecedented success of Christiane Yours Premier collection and he introduced dresses with nipped in ways. Those padded hips and full long skirts and they stood in direct contrast to the war regulated fashions of years prior which is why so many people loved them. Unfortunately for the many films released the year that this change took place. The costumes were immediately glaringly out of fashion again. Dino Dior's new look was significant reminder. That though film cost you may be perceived and interpreted as fashion it will never be able to truly contend with the whims and follies of contemporary trends. And Edith. Had designed costumes for eleven films that were released in nineteen forty seven so to say that she was affected is a bit of an understatement. Here and looking on this period for the book. Edith head's Hollywood edith reflected quote. I learned my lesson. The hard way just offered Dior brought out the new look every film I had done in the past few months. Looked like something from the bread lines with each screening. I vowed that I would never get caught by fashion trend again and became a confirmed fence sitter. Although despite her weariness of fashion trends did not keep her designs from apparently sparking them as was the case with address she designed for Elizabeth Taylor and a place in the sun which was a nineteen fifty film in a nineteen seventy-eight article for the American Film Journal. Edith wrote my dress for Elizabeth Taylor and a place in the sun was taken up by manufacturer of debutante Party dresses. Someone at paramount wants counted at a party thirty seven Elizabeth Taylor's dancing. All studio designers have created something that influences fashion. But a good costume designer. Shouldn't try to influence style though. Naturally he hopes to hit upon something that many people will like but fashion is a pretty powerful force cast and high fashion was going to make it into the film's Edith designed whether she liked it or not. Marin that after brief sponsor break. Hey guys. It's bobby bones host Bobby Jones show and I'm pretty much all sleep because I wake up with three o'clock in the morning a couple hours later. I get all my friends together. We get into a room and we do a radio show share our lives. We tell our stories. We try to find as much good in the world they possibly can and we look through the news of the day that you'll care about also your favorite country. Artists are always stopping by the hang out and share their lives and music to wake up with a bunch of my friends on ninety eight point. Seven W. MC Q. in Washington DC. Or wherever the rotates you on the iheartradio APP welcome back if our listeners have not yet guest at Edith had to contend with high fashion. Thanks to the relationship forged between two fashions greatest luminaries the Correa Uber. Dj Bond. She an actress. Audrey Hepburn this partnership between this legendary duo created some of the most memorable an iconic of all Hollywood fashion history moments. He might remember from our season one episode on Yvonne she that he and Audrey really formed this special lifelong friendship after they met in the nineteen fifties. And it's really one of those special bonds one of the most special bonds. I would argue in the history of fashion and film and one of the most important because it existed on and off the screen. She of course designed Audrey costumes for seven films including Sabrina. Funny face and of course breakfast at Tiffany's but while she she might have dressed audrey and her most iconic roles of her career the costume designer of all three of the paramount produced films. You just mentioned cast was actually credited. As being edith head and Jeeva she may have brought the cachet and high glamour of Paris couture to the films but it was head as the costume designer. Who's responsible for translating many of these designs to the screen and she also had the responsibility of creating audrey less. Glamorous looks as well as those of the supporting cast you know kind of creating the overall look of the film and and despite her quote unquote on the fence. Status Edith is responsible for some fabulous creations herself. The film funny face is a particular interest for this episode topic. Because it was. The film itself was about fashion photographer. Dick Avery who was played by Fred Astaire and based on the famed fashion photographer Richard Avedon on an as well the plot goes on to detail the discovery and making a fashion model Joe Stockton. Who was played by? Hepburn and there are so many wonderful fashion moments in this film of. You have not seen it. You definitely want to check it out including guest appearances by fashion models to vima and Suzy Parker who appear in this number. Think pink which you can find on YouTube It's saying by fashion magazine Editor Maggie Prescott. Who's played by Kay Thompson? Who DECLARES BANISH? The black burn the blue and bury the Beige. From now on girls. Think pink before the song. It's really fun but as Audrey was not present in the scene Edith head Notch Yvonne. She who is responsible for designing the looks for the lead and supporting cast which includes everything from pink bathing suits to pink ball gowns youtube. Like I said this immediately will not be disappointed of course Jeevan. She was just one of many Oak Qataris who have worked in Hollywood In part one of the series we mentioned the work of Lucille imply and there were many many more so many in fact that film costume expert. Christopher laverty dedicated an entire book to the subject entitled Fashion in Film and he also has a fabulous blog which is closed on film Dot Com. You guys can pop over there and check that out. And of course in Nineteen thirty-one Coco. Chanel was lured to Hollywood by Sam Goldwyn of MGM with a million dollar contracts. Yeah and that's in nineteen thirty one dollars only to find out that Hollywood costume design was not really her thing. She did work on three films before leaving California Palmy days and tonight or never which are both from nineteen thirty one and also the nineteen thirty two film. The Greeks had a word for them. I think it's tonight or never. But she had a problem with Gloria Swanson because Swanson wasn't thin enough for her and Swanson insisted on wearing a girdle to slim fit. I mean this is the thirty talking bias. Cut like you know slim as you can possibly be but apparently Gloria was pregnant at that time and nobody knew about it but needless to say the two did not get along. Alyssa's caporale designed the costumes for Mae West in the nineteen. Thirty seven film. Everyday is a holiday as well. As a British Stars Margaret Lockwood and Anna Neagle in the nineteen thirty six films the beloved vagabond and limelight respectively and much later. She designed the costumes for the sultry. Siren ZSA GABOR. When she plays a role in the nineteen fifty two film. Milan Rouge which I actually have not seen yet. So I definitely have to check that out. I WANNA see that too. Yeah it looks pretty amazing. And her designs for For are not exactly historically accurate. But they are beautiful. There's one cherry red dress in particular that looks like it. Walk Straight out of a one thousand nine hundred eighty two fashion magazine. You know it kind of has that fifty silhouette and clings to Joshua's torso and it scopes around. Her breasts cinches her already tiny frame before curving around her padded hips to extend to the floor. So pretty amazing. Yeah all the makings of yours. New Look but made uniquely Schiaparelli by the addition of a huge floral. Bow On one shoulder and upper length gloves. Both in her signature shocking. Pink and the film's Costumes won an academy award for the Costume Designer Marcel Tests. Who was also responsible for the film's production design and a fun fact here Victoria had previously collaborated with SCAP on numerous occasions designing whimsical ads and bottles for her various perfumes. Another little tidbit Mae. West's famous. Hourglass silhouette is rumored to have been the inspiration behind that body shaped perfume. Bottle that she used for her set shocking and Christian Dior of course also had a profound influence on Hollywood's leading ladies dressing the likes of Marilyn Monroe Ingrid Bergman. Liz Taylor Grace Kelly Marlene Dietrich. According to Dior Dot Com for Alfred Hitchcock's nineteen fifty thriller. Stagefright Marlena actually had your specifically written into her contract and is rumored to have said of the film's producer no Dr No dietrich. I love that. Can we have that fit into our contracts I know? Dr We go under designed gowns for Myrna Loy and the nineteen fifty-six ambassador's daughter and Ava Gardner in the little hut the latter film was actually released in Nineteen fifty seven which sadly was the same year of yours. Untimely death and while legions of Hollywood costume designers were not by definition oak tree. As the costumes. A producer for film paralleled haute couture standards in many ways during the Hollywood golden age costumes for all the film's leading ladies were produced in house and the studios large costume departments much like a couture garment. These costumes were custom-made for them. Designed down to the most meticulous tiny little details and unrealized by skilled technicians. Sometimes taking hundreds of hours to create an article written for good housekeeping in nineteen fifty. Nine Edith head writes about. How a single fitting with Marlene Dietrich or Audrey Hepburn could take as long as ten hours and you know. These women were very intensely. Committed to working with head to get their their costumes. Just right and boy have times changed. Because for instance when I design today for a film or TV show that's set in the present day I shop as do most of our contemporaries. We just go out and buy it at the store or online occasionally you build but now that is really the exception not the rule if you think of TV shows like sex in the city the ladies definitely wore some custom pieces but I would wager that. The majority were purchased or on loan from fashion houses but that does not in any way diminish. Hatfield genius as a costume designer. I actually think it exemplifies it because she you can tell she put so much care into building each of these women's distinct characters building it around the clothing they wore and the same can be said of course for her work in the Devil Wears Prada so just. How did we go for made to order costumes? Being the standard in design to the dominance of ready to wear like we have today. The answer is fashion and the changing fashion industry listeners. You might remember. From past episodes at the nineteen sixties saw the rise of ready to wear and that ultimately replaced haute couture as the progenitor of high fashion by the Nineteen Seventy S. Well it's no coincidence that the decline of the haute couture industry was also a parallel by that of the Hollywood Studio System. Which by the end of the nineteen sixties was all but gone time. We're changing right. And the decline of the Hollywood studio system can be traced all the way back to nineteen forty eight when the verdict was handed down in what became known as the Hollywood Anti Trust case so this was a case between the United States government and paramount pictures and the Supreme Court actually ruled in favor of the United States government and they handed out a ruling that essentially made vertical integration. Which we talked about in part one you may remember him at the studio's really controlled everything about a film from its stars and crude to its production and distribution so they owned movie theaters all across the country and that became illegal and effectively marked the beginning of the end of the Hollywood studio system. The nineteen sixties brought a new emphasis on store-bought clothing and this coupled with the breakdown of the studio system and decreasing film budgets made the extensive caution departments of the various studios. And thus the legions of on-staff costumers assistance DRAPER'S SPECIALTY TECHNICIANS. You know these roles are becoming increasingly obsolete. Many in-studio departments shut down entirely and with future of fashion and film design in ready to wear garments custom-made wardrobes were largely left a period films. And it is. Thanks to this seismic shift that we have the institutionalization of the freelance costume designer and crew. So while the big studios has had occasionally worked with freelance designers in the past beginning in the nineteen sixties more and more serious began to contract in costume designers and their entire departments on a show by show basis rather than having them all on staff. So this is still hell film and TV. Production is structured to this day. All the production crew on any given show are essentially independent contractors although most of us are part of guilds or unions The number of independent contractors in the sixties is paralleled by the rise of independent films. Which are films that are not connected to a studio so while these films operated on much smaller budgets they also had this unbridled freedom that never would have been allowed during the hays code days of Hollywood studio controlled Golden Age and Hayes Code was essentially a set of rules regulated filmmaking from the nineteen thirties all the way up until nineteen sixty eight when they were officially abandoned and these are the rules that prevented women from showing cleavage and belly buttons and also prevented stars like Chinese American actress. Anna May Wong from kissing her white co-stars so good riddance to those Hayes. Codes goodbye and we know the sixties was an incredibly exciting time all across the board. This also extended to experimentation in fashion and film. And we're going to hear more about it after a brief sponsor break. There's a city far away a fiction. Podcast the richest most powerful place on earth on an epic scale to a vast empire threatened by rebellion. Powders everything Pollard. Gives everything we have to get away from this place or we will die to. The truth makes us strong. Tuman Bay his artist. Andy History. And fantasy collide. I if you know many for creators Joan Scott Dryden and Mike Walker. The only thing I ask of you is total and complete loyalty now. The IHOP podcast network. Listen to all episodes of Tumor Bay Seasons One and two now for free on the iheartradio APP apple podcasts. Or wherever you get your podcasts. So filmmakers of the nineteen sixties like their fashion designer counterparts pushed ultimately shattered long established boundaries and cinema and in many instances used the equally avant Garde Revolutionary Fashions of the era to redefine the genre dress listeners. I have two words for you. And that is Hakko robot. Yeah no other. Designer quite embodies the radical anything goes attitude and atmosphere the nineteen sixties more than the Spanish designer pokka robot whose designs really redefined fashion on every level like redefined. Even what could be clothing? He's famous quote unquote sewing with pliers and ribbon rocketed fashion into the future with his unconventional methods and materials. That included most famously plastic and metal. His most famous design plastic desk dresses constructed using Metal Rings Audrey Hepburn actually whereas one in the nineteen sixty seven film two for the road which has a lot of high fashion. And it's really cool. If you've not seen it I suggest it. Vogue did a feature on packer born the same year. Nineteen sixty seven and said quote. These are materials that have never been dared him fashion Paco. Rabanne air them. These are constructions that haven't been dreamed up. He's dreaming up them in this stunning four page spread captured by Richard Avedon. Ribons designs were worn by statuesque gladiator. Sandal wearing quote unquote gladiator girls? So tall. That vogues pages cannot even contain them and the photo spread is electric full of and movement just like ribons pieces which ranged from a short shimmering. Never still fantasy of an evening coat made entirely of gold speckled black plastic to the mini modern gladiator dress which is composed entirely of hinge aluminum squares and rectangles. So these don't actually look very comfortable. But they are quite fabulous. Rabbani's armored yet playful vision of the future. It was the inspiration for costumes in more than one movie of the period including one of my personal favorites the nineteen sixty six fringe arthouse flick Kiet Blue Polly. Magoo or who are you polly? Magoo which is directed by fashion photographer. William Klein and the film is a satire of the fashion industry. So kind of along the lines of Zoo lander but it really also simultaneously pays homage to the singular experimental period and fashion history which is the nineteen sixties. That's never really going to be repeated. the film stars when a client's favourite models. Dorothy McGowan and is a must see cold classic that includes many memorable movements by costume designer. Janine Kline the most widely circulated image from the film a photograph that captured seven models including Peggy MOFFITT and matching black and white op. Art Ensembles. That just so happen to match the sets wallpaper which is very fun the arguably the film's most standout seen a fashion show. Starring McGowan and Supermodel Donald Luna in. What is an obvious? Oh Masha the impracticality and ridiculousness of vence designs and in this scene The models. Cheyenne aluminum sheets. Ridiculous around their body to form a series of large geometric sculptures and they're so rigid and uncompromising that at one point McGowan cut and begins to bleed and quote will stop the bleeding and put some bass on it. The designer told her. Believe me with some base. You won't see it. Yes it's very fun so again. Trek out attitude ever-growing list Rabbani signs also served as inspiration for another Colt nineteen sixties favorite though one and the only barbarella one of my all time. Oh my gosh. It's so good. This is a one thousand nine hundred sixty eight SCIFI fantasy that's directed by Roger Vadim and it's based on a popular comic series by the same name and Stars. Roger's wife then wife Jane Fonda as the title character she sent into outer space on what turns into this sex fueled mission to save humanity from amount scientists. It's ridiculous but fabulous heitkamp hiking fans high camp. It's champion today. As feminist cult classic because Jane Fonda playing the strong female lead is really in charge of her sexuality and we do know ray-ban designed at least one of his costumes. There's a short green discovered bodysuit but his influences otherwise all over the costumes by the film's designer. Jocks Monterey as the work of her bonds contemporary and famed futurists. Okay Not Entree Correggio so if you not seen this film again added to your list. Yeah so Barbara. Rela is an example of fashion influencing film but the nineteen sixties films also influenced fashion back the other way perhaps none more so than Arthur Penn's nineteen sixty seven film. Bonnie and Clyde and well barbarella transported audiences into the future. Bonnie and Clyde took them back in history to the nineteen thirties. When the infamous real life crime lovers lived and died And that film's release occurred simultaneously with a nineteen thirty s revival in fashion. It's it's not really a coincidence And numerous sources credit the cinched waist and the side tilted berets featured in the pages of glamour and Seventeen magazine during this period to influence of the film Bonnie and Clyde and also especially attributing it to the film's Star herself model turned actress say dunaway. During a visit to London the year the film premiered fair remembered along. Carnaby street shop windows were already filled with mannequins draped with designs inspired by the film. A fashion photographer snapped at dozen shots of me. Walking along the street I was wearing a dark miniskirt. A belted sweater and Beret. A few days later a photo showed up in a story. About how the look was all the rage. No one including the photographer made the connection that I was Bonnie somebody. Somebody dropped the ball on that one but life magazine deemed body and Faye Dunaway. Of course fashions new darling and dedicated a five page fashion spread to her and the film's inspiration in nineteen sixty eight quote now. The fashion world's newest darling is stunning. Inspiration for a full blast return to thirty styles. Both here and abroad says the article and goes on to say though revivals have cropped up before it took the impact of the film to bring about a census that blends a softness and droopy fit in the nineteen thirties with swing and leading us in the nineteen sixties. And bodies you know Middle Midi. Length skirts were still being talked about in nineteen seventy when the high fashion editor John Fairchild of women's wear daily heralded the return of the Midi and has much publicized crusade against the mini skirt. He hated miniskirt. And now we're moving into the nineteen seventies where we have the nine hundred seventy four adaptation of F Scott Fitzgerald Nineteen Twenties. Seminal texts the great gatsby which is another period film. That is credited with influencing fashion. This is furthered by the common misconception. That fashion designer Ralph. Lauren was the costume designer. Something you know. He had an exactly tried to dissuade people of thinking. But Lauren was indeed responsible for executing many of the costumes for the film's leading men. Such as Robert Redford but the film costume designer at the only Aldridge who won an academy award for her work on this project insisted that she designed these costumes and Lauren actually executed them. So my guess is that the truth lies somewhere in the middle. Yeah he said she said. Yeah right regardless. Lawrence involvement did undeniably inform. His own design aesthetic. He translated refined elegance of the nineteen twenties. Men's and women's wear seamlessly into his fashion collections. Produced around the time of the film's release. Nineteen seventy three nineteen seventy four and in fact one of his ads for his menswear line shows a man. Almost identical in both posed and dressed to a photograph of Robert Redford as Gatsby and printed on the hill of the film's debut. The fashion press immediately made this connection and often erroneously cited Lauren as the costume designer for the entire film. And of course this is a misconception. That kind of still continues to this day. Right and Lauren is mistakenly credited with designing the costumes. For another celebrated film from the Seventies. Woody Allen's Annie Hall which was released in Nineteen seventy eight Diane Keaton's charming appropriation of menswear was so largely imitated that the quote Unquote Annie Hall. Look became an identifiable trained in fashion and was even translated into children's wear everywhere. There's special excitement over the Anne. Hollick was something that women's wear daily observed in nineteen seventy eight but New York magazine wrote that the Anti hallock quote the lowering of a man's shirt. Best in jacket over pants or skirt has only popularized what designers like Ralph? Lauren have been doing for years. Although both Allen and Keaton's character's wore pieces of Ralph Lauren clothing he was not in any way involved in the design process nor did he apparently inform Annie's unique display of clothing and according to costume designer Ruth Morley the appeal of anti style? Was this relationship to a unique individuals style not the pretensions of high fashion and something that the designer expounded upon in an interview with Vogue magazine in Nineteen seventy nine. The look she says quote coincided with a general recycled put together. Eclectic style coming on ever. Since the gentle demise of the late sixties rich hippy close began to rush into old uniform army pants and Victoria and since it is not a designer dictated style anyone can gather at pieces from her closet or the neighborhood thrift shops and small New York boutiques like San Francisco and Jazz. Abell in the same article. Morley discuss how she morally inspired to create and he's look but according to what he allen and his ninety three autobiography he said if anyone deserves credit for the look it is Diane Keaton Annie. Hollick was the exact way Keaton dressed in real life. I use it on screen because she was a great natural stylist. Morley was often very much against Keaton's choices and wanted me to tell her not to wear such out there fashions. I opted to let Keane where what she wanted. But it is key in April. I think we can. Let's set the record straight once and for all because she wrote in her memoirs would he's direction was the same. Where what you want to wear. That was the first so I did. What what he said or rather. I stole what I wanted to wear it from the cool of women on the streets in Soho Annie's khaki pants vest and tie came from them and we cannot talk about fashion film. In the nineteen seventies without talking about blaxploitation new genre films that emerged during this time to champion black characters and communities as the heroes in their own stories and this was often done in action and fashion packed productions that remained icon it to this day. What are the biggest stars of the blaxploitation genre was actor? Richard Roundtree who happens to have begun his career as a model in the Ebony Fashion Fair which we did an episode on last. Season's you can check that out. But rountree is most famous for his role as a private detective. John Shaft in the seventies shaft trilogy we have nineteen seventy-one Shaft was followed in seventy two by shaft's big score and in seventy three shaft in Africa so John Shaft was the epitome of street chic. He had these impeccably tailored leather coats. Mohair TURTLENECKS TIGHT FITTING PANTS. And these were all custom made for roundtree and in a two thousand nineteen interview with New York. Post the costume designer. Joe revealed that despite the attention paid to clothing. They never set out to make a particularly fashionable film. He says the James Bond Movies had just started a few years earlier. So shaft was supposed to look great as that but more of the world that he comes from that shaft remains an iconic fashion to this day is perhaps not surprising when we consider the first shaft. Film's director the ever Dapper Gordon Parks and again we have already done an episode on Mr Parks and his prolific career. He was truly a renaissance man to the nth degree he was a bestselling novelist a memoir ist a gifted pianist a composer of Admiral journalist photographer and film director and he also had an eye for the CY to`real detail and elegance that he embodied in his own personal style and according to a Lisi. It has really parks who was responsible for shafts trademark leather jackets. Because he knew that they would you know? Just look fantastic on camera. And they do. And they do Roberts costumes in the films are still being referenced to this day for their influence on fashion the movies subsequent remakes which there have been many have put great pains in carrying on this legacy with careful attention to maintaining shafts signature style. So for the two thousand remake. For instance starring Samuel Jackson. There was a special partnership with Armani that gave costume designer with Carter Carte Blanche of the luxury brands offerings and caste. If we're GONNA talk about fashion and relation to blaxploitation films we have to talk about Diana Ross and one thousand nine hundred seventy five hit. Mahogany is not only Diana Ross Star in this rags to riches story of a struggling fashion designer. Tracy Chambers Ross herself was the film's costume designer. Which is incredible was just blew my mind. I know I literally text April and was like okay if I have to talk about one or if I have to see one blaxploitation film for the fashion. What should it be? She wrote back immediately. Mahogany and you're not lying. This was wrong. Only Ross's second ever film. The first being her critically acclaimed film. Debut actually has billie holiday in lady sings the Blues for which she received a best actress nomination by both the Oscars and the Golden Globe. She won the ladder. Mahogany is actually directed by Berry Gordy the third founder of Motown and the man who actually signed the supremes but Diana had gone solo in seventy a beef and bedecked. Ross was the cover star of Ebony. Magazine's October nineteen seventy five issue. Which ran a feature on the spectacular new film and Ross's role in the design process which included designing fifty outfits for the film quote ranging from Sportswear to Kapoor and personally supervised all operations from purchase of the special fabrics to coordination of colors to beating and all the other finishing techniques. And and we should mention here cast that while Cross Design. Many of the caution to the film she did not design them all My guess would be that the rest of the film's costumes of which there were. Many were left up her right hand. Susan Gertz men who is actually credited as the film's wardrobe supervisor and according to the same ebony article apparently Diana dreamed of being a fashion designer before she ever dreamed of being a singer but fate had different plan. She tells the magazine quote. The only opportunity I ever had in this direction was in my own personal style. When I was with the supremes I used to talk to the guys who designed our clothes and I tell them exactly what I thought. We should wear after reading the script for the film. She says Chea- when it'd be something if I could design the clothes and meeting. This was not an easy. Sell to Gordy. Who apparently was her ex lover. So but he eventually conceded so maybe that has something to do with power female persuasion. Yes the costumes. In the film really ranged from the outlandish to the spectacular Ross admittedly took a lot of Japanese inspiration For her designs. Sometimes they were not exactly the most successful translation they can sometimes feel a little exaggerated a tad garish. For instance at one point she prays down a runway where a Bright Orange Kimono inspired gown emblazoned. Down the front with a Jain Ormuz Blue Dragon. Yeah it's not very subtle but at their successful hurt. Her gowns can be quite stunning and they feel instantly modern fusing contemporary fashion with Hollywood glamour. I'm thinking particularly of this rich. Purple ones lead body skimming floor links Jersey number. That's paired with a giant matching muff. And it's actually what she's wearing when Shaam pushes her into the foul enduring. That fashion shoot montage. Which if you have to watch one aspect of the film it is this fashion shoot montage. She's absolutely studying. Do you have a favorite costume from April? You know one of the things that always comes to my mind immediately when I think about. Mahogany is her fabulous hats. She wears hats in the film. And they're very like seventies groovy. Yeah and you can actually now that I've seen the movie I can see where dreamgirls took a lot of inspiration from this movie. Like with the shots and like how she looks. It was really Kinda cool to make those connections so check it out guys so many fabulous fashion and film movies now so little time to watch them. All my suggestion is to start now. And don't stop. I actually got a Netflix. Dvd subscription. Just so. I could start watching these movies and stop paying a lot of money. Renting them on itunes. So it's been really fun. Actually April Mahogany is a perfect way to wrap up our coverage of one thousand nine hundred seventy s but this is the part in my writing of this quote unquote two part episode. That I realized that we still have four decades of fashion and film left to cover. I started writing about the nineteen eighties to discover to have continued this episode. All the way into the present day as was my which Lynton while we would have been here for at least another hour yes with some forty years of momentous events films and partnerships still to cover fashion and film has now officially become a three part episode very first three part episode in the history of address so that being said dresses nurse. This was a necessary but unexpected development and with so many fascinating topics and interviews already lined up for this season. We're going to wait for a bit to air part three because we have some episodes coming up that need to air at a certain time. Exactly so apologies for that. But it's actually just fine for me because honestly I've ended up like I said watching a ton of movies and preparations for these episodes. And this gives me a little more time to revisit the fascinating films and fashions that helped define my own personal sense of style growing up and in the meantime dressed listeners. This gives you all a chance to write to us and tell us about what you consider some of the best fashion film moments from the past forty years. I think that does it for us today. Dress listeners in preparation for part three may you all consider the legacy of fashion and film in your closet. Next time you get dressed. We are very excited for you to end Thursday for our first ever edition of fashion history. Now which is our new mini series. It's going to be alternating weekly with our fashion history mysteries so being an article. We think you should read or an exhibition. We think you should see each episode. We'll catch you up on the latest news happening in fashion history today as you have any fashion history now news. We love hearing from you. So if you would like to email us you can do so addressed iheartmedia dot com. You can also direct messages on instagram at dressed underscore podcast where you will find images accompanying each week at this is also our twitter handle dressed underscore podcast and you can follow us on facebook address. Podcast without the underscore for additional readings for each week's episode. Check out our show notes in episode description of your podcast platform and as always special thanks to our producers Casey peak. I'm holly fry and everyone else iheartradio. Who makes this show possible? Each and every week more address Thursday dress. The history of fashion is a production of I heart radio for podcasts from iheartmedia visit the iheartradio. App Apple podcasts. Or wherever you listen to your favorite shows this is Danny Shapiro host of the hit. Podcast family's secrets. 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