THE ADRIAN FASHION LINE

Adrian is best known for his stunning and glamorous gowns for the movie sirens of the Golden Age - Greta Garbo, Jean Harlow, Joan Crawford, Hedy Lamarr, Lana Turner, Norma Shearer, and many others. During his time as costume designer at MGM, Adrian influenced world fashion through the popularity of American movies and movie stars. Much less is known about Adrian the fashion designer, which he became when he launched his own line and couture salon in Beverly Hills in 1942.
At the time, World War II had been ravaging Europe, and The U.S had just entered the war after the attack on Pearl Harbor. The Parisian couturiers, who had mostly dominated American fashion influence, were now cut-off. The fashion that hadn't been influenced by Paris was largely influenced by costume design in film and the leisure fashions coming out of California. Always centered on his own creativity in fashion design, Adrian's motto became "American fashion for American women."  His fashion creations would now no longer reference his film work.

Adrian suit and veiled top-hat, 1944.

Adrian's new line was carried by the leading department stores, (then the primary sellers of high end fashion) in the bigger cities throughout the U.S. Virginia Postel at Deep Glamour had asked me in an interview what makes Adrian's work particularly significant. For one he was a genius, but here are a few other reasons.

The other American designers also got a boost from the lack of European fashions. While the war and the prominence of military uniforms influenced American women's fashion, such as the dominance of olive, brown, black and gray colors, Adrian said he wanted to "shock American women into color consciousness." And of course broad-shoulders were also a significant military fashion influence, but Adrian had virtually launched this look with his designs for Garbo and Joan Crawford beginning in the late 20s, and whose films had influenced fashion around the world, including Schiaparelli's.

This Adrian creation above from 1943 he called "Crackling Flame." Adrian named all his fashion creations. This one was not only in a bright scarlet crepe, but featured a scarlet and fuchsia turban. Characteristic of Adrian was the asymmetrical use of a gold-embroidered sleeve.

Adrian was a master in the use of stripes, but he also liked the patterns created from dots. Here he combined both in a rayon hooded dress from 1949. Adrian would often use buttons as decoration, and even pocket flaps, placing them at unexpected locations.

Here is another striped creation, a stunning suit that manages to convey a North African influence. After World War II finished, Adrian used ethnic and international fashion influences, a stimulus for American women who had not been able to travel in years.

                     Photo courtesy Doyle New York

Adrian was still Adrian, however, and although 1930s glamour had changed, he still believed in the purpose of a glamorous evening gown. Above is one that is stunningly beautiful, in a simple draped black crepe and silk, with a jewel-embroidered bodice.

And drama was also a lasting Adrian legacy. Such use of drama was considered less than desirable by the fashion press of the time. Nonetheless, Adrian worked to his own drumbeat, and such creations as this sculptural gown from 1948 were unveiled.

An air of mystery created its own drama. This Adrian black velvet suit from 1949 had a cape that could be manipulated into different looks.

Adrian employed wit and humor in his designs, a practice that was virtually unique in fashion. There are many such examples in his Adrian label creations, which of course would have been inappropriate in his film costumes. In the floral print dress above, a fabric leaf peeks out from the sleeve.

Adrian liked to work at opposite ends of a spectrum. He had created the most outlandish show-girl costumes ever seen, yet he used simple lines and spare details to create beautiful suits and gowns. His use of contradiction was also evident, as when he used gingham in his evening gowns to beautiful and unique effect. The suit above from 1947 has an asymmetrical and diagonal-line pattern of large buttons and flaps. Joan Crawford used the same suit in her film Daisy Kenyon.

                 Courtesy The Met

Long before Yves St.Laurent designed his "Pop-Art" fashions, Adrian had used color-blocked patterns in his "Modern Museum" creations from 1943. Adrian's gowns above include his "Shades of Picasso" creation from 1945, in front and far right. It's cape is seen from behind. It is also shown below.

Photo courtesy the Metropolitan Museum of Art

Photo The Met

Adrian loved bold prints on his gowns, many of which he designed and drew himself. One of his most notable is "Roan Stallion" shown above from 1945. The large asymmetrically placed horse makes this a unique design.

And did I sat Adrian loved dots? These dots are made from sequins, in a creation he called "Doctor I See Spots," 1944. Did I say he loved to use humor in his fashions?

Adrian had a childhood fascination with Africa and African wildlife. After a photo safari to Africa in 1949 he designed gowns and suits with snakeskin, zebra, and leopard prints. He designed this gown for his wife Janet Gaynor. He called it "The Tigress." He got a kick out of seeing who would catch on that tigers weren't from Africa.

Adrian in 1938.

Adrian's early retirement from a heart attack in 1952, and then his death in 1959, ended his career prematurely. He didn't want another designer to take over his label, and so the name of Adrian passed into history. After you see many of his film and fashion creations you will recognize his influence on successive generations of designers. He was one of the originals. 

The images above are the tip of the iceberg of Adrian's creations. More can be seen in my book:
Adrian: Silver Screen to Custom Label.