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George Clooney included in Icons of Style

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George Clooney included in Icons of Style

Post by Katiedot on Tue Aug 07 2012, 12:03

Gorgeous photos at the link:

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Icons of StyleThe mutual fascination between Hollywood and fashion—Hepburn and Givenchy, Chanel and Deneuve—has become a two-way street, with the likes of Cate Blanchett, George Clooney, and Johnny Depp re-interpreting iconic looks. Amy Fine Collins explains the power and appeal of cinema’s taste-making legends.

[You must be registered and logged in to see this image.]
George Clooney
Photographed by Annie Leibovitz, Vanity Fair, October 2003.

The most formidable editors and tyrannical designers have always been at heart starstruck movie buffs, and their fellow dream weavers in the film industry have graciously returned the compliment, offering up sylphs to adorn and epochs to revive. Reflecting on the golden age of Hollywood, Diana Vreeland rhapsodized, “Everything was larger than life. The diamonds were bigger, the furs were thicker and more.” Vreeland’s extravagantly outré 1960s Vogue spreads were sometimes mod allusions to such favorite over-the-top spectacles as The Scarlet Empress, featuring the sable-swathed Marlene Die­trich. Elsa Schiaparelli based the surrealistic torso-shaped bottle for her signature scent, Shocking, on the hourglass physique of Mae West, whom she dressed as the man-eating Fifi in Every Day’s a Holiday. Lured by Samuel Goldwyn’s million-dollar offer to elevate the taste of his stars, Schiap’s arch-rival Coco Chanel embarked for Hollywood in 1931. But, denouncing the town as “the Mont-Saint-Michel of tit and tail,” Chanel lingered barely long enough to clothe celluloid siren Gloria Swanson for Tonight or Never, dressing her as a Coco clone, in a belted tweed suit. In spite of the couturière’s early antipathy for movie actresses, the house of Chanel was among the first to enlist film idols as models. For years Catherine Deneuve appeared as the flawless face of the brand, and a whole phalanx of red-carpet royalty—Vanessa Paradis, Nicole Kidman, Keira Knightley, Audrey Tautou, and Blake Lively—has since followed in her spangled wake.

Several distinguished American-label designers arose, unexpectedly, through the movie studio system. While still a lowly sketch artist, James Galanos costumed clotheshorse Rosalind Russell—the first movie star ever to land in the Best-Dressed List’s Hall of Fame (see page 294). Oleg Cassini, toiling under the dictatorial Edith Head at Paramount, went so far as to marry one of his muses, Gene Tierney, and, later, propose to another, Grace Kelly. Though Geoffrey Beene never designed for films per se, he could scarcely drape a body without invoking the sultry allure of Dorothy Lamour in her trademark go-native sarongs or the seductive severity of Joan Crawford in her signature femme fatale shoulder pads.

More recently, Marc Jacobs based his fall 2011 Louis Vuitton collection partly on the ambiguous Charlotte Rampling of The Night Porter (45 years after she brought the miniskirted Swinging London look to the big screen in Georgy Girl). And Jason Wu, for fall 2012, channeled the sleek cheongsams of the enchantress Anna May Wong, as showcased in 1932’s Shanghai Express.

Without question, the most enduring fashion icon to emerge from film is Audrey Hepburn, who considered herself a “skinny little nobody” until she met her Pygmalion, Hubert de Givenchy. Though he did not invent the “little black dress”—it long pre-dates him—he perfected it on Hepburn, in ribbed cotton piqué with perky bows for Sabrina and, even more memorably, in Italian satin with a come-hither slit for Breakfast at Tiffany’s.

The true test of a Hollywood style icon is whether a single garment, even emptied of a body, conjures up a star. If Audrey Hepburn owns the L.B.D., Lana Turner can lay claim to the clingy sweater. Jean Harlow is synonymous with the slinky bias-cut gown, while Jane Russell has left her permanent mark on the lift-and-separate bra. High-waisted Fred Astaire–style bag pants seem agile all on their own. And Marlon Brando understandably lamented that he could have earned more money by selling T-shirts than he did by acting.

Stars, of course, have been scrutinized and copied not only for what they put on but also for what they take off. Consider Anne Hathaway and her cropped Les Miz hair, Greta Garbo and her finely plucked eyebrows, or Clark Gable and his absent undershirt in It Happened One Night. And then there is Basic Instinct’s Sharon Stone.

For those who take Hollywood’s hyperbolic fashion statements a little too literally, Vreeland issued this caveat: “Everything,” she noted, “was an exaggeration of history, fiction and the whole wide extraordinary world.”


By Amy Fine Collins

Katiedot
Admin

Posts : 12369
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Re: George Clooney included in Icons of Style

Post by lelacorb on Tue Aug 07 2012, 12:59

Katiedot wrote:Gorgeous photos at the link:

[You must be registered and logged in to see this link.]

Icons of StyleThe mutual fascination between Hollywood and fashion—Hepburn and Givenchy, Chanel and Deneuve—has become a two-way street, with the likes of Cate Blanchett, George Clooney, and Johnny Depp re-interpreting iconic looks. Amy Fine Collins explains the power and appeal of cinema’s taste-making legends.

[You must be registered and logged in to see this image.]
George Clooney
Photographed by Annie Leibovitz, Vanity Fair, October 2003.

The most formidable editors and tyrannical designers have always been at heart starstruck movie buffs, and their fellow dream weavers in the film industry have graciously returned the compliment, offering up sylphs to adorn and epochs to revive. Reflecting on the golden age of Hollywood, Diana Vreeland rhapsodized, “Everything was larger than life. The diamonds were bigger, the furs were thicker and more.” Vreeland’s extravagantly outré 1960s Vogue spreads were sometimes mod allusions to such favorite over-the-top spectacles as The Scarlet Empress, featuring the sable-swathed Marlene Die­trich. Elsa Schiaparelli based the surrealistic torso-shaped bottle for her signature scent, Shocking, on the hourglass physique of Mae West, whom she dressed as the man-eating Fifi in Every Day’s a Holiday. Lured by Samuel Goldwyn’s million-dollar offer to elevate the taste of his stars, Schiap’s arch-rival Coco Chanel embarked for Hollywood in 1931. But, denouncing the town as “the Mont-Saint-Michel of tit and tail,” Chanel lingered barely long enough to clothe celluloid siren Gloria Swanson for Tonight or Never, dressing her as a Coco clone, in a belted tweed suit. In spite of the couturière’s early antipathy for movie actresses, the house of Chanel was among the first to enlist film idols as models. For years Catherine Deneuve appeared as the flawless face of the brand, and a whole phalanx of red-carpet royalty—Vanessa Paradis, Nicole Kidman, Keira Knightley, Audrey Tautou, and Blake Lively—has since followed in her spangled wake.

Several distinguished American-label designers arose, unexpectedly, through the movie studio system. While still a lowly sketch artist, James Galanos costumed clotheshorse Rosalind Russell—the first movie star ever to land in the Best-Dressed List’s Hall of Fame (see page 294). Oleg Cassini, toiling under the dictatorial Edith Head at Paramount, went so far as to marry one of his muses, Gene Tierney, and, later, propose to another, Grace Kelly. Though Geoffrey Beene never designed for films per se, he could scarcely drape a body without invoking the sultry allure of Dorothy Lamour in her trademark go-native sarongs or the seductive severity of Joan Crawford in her signature femme fatale shoulder pads.

More recently, Marc Jacobs based his fall 2011 Louis Vuitton collection partly on the ambiguous Charlotte Rampling of The Night Porter (45 years after she brought the miniskirted Swinging London look to the big screen in Georgy Girl). And Jason Wu, for fall 2012, channeled the sleek cheongsams of the enchantress Anna May Wong, as showcased in 1932’s Shanghai Express.

Without question, the most enduring fashion icon to emerge from film is Audrey Hepburn, who considered herself a “skinny little nobody” until she met her Pygmalion, Hubert de Givenchy. Though he did not invent the “little black dress”—it long pre-dates him—he perfected it on Hepburn, in ribbed cotton piqué with perky bows for Sabrina and, even more memorably, in Italian satin with a come-hither slit for Breakfast at Tiffany’s.

The true test of a Hollywood style icon is whether a single garment, even emptied of a body, conjures up a star. If Audrey Hepburn owns the L.B.D., Lana Turner can lay claim to the clingy sweater. Jean Harlow is synonymous with the slinky bias-cut gown, while Jane Russell has left her permanent mark on the lift-and-separate bra. High-waisted Fred Astaire–style bag pants seem agile all on their own. And Marlon Brando understandably lamented that he could have earned more money by selling T-shirts than he did by acting.

Stars, of course, have been scrutinized and copied not only for what they put on but also for what they take off. Consider Anne Hathaway and her cropped Les Miz hair, Greta Garbo and her finely plucked eyebrows, or Clark Gable and his absent undershirt in It Happened One Night. And then there is Basic Instinct’s Sharon Stone.

For those who take Hollywood’s hyperbolic fashion statements a little too literally, Vreeland issued this caveat: “Everything,” she noted, “was an exaggeration of history, fiction and the whole wide extraordinary world.”


By Amy Fine Collins

This is a picture of George that drives me crazy, beautiful, refined, elegant and above all it gives me an appetite but not food!

lelacorb
Hi ho, hi ho, it's off to Clooney I go!

Posts : 3315
Join date : 2011-03-15
Location : Italy

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