Fashion Friday #11: A Streetcar Named Desire

Vivien Leigh arrived back in the United States on August 1st, 1950, at the Idlewild Airport (now JFK), in New York. She was on her way to Hollywood to begin filming A Streetcar Named Desire. Vivien had originated the role of Blanche on the London stage and would now play her in the movie version. After meeting up with her new director, Elia Kazan, the two of them traveled by transcontinental train to California, stopping off in Wisconsin for a quick visit with her good friends, Alfred Lunt and Lynn Fontanne.

Vivien Leigh and reporters, August 1950

Vivien Leigh and Elia Kazan arrived in Pasadena on August 6th. Vivien stepped off the train, looking as young and relaxed as the day she started Gone With the Wind, with a huge smile on her face and white sunglasses in her hands. “Gadge and I have gone over the script line by line in New York and on the train coming out here,” Vivien told reporters. Gadge was Kazan's nickname.

Elia Kazan and Vivien Leigh

The outfit Vivien chose, to meet and greet everyone, was a two-piece silk ensemble, gray with yellow polka dots, with a full skirt and topped off with a jaunty little hat. She wore the same outfit on multiple occasions, a habit she started with the rehearsals for the London stage version of A Streetcar Named Desire.

When asked whether or not she and Olivier would be staying in the states for an extended duration, she replied,  “Our stay must be limited because we have to return to England to prepare for the great national drama festival, which is the centenary of one held in 1851. It is an event that will fulfill itself in all branches of entertainment, and we both hope to contribute to it as notably as possible. Therefore it will require much time and effort in preparation. Mr. Olivier could not accompany me, because he was concerned in England with the opening of a new play, but as soon as the London premiere is held, he will fly to Hollywood. I expect his arrival next Sunday. He has signed, of course, for a picture at Paramount, the adaptation of Theodore Dreiser’s Sister Carrie.”

Olivier arrived in Hollywood a week after his wife, on August 13th, accompanied by Vivien’s daughter, Suzanne Holman. Vivien and William Wyler greeted the pair at the airport. Olivier showed off his new mustache for his upcoming movie, Carrie. After embracing, Vivien told reporters, “I can’t get used to his mustache. He felt he had better wear it until Mr. Wyler had determined whether or not it would be right for the picture.” Olivier admitted to not liking the mustache. The couple also admitted to reporters that they “would like to tour America sometime on the stage…”

“I never see Larry when he’s writing and directing, so I’m delighted that he’ll just be acting in Carrie Ames for Willie Wyler and Paramount. Even with both of us busy, we may have some time together.”

Another person brought over from the play's Broadway production was costume designer, Lucinda Ballard, who would later receive an Academy Award nomination for her costume designs for the movie. One of the things I most enjoy about Blanche's clothing is that Lucinda seemed to have captured Blanche's very being with her designs. She used soft feminine lines with delicate layers of silk, chiffon, lace and ruffles, reflecting Blanche's fragile state of mind and flirty girlishness.

The first costume from A Streetcar Named Desire is this blue number. The blue chiffon gown has what appears to be a faded covering of pink chiffon, with a ruffled collar and cuffs. Blue silk trim runs through the ruffled collar, ending in a bow at the bodice. The trim also runs through the sleeves' ruffled cuffs.

Vivien wears this gown in several scenes throughout the movie. Here she's pictured with Karl Malden.

Here's another photograph of Vivien wearing the blue dressing gown, captured in a light-hearted moment during a break in filming. She's posing with Gary Cooper, whom I cropped out to get a close-up view of Vivien's costume.

The second costume from A Streetcar Named Desire is this pink dressing gown. This particular robe was auctioned off a few years ago as part of the Debbie Reynolds collection. The pink and ivory silk gown features embroidered silk flowers on the chiffon sleeves with a ruffled collar, cuffs and bottom trim. The auction's catalog noted that the gown was in very fragile condition and that its original color had been hot pink.

Here's Vivien wearing this pink gown, in a scene with Karl Malden. 

It's also the outfit she wears when she tells Karl Malden (in that incredible scene) she wants magic, not realism. I don't want realism. I want magic! Yes, yes, magic! I try to give that to people. I do misrepresent things. I don't tell truths, I tell what ought to be truth. And if that's sinful, then let me be punished for it!

Here's a screenshot of Vivien, again in the pink gown, and Karl together right before he turns on the lights! Both Vivien and Karl won Oscars for their performances: she for Best Actress and he for Best Supporting Actor.

Thanks for joining me for today's Fashion Friday post!



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The Versatile Laurence Olivier

Article originally published in 1941

Versatile Laurence Olivier Stars With Vivien Leigh In "21 Days Together"
Laurence Olivier, whose latest success is as Larry Darrant in "21 Days Together," was born on May 22nd, 1907, in Dorking, Surrey, where his father was a clergyman. Laurence's early education was for the ministry, as it was thought that he would follow in his father's footsteps. The Rev. Gerard Olivier was interested in the drama, and he took his small son to see all the great stage celebrities of the day.

Laurence Olivier & Vivien Leigh in 21 Days Together

 His early schooldays were spent at a choir school in London, from where he went to St. Edward's, Oxford, and he distinguished himself there in pre-clerical subjects. He had become interested in the stage when his father took him to the theatre, and as he grew older and studied the personalites of the various people with whom he came in contact, he longed to dramatise the different characters he met. Eventually he told his father that he wanted to go on the stage. Some clerical fathers might have been upset to hear their son express such a wish, but the Rev. Olivier promptly transferred his son from the pre-ministerial St. Edward's to the Central School of Dramatic Art. His ministerial studies had groomed Laurence well in English and vocal training, and he had made one appearance on the stage when he was fifteen years old, at the Shakespearean Festival Theatre in Stratford-on-Avon; in a special boys' performance of "The Taming of the Shrew."

Laurence Olivier in The Taming of the Shrew, 1922

On London Stage
Before his period of schooling was over, he had played on the London stage. One of the early engagements was with the Birmingham Repertory Company, and he also toured in "The Farmer's Wife." Prior, to this, he had had a very lean time trying to convince casting agents that he was an actor His money got as low as seven shillings and sixpence and he was faced with a bill for a month's rent. He was determined to make good on his own and refused to ask his family for any financial help. Sybil Thorndike, who had known him as a child, secured a walking-on part for him. To gain experience he played in Sunday night shows whenever the opportunity presented itself. Even when important parts came his way, Laurence still played in as many Sunday shows as possible, and among them he created the part of Captain Stanhope in R. C. Sheriff's "Journey's End." When the play was put on at a public theatre he was offered the role, but he chose another offer which had come his way, that of playing the lead in Basil Dean's production of "Beau Geste."

Beau Geste

Two of Laurence Olivier's early stage roles were in Shakespearean productions and today the immortal bard is his favorite playwright. He feels, however, that Shakespeare's work can never be suitably adapted to motion pictures. His only experience with Shakespeare off the screen was as Orlando to Elizabeth Bergner's Rosalind in "As You Like It." He has, of course, played many Shakespearean roles on the stage, and critics have said that these have made him the superb artist that he is.

Visits America
In l929 he paid his first visit to America, playing the role of Hugh Bromilow in "Murder on the Second Floor." He made a sensational success in New York in this play, and it brought him many film offers, all of which he turned down. When he was back in England, however, he decided that he would have a try at a film career. His first picture was made in Germany and it was entitled "The Temporary Widow." He always smiles when he recalls his first day's work at the studio.

Too Many Crooks

He then played in the British films, "Too Many Crooks" and "Poliphar's Wife," and while he was experimenting with picture work he was still carrying on his stage career. It was about this time that he played in "After All," with Elissa Landi, and "Private Lives," with Noel Coward and Gertrude Lawrence. When the latter play went to New York, Laurence and Jill Esmond, to whom he was then married, went too. They were seen by screen talent scouts and were signed to go to Hollywood. Laurence's first American film was "Friends and Lovers." Then came "The Yellow Passport," in which he renewed acquaintance with Elissa Landi, followed by "Westward Passage," with Ann Harding.

Numerous Films
He returned to England at two days' notice in order to play opposite Gloria Swanson in her first British picture, "Perfect Understanding." Shortly after this he was signed to play opposite Greta Garbo in "Queen Christina," and he dashed off to Hollywood once more, only to find that the role had been given to John Gilbert. So back he went to England. His films since then have included "No Funny Business," "Moscow Nights," "Fire Over England," "The Divorce of Lady X," "Q Planes" and "21 Days Together."

Fire Over England with Vivien Leigh

He went back to America to play the part of Heathcliff in "Wuthering Heights," after which he was sensationally successful on the Broadway stage opposite Katharine Cornell in "No Time For Comedy." His performance in Wuthering Heights," witnessed by producer Selznick, led to his casting in the part of Maxim de Winter in Rebecca," followed by "Pride and Prejudice." Olivier has brown hair and eyes and is five feet ten inches in height. His marriage to Jill Esmond ended in divorce early last year, and soon afterward he was married to Vivien Leigh. He has always been studious, and while not at work on stage or screen he continually reads. He is an ardent devotee of gardening, at which occupation he takes most of his outdoor exercise. He does, however, also swim and ride.

Versatile Actor
Laurence is a versatile actor. He can play irresponsible youth, romantic leading men and tragic roles with equal ease. Despite the fact that he has gained great success with one or two gloomy roles, he would prefer to play comedy. Give him a gay part any day, he says.

No Time For Comedy (from Getty Images)

He is rather a silent individual, but nobody at the studio ever accuses him of being "high hat." In fact, he has his prankish moments. He is not a bit interested in seeing his name constantly in the papers; in fact, he will tell newspaper men, whenever they endeavour to interview him, that he is a boring fellow. He refuses, too, to go to places where the publicity people feel he ought to be seen because press photographers will be lurking around. The publicity department at the studio finds him quite a difficult problem at times.

In "21 Days Together," which commences a Hobart season at the Strand Theatre next Friday week, Olivier is co-starred with Vivien Leigh. Taken from the exciting works of John Galsworthy, the film has been described as one of the year's best romantic dramas.

Fashion Friday #8: Hollywood Premiere of "Gone With the Wind"

On December 28th, 1939, Gone With the Wind finally had its premiere in Hollywood. The premiere was held at Fox's Carthay Circle Theater, which had opened in 1926. Sadly, the theater was demolished in 1969 to make room for an office block.

The celebrities came out in droves, dressed to the nines, for the Hollywood premiere of Gone With the Wind.  In addition to the film's cast, some of the other attendees included Joan Crawford, Norma Shearer, Tyrone Power, Cesar Romero, Ginger Rogers, Paulette Goddard and Charlie Chaplin.

“Scarlett” in fucshia and white: Vivien Leigh wears an ermine coat over sequin sprinkled souffle with its matching veil and sequined bag.  Note that on the latter she carries Laurence Olivier’s orchids for a corsage effect fated for popularity.

Vivien Leigh's dress was designed for her by Walter Plunkett, who had also created her Atlanta premiere outfit. It's a shame there are no (known) color photos of Vivien in this dress. The fuchsia color would be amazing against her dark hair. Note how on top of her sequined hood, Vivien attached one of her brooches.

The gang's all here, well almost all of them... Jock Whitney, financial backer of GWTW, stands next to Irene Selznick, followed by Olivia de Havilland, David Selznick, Vivien Leigh and Laurence Olivier at the Carthay Circle Theater.

After the movie was over, Jock Whitney thew a huge party for the attendees, at the new Trocadero Club. Obviously having a good time, at the Trocadero, are Olivia de Havilland, Laurence Olivier, Vivien Leigh and David Selznick.

It’s Clark (“Rhett Butler”) Gable’s big night and wife Carole Lombard does him proud in a classic gown and wrap of stippled gold. With this she wears a minimum of jewelry, topping tiny earrings with a chic up hair-do. Carole's gold lame gown was cut in the princess fashion.

In March, 1939, Clark was in the middle of filming Gone With the Wind when his divorce from wife number two came through, making him a free man. Clark wasted no time in making Carole the new Mrs. Gable and the couple drove down to Arizona to tie the knot.

Below, the Gables are caught hanging out with Marion Davies and Raoul Walsh. The foursome were photographed on the red carpet, at the Carthay Circle Theater, where Gone With the Wind would shortly be shown.

Double play at the "Gone With the Wind" opening! Ginger Rogers not only enters the theater on the arm of Walter Plunkett, who created "Scarlett O'Hara's" own premiere ensemble, as well as the costumes for the picture...

Ginger Rogers wears a very smart tunic gown of palest blue and silver lame, exactly matched by the turban, which serves to conceal her currently dark hair. Her wrap is silver fox. Ginger was in the middle of filming Primrose Path and had dyed her blonde hair dark for the role (she also chose not to wear any make-up for the part).

Inside the Trocadero Club, at Jock Whitney's party, Walter Plunkett and Ginger Rogers are all smiles.

Lana Turner flaunts a lynx coat, which is very nearly as stunning as her tricky feather bird. The latter’s an anchor for the hood of Lana’s Gladys Parker gown. Underneath the lynx coat, she wore a red and white hooded gown. Lana was one of the would-be Scarletts. She auditioned for the role back in November, 1938.

Surprise? Another sweeping ermine wrap, this one-- not unlike Vivien’s-- belonging to Norma Shearer (who almost played the famous “Miss O’Hara“)! She is wearing a Directoire model of appliqued satin. Her Rhett Butler is George Raft, of course.

Margaret Sullavan, arriving with her husband, Leland Hayward, might have stepped right out of the family album in her broadcloth coat. with its quaint elbow capelet and baby pillow muff-- all banded with sealskin, that fur so dear to the hearts of our grandmothers’ day.

Tyrone Power and his wife, Annabella, arrive at Carthay Circle. The two had only been married since April and were still in the honeymoon stage. 

 Most girls would think it quite enough to make their entrance with Tyrone Power (let alone wearing his wedding ring!), but Annabella still seeks further honors with her basque waisted full skirted frock of brocaded satin damask under a white fox jacket whose extended shoulders are practically guaranteed to make the tiniest, most feminine star look even more fragile.

Gary Cooper and his wife, Veronica Balfe, arrive for the premiere. Fine feathers make a fine showing among the many opulent furs and gorgeous fabrics at the Carthay Circle, as Mrs. Gary Cooper proves with a brief, shaggy ostrich jacket. Her blazing diamond earrings strike an elegant note, too, though Gary’s face hardly looks too formal from this angle!

Joan Crawford's date for the night was Cesar Romero.

Gallantly, Cesar Romero helps Joan Crawford adjust the hood of her ermine wrap over her snood. The dress beneath is of flowing white crepe, tightly belted with heavy embroidery of gold beads to match neckline.

Here are a few other celebrities who also attended the Hollywood premiere of Gone With the Wind. Unfortunately, I don't have dress descriptions for these ladies. First up is Hattie McDaniel. Hattie brought to life the character Mammy from GWTW as no other actress possibly could have.

Miss Carreen O'Hara and Mr. Charles Hamilton, better known in real life as Ann Rutherford and Rand Brooks attended the showing together. This was Ann's third time watching Gone With the Wind. She'd previously attended the Atlanta and New York premieres.

Paulette Goddard arrived on the red carpet with her husband, Charlie Chaplin. Paulette was another would-be Scarlett and actually made it to the final four in consideration. Her last screen test for Scarlett was on December 21st, 1938.

No matter what city Gone With the Wind had a premiere in (Atlanta, New York, Hollywood), the crowds turned out in droves to catch the slightest glimpse of Scarlett, Rhett and all the others who brought Margaret Mitchell's masterpiece to life.

Thanks for joining me for this week's fashion post!

All italicized dress descriptions are from Photoplay, April, 1940. 

Fashion Friday #7: Gone With The Wind in Atlanta

In December, 1939, Atlanta fell under the spell of David Selznick's masterpiece, Gone With the Wind. The mayor of Atlanta, William Hartsfield, declared a three day holiday to celebrate the movie's premiere at Loew's Grand Theater on Peachtree Street. Three of the main cast members flew in from Hollywood, which included Vivien Leigh, Clark Gable and Olivia de Havilland. Other celebrities attending the premiere included David Selznick, along with his wife Irene Selznick, Laurence Olivier, Carole Lombard and Claudette Colbert.

On Thursday, December 14th, Vivien and other cast members attended the Junior League Ball. Vivien's dress for this event was specifically designed for her by Walter Plunkett, the costume designer for Gone With the Wind.

Vivien's black evening gown was made from lyons velvet, a stiff and thick velvet fabric fashionable at the time of the premiere. The dress featured a fitted bodice, trimmed in white ermine, and sleeves capped off by ermine and ermine tails. From Vivien's waist, the dress flared out into a wide, full skirt. Willard George designed her cape, made from ermine and their black tails. Paul Flato designed Vivien's jewelry for the evening, which featured a diamond butterfly clip for her hair, a diamond & ruby bracelet and a diamond bow ring.

Below is a formal, publicity photo of Vivien in her Junior League Ball gown, which really showcases the skirt.

Also in attendance at the Junior League Ball was Laura Hope Crews, better known as Aunt Pittypat, and Ona Munson, the film's Belle Watling. The two ladies came dressed as their characters from Gone With the Wind.

Laura Hope Crews wore a gray taffeta [dress] with grey bengaline shoes, black silk stockings, blue net scarf, blue mittens, blue lace and ivory fan and a gray lace and blue velvet cap. To complete her outfit, Miss Crews topped her natural hair with Aunt Pittypat's blonde wig. The mittens referenced are the fingerless gloves Laura is seen wearing in the photo below.

Ona Munson also wore her Belle Watling red wig, which complemented her outfit made from cerise taffeta ...[with] silken folds under the skirt. Her four petticoats were embroidered eyelet, hooped and plain. She wore pantalets and a bustle. Her accessories were roses, gold bells, a purple net scarf and a pair of bell earrings. Bell earrings for Belle!

Clark Gable and Carole Lombard also attended the Junior League ball. Unfortunately, I wasn't able to find a description of Carole's outfit. They are pictured with Atlanta Mayor William Hartsfield and his daughter, Mildred, who was lucky enough to sit next to Gable for the evening's festivities. Mildred's dress was heavy yellow moire taffeta striped with gray, featuring a square neck and long sleeves. Both the neck and sleeves were trimmed with old cream lace. The dress had a tiny waist and full skirt worn over crinoline petticoats. She wore an old gold necklace with pendants and gold drop earrings. In  her hair she wore yellow ribbon bows and on her shoulder she wore yellow orchids with red throats. Black lace mittens, black velvet bag and cape completed her costume. Wow, she's got a lot going on! 

The next evening, December 15th, saw the premiere of Gone With the Wind. Once again, Vivien chose to wear a Walter Plunkett gown. This lamé gown was a brilliant gold, perfectly setting off Vivien's dark brown hair with its hints of reddishness. As with her Junior League gown, publicity portraits were taken of Vivien in her gold dress.

The gown is of gold lame, draped in Oriental fashion, with harem hem line and draped girdle accenting the small waist. Girdle and the short sleeves are quilted in rose pattern and studded with gold sequins. Vivien's jewelry featured an acorn and leaf design, fashioned from topaz and diamonds. The matching necklace and bracelet resided quite nicely in its gold setting as did the princess cut topaz ring on her pinkie.

Vivien's unofficial date for the evening was the sharply dressed Laurence Olivier, recent star of "Wuthering Heights." Olivier's tuxedo was made from a dark coloured wool, with stripes only a shade lighter than the suit. The top coat featured tails, pointed lapels and a left breast pocket. The matching pants came with a five button fly.  His tux was specially created for him by Roche and Pollock in September, 1939. 

Also, in attendance at the premiere, was author Margaret Mitchell. She wore a fashionable pink full skirted tulle gown, a full length white velvet evening coat, a pink bow in her hair, and a camellia corsage given to her by the producers. (Atlanta History Center) Below is a photo of Mitchell's full length coat, along with a picture of her wearing the coat while speaking to the crowds. One can get a slight glimpse of her long skirt as the pink tulle dress plays peek-a-boo with her evening coat.

Mitchell's dress featured a fitted bodice, with off the shoulder sleeves. She's pictured seated, in between Jock Whitney (financial backer of GWTW) and her husband, John Marsh (wearing the glasses).

Carole Lombard, aka Mrs. Clark Gable, also attended the premiere, on the arm of her man. She wore a medieval cape of blush satin with a train, [which matched her gown]. Blush is in the pink-color family. I love Carole's netted hood. It must've been quite striking against her blonde hair.

Here's Ona Munson as she arrives at the premiere and poses for photographers. Ona's wearing a dark, green velvet, evening gown with a fur jacket and corsage.

The two ladies, in antebellum costumes, next to Ona are twin sisters, Virginia and Charlotte Starr. They were two of the thirty girls selected to act as hostesses for Gone With the Wind's premiere.

Finally, here's Olivia de Havilland, arriving at the theater with Jock Whitney, whom she also sat next to throughout the show. Olivia wore a black velvet evening gown with an ermine fur jacket. Unfortunately, I wasn't able to find a full length photo of Olivia in her evening gown.

Thanks for joining me for today's Fashion Friday post!


Unless otherwise noted, all italicized dress descriptions are from Herb Bridges.