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. 

The Loves of Clark Gable

From Modern Screen, 1931
by Walter Ramsey

Almost since the day Clark Gable's first picture was shown in Hollywood, he has been asked to give his views on women, love, marriage and divorce. His answer has always been "No!" But in this statement, exclusive to Modern Screen, he tells for the first time all of his thoughts, ideals and illusions with regard to the many women he has known — a few of whom he has learned to love.

"Right at the outset," he said, "I want it understood by those who read this magazine that I have been married twice — not four times, as an erroneous report has it. Nor have I a son — as another report stated. I would have absolutely no reason to be untruthful about the subject in any way . . . many persons have been married a number of times and in most instances married people have children. But I haven't ... so far."

I was quite impressed with this opening statement of Clark Gable's for the reason that it proved him the type of man who likes to put "his cards on the table" . . . and that is the type of man I have learned to believe. The sincerity with which he portrays a character on the screen isn't lost one whit in his off-screen attitude. He has the same tone, of conviction over a luncheon table that you have learned to enjoy over the microphone. He is a splendid fellow, personally, and a real gentleman. I asked him, rather hesitantly, to tell me of all the women he had known in his life . . . right from the beginning. He had promised me the story and he came through. But the manner in which Clark Gable tells of the women he has known, stamps him all the deeper as a gentleman. You be the judge!

The first woman I ever knew," he began with a smile, "made a new man of me! She was seven and I was eight. She was short . . . dark . . . beautiful . . . and brown-eyed. Her name was Treela . . . and since she is now happily married I shall keep her other name a secret. Why it was that I suddenly found myself thinking about her during every waking hour . . . and dreaming about her at night, I don't know. Up until the time I first saw her I always had utter disdain for 'gurls' and had laughed at any of the boys in the gang who gave the opposite sex the slightest glance or thought. 

"Two weeks after I met Treela, however, I found myself in a church pew listening with one ear to the Sunday school sermon . . . and watching Treela with both eyes. It rather startled me, I remember, to find myself in church . . . mostly, I suppose, because I had always gone fishing instead. Sunday school had been another thing the gang had always avoided . . . religiously! So, as I said, the first woman I ever knew made a new man of me. 

"And believe me, ours was more than a puppy love affair. We swore undying love to each other. Appeared haughty when asked to play Post Office or any of the other games that all the kids went in for. We told each other than it would 'cheapen our love.' And I really believe it was more sincere than most youngsters' love affairs . . . it lasted five years . . . and I still call that more than a passing acquaintance! It was Treela who set the styles — as far as women have been concerned in my life. She was distinctly feminine . . . quite short . . . dark brown hair and the same shade of eyes. She has always remained in my mind as a little old-fashioned girl. 

"To show you how much she impressed me, I can truthfully say that until a short time ago I thought of her every day of my life! In fact, so often did my mind wander back over the memories of the five years that Treela and I 'went steady' as kid sweethearts, that I decided at one time that I would have to go back to the small town in Ohio and see if she still remembered me. 

"I went back to the little place where I had been born and brought up — and I found Treela! Not the same little girl I had been carrying in my memory for all the years. . . but a grown woman. A woman who had been married for quite some time and who introduced me to her husband and two of the cutest little kiddies I've ever seen. But I lost something by going back. I replaced the beautiful memory of a little girl . . . with a vivid recollection of a mature woman. The little girl had belonged to me — in memory — but the woman belonged to another man! I'm sorry now that I no longer have that picture in my mind . . . somehow I've always given it a great deal of credit for the little happiness I've been able to glean from some very lonesome hours. 

"I've often wondered what would have happened to that romance if I had stayed in Hopedale. But I moved to Akron . . . and Akron to me is quite famous for a tall, willowy, golden-haired girl with bright blue eyes. Her name was Norma . . . and we were both fifteen. My memory of Norma is very vivid. But it isn't the memory of a beautiful face or figure. It may sound silly when I say it, but the thing I remember about Norma was her voice! No, she wasn't a singer . . and she had never had her voice trained. 

"I have the recollection of sitting for hours and just listening. It used to worry me that I should have to interrupt — to ask her an occasional question so that she would continue talking to me. And even now, I think a beautiful voice is one of the most arresting and really rare attributes to be found. To me, a woman is automatically interesting if she speaks in a beautiful voice. 

Then, after two years in Akron, I started out on "the high road to Broadway. It was a long road . . . one that led me into little towns you have probably never heard of ... a road strewn with one-night stands . . . twenty-five dollars a week . . . when I worked and when I didn't, there were many times that I was hungry. 

'All during those years from the time I was seventeen until I was twenty-four were spent in day coaches and on the stage. During all this time I met many women. Many of them have become a part of the past. Only a few remain. 

"Elsa ... a wistful little girl — blue eyes and raven-black hair — five feet tall and quaint as a Dresden doll. She lived in a town in Mississippi. I remember her particularly because she seemed so anxious to prove her sincerity. She was the only woman I met in all those years who seemed to believe that I would amount to something as an actor. She recognized and was quick to forgive the light way in which I looked upon our romance. She showed, in a hundred insignificant ways, that she thought continually of my happiness. I didn't realize this until long after — but it isn't easy to forget now. 

"Alice . . . another very small girl. She was from the South and her accent intrigued me from the very start. One little mannerism that I recall was the way she had of puckering up her nose when she smiled. It made her appear so much happier than any other person I had ever seen smile that I couldn't get her out of my mind. She had huge dimples in her cheeks . . . and the corners of her mouth always turned up. And I shall never forget the last waltz we had. It was in a small dance pavilion near a lake . . . there was a colored orchestra playing . . . all the lanterns around the walls had been turned low.  I'll always remember that . . . that smile . . . and those dimples. 

Yes, there were many others. Some I have tried to forget . . . with just as much difficulty as trying to remember others. Some were friendships. A few reached the point of romance. And then, after I had finally got to playing some of the larger cities, I found myself occasionally with women whose only appeal lay in a rather dubious physical attraction. I've known the cheap little romances of the actor on a one-night stand. I found that it is very easy for a man who displays emotions on the stage for hours every day to allow himself to do the same off the stage during other hours. I have done it myself . . . and somehow I don't regret it. I think the women I've known have taught me a great deal about life. 

"But all of that comes to an end . . . sooner or later. I mean that sort of hit-and-miss romance. It finally comes time to take life and love very seriously. It came to me at the age of twenty-four. It was then that I met and married my first wife . . . Josephine Dillon. She wasn't on the stage when I met her, but her life had been the stage until a year or so previous. She gave me something that I had never had before ... a constant love and inspiration. Our married life wasn't of very long duration. . . and I will take most of the blame for that. After a separation of a few years, my wife obtained a divorce. Some are quick to say that it was the difference in our ages that made the marriage impossible. I am not sure whether they mean to imply that I was too young ... or that Josephine was older than I. I don't think age has anything to do with the duration of marriage. It has a much deeper foundation. 

Since I've come to Hollywood, I've married for the second time. My present wife had been married before just as I had . . . she is everything I could possibly desire in a wife and I am sure that this marriage will be the last for both of us." (In this case, as in the case of his first marriage, the woman is much older than Gable.) 

"I have nothing to say concerning either of the two women who have done me the honor to become my wife, except to say that in both cases I married women who come up to the standards I have set for what I call my ideal woman. In just one respect do they differ from the types I always liked as a kid: they are both taller than average. But as far as coloring . . . hair . . . eyes and personality — both are exactly the same as I have always admired. 

"That just about finishes what I have to say on the subject of women. I hope, very sincerely, that in answering this call to talk on this delicate topic (so dear to the hearts of the fans) that I have in no way over-stepped the bounds of decent conduct. I like to play the game fairly. I hope I have. This is the first and last time I shall ever talk on this subject for publication. I consider women a real and vital part of my life — but not a part of my career." 

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. 

Fashion Friday #6: The Woman In Fashion

In 1949, Doris Langley Moore published The Woman In Fashion. This book featured clothing and accessories from Moore's private collection covering the years 1800 to 1927. Moore gathered several famous ladies (actresses, ballerinas, society ladies, editors and opera singers) to model her collection. Some of the models for the book included: Rachel Kempson- with her daughters Vanessa and Lynn Redgrave, Googie Withers, Margot Fonteyn, Beatrice Lillie, Sally Ann Howes and of course, Vivien Leigh.

Doris Langley Moore

Doris Elizabeth Langley Moore came into this world on July 23rd, 1902. One internet bio of Moore states that she grew up in South Africa and returned to England in the early 1920s. She became a fashion collector and historian, scholar, author, Lord Byron authority, co-founder of the Costume Society, wife and mother.

Ms. Moore founded the Museum of Costume in Bath (now known as The Fashion Museum), in 1963, though she'd been planning a fashion museum for decades. In an interview she gave in 1938, Moore said that at the end of each year, she was putting away at least two dresses (evening and day), with accessories, for her future museum. Her idea behind doing this was so that people of the next century may have a perfect picture of changing fashions, year by year.

Below are the descriptions of the dresses that Vivien wears in The Woman In Fashion. The descriptions are quoted directly from the book.

From 1877,  here's the first dress modeled by Vivien Leigh in The Woman In Fashion:

This bottle green gabardine tunic, trimmed with intricate embroidery and coloured fringe and worn over a black half trained skirt was the beginning of my collection. Bought in Paris by a woman accustomed to spend substantial sums on dress, it was preserved among family relics until it ultimately made its way into my possession.  The dress... is buttoned nearly all the way down, a style which was revived -in very different shape- during the First World War under the name of the coat frock. In the eighteen-seventies it was called the matinee and was described in The Ladies' Treasury as the proper costume worn when ladies enter the billiard room for the purpose of playing billiards or bagatelle.

It has sleeves of comfortable width, terminating a little above the wrist, but lengthened in this case by a black chiffon frill, pleated and ruched, which falls over the hand. The neck-line... is fairly high, but not, as in the years to come, actually covering the neck. The future trend is indicated, however, by the black velvet ribbon on which hangs a locket. The bustle has greatly diminished in size. A mere pad now suffices to effect the desired protuberance.

The little round topped hat, worn towards the back of the head has a straw crown and a turned up satin brim. By a compensatory impulse, the forehead was invariably more or less covered with a fringe. Aesthetic ladies had their fringes cut straight and despised curling tongs, but almost no one committed the defiance of completely exposing the forehead.

From 1883:

We see in this gold coloured brocade evening dress the last phase in the transition between the tied back costume and the revival of the large bustle....

The back drapery of Miss Leigh's dress is lined with gold satin, and a kilting of the same material appears at the bottom of the skirt between the deep indentations of the satin bound border.  The front drapery is of lace in a dark yellow shade, and is drawn up a la blanchisseuse or a las laveuse [washerwomen].

The bodice is laced down the entire back opening, surely the most inconvenient of all nineteenth century modes, for it meant that the dress could not by any possibility be fastened except with a second person's assistance, and even then not rapidly.

The decolletage is of very moderate depth and is square in shape. There is a trimming matching that of the skirt. The lace covered sleeves reach to the elbow- a length that wouldn't have been permissible with full evening dress a few years earlier.

The fan is of an entirely new design recalling a very old one, and is made of the natural feathers of the scarlet ibis set off by white swansdown and a humming bird.

From 1898:

A black velvet jacket, relieved with white and embroidered handsomely with steel beads and a half-trained black broche skirt appropriately trimmed make a carriage toilette suitable for visits of ceremony. A certain sense of formality is conveyed by the sable and velvet bonnet, now a little suggestive of ancien regime. The bonnet was, in fact, persistently worn, after it was otherwise outmoded, by those who sustained the character of grande dame.

To judge from the prevalence of lorgnettes in the smartest nineties fashion plates, they were sometimes used rather as an attribute of stateliness-- a counterblast to the undignified modern sporting girl- than through any epidemic of myopia.

The Woman In Fashion is a lovely book for those interested in fashion. The book is 184 pages in length, containing 108 black & white illustrations and one color illustration.


A list of other works, fiction and non-fiction, by Moore:
All Done By Kindness
The Child in Fashion
The Technique of the Love Affair
Pleasure: A Discursive Guide Book
My Caravaggio Style
Marie and the Duke of H
Fashion through Fashion Plates, 1771-1970
The Museum of Costume Assembly Rooms Bath, Guide to the Exhibition and A Commentary on the Trends of Fashion
E. Nesbit: A Biography
The Great Byron Adventure
The Late Lord Byron
The Late Lord Byron: Posthumous Dramas
Lord Byron
Lord Byron Accounts Rendered
Ada, Countess of Lovelace
Pandora's Letter-Box: Being a Discourse on Fashionable Life
The Pleasure of Your Company: a Textbook of Hospitality, co-authored with June Langley Moore
The Vulgar Heart: an enquiry into the sentimental tendencies of public opinion
Doris Langley Moore's Book of Scraps: New Verses for Old Pictures
A Game of Snakes and Ladders
Not At Home
The Quest (a ballet)
Carlotta Grisi by Serge Lifar, translated by Moore
Gallery of fashion 1790-1822 from plates by Heideloff and Ackermann (contributor)
Victorian Jewellery by Margaret Flower with a contributing chapter by Moore

Fashion Friday #5: A Yank At Oxford

In 1938, Vivien Leigh co-starred in A Yank At Oxford with Robert Taylor and Maureen O'Sullivan. Vivien, as the second female lead, played the very flirtatious wife of the local (and older than her) book-seller at Oxford.

As Elsa Craddock, Vivien stirs things up for the local collegians, which includes Robert Taylor's character, Lee Sheridan. Lee is a brash, cocky, young American who triumphs sportswise over the other young men at Oxford. Maureen O'Sullivan plays Molly Beaumont, Robert Taylor's love interest and sister of his athletic rival.

The clothes for A Yank At Oxford were created by Swiss designer, Rene Hubert. Ultimately, Rene would work as costume designer on four of Vivien's movies, Fire Over England, Dark Journey, Yank and That Hamilton Woman.

Hubert designed costumes for well over a hundred movies during his long career and received two Oscar nominations for his work. His first nomination was in 1954 for Desiree (color) and his second came ten years later in 1964 for The Visit (black & white). In addition to movies, Mr. Hubert also designed stage sets and costumes for plays and revues.

The first outfit we'll look at today is this lovely three-piece, plaid ensemble. The jacket is made from black tweed, while the lapels and pockets are trimmed in a black and yellow plaid design. The skirt is also made from tweed, with the same plaid pattern as the jacket's trimmings, in black and yellow. Even the gloves didn't escape Rene's attention with their plaid undersides.

One of the perks of playing 'the other woman,' in a movie from the 1930s, is that the actress usually gets to wear flashier clothes than the film's good girl. We can see that's the case with Vivien's character, Elsa, in her fur-trimmed ensemble, pictured below.

Vivien wears a smart, green, wool outfit that coordinates perfectly with her gloves and chin-strapped hat . The dress features ocelot fur-covered lapels and cuffs at the sleeves' ends. The fur travels from the lapels up to the shoulders, then down the dress' backside to the waist (pictured below). One magazine referred to this as a cape effect. (Side note: Seriously, ocelots are so cute that I can't even believe anyone would use them for their fur. Even though they're part of the leopard family, they're only slightly bigger than domesticated house cats.)

Next up is this lovely cream coat, made from twilled fabric. The coat is stitched in dark brown silk and fastened with three wood grained buttons in the same shade. The coat is worn over an underdress of brown crepe de chine, tied at the neck with a bow. Bags, gloves and shoes are in the same shade of brown, the suede shoes trimmed with corded silk. The hat is cream felt to match the coat with dark brown stitching for trimming (description is from the San Bernardino County Paper). Crepe de Chine is a light material, usually made from silk.

Maureen O'Sullivan played the main female lead in A Yank At Oxford. Rene Hubert created fourteen costumes for her to wear in the movie.

From the MGM publicity department: Here is Maureen in a neat, practical ensemble for the young undergraduette about Oxford. Skirt and coatee are in fine brown wool, with an attractive masculine feature in the brown check tweed waistcoat; imitation pockets are piped in brown wool and buttons are covered in brown wool. Shirt, collar, tie and cuffs are in an off-white pique, with shoes in brown suede.

Below, Maureen wears a two-piece outfit designed for her character, Molly, when she's off campus. The fitted, slender skirt features three inch slits on each side and is made from medium blue, wool cloque. Cloque is a woven material with a textured or quilted look, which came into popularity in the late 1930s.

The form-fitting jacket zips up in the front and is also made from wool cloque, with front and back panels of dark blue velvet. The jacket's pockets are trimmed in a medium blue, while the collar, tie and zipper covering are of pale blue pique.

I don't have any close-up pictures of Vivien and Maureen's shoes as they all come out too blurry when I enlarge them. I do have these two vintage ads for shoes from 1938, which I absolutely love since they're in color.

The shoes in the bottom right, with the eight open-holes, are similar to a pair that Vivien wears in the movie, minus the buckle straps. Other shoes from the movie feature ties and bows. If any of today's shoemakers were to produce a vintage line of shoes like these from 1938, I'd be first in line for them.

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