In 1958, Jean followed Banton's example once again and went to head the costume design department at Universal. While the strapless gown was used by designer Travis Banton two years before, it did not catch the imagination of the public until Louis designed it. But it was their next movie, the the now iconic 1946 , that turned her into an international superstar. She married fashion designer Jean Louis in 1993. Liz was so often profoundly affected by the living habits of whomever she was with at any given time. Louis's friends said yesterday, Mr.
They couldn't do their creations justice so they made them for others to wear. He started drawing and painting at the age of three and progressed to making models of miniature architecture structures and interior decors by the age of ten. This marked a turning point for her. One reason for this was his design of the 'Carnegie suit' in 1937. His extremely expensive designs were popular with the wealthy wives of oil tycoons, but after the broke out, they stopped purchasing his clothes.
Loretta and Jean were clearly lucky and happy, including finding love for many more years to come! He came to the United States in 1936 and was hired as one of the lead designers at Hattie Carnegie, with Claire McCardell and Norman Norell. The projects A great enthusiast of iconic designs, his decors feature no shortage of arresting materials and textures tempered with subtle color palettes, muted tones and impeccable lighting. There he immediately met another star who he would help define her signature style--. Designed for the film Dead Reckoning, 1947. Marilyn's dress was inspired by stage costumes Jean created for and her Las Vegas cabaret act during the 1950s and 1960s. When the movie was released a year later, the look was no longer in fashion and Louis felt the costumes were a catastrophe.
For example, he felt that suits would not go well on Hayworth. He made the move at the suggestion of a customer, Joan Cohn, the wife of Harry Cohn, the head of Columbia. At Columbia, he was the only costume designer at the time to be given full film credit. Motion Picture Costumes , 1960. In addition to his time at Universal, he also started to freelance for other studios around 1960 and would continue to do so until 1973. Costume Design in the Movies.
His first experiences with design came very early on. Hattie never could sew, but she was a great editor and able to spot and cultivate talent. When the busty look was popular during the forties, Louis was obliged to use corsets and pads for his less-endowed actresses although he felt that designs of this sort were very constricting for the actresses. However, she was way over tanned because of course George Hamilton. Jean was with her from the very beginning, even designing a special wardrobe for her screen test at the request of head Harry Cohn.
After graduation, he started his career in the early 1930s as a sketch artist for the Agnes-Drecoll couturier. Or Edith designed hers first and Jean saw it somehow and beat her to getting it in a film and she said who cares and put hers in anyway. Jean's vision has been personally meaningful to me as well. That is the reason why he started to work at the age of 21, managing renovations and undertaking apartment restorations. Plastic was molded around the top of the dress and three stays were used under the bust, one in the center and one on each side. Not surprisingly, he was especially popular with sophisticated women in California and New York.
Archived from on 29 June 2013. Louis constructed the Gilda gown by creating a harness. A certain lady of the house with a shiny coat. Publicity for 'Sadie McKee' shot by Frank Tanner. With this wardrobe, Jean highlighted her phenomenal figure with colorful tailored wiggle dresses and brought out the sexuality in her virginal onscreen persona. They gained enormous control through their intimate influence with their leading ladies and became uncontrollable forces, spending millions of studio dollars. Today, each project that he do is like a first time design experience.
New York Times , 17 October 1967. Kennedy at Madison Square Garden in front of 15,000 people. In the first zone at the head of the jet, one can sit in the comfortable armchairs covered in ivory colored leather with taupe colored inserts and contrasting Bordeaux colored piping. Jean Louis and Rita Hayworth should be added to that elite list. There's another she didn't get along with, but I can't recall who. At Hattie Carnegie, Jean developed a loyal clientele.