The secret of Joan Crawford’s style lies in her timeless elegance in fashion. She was always striving to find a new look or a new approach. She was a true original – always a dictator of trends, never a follower. She arrived in Hollywood in the mid 1920s and rose to fame quickly at Metro-Goldwyn-Mayer studios by personifying the spirit of the “jazz age” on the screen.
With her cropped hair, natural style of acting, and her all-signing all-dancing party attitude, she became, in the words of author F. Scott Fitzgerald, “the best example of the flapper, the girl you see at smart nightclubs, gowned to the apex of sophistication … Young things with a talent for living.” Her costumes of the time also immortalised the popular garb of the flapper, with movies such as “Our Dancing Daughters” (1928) and “Our Modern Maidens” (1929) showcasing Chanel-inspired sleeveless, embroidered frocks, with symmetrical lines, slim waists and short hemlines, as well as more ostentatious accessories such as ostrich feathers and rhinestone trimmings.
In tandem with couturier Gilbert Adrian – commonly regarded as the greatest costume designer in Hollywood history – Crawford also establishes her iconic look, both in style and fashion. Using make-up to emphasise her best facial attributes (saucer-wide eyes, broad slashed lips, and chiselled high cheekbones), she treated clothes in a classic manner, incorporating wide padded shoulders into her costumes to accentuate her broad back, which also serves to create a V shaped torso, topping off the effect by wearing a variety of peekaboo and wide brimmed hats to focus attention upon her eyes. Classic Crawford identity took shape as a tough, ambitious, determined, yet also vulnerable and radiating enough sex appeal to seduce any man she desires.
Joan Crawford’s partnership with legendary costume designer Gilbert Adrian is without equal in Hollywood history. Over the duration of 31 movies made between 1929 and 1941, the duo achieved a high watermark in the presentation of glamour, style and sophistication, producing an array of dazzling costumes, with many featuring Adrian’s trademark asymmetric patterns, contrasting black and white fabrics, puritan collars, tapered waistlines and diagonal fastenings. Accessories formed an essential part of the overall look too, with wide buckle belts, fur wraps, elbow length gloves and decorative bow-ties all adding to the decadent splendour. Invariably sleek, sexy and sassy, these were clothes with attitude – with the end results leaving women aspiring and men desiring. Typical of their work is the classic white, starched organdy dress with ruffled shoulders designed by Adrian for “Letty Lynton” (1932). Such was the popularity of this particular dress, manufacturers across the land wasted no time in selling budget replicas to the public, with Macy’s department store selling 15,000 copies alone and Vogue reporting how “every little girl, all over the country, within two weeks of the release of Joan Crawford’s picture, felt she would die if she couldn’t have a dress like that. [Article and Photo credits: allaboardforskinkersswamp and huffingtonpost]