DETROIT
CONGREGATION
SHAAREY ZEDEK
1
2
MEMBERSHIP
TUITION FREE
Membership affiliation
with Congregation
Shaarey Zedek
brings involvement and
participation.
Kindergarten thru
Fifth Grades
provided tuition free
to children of
Members.
TAKE TWO STEPS
IN THE RIGHT DIRECTION
Irving Thalberg and Louis B. Mayer: Dress for success.
Saving Valentino
And Other True Tales
ELIZABETH APPLEBAUM
Assistant Editor
Weekday
afternoon classes
Hillel Day School
Building
Sunday
morning classes
Congregation
Shaarey Zedek
Pre-School
through 12th
grade classes
available
Transfer Students
Accepted.
Materials, book fees
not included.
For inforMation call: Leonard P. Baruch or Arline Gould at 357-5544
CONGREGATION SHAAREY ZEDEK
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R
udolph Valentino's
image needed a boost.
It seems the
dashing Mr. Valentino's out-
fits were making women
laugh, not lust. Designed by
his wife, the costumes were
ornate and covered with
beads.
Alas, there was no gold in
them thar frills.
Watching their profits
dwindle left Hollywood pro-
ducers scrambling to revive
the image of their falling
star. There was only one
man to whom they could
turn. His name was Adrian
Greenberg.
The son of immigrants,
Mr. Greenberg was
Hollywood's top costumer
during the 1930s. Known
simply as Adrian, he was the
man behind Jean Harlow's
frizzy blond locks, Joan
Crawford's shoulder pads
and Greta Garbo's severe
hair styles.
Adrian took Valentino out
of the frills and put him into
suave black suits. A
Hollywood image was saved.
Film fashions by Adrian
and other designers was the
subject of a talk by Sandy
Schreier, television and
radio host and authority on
20th century fashion, who
spoke this week for the Adat
Shalom Sisterhood's Donor
Day.
Virtually all of
Hollywood's founders were
Jewish ' immigrants "who
knew more about clothes
and makeup than, acting,"
said Ms. Schreier, who has
dressed stars including
Cher, Julio Iglesias and
Diana Ross. Consequently,
men like Jesse Lasky and
Adolph Zukor spent
countless hours seeing to the
attire of the thespians.
Much of the early costum-
ing was based on the work of
Leon Bakst, the Russian-
born son of a rabbi. Bakst's
Art Nouveau style set the
stage for Theda Bara's vamp
look, complete with kohl-
outlined eyes.
"American women and
women all over the world
copied Theda Bara's
mysterious look," Ms.
Schreier said.
Louis B. Mayer insisted on
the top designer for his top
star, but Coco Chanel's clean
lines did little for Gloria
Swanson. She hated the out-
fits Chanel designed for her,
Ms. Schreier said.
Sometimes, it was the
government — not the
designers — that dictated
Hollywood fashion. The no-
torious Hays Office during
the 1930s and '40s cared
little for cleavage or any
other shocking show of skin.
Hays Office workers
positively cringed when — .
gasp — they saw Tarzan's
"Jane" in a flimsy dress,
complete with bared midriff.
They insisted the outfit be
redesigned.
Thank goodness for the
Hays Office.
A young schoolteacher
named Edith Head becarne
one of Hollywood's leading