Ginger Rogers' Dress - The Gay Divorcee...

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Ginger Rogers and her mother, Lela Rogers, in her dressing room after her first night's performance in the stage play "Love and Let Love" at the Plymouth October 19, 1951.Growing up, I adored Ginger Rogers and the more I learned about her the less I liked her. If you inspect Ginger's dress (you can click on it to supersize) you'll notice it has a fitted midriff yoke.This fabulous charmeuse swing dress flairs very high during spinning. There are multiple panels that are strategically cut and sewn to create this unique construction. The underlayers are made with...High quality Ginger Rogers gifts and merchandise. Inspired designs on t-shirts, posters, stickers, home decor, and more by independent artists and designers from around the world.Ginger Rogers is perhaps most famous for the 9 movies she made with Fred Astaire in the 1930's. Although she can hardly take credit for inventing the graceful styles of the day, she certainly did...

In 1935, Fred Astaire and Ginger Rogers made cinema historical past with their maximum a hit film partnership, Top Hat. However, it wasn't Astaire's headgear that got people speaking; it used to be Rogers' ostrich feather dress worn within the Oscar-nominated track 'Cheek to Cheek'.

The fact stays that that is rather perhaps probably the most memorable, gorgeous and romantic musical number ever captured on movie, and Rogers' dress contributes to this greatly.

Whenever Astaire and Rogers dance, they are making love with out undressing, with out even kissing within the majority in their motion pictures; "they is angels" remarks unfairly condemned felony Kofi as he fulfils his death wish of watching the lovers carry out 'Cheek to Cheek' within the movie The Green Mile (1999).

In this scene, Rogers without a doubt does seem like an angel in her now-famous dress, accessorised simplest through a glass panel-style bracelet (costume jewellery in tooth or glass used to be very fashionable within the Nineteen Thirties), more than likely satin unmarried strap high-heeled ballroom dancing shoes (the faucets you'll be able to listen have been added after filming) and her hair strangely twisted round her head to a big bun at the nape of her neck in an almost virginal means. Her make-up is beautiful and now not over-done, which once more suggests an angelic high quality.

The plots of lots of the Astaire-Rogers movies were nice fun however most commonly forgettable and farcical circumstances of improper identification, Top Hat being no exception. In this scene, Jerry Travers (Astaire) is pursuing Dale Tremont (Rogers), a model hired via an Italian style designer Beddini (Erik Rhodes) to put on his glamorous robes the place they might be observed by the upper categories; an especially current storyline as this used to be a time when movie stars would bring designer garments to life for most people.

However, unbeknown to Travers, Dale believes that he's married to her highest buddy, which after all he isn't. Dale is regretfully utterly in love with Jerry and is in whole turmoil, which brings great emotion and sadness to the number.

As Jerry sings to her, Dale is transfixed and is nearly expressionless, save for a surprising close-up on the end of the 'seduction' which displays her eyes glistening with tears. Thankfully Rogers was to win an Academy Award for her acting talents 5 years later for the part of Kitty Foyle, sans Astaire.

Beginning slowly, with Rogers attempting to withstand Astaire's advances to start with, he persists to drag her into the dance, almost wrapping himself in her palms. The dress floats divinely as Rogers falls into plenty of backbends which change into progressively deeper all through the quantity, the final one giving in completely to her partner. She has yielded.

In the despair of the Nineteen Thirties, many cinemagoers wanted to flee from the day-to-day grind, and thru imagining that these characters spent every moment residing within the lap of opulence wearing evening dress, they might spend a dreamy hour or two on the cinema believing on this regained glamorous innocence.

Hollywood leading girls have been anticipated to be a show off for couturier's work, and Ginger Rogers used to be no exception. Rogers was once adamant she was wearing the dress she had designed together with Bernard Newman, who had created lots of her surprising robes in earlier Astaire and Rogers outings. Apparently he would worth Rogers' tips, appearing her samples of luxurious materials, and in this instance he sketched as she instructed him her wishes.

Rogers required a "natural blue" dress like the blue in Monet artwork, suitable as it had been mentioned that she was the watercolour to Astaire's sketches. Of direction, with the movie being shot in black and white the color wasn't observed by means of the target audience, but for gown designers it was once necessary nevertheless that the shades have been sympathetic to the set at RKO Studios.

The gown was to be made of figure-hugging shimmering satin and encircled with ostrich feathers across the neck and shoulders and from the hips downwards. An Art-Deco style diamond-shaped diamante jewel on the neckline and a satin bow on the backside of the back completes the glance.

Rogers' desired shape is fascinating and very typical of the generation – her wish was once for a high entrance and a low back. After the intoxicating craziness of the Nineteen Twenties, the Hayes Censorship Code in 1932 known as for women to hide up their cleavage and display as little flesh as conceivable. Ironically enough, the female form used to be thus extra visual than ever, as bare backs changed into 'de rigueur', and therefore no bras were worn and night gowns clung to the frame provocatively.

The bias-cut, offered via the progressive Madeleine Vionnet who found out that material lower on the diagonal allowed dresses to echo the fluidity of a girl's shape, is a trademark of the Nineteen Thirties and used to be perfect for dancers akin to Rogers as these allowed audiences to not omit a second of the movements of her frame.

Ginger was enamoured with the dress straight away as she rehearsed with Fred for the first time in her robe, at which the team had commented "Is it a chook? Is it a airplane? No, it's Ginger's dress!", and even Astaire's spouse Phyllis had commented to spectator David Niven "she seems like a wooster!" (which means 'chicken' as she couldn't say her r's correctly).

It was once nevertheless absolute best for dancing in, the feathers (which have been prolonged at a value of 1, 500) floating stunningly as Rogers glides across the equally beautiful but by no means realistic 'Venetian Canal' Big White Set (BWS), in the style that designers Van Nest Polglaise and Carroll Clark had turn into conversant in growing, this their greatest degree yet.

Unfortunately for Astaire, one of the crucial feathers floated so much that they fluttered off the dress and onto his face, his 'white tie and tails', and the floor in a blizzard-like type, which will still be noticed on film to this very day. Of direction, a disgruntled Fred wasn't having any of it and much to Rogers' sadness the next thing she heard used to be that director Mark Sandrich wanted her to wear a dress she had already worn in The Gay Divorcee (1934).

"Feathers. I hate feathers/And I hate them in order that I will be able to hardly speak/And I by no means to find the happiness I search/With those chicken feathers dancing/Cheek to Cheek." sung to the track of Irving Berlin's 'Cheek to Cheek' used to be Astaire and choreographer Hermes Pan's humorous means of showing their disdain at Rogers's self-designed dress. The whole episode was obviously on Fred's thoughts 24 years later in his autobiography 'Steps in Time', when he named probably the most chapters 'Feathers'.

Somewhat of a taskmaster, Astaire already had grave misgivings about the film's script, so when the cloth wardrobe mistress, Clarkie, walked across set with what Astaire in an instant described as "a rooster that'd been attacked by a coyote", this took the biscuit.

But thankfully, a risk via Rogers and her notoriously matriarchal mother Lela Rogers to walk out if the film unless they were given their way gained over their male opposite numbers and the dress was once again in the film, albeit with the feathers now sewn firmly on!

There was a reasonably frosty reception from the solid and workforce towards Rogers as the rushes had been proven. However, after a few days she received a white box with a matching bow, the note pronouncing "Dear Feathers, I like ya! Fred." Inside was a gold feather for her allure bracelet:

This was Fred's way of constructing amends, as whilst they were not bosom buddies (save for a fast petting session at the back of a car within the overdue Nineteen Twenties!) they'd the utmost respect for every different as pros and Fred incessantly mentioned that Ginger was his favourite main lady as she simply were given on with the job in hand instead of crying like his other companions. This didn't forestall Astaire parodying the number with a rival of Rogers, Judy Garland, within the movie 'Easter Parade' 13 years later.

Ironically sufficient, in the 1970s Ginger Rogers fulfilled her costume-designing dream further as she become fashion advisor to the American chain 'J.C. Penney' (see symbol above) , creating a 20 piece dresser for seven hundred stores throughout the USA. And the infamous ostrich feather dress? It is living at the Smithsonian Institution, Washington DC. And now not a stray feather to be found.

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