Years before Yves Saint Laurent introduced tuxedos and peacoats in his womenswear collection, and decades before Jean-Paul Gaultier’s circus of androgynous looks hit the runways and the headlines... Marlene Dietrich shocked the world by donning men’s suits, officer’s uniforms, bathrobes and silk pajamas. Currently on display at the Musée Galliera, alongside photographic portraits and stills from some of her most memorable films, approximately 250 garments and accessories tell the story of a trendsetter who was light-years ahead of her time.
A perfectionist, Dietrich imposed her personal taste in clothing on the studios. After having her way, she would then oversee the creation of her costumes down to the minutest detail. With the help of producer, Josef von Sternberg, the actress learned to use clothes, makeup and accessories to transform herself into the epitome of a diva. This expo also includes candid photos of Dietrich sans makeup, revealing a restrained, almost introverted woman. She used cosmetics to disguise flaws (her nose, in particular), and chose clothes to create a special aura, relying on accessories like fancy gloves and spectacular hats, to amplify the drama. She knew how to stress her best features, especially her long, lean legs.
Never a slave to the fickleness of fashion, Dietrich remained faithful to her own personal style which was at once sophisticated and casual. She had a penchant for pantsuits and male accessories like hats and canes, which was considered shocking during that era. It is even rumored that, in the ’30s, one Parisian hotel wouldn’t allow her to enter through its main door dressed in trousers.
The actress was a study in stylistic contrasts. Just as easily as she could step into a pair of pants (and there were many in her wardrobe)... Dietrich would slither onto a movie set in a slinky gown; for instance a stunning fish scale dress: a sheath with dime-sized paillettes that dripped over her narrow hips, down past her ankles forming a train that trailed four feet behind her. The garment, which concludes the exhibition is a drop-dead white swan feather coat exemplifying the myth she created around herself, that of a domineering screen diva perceived as cold, mysterious and glamorous. The coat was worn over a contrasting military uniform, while she entertained the American troops during World War II. Later, in 1939, she became a US citizen.
This exhibition amply illustrates the three facets of her legendary look: the “garçonne” exuding a savvy mix androgyny and femme fatale. Walking through the show with a free audio guide (available in English as well as French), the visitor discovers various aspects of theDietrich wardrobe, beginning with a strong men’s influence, apparent in her 1930s day and evening wear. This category includes American-made tailored suits, tyrolian clothing and a few intimate articles of lacy French lingerie, encased in a peek-a-boo box. The starkness of this style softens into suave lounging attire: notably, pajamas and evening gowns that were either opulent or simple, often black. Many of these clothes, including a simple, square-cut black wool jacket with a black graphic appliqué worn over straight-legged trousers are remarkably modern. Even the footwear, modeled after men’s oxfords resembles the sports shoes of today.
The “femme fatale” became one of the key themes associated with Hollywood actresses in between the two world wars. While the “vampire” seduces but remains aloof, the “vamp” is the flip side of the “garçonne.” At the start of the 1930s, American fashion was highly feminine, as opposed to the boyish looks of the 1920s. As a result, the studios were under considerable pressure to create a new, more sophisticated female idol. Dietrich with her tall, upright silhouette showed off simple clothes with a degree of class that enhanced the characters she played in films like “Shanghai Express,” “Morocco,” “The Blond Venus,” “The Blue Angel” and “The Flame of New Orleans.”
In 1944 and 1945, Dietrich contributed to the war effort by participating in a series of singing tours at GI encampments near the front lines. Three showcases are dedicated to her wartime wardrobe and as such, further spotlight her dual image. Clearly, she was equally at ease in designer robes and glittery gowns designed by Elsa Schiaparelli as she was wearing a W.A.A.C. or captain’s uniform.
After the war, Marlene continued to appear in a variety of films including “Golden Earrings,” “Stagefright” and “Ranco Notorious.” In 1950, at the age of 49, she was photographed by Milton Greene in some of the most striking pictures ever taken of her, proving that she was as glamorous as she had always been. But increasingly, her screen roles petered out and as a result Dietrich left Hollywood and took to the stage as a songstress. The clothes from this part of her career were less edgy and more in keeping with the image of a glamorous performer. In this part of the show, black or white tuxedos, complete with top hats and canes, face spectacular movie star clichés along the lines of beaded gowns with trains, or an amazing coat featuring black and green iridescent rooster feathers...
All in all, there are 21 complete stage outfits and 11 exquisite coats, not to mention first drafts of dresses Marlene Dietrich wore in films, boxes of embroidery samples, paper and muslin patterns, newspaper clippings and even signed purchase orders for apparel, as well as contracts commissioning specific garments. This exhibition is a handsome tribute to one of fashion history’s greatest style muses.
Marlène Dietrich — Création d’un mythe, daily except Mon and holidays,10am to 6pm,Musée Galliera,10 av Pierre 1er de Serbie,16e, M° Iéna, tel: 01 56 52 86 00, prolonged to Dec 14
