Edith Head: The Fifty-Year Career of Hollywood's Greatest Costume Designer
Never before has the account of Hollywood’s most influential designer been so thoroughly revealed—because never before have the Edith Head Archives of the Academy of Motion Picture Arts and Sciences been tapped. This unprecedented access allows this book to be a one-of-a-kind survey, bringing together a spectacular collection of rare and never-before-seen sketches, costume test shots, behind-the- scenes photos, and ephemera.
known, is modeled by Dorothy Lamour NOW THAT HER POSITION AT THE STUDIO SEEMED TO BE ESTABLISHED, EDITH FINALLY DECIDED TO DIVORCE CHARLES HEAD. Security in her employment and personal life had always been of the utmost importance to Edith. Now that her position at the studio seemed to be established, Edith finally decided to divorce Charles Head. David Chrierechetti noted in his biography of Edith, that her romance with Bayard Veileer was most likely the reason. Charles Head’s fate after
an established designer in his own right, Banton was brought in for $150 per week by Howard Greer to design gowns for The Dressmaker from Paris (1925) with Leatrice Joy. Banton left behind his own salon in New York City, where he counted on clients such as Florez Ziegfeld for his famous Ziegfeld Follies costumes, as well as New York society ladies for his couture gowns. His reputation had been made when Mary Pickford selected one of his dresses to wear for her wedding to Douglas Fairbanks Sr.
effects needed. Dummy birds could be used for background scenes, and Hitchcock hired bird trainer Ray Berwick to wrangle live birds, which would be used with the actors. Hitchcock changed the locations in the story to San and a town 60 miles North of the city called Bodega Bay Hitchcock had made Shadow of a Doubt (1943) in nearby Santa Rosa, and liked the area very much. Principal photography took six months, two months in Bodega Bay and four months on the Universal lot. Hitchcock was planning
changes, her entire film wardrobe cost just $5,000. The nightgown she wears in the film was supposed to have been purchased at an inexpensive variety store, so that’s just what Edith did. “There are wonderful designers who make you look good, very elegant.” Hedren said. “But Edith taught me that you not only design to make a person look according to their character, you have to make sure that the person can do the action.” The fur coat that Tippi Hedren wears as Melanie Daniels in The Birds.
the ‘40s, working with Mae West, and she opened up. She was like a tough, old walnut when I arrived, but she melted. She originally told me that she was only giving me ten minutes, but it turned out to be two hours. She said ‘you must come out to Universal to photograph me with my Oscars.’ So about six months later, when she was in full-production for a film and her office was open with her staff, I went out there and photographed her with all the Oscars. She suggested we go out to the fitting