#I did not have the patience for fifty thousand pearls

[we-survive-endlessly]

🎶Baila Baila con Seoho🎶

[recycledmoviecostumes]

Goodness do I have a treat for all of you today. Larry McQueen, owner of The Collection has sent me a lovely sighting filled with detailed information. Because the detail is frankly incredible, I decided not to edit it and present Larry’s notes in full below:

In 1936, Travis Banton, head designer at Paramount Studios, began work on the last film he would design for his favorite clotheshorse, Marlene Dietrich. The duo had worked closely together on all her films at Paramount and created the “Dietrich style”-- a look of lavish, smoldering, hard-edged sophistication that was instrumental in creating the Dietrich legend.

 Dietrich had one final film to complete her contract at Paramount and was cast in a typical Dietrich vehicle Angel, a sophisticated Lubitsch melodrama with her in the role of an ignored wife of means who has an affair with her husband’s friend. Banton designed the most opulent dress he had ever created for the star for the under-five-minute opera sequence and preceding scenes in the film. The ensemble was to become known as the “Faberge” gown and consisted of a fitted long-sleeve bodice with peplum, a matching long skirt with train and a six foot stole bordered with sable. The fabric was solidly embroidered with gold beads, pearls, rhinestones, gold bullion, gold sequins and faux ruby and emerald stones in geometric designs. According to W. Robert Levine in his book “In A Glamorous Fashion,” the costume was cost-listed on the wardrobe records at $8,000.00, an exorbitant price in the post-depression era and a price that would be over $100,000.00 by today’s standards. The expense must have caused stirrings in Paramount’s upper management in a time when the government was asking the studios to scale back the unnecessary lavishness in costume design. Banton himself once said it was the most expensive gown he had ever designed.

 The ensemble is given credit in many film costume books as the most spectacular gown ever created. Diana Vreeland, one-time curator at the Metropolitan Museum of Art said of the costume in the book “Hollywood Costume– Glamour! Glitter! Romance!” “When I think of detail, I think of Travis Banton’s marvelous beaded dress for Marlene Dietrich in Angel—like a million grains of golden caviar. That is one of the most beautiful dresses ever…”. Margaret J. Bailey in her book Those Glorious Glamour Years describes the dress “It was simple in lines, of Persian design, and looked like a piece of woven jewelry…”  and “… caused no little trauma on the set when producers refused to give it to Dietrich for her private wardrobe.”

 Dietrich had loved the gown and asked the studio if she could keep it. It is said she was so angry of being refused by the company she help save, she stormed off the set. The incident no doubt added to her disharmonious departure from the studio. She left the studio and did not return until a decade later. Acquiring gowns and props from her films- by whatever means- was a general practice of Ms. Dietrich. After her death, The German Film Archive Foundation (die Stiftung Deutsche Kinemathek) and The Berlin Film Museum acquired her estate in 1993, which consisted of five different storehouses in Europe and the USA. In the collection were thousands of items from her career including fifty of her most famous film gowns. Her daughter, Maria Riva, once told the curator of the Frankfurt Film Museum, her mother was always in constant fear the studios would someday try to take back her collection and had kept the fact of its existence well hidden.

Paramount, however, retained the piece and began to put it to use. Re-using costumes was a common practice by studios to maintain an opulent look to secondary and background characters without the expense of making new ones. It is unknown exactly how many films the Dietrich gown was used in, but from photos found, it is obvious it was put to work and went through many transformations in the process. Mary Astor wore it, without the stole on the set of Midnight, 1939. The front was reworked and worn by Rose Hobart in the film A Night at Earl Carrolls, 1940. It was used in publicity photos as in that of Loraine Day circa 1944. With the sleeves removed, the stole without the fur was added to the front of the bodice as draping, it was worn by Felicia Atkins in The Errand Boy, 1961. The stole was cut in half to be used as a turban and worn with a sleeveless altered bodice by a model in A New Kind of Love, 1963. In 1974, the bodice was put back together and used by Diana Vreeland in the MET exhibition of films fashion and in 1985, the gown and stole was returned to its original configuration and worn by Barbara Hershey in the TV movie My Wicked Wicked Ways.

With all the different uses, the pieces took a beating. Many of the “re-workings” were fast and crude and some of the attempts to repair the gown involved covering damaged areas with large gold sequins. One previous ‘restoration’ involved applying glue to areas and pushing the beads back together and letting it harden. The fine chiffon backing was weak and starting to split and the patterns were separating.    The costume was so fragile, it could never be worn again, but it is amazing the pieces stayed together.

In December of 1990, Paramount put the gown up for auction at Christies New York as part a larger collection of ‘star wardrobe.’  Larry McQueen and his late business partner, Bill Thomas, who were respected experts in the field of film costumes and had compiled one of the finest collections of the medium under the name “The Collection,” were retained to help inventory, authenticate and price the collection and were overwhelmed to see, what they believed to be, the most exquisite film costume ever created. They were successful in purchasing it for a total cost of approximately $23,000.00, one of the highest prices at the auction. As excited as they were to own the gown, the reality of its condition soon set in. Due to the age of the garment, poor storage and multiple alterations, it could never be dressed on a mannequin because it would not support its own extreme weight.

 In 1999, four years after Bill Thomas died, Larry McQueen began the process of restoring the costume. Museum experts in preservation and restoration were consulted and much debate occurred as to whether the integrity of the gown- however poor that integrity was- should be tampered with. It was finally decided by Mr. McQueen that instead of leaving it as it was- a box of un-showable beads- the ensemble should be restored. Getson/Eastern Embroidery, who was then owned by Annie Dernderian, was approached with working on the gown. The firm had worked on the original costume and luckily had many of the beads, sequins and stones used on the original construction.

But, restoration of the garment proved far more difficult than planned. Even though the gown had only taken weeks to create, it would take years to restore. Every inch of the beadwork would have to be attached to new chiffon backing and the patterns pulled into shape and lightly tacked. Then the patterns had to be permanently hand stitched, replacing any missing stones or beads. Previous poor repairs would have to be removed. Missing areas or areas that had been glued would have to be replaced. Many of the original silk threads that attached the beads were breaking and would have to be reinforced with new silk thread. The stole, which had been cut in half and then stacked on top of its self and re-sewn, had to be taken apart, attached to a new backing and the beading attached and corrected.   Photographs of Dietrich wearing the costume were enlarged to determine what was an original pattern and what had been changed. Luckily, the patterns did repeat themselves, so where a pattern was missing, a template of an existing pattern was made to re-create the missing one. The task would involve going inch by inch and would involve thousands of hours and great expense. But, determined to see the gown restored, Larry McQueen had the work begun.

The gown could not be taken apart and beaded flat as it was originally constructed, so a special frame with a sling had to be constructed to allow access to the inside of the garment to work from the front and the back of the fabric. Beads and sequins that had to be removed were sorted and reattached in to same location if possible. Only a four-inch area could be worked on at one time and each area was photographed before and after to document the work done. The project was daunting.

 The entire fabric of the costume is composed of repeating geometric shapes somewhat like a paisley pattern. Each shape is outlined with small pearls or faceted rhinestones. Beads, pearls or sequins in different combinations fill the center portions of the design. Throughout, are patterns that contain a small grid work of bullion threading and each square filled with small pearls, sequins or a combination of sequins and gold beads. The background is of solid gold rocaille beads and the gown is sporadically studded with emerald and red glass beads. Literally millions of beads were used to create the fabric of the ensemble.

 After one year, only the bodice was approaching completion, most of the work done by Annie Denderian. But the expense was mounting and it was becoming impossible to find qualified people who had the patience and time to spend on the garment. Mr. McQueen decided that if the costume was to be completed, he would have to take over the bulk of the hands-on restoration. Having the background and more importantly the motivation to see the gown completed, he was mentored by Ms. Denderian, learning and perfecting the techniques to painstakingly re-attach the patterns and began work on the dress. Almost one year to the date of beginning the work- working faithfully five to eight hours a day- the skirt and the stole were completed. To add strength, bias tape reinforcing and a new silk chiffon lining was added by the costume house of John David Ridge and the stole was re-bordered by using existing sable by Judith Moss at LA Fur Center.

McQueen stated that he probably would have reconsidered restoring the gown had he know the time, patience and expense it was going to take, but then quickly adds that he would have done it anyway. It was just too important. In working that closely with the piece, McQueen was amazed how in touch you get with the people who originally created the garment (a process difficult to understand unless you have restored someone else’s creation). You could tell when someone was having a bad day and cutting corners. You could tell when someone was struck with genius. You could see the differences in workmanship and technique between the various beaders. You could see the time spent on details in areas that no one would ever see. You become very close to the garment and understand it.

The gown is truly a testament to the artistry of early Hollywood. Mr. McQueen is confident the care, attention and over 3000 hours spent in its restoration would make its original creators proud. He hopes that if he leaves any legacy to the field of film costumes, one of his main accomplishments will be the “Faberge gown” survives in the splendor it was originally created and will be shown and appreciated for generations to come.

Costume Credit: Photos, copy and all the above incredible info provided by The Collection of Motion Picture Costume Design: Larry  McQueen

E-mail Submissions: submissions@recycledmoviecostumes.com

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Note: If you’ve not checked out Larry McQueen’s The Collection, I highly suggest you do so. It’s incredible!

[mimik-u]

Court

Summary: Shortly after Pink Diamond is shattered, the Diamonds hold court.

A/N: I was writing "Flower Child", and then this horribly angsty piece demanded to be written.

AO3 Link

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Court was in session.

Usually a long and tedious affair, today it was even more so because they were holding joint court.

Blue’s, her own, and…

Yellow Diamond’s gaze slid involuntarily to the empty pink throne to her immediate left.

… Pink’s.

She made up her mind to destroy the damn thing as soon as this sordid event was over.

It had only been six lunar cycles since Pink had been… had been… destroyed… and Homeworld was seething in the vacuum she left behind. Her entire court and army—what was left of it anyway—had to be disseminated between the remaining Diamonds, which of course, pissed off Homeworld elites who didn’t want to assimilate Earthlings into their private folds. And then there was the usual fare. The gems who came to them with minor issues that could have been solved by a Ruby with half of a brain. Era One gems discriminating against Era Twos. Peridots who couldn’t manage their Kindergartens. Agates who were sick and tired of the Quartzes they bossed around.

It was hell.

Actual, literal hell.

But that didn’t stop these gems.

An orange Jasper approached the altar with a surety of step that did not falter even before the Diamonds. Sizable physique. Striking sandstone markings. A handsomely cut and glossy gem situated where her nose should have been. Had it not been for the pink diamond insignia embedded into her uniform, Yellow might have mistaken her for an Era One Homeworld gem.

“My Diamonds.” The Jasper knelt, and her long, white hair fanned out across her back like untamed feathers.

“State your name and your purpose, Quartz,” she demanded brusquely. She didn’t have the patience for the usual foreplay today.

“Jasper, Facet 9-XL. Cut 1-8K.” The Jasper’s voice had a guttural, angry quality to it, as though it had been scorched in a desert for thousands of years. She reassumed her standing position and dared to look Yellow in the eye. “I’m here because I feel as though my time would be better spent in an active army than in the zoo.”

It was a brazen statement.

Insolent even.

Had it been any other day, Yellow might have felt in the mood to shatter her, but…

She glanced over to her right this time, absorbing the statuesque Blue Diamond with an imperceptible sigh that filtered through her thin nostrils. Blue had been catatonic since court had begun, a useless stone fountain for the steady flow of tears that leaked from her lowered veil.

… but today was not a day to think about shattering.

The Jasper was referring to the fact that Yellow Diamond had chosen to punt all of the Earth-made Quartzes off to the tiny, floating station a few lightyears away rather than deal with them all individually. To hell if that wasn’t their original purpose. Quartzes weren’t exactly a rare cut of gem.

They could guard Pink’s zoo and be happy with it.

After all, someone had to do it now that all of the Rose Quartzes had been bubbled.

“And pray tell, why should I relocate you?” Yellow inquired, equal parts above this bureaucratic nonsense—distant and cold—and yet, incisively venomous, the leader and the mourner wrapped into one voice. “I’ll concede that you’re a decently sized gem, but why employ you over a Topaz?”

Topazes were made on Homeworld.

Topazes didn’t reek of that wretched planet Pink had called her colony until very recently.

The Jasper lowered her defiant gaze for the first time… but she did not lower her voice.

“I’ve got drive,” she said to the ground.

“What was that?” Yellow asked sharply.

“I’ve got drive,” Jasper repeated huskily, and she jutted her chin out proudly. When she spoke, her razor sharp teeth clashed against each other like steel. “I’ve got reason! I’ve got purpose! I’d do anything to get my hands on the traitor who shattered my Diamond.”

One of her massive, orange hands curled into a fist and rammed itself into the pink insignia on her chest.

The belligerent sound echoed through the throne room like thunder.

And then, a scream rent the air like lightning.

Yellow had just enough time to locate the source of the sound before the room was flooded in blue.

Five thousand eight hundred and fifty something years later, Blue’s pathokinetic grief would only bring a tear to the corner of her eye in front of a half-human child named Steven.

But today, when everything was so raw and new and awful in this mad, damn world, Yellow Diamond doubled over in her throne as the extent of Blue Diamond’s pain ran through her body like sword after sword after sword.

She cried out through her gritted teeth and saw that lesser Gems had poofed out—Jasper and the Pearls, their devolved gems shaking on the floor.

And then there was Blue.

Collapsed at the foot of her throne.

Her hair flying around her in a grief-stricken frenzy as she pulled at her own diamond.

Trying to wrench it out.

“Blue!” Yellow bellowed, her voice thick with tears that both were and weren’t hers at the same time. Millions of crystal clear images seized through her mind’s eye like a dust storm, and every single one of them was of Pink.

Right down to the last time Yellow saw her.

She was on her knees, hands clasped just below her chin—fearful of the rebel called Rose Quartz.

And Yellow had dismissed her with a wave of a hand.

Had told her that she was being ridiculous.

No mere Quartz could harm a Diamond.

And now Pink was never coming back.

“Blue!” Yellow gritted her teeth and all but propelled herself out of the throne, her muscles spasming as they fought against the desperate urge to break down on the ground. A guttural groan forced its way up the column of her throat and past her clenched lips.

It was this noise that finally captured Blue Diamond’s attention. She stopped trying to excavate her damn gem long enough to look up and stare at Yellow as though she was seeing her for the first time. Her streaming eyes—dark and heavy and storming with agony—widened in realization.

“You,” she whispered, and Yellow did not like the sound of her tone.

It was reverent.

It was dangerous.

The Diamond began to crawl over to her, her dark cloak dragging against the blue stained ground.

Yellow Diamond could see every microscopic detail of the gem’s body.

Her gloved hands scraping against the floor.

The chaotic energy swirling behind her glowing eyes.

The labored heaving of her chest.

Even her diamond seemed to be dripping.

“Knock this off, Blue,” Yellow snapped, and she sounded tougher than she actually was because she began to retreat until the back of her knees touched the edge of the throne again. She finally had to crumple into it to keep from falling. “You’re a Diamond, and you’re demeaning yourself by—” But she was cut short. Blue’s trembling hand shot out and grabbed her own.

A different kind of electricity shot up her skin.

She was utterly frozen.

Her hand and mind and body captured as Blue knelt before her, her forehead touching Yellow’s legs.

“I can’t do it myself, Yellow. You’ve got to do it.”

“Do what?” She all but shrieked, hysteria climbing up her voice. “What the hell do you want me to do exactly?”

But she knew what Blue wanted.

She always knew.

“End this,” she said quietly, squeezing her hand.

And then she pulled it down to her gem, slowly, tenderly.

Yellow’s fingers grazed the hard edges of Blue Diamond.

“End this,” she had said.

End me.

“Please,” she added faintly, as though that would be enough to sway her favor.

As though please was greater than the thousands upon thousands of years they had spent together, ruling worlds, devouring them.

Talking.

Laughing.

Conquering.

Leading.

Loving in the very few ways they knew how.

It wasn’t.

Yellow Diamond already had shards on her hands.

She’d given in.

She’d given Pink a whole world.

She would never be so generous again.

“What about me, Blue?” Her voice was strangled in her mouth. She couldn’t bring herself to move her hand away from Blue’s gem, from its warmth, from the life it contained inside of it, no matter how miserable and empty and desolate of a life it was. (Pink’s shards had been still and lifeless, had been scattered all over the dirt like they were just common rocks.) “How could you ever be so cruel?”

It was a horrible thing to say.

It was the right thing to say.

Blue Diamond’s overpowering aura dissipated, and she dropped her head into Yellow’s lap.

And she wept.

Yellow sat still and let her do it as a single tear wound its way down the hardened lines of her face.

It fell into Blue’s hair.

“I’m sorry, Yellow.” The apology was muffled against her clothes.

Yellow closed her eyes and leaned back against the cool surface of her throne, a tired hand resting over her face.

She was more sorry than Blue could ever know.

They stayed together like that for a very long time.

An incomplete puzzle.

When Jasper reformed some days later, Yellow Diamond assigned her to be a part of the elite guard on Homeworld.

And she promised the gem that when the time came, she could be the one to bring Rose Quartz’s gem to her on a silver platter.

Preferably in pieces.