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overall; As a successful designer in the 1940s, Adrian proudly helped to build the reputation of American fashion during that decade. After a prolific career designing Hollywood film costumes, he began designing for his own label in 1941. Adrian celebrated simple, American-made fabrics in his designs, frequently using gingham or simple organdy for evening, as well as daywear. Here, the designer paired red and white striped cotton with red, white and blue eyelet to create a dress that embodies both his own aesthetic and post-war American patriotism., Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.

front; While he often incorporated animal motifs or patterns in designs throughout his career, Adrian likely found new inspiration for this dramatic dress during an African safari the designer took with his wife, the actress Janet Gaynor (1906-1984) in 1949. The choice of a bold textile, custom-made for Adrian by the French house of Bianchini Ferrier, ensured the dress received significant attention in the fashion press that season. Gaynor wore this gown to an event at the Los Angeles showroom and headquarters of Adrian Ltd. in Los Angeles and later donated it to the Brooklyn Museum's collection., Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.

group; Elaborate piecing became a hallmark of Adrian's designs in the mid 1940s. Garments composed of bright colors, often in surprising combinations and juxtapositions, resemble the Cubist paintings of artists like George Braque (1882-1963) and Pablo Picasso (1881-1973). In this example, Adrian has invigorated a conventional silhouette by piecing splashes of pink, purple and orange boldly across the bodice and skirt of the garment. The designer's wife, actress Janet Gaynor (1906-1984) owned this dress and donated it to the Brooklyn Museum., Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.

front; Elaborate piecing became a hallmark of Adrian's designs in the mid 1940s. Garments composed of bright colors, often in surprising combinations and juxtapositions, resemble the Cubist paintings of artists like George Braque (1882-1963) and Pablo Picasso (1881-1973). In this example, Adrian has invigorated a conventional silhouette by piecing splashes of pink, purple and orange boldly across the bodice and skirt of the garment. The designer's wife, actress Janet Gaynor (1906-1984) owned this dress and donated it to the Brooklyn Museum., Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.

front; Adrian developed a signature style in the mid 1940s that echoed the Cubist paintings of artists like George Braque (1882-1963) and Pablo Picasso (1881-1973). A painter himself, Adrian manipulated pieces of fabric as deftly as his paintbrush in designing dresses like this, juxtaposing bright colors and bold shapes. Here his use of bright pink and emerald green accentuates the skillful piecework. Adrian's wife, the actress Janet Gaynor (1906-1984), included this dress in her wardrobe for the couple's African safari in 1949 and later donated it to the Brooklyn Museum., Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.

back; Elaborate piecing became a hallmark of Adrian's designs in the mid 1940s. Garments composed of bright colors, often in surprising combinations and juxtapositions, resemble the Cubist paintings of artists like George Braque (1882-1963) and Pablo Picasso (1881-1973). In this example, Adrian has invigorated a conventional silhouette by piecing splashes of pink, purple and orange boldly across the bodice and skirt of the garment. The designer's wife, actress Janet Gaynor (1906-1984) owned this dress and donated it to the Brooklyn Museum., Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.

front; Label: "Adrian Custom", Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.

overall; The son of a milliner, Gilbert Adrian designed hats in addition to Hollywood costumes and women's clothing under his own label. In this stylish and feminine version of a traditional Tyrolean man's hat, Adrian used pheasant feathers to mimic the "gamsbart", or brush-like ornament found on traditional Austrian hats. Millicent Rogers (1902-1953), a well-known woman of style and a client of Adrian's, owned this hat, which she may have worn at her home in the Tyrol. Rogers' wardrobe incorporated traditional regional costumes, both authentic examples and fashionable interpretations, like this example., Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.

back; Label: "Adrian Custom", Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.

While he often incorporated animal motifs or patterns in designs throughout his career, Adrian likely found new inspiration for this dramatic dress during an African safari the designer took with his wife, the actress Janet Gaynor (1906-1984) in 1949. The choice of a bold textile, custom-made for Adrian by the French house of Bianchini Ferrier, ensured the dress received significant attention in the fashion press that season. Gaynor wore this gown to an event at the Los Angeles showroom and headquarters of Adrian Ltd. in Los Angeles and later donated it to the Brooklyn Museum's collection.; Unlabeled, Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.

component: a,b; Gilbert Adrian designed numerous ensembles for his friend and client, Millicent Rogers (1902-1953), yet few as personal as this dress. Adrian and his wife introduced Rogers to the American southwest by inviting her to Taos in 1947, igniting a love of the region that lasted for the remainder of Rogers' life. She named the home she bought there "Turtlewalk." Here, Adrian used an appropriate turtle pattern for Rogers and a design that referenced the long fringe of Native American women's traditional dress. Incorporation of these elements suited Rogers, who preferred to wear fashionable garments that referenced local traditional clothing when in residence at each of her homes around the world. With her keen interest in Native American art and folklore, Rogers may also have appreciated her friend's choice of the turtle pattern for its symbolic meaning; the turtle figures prominently in some Native American creation stories and is a symbol of balance, patience, tenacity and self-reliance., Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.