Why High Fashion Was So Much Better in the 1950s
There’s a new documentary out of Italy that’s making the rounds in film circles, and followers of fashion — by which I mean everyone, because don’t we all need to get dressed in the morning? — should take note. It’s called “Schuberth: l’Atelier della Dolce Vita,” and it’s a charming profile of Emilio Federico Schuberth, a designer of alta moda (high fashion) in Rome during the heyday of Cinecitta.
Active from the 1940s through the 1960s, Schuberth was the “tailor to the stars.” The fashion faithful made pilgrimages to his atelier on the Via Condotti; his creations were worn by Rita Hayworth, Brigitte Bardot, Princess Soraya, Sophia Loren, and Gina Lollobrigida. In a 1954 photograph, we see Lollobrigida chatting with Marilyn Monroe; with its sensuous silhouette and artful draping, the Italian actress’s pink Schuberth dress is infinitely superior to the frankly unimaginative white conical-bra-with-skirt number worn by our brainy, busty blonde.
Now, remember that scene in Fellini’s La Dolce Vita where ellegantly attired models navigate a catwalk, while there at the back, a shy young woman stands with her clipboard, sweetly melting with excitement to be part — even peripherally — of such a stylish scene? That’s a Schuberth fashion show. And today, so many years on, that celluloid parade of poetry in motion still has the power to move viewers to want to pursue a career in fashion.
Even those who were destined to follow fashion as a career, the ones born into garment-business families — like Carla Fendi and Lavinia Biagiotti, who both provide commentary in the film — take on the air of starstruck teens at an early Beatles concert when speaking of Schuberth. At the height of his fame, Schuberth was called the “Italian Dior.” But such is his ongoing relevance that today he invites comparison to designers who rose to fame after him: Gianni Versace, Jean Paul Gaultier.
Today, Schuberth the fashion icon is largely forgotten. Googling the name yields … a German manufacturer of motorcycle helmets and protective headgear for Formula One racers and industrial workers. Everyone’s familiar with Valentino, the designer beloved by movie stars who got his start in fashion at Schuberth’s atelier, as the style sorceror’s apprentice. But Valentino’s first boss was a prescient pioneer, a marketing genius with an ambition that dwarfed his already-small petite stature.
Well before Halston would make his memorable appearance on TV’s “The Love Boat” in 1981, surrounded, rock-star-style, by model-groupies wearing his designs, Schuberth knew how to make the scene, a pack of live, Schuberth-clad mannequins always in tow. He was a pioneering publicity hound, delighted to appear in countless promotional newsreels and even going so far as to milk his own daughter’s nuptials for maximum attention — engraved on the wedding invitation was the fashion credit “gown by Schuberth,” long before Joan Rivers and an army of red-carpet commentators would focus media attention on award-show attire.
But another facet of fashion know-how emerges in this documentary: Schuberth understood the importance of appearance, and the power of well-made clothing to improve a person’s status in life. He cared — really cared — about his clients. “To reach success,” he said, “a woman should be always chic, elegant, special, always a la page [French for "with-it"], modern … because an elegant woman has more chance to have success.” He also cared about women who weren’t his clients, but wanted to be, opening a boutique that sold lower-priced versions of his heady, movie-set-ready creations (like “Project Runway” alumnus Christian Siriano, a worthy Schuberth heir, who designs gorgeous shoes for Payless and recently opened a retail store in New York City).
And long before today’s popular concept of televised makeovers, Schuberth mounted a campaign to improve the appearance of one high-profile woman whose beauty he admired, but whose style he found appalling: Princess Margaret. Newsreels feature Schuberth offering the Princess fashion tips, while archival footage and stills show the designer sketching entire wardrobes of elegant, modern looks just for her. Reality-TV producers would be all over that as a show concept today, to be sure. But watching his repeated attempts to constructively critique Princess Margaret’s outdated look, one gets the distinct impression that Schuberth waged his crusade not just for the notoriety of it all, but because he sincerely wanted Queen Elizabeth’s kid sister to look her modern best.
Many intelligent talking heads offer articulate sound bites throughout the film: among them are Christian De Sica, son of the great actor-director Vittorio De Sica; numerous journalists in and out of fashion; and two iconic divas of the Italian cinema, Gina Lollobrigida and Sophia Loren.
La Lollobrigida and La Loren are both still beautiful, but they’re terribly dressed, and so they appear much older than they need to. Without Schuberth’s glam guidance, they look irrelevant, like refugees from the set of “Dynasty” — the opposite of “with-it.” And whose fault is that? Not theirs, but the fashionisti who design exclusively for teens and twentysomethings with stick figures, for whom 30 is over the hill. Where are the designers up to the challenge of keeping ageless women looking their relevant best?
Loren, especially, wearing eyeglasses and a diamond collar around her still-beautiful neck, looks decidedly not a la page (although she routinely looks stunningly youthful at televised awards shows). Schuberth must be turning somersaults in his grave to see his two most famous fashion plates as they look today. Will someone, somewhere please give these bella donnas a makeover? Doing so would empower women around the world, because if film history’s two most gorgeous brunettes aren’t staying stylish, what hope could there possibly be for the rest of us?
As I contemplate turning 50 in a few short years, looking down the barrel of my dotage, I intend to do my best to stay a la page mentally, physically, and yes, sartorially. The global garment industry isn’t doing much to help empower women like me, however. Precious few stylists today care about us “over-the-hill” women; only the couture takes into consideration the wardrobe needs of the over-40 set, but custom fashion is the exclusive realm of the very wealthy.
Despite the best efforts of the very helpful, very with-it More magazine, contemporary fashions are still aimed at the physiques and tastes of teens and twentysomethings. The fashion media leadership simply isn’t doing its part. Instead of offering glam guidance and empowerment for women of her generation, Vogue magazine’s closely-watched editor-in-chief and resident style icon Anna Wintour appears more concerned with becoming a political player by endorsing designer accessories to support the re-election of her presidential candidate.
There might be good news on the horizon, as Italian entrepreneurs in Naples are gearing up to relaunch the Schuberth label. Let’s hope the venture succeeds in resuscitating this legendary designer’s glamorous goodwill to women, with flattering, with-it looks for different ages, at different price points. Meanwhile, September 6-13 is Fashion Week in New York City. Here’s hoping one of the many design houses exhibiting there will consider taking a page from Emilio Schuberth’s book of style.
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I agree with you. Very few boutiques understand the figure of the mature woman, they design couture for the figure of teenage boys – for women. What is beautiful in women of today? Their hair stylists can’t cut straight, nor use a comb. Most women look like they combed their hair with a towel. As to overall style, absolutely nothing is done to flatter curves of any kind.
And color? I remember when color was stunning. Pattern fit into the design in the most flattering way. Today colors are unimaginative with the use of pattern somewhat resembling the painter’s apron rather than the portrait.
There is no style today. I buy classics from Ralph Lauren, and blend, just like everybody else. Not exactly a la page, but I don’t scare the children, either.
I also miss Edith Head.
Spot on. Gay fashion designers design for their own desires, 13 year old boys.
There must be much crying and nashing of teath with the popularity of Christia Hendricks. Even fashion magazines are begining to airbrush in curves instead of airbrushing them out.
Christina.
You are right on the money. The gay designers don’t want women with hips and breasts they want 13 year old boys. Notice all the “stylish” haircuts where women with long lustrous locks chop them all off til they look like chemo victims? And then the “experts” rave over how “sexy” they look. Why do I care what a gay fashionista thinks is sexy? He doesn’t want to sleep with me anyway!
Blame Prada for the sickening colors and nauseating prints, but what do you expect from a life long lefty.
Merrie, so true. I realized this years ago. The models have gotten skinnier and skinnier. Gay designers haven’t designed for women’s curves since the 1950′s. In the 1960′s when everyone got ‘liberated’ clothes were designed for rail thin women; and in the 1970′s I noticed how the women looked like skeletons. It’s sad. We need clothing designers who actually like women’s bodies, to design for women.
The best part about “high fashion” back then is that the designers stayed in the closet.
Spot on, Camelita. Loved your comment. I miss beautiful clothing.
Next thing you know they’ll be complaining that modern music is without melody or harmony.
Most of the modern Music? that I hear from cars driven by teenagers and young people is c r a p. Hip-hop, rap it is all garbage. Absolute rubbish. What happened to beautiful music, tunes that got in your ear and stayed there. Rap and hip-hop is just so much trash. And look at the way they dress. Pants hanging below their rears. Not a good look, don’t want to see some kids behind.
I started sewing in the fifties because I couldn’t afford to buy good-looking clothes. How I wish I had kept those Vogue patterns I had! They would still look good today. I guess Vogue agrees with me because the catalogue now has some re-issued patterns from those days.
Because everyone wasn’t so damn fat?
Women wear their prettiest clothes all the time.
I find that not following fashion is the answer. My hair is curled and carefully arranged. I would not be caught dead in low rise pants; they cut the body in the wrong place. I do not wear the wild colors and prints; I wear the solids that flatter me. And I make sure the colors I wear actually go well together. Guess what? I am referred to as “elegant” and I still get admiring looks from the male sex, even at my age. Designers of today don’t want women to look nice; I can’t imagine why not. And I find it hard to understand why even the young wear their clothing. Can’t they see how sloppy they look?
Perhaps it’s my age; no one is going to convince me to look ugly in order to be fashionable.
I enjoy the arts, fashion & literature pieces on PJM. I think that puts it above other conservative sites on the web.