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'the Fashion Makers' by Walter Vecchio

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Greek fashion designer (1924–2016)

James Galanos
James Galanos 1956.jpg

Galanos in 1956
Built-in (1924-09-xx)September xx, 1924

Philadelphia, Pennsylvania, The states
Died October 30, 2016(2016-ten-30) (aged 92)

West Hollywood, California, The states
Education Traphagen School of Blueprint, New York

Label(s)

 Galanos, Parfums Galanos, Galanos Furs
Awards Coty American Fashion Critics laurels, 1954, 1956; 1959; Neiman Marcus honour, Dallas, 1954; Filene's Young Talent Blueprint laurels, Boston, 1958; Cotton wool Fashion honour, 1958; Coty American Hall of Fame honor, 1959; Crystal Ball Award from The Fashion Group of Philadelphia, 1963; Drexel Institute of Technology, 1965; Lord's day Times International Honor, London, 1968; Los Angeles Chamber of Commerce Gold 44 Award, 1980; FiFi honor for Parfums Galanos, New York, 1980; Universita delle Arte Terme Diploma di Merita, Italy, 1981;[one] Council of Fashion Designers of America Lifetime Achievement honour, 1985;[2] Stanley Award, 1986 Inducted, Fashion Walk of Fame, 7th Artery, New York, 2001; Received, Physician of Philosophy degree honoris causa, San Francisco Academy of Art University, 2008[3]

James Galanos [ needs IPA ] (September 20, 1924 – Oct xxx, 2016) was an American fashion designer and couturier.[4] Galanos is known for designing clothing for America's social elite, including Nancy Reagan, Marilyn Monroe, Elizabeth Taylor, and others.[v]

Early life [edit]

Galanos was born on September 20, 1924, in Philadelphia, Pennsylvania, the only son of Greek-built-in parents.[half-dozen] His female parent, Helen Gorgoliatos, and his begetter, Gregory Galanos, a frustrated artist, ran a eating house in southern New Jersey, where Galanos had his outset glimpses of well-dressed women. He grew up a shy male child and learned to piece of work hard from an early age. Galanos recalled that he was "a loner, surrounded by three sisters. I never sewed; I just sketched. It was simply instinctive. As a young boy I had no fashion influences around me merely all the while I was dreaming of Paris and New York."[7] Galanos graduated from Bridgeton High Schoolhouse in Bridgeton, New Jersey in 1942. Later on graduating high school, he went to New York City intending to enroll at a school headed by Barbara Karinska, the great Russian phase designer and costumer.[6]

When the school failed to open in the autumn, he enrolled at the Traphagen School of Way, one of the first schools of its kind.[8] He attended ii semesters at Traphagen, the first spent in full general blueprint studies and the second in draping and structure. Later on eight months, in 1943, Galanos left the school because he felt that what he wanted to acquire could only be acquired from applied experience in the garment manufacture.[1]

Career [edit]

1944 – mid-1950s [edit]

In 1944, Galanos got a position every bit a general assistant at the New York E 49th Street emporium of Hattie Carnegie, the incubator of such talents equally Jean Louis, Pauline Trigère, and Norman Norell. His job there turned out to be more than clerical than creative, and, disappointed, Galanos left Carnegie and began selling his sketches to individual manufacturers on 7th Artery for less than ten dollars per sketch. Then, in 1945, his quondam Traphagen style and fashion teacher Elisabeth Rorabach called his attention to a assistance-wanted ad she had seen in The New York Times, placed by textile magnate Lawrence Lesavoy. "His beautiful married woman, Joan, was hoping to launch a ready-to-habiliment dress concern in California, and they were looking for a designer," recalled Galanos. The Lesavoys employed him for $75.00 a week and dispatched him to Los Angeles. Their programme, even so, did non materialize; the Lesavoys divorced, and Galanos lost his job. "Out of pity," Galanos said, Jean Louis, head costume designer at Columbia Pictures, hired him equally a role-time banana sketch artist. Before long later, Lawrence Lesavoy agreed to send the 24-year-one-time Galanos to Paris, just as couture houses there were rebounding from the war. Couturier Robert Piguet absorbed the American into his stable of assistants, amid whom were Pierre Balmain, Hubert de Givenchy, and Marc Bohan.[9] At the Piguet atelier, Galanos met with material and trimming suppliers to choose materials, sketched and draped upwardly designs nether the centre of Piguet, who oversaw his work on a daily basis. In 1948, Galanos decided to return to the U.S and accepted a job with Davidow, a dress-making firm in New York.[10] The new job immune him very piffling creativity, and he resigned shortly.

In 1952, James Galanos opened his own visitor, Galanos Originals, which was immediately ordered by Saks Fifth Avenue and Neiman Marcus in Beverly Hills.[6] He then opened his New York showroom where a Neiman Marcus article of clothing buyer discovered him and predicted his styles would before long "gear up the world on burn down." Stanley Marcus, the president of Neiman Marcus, agreed and presently proclaimed that the greatest and most treasured luxury in the globe for a adult female to have would be a clothes by James Galanos.[11] Legendary magazine editors and mode arbiters such as Diana Vreeland, Eleanor Lambert, Gloria Vanderbilt, and Eugenia Sheppard became fans, ensuring that he would go a household name inside months.[12] [10] From this first collection, his clothing has been admired for its peculiarly loftier quality, specially considering it was fix-to-wearable, not custom-made. His chiffon dresses, in particular, made his reputation in the early 1950s, with their yards of meticulously hand-rolled edges. Many designers worked with chiffon, but Galanos was a true chief of the genre. He draped chiffon, pleated it, layered information technology, used flower prints and fabrics with metallic glints. As tailored as a shirtwaist dress or as seductive equally a sarong, he gave chiffon a high style all his own. Sometimes he even gilded it, equally in his notable pin-striped dress with a three-dimensional jeweled butterfly embroidered on the chest.[13]

In 1953, Galanos embarked on some other venture altogether – he began designing for movies. His outset job was to create costumes for Rosalind Russell, the star of the forthcoming moving-picture show "Never Wave at a WAC."[six] Russell, who at that time was considered the best-dressed of all American actresses, loved Galanos' designs, and she became his friend and a loyal client. Galanos went on to design costumes for other Russell's movies, most notably the picture show version of Oh Dad, Poor Dad, Mamma's Hung You in the Closet and I'm Feelin' So Sad in 1967. After her death, Miss Russell's wardrobe – well-nigh all of it Galanos – was divided among a number of costume collections beyond the country equally gifts in her retention from her married man, Frederick Brisson. Other Galanos' contributions to film and performing arts included costume designs for Judy Garland for General Electric Theater and Judy Garland Musical Special, both in 1956, as well as the 1974 picture Ginger in the Morning, starring Sissy Spacek.[1] [6]

Mid-1950s – 1998 [edit]

James Galanos halter floral full length gown. New York 1980s. PFF collection, Nafplion

Galanos gathered some of the most talented craftsmen bachelor in his workrooms; many were trained in Europe or in the costume studios of Hollywood, for whom he continued to blueprint from fourth dimension to fourth dimension.[14] Nondas Keramitsis, Galanos' head tailor, moved to Los Angeles from his native Greece to make women'due south clothing. He had heard virtually Galanos through relatives and before long started working with him in his Los Angeles studio. Keramitsis and a crew of near 22 tailors he oversaw made everything by hand.[15] If Galanos' piece of work was compared to that of anyone else, it was compared to French haute couture. His business concern was more comparable to a couture house than a set up-to-wear manufacturer; there was a great amount of mitt work in each garment, and all of his famous beadwork and embroidery was done by his staff. Galanos always chose fabrics and trimmings personally during trips to Europe and Asia. Though he constantly looked for the best fabrics, Galanos often felt compelled to create his ain. And so he would make jackets out of different colored ribbons to toss over his chiffon dresses in impressionist colors. Or he would cross black satin ribbons over black lace for the bodices of delicately frothy curt evening dresses. He ofttimes lined his dresses with silks that other designers used for dresses themselves, and he was always a house laic in the importance of subconscious details. These details fabricated a difference in the feel of the clothes on the body and the hang of the textile, and his clients all over the world were willing to pay a dandy deal for them. Details that were not hidden included sequins, feathers, metallic brocades, and laces. He often counterbalanced his most glittering dresses with quiet tie-dyed velvet sheaths and long, clingy styles in black crepe or crushed velvet. "Galanos: Perfection, and Lots of It," read the headline in The New York Times afterward Galanos' show of some 200 designs in 1988. "While he travels to Europe for his fabrics – many are the aforementioned as those used in the Paris couture collections – near of Galanos's designing is done in California," reported the Times. "His standards are as high as those found anywhere in the world. If a comparing is made, it is commonly with the Paris couture. It is reasonably astonishing that an American designer of ready-to-wear should merit that kind of homage over so long a period of time."[16] Fashion designer Gustave Tassell, a long-time friend of Galanos, recalls an occasion when Hubert de Givenchy, the illustrious French couturier, was looking at an inside of a Galanos garment and exclaimed "... we don't brand them this well in Paris!"[ane] It was precisely this couture quality and the timelessness of Galanos' designs that caused his clients to never part with their gowns and proceed wearing them over many years. But it was also the price tag. "Nobody could afford to clothes completely with Jimmy," Nancy Reagan once confessed. "I hang on to what I have."[7]

First Lady Nancy Reagan in the Inaugural gown by James Galanos models for Vogue mag in the Carmine Room, 1981

Galanos was besides famous for his exquisite furs. He used mainly mink, sable, lynx, and broadtail and handled the furs imaginatively every bit if they were fabric. He smocked and quilted the surfaces, nipped the waistlines and used drawstrings, ruffles, and capelets to give a strong fashion camber to all that opulence. He often designed for Peter Dion, the furrier who made sure that the quality of the pelts and the workmanship supported the innovative design. At the superlative of the line were coats fabricated of lynx bellies, so soft and fluffy they looked airborne. The short style was selling for $200,000, the long one – for $300,000. The fitted coat was a Galanos specialty, successful in almost any fur, including fox. As he did with his ready-to-clothing, Galanos also fabricated the hats and other accessories, which included short fur scarves with mink tails hanging from the ends. He showed his coats over stretch tights and bodysuits with satin surfaces. At that place were unexpected styles equally well, like fur shorts, gathered downwards the sides. Many sleeves featured the smock quilting that became a Galanos signature. He besides had a special feeling for broadtail, the tissue-thin fur with a sleek, elegant surface. But Galanos could also make soft mink coats await lean, willowy and graceful past the manner he shaped the skins in the back or carved the hemline in a back-dipping bend. According to Bernardine Morris of the New York Times, Galanos' "best design is a slender coat with the skins worked vertically through the bodice and horizontally for the skirt, an example of elegant proportioning."[17]

Many of the world's nearly socially prominent women were Galanos customers. "James Galanos designs for wealthy women who go to luncheons and cocktail parties, dine at the finest restaurants and are invited to the best parties," reported The New York Times. "His wearing apparel are rarely seen in business offices. It isn't just because of the 5-figure price tags, although they are daunting to all but the highest-paid executives. It's also the glamour caliber of the clothes."[18] Galanos agreed, "I pattern for a very express group of people," he told Time mag in 1985.[nineteen] In the 1980s, he fabricated national headlines as Kickoff Lady Nancy Reagan's favorite designer.[20] [21] Reagan first met Galanos in 1951 at a boutique in Beverly Hills.[22] At the time, Regan was working equally an actress in Hollywood.[22] She wore dresses created by Galanos to Ronald Reagan's first inaugural ball equally governor of California in 1967, and again in 1971 and 1981.[22] The fact that Mrs. Reagan wore a 16-year-old Galanos gown to her offset country dinner at the White Business firm attested to the timelessness and durability not only of his workmanship, but more than importantly, of his pattern.[22]

This blazon of occurrence was commonplace among his faithful customers, who included Marilyn Monroe,[23] Elizabeth Taylor, Jackie Kennedy, Lady Bird Johnson, Grace Kelly, Diana Ross,[7] Betsy Bloomingdale,[24] Rosalind Russell, Marlene Dietrich, Dorothy Lamour,[25] Judy Garland, Loretta Immature, Ali MacGraw,[26] Ivana Trump,[27] Carolyne Roehm,[28] Kim Basinger, Arianna Huffington[29] and many other notable personalities and motion picture and media stars. In 1982, John Duka, the New York Times columnist, described in his column, Notes on Fashion, a black tie party in Galanos' honor attended by his A-listing fans, "James Galanos, the designer whose wear is unmatched in quality and price in this country, was in town, and almost immediately the level of social exchange seemed elevated every bit if by ripple effect. Betsy and Michael Kaiser – he is the lensman – gave a black tie buffet dinner for the designer Saturday. Among those at table were Lyn Revson, Gordon Parks, Barbara Walters, Arianna Stassinopoulos, old Senator Abraham A. Ribicoff and his married woman, Casey, Freddie and Arlette Brisson, Mary McFadden, Tammy Grimes, Stephen Paley, John Loring, Gloria Vanderbilt, William Macomber, Sybilla Clark, Alex Gregory, Frank and Gloria Schiff and Bob Colacello. Mr. Galanos was the center of attention: Nigh every woman in the room was wearing one of his designs."[xxx]

1998 – 2016 [edit]

In 1998, Galanos retired after a career spanning near 5 decades.[31] Despite his retirement, Galanos continued to brand his presence known in the fashion earth. In 2002, he blasted the fashion industry for catering to merely young women with perfect bodies. In an interview with WWD over lunch at the Pierre Hotel in New York he asked the reporter, Eric Wilson, shaking his head in contempt, "How many women tin wear just a patch over their crotch and a bra? Aren't y'all embarrassed when you see a young daughter walking down the street practically naked? Fashion is geared only to young people today," Galanos connected. "All we encounter is Levi's and bare bellies to the point of nausea. At that place are no clothes for elegant women. Let'due south face it, some of the things you see in the paper are absolutely monstrous looking – and I'm not squeamish. God knows I made sexy clothes in my day, simply there'due south a bespeak when you lot accept to say, 'Plenty, already'."[32]

Of contemporary designers, he admired the work of Ralph Rucci, who shares Galanos' views of the country of fashion at the beginning of the new millennium. "I retrieve nosotros're in a land of mediocrity," Rucci told blueprint students at the San Francisco Academy of Art University.[33] Beginning in the early on 2000s, Galanos attended most of Rucci's shows in New York and Paris. "I thought what he was doing was really terrific," Galanos told Cathy Horyn of The New York Times in 2002, "he has the same kind of concept that I had – beautiful details that you lot don't come across in set up-to-habiliment."[34] "Ralph Rucci makes clothes like no one else, taking pains to make things that are beautifully finished," he told Harper's Boutique in 2004.[35] On his side, Rucci considers Galanos a major influence in his work and a continuing inspiration. "If we were in Japan, we'd have an expression and call [Galanos] our national living treasure," Rucci told a group of distinguished guests that included Nancy Reagan, Betsy Bloomingdale and Peggy Moffitt, at an event honoring Galanos at the Beverly Wilshire Hotel in Beverly Hills.[36]

"While he officially retired in 1998," wrote Alix Browne in The New York Times, "he shows no signs of falling out of fashion."[37] Galanos's vintage gowns remain chic, sought after and popular among the international jet-set, Hollywood stars and supermodels, and accept been seen on such notable women equally Celine Dion,[38] Renée Zellweger, Nicole Kidman, Jessica Alba,[26] Heidi Klum,[39] Tatiana Sorokko,[forty] Bister Valletta,[41] Christina Ricci,[42] Ashley Olsen[43] and Katie Holmes,[44] amongst many others.

Photography [edit]

Having reinvented himself as an abstract photographer, in 2006, at age 82, Galanos's kickoff exhibition of photography was held to great acclaim at the Serge Sorokko Gallery in San Francisco.[45] [46] The prove featured more than xl photographs taken by Galanos over the previous several years. The works were mostly abstract, with the notable exception of a few mystical, mirror-outcome enigmatic landscapes.[25] Much like fashion pattern, his photography revolved effectually material, shape and color. The subjects were crafted by Galanos out of newspaper or fabric and and then photographed in evocative light, creating subtle variations of tone and shading.[47]

Awards and recognition [edit]

James Galanos lace and taffeta gown. New York 1980s. PFF collection, Nafplion

Galanos was the youngest designer to win the Coty Fashion Award in 1954.[5] He was too a winner in 1956 and he was inducted into the Coty Hall of Fame in 1959.[48] [half-dozen] His other honors included the Crystal Brawl Award from The Fashion Group of Philadelphia, 1963; the Fashion Accolade from the Drexel Establish of Technology, 1965; the London Sunday Times International Accolade, 1968; the Los Angeles Sleeping accommodation of Commerce Gold 44 Accolade, 1980; a Diploma di Merita from the Universita delle Arte Terme, Italy, 1981. He was named to the International Best Dressed List Hall of Fame in 1982. Galanos besides received the prestigious Council of Fashion Designers of America Lifetime Accomplishment Award in 1985.[1] In the year 2000, the Metropolis of New York began honoring American fashion designers by placing bronze plaques along the pavement of Seventh Avenue. Dubbed the "Fashion Walk of Fame", Galanos was i of the beginning designers to exist so honored.[49] In 2007, he became the recipient of the Rodeo Drive Walk of Style Honour, and one year later, in 2008,[l] he received a Md of Philosophy caste honoris causa from the San Francisco Academy of Art Academy.[51]

Galanos was the subject field of numerous museum solo exhibitions, and his designs are in the permanent collections of important museums worldwide, including the Metropolitan Museum of Art in New York, Victoria and Albert Museum in London, U.K, the Los Angeles County Museum of Fine art, in Los Angeles, Musée Galliera in Paris, French republic, the Phoenix Art Museum in Phoenix, Arizona, the Philadelphia Museum of Art in Philadelphia, Pennsylvania, the Smithsonian Museum in Washington DC, the Museum at the Fashion Institute of Technology in New York, N.Y., the Brooklyn Museum in Brooklyn, Northward.Y. and the M. H. de Young Memorial Museum in San Francisco, California, to name a few.[52] [53] [54] [55] [56] [57] [58] [59]

Galanos' career spanned more than half a century. "To James Galanos, fashion is all about making women look beautiful," wrote Anne-Marie Schiro in The New York Times, "and he has devoted 44 years of his life to designing clothes to that end."[threescore] He "was e'er a hero to all those who worshiped at the feet of fashion, non merely those who wore the apparel", wrote Bernardine Morris in an introduction to the catalogue of Galanos' retrospective exhibition at the Los Angeles County Museum of Fine art in 1996. "He was heralded every bit the equal of any of the mythic group of French designers who represented the apotheosis of fashion. The difference, then and now, is that Galanos' clothes were ready-to-wearable; the French Haute Couture made custom clothes. In this, he is truly an American designer. For, in this country, information technology is ready-to-wear that dominates fashion, a lesson the French learned later on he pointed the way. This may exist James Galanos' major contribution to the mode world: he brought brilliance and quality to styles meant to be bought off the rack"[61]

In September 2016, the Robert and Penny Fox Historic Costume Collection of the Westphal College of Media Arts and Blueprint at Drexel Academy received a gift from the James G. Galanos Foundation of virtually 700 ensembles.

In 2018, ii years after his passing, the academy honored Galanos past naming a new exhibition inside their manner department after him.[10]

Personal life [edit]

Galanos never married. He was the uncle of fine jewelry designer Diana Vincent, of Washington Crossing, Pennsylvania. He retired in 1998 and lived in Palm Springs, California[62] and Due west Hollywood.

Galanos died on October 30, 2016 at his home in West Hollywood, California at the age of 92.[63] [5]

Museum exhibitions (partial list) [edit]

Pleated silk chiffon gown circa 1985

  • Los Angeles County Museum of Art, Los Angeles, California
  • Museum at Mode Institute of Applied science, New York, N.Y.
  • Kent State University Museum, Kent, Ohio
  • Smithsonian Institution, Washington DC
  • Metropolitan Museum of Art, New York, Due north.Y.
  • Brooklyn Museum of Fine art, Brooklyn, N.Y.
  • Philadelphia Museum of Art, Philadelphia, Pennsylvania
  • Ohio State University, Columbus, Ohio
  • Dallas Museum of Art, Dallas, Texas
  • Palm Springs Art Museum, Palm Springs, California

Selected filmography [edit]

  • Never Wave at a WAC, 1953
  • Oh Dad, Poor Dad, Mamma'due south Hung You in the Closet and I'm Feelin' So Sad, 1967
  • Ginger in the Morning, 1974
  • Protocol, 1984

Literature [edit]

  • Williams, Beryl. Young Faces in Style. Philadelphia: J. B. Lippincott Company, 1956. ASIN B0007E744Y
  • Levin, Phyllis Lee. The Wheels of Mode. Garden City, Due north.Y.: Doubleday & Company, 1965. ASIN B0007DKMIA
  • Bender, Marilyn. The Beautiful People. New York: Coward-McCann, 1967. ASIN B001Q8MM7O
  • Vecchio, Walter. Riley, Robert. The Mode Makers: A Photographic Record. New York: Bookthrift Co, 1968. ISBN 978-0-517-00541-five
  • Watkins, Josephine Ellis. Who's Who in Fashion. New York: Fairchild Publications, 1975. ASIN B000MBSMYS
  • Waltz, Barbara, and Morris, Bernardine. The Fashion Makers. New York: Random House, 1978. ISBN 978-0-394-41166-viii
  • Houck, Catherine. The Fashion Encyclopedia. New York: St. Martin'southward Press, 1982. ISBN 978-0-312-28401-5
  • Diamonstein, Barbaralee. Fashion: The Inside Story. New York: Rizzoli, 1985. ISBN 978-0-8478-0610-2
  • Milbank, Caroline Rennolds. Couture: The Dandy Designers. New York: Stewart, Tabori & Chang, 1985. ISBN 978-0-941434-51-5
  • Milbank, Caroline Rennolds. New York Fashion: The Development of American Style. New York: Abrams Books, 1989. ISBN 978-0-8109-2647-9
  • Gold, Annalee. ninety Years of Fashion. New York: Fairchild Publications, 1990. ISBN 978-0-87005-680-2
  • Bradley, Barry Galanos. Cleveland: Western Reserve Historical Society, 1996. ISBN 0-911704-47-7
  • Stegemeyer, Anne. Who'south Who in Fashion. New York: Fairchild Publications, 2003. ISBN 978-1-56367-247-7
  • Loring, John. Galanos, James. Lambert, Eleanore Tiffany in Fashion: A Written report of American Fashion and Fashion Photography, 1933–2003. New York: Abrams, 2003. ISBN 978-0-8109-4637-8
  • Sewell, Dennita. Extending the Track: Tatiana Sorokko Style. Moscow: Russian Way Museum, 2010. ISBN 978-0-615-34760-8

Sources [edit]

  • Morrow, Suzanne Stark, The World of James Galanos. Architectural Digest, October 1981
  • Talley, André Leon, A Certain Quality: Galanos. Vogue, April 1985
  • Batterberry, Ariane and Michael, The Loner, Connoisseur. May 1985
  • Milbank, Caroline Rennolds, James Galanos: Disciplined Elegance in the Hollywood Hills. Architectural Assimilate, September 1988

References [edit]

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External links [edit]

  • James Galanos at IMDb
  • James Galanos at Artnet.com
  • James Galanos at Serge Sorokko Gallery

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