"Garbomania"

Next Monday i have to present in front of my classmates and my tutor my "Favorite Hollywood Star/Actress" and for those who din't already get it, mine will be the legendary Greta Garbo! 

Greta Garbo is one of Hollywood’s greatest stars - a legendary screen actress – and remains one of the most fascinating women in history. She had a talent that few actresses or actors possess: in close-ups she gave the impression, the illusion of great movement. Her eyes expressed a limited but intense emotional range and this is the reason why Garbo was an international superstar even in silent era – she didn’t have to speak! Of all the other stars none had such magnetism and mystique equal to Garbo's and arguably she is one of the most amazing and most provocative characters of classical Hollywood. Her acting and, even, her accent are not only unique and memorable, but also a reference for the generations of actresses that followed.  

Undoubtedly, the movie stars of the ‘30s were “the center of the Hollywood system” and, more than anything else, the audience starved to see them. The film industry of the time had two prevailing representatives holding the leading roles. On the one side, the “Divine” Greta Garbo created the profile of a mysterious and quite melancholic diva. On the other side, the “mask-like-face” of Marlen Dietrich and her androgynous style couldn’t pass unnoticed. Personally, I am a fan of the first one. In my opinion, Garbo’s image was that of a real star, carefully created and also supported by an unquestionable talent. Greta Garbo was close and distant at the same time. She even managed to turn her imperfect English into an advantage and within a few years to establish herself among “the giants” of the cinema history. 

But, i am not here to present a typical post on Garbo's biography that anyone can find through google; instead of this, i would like to focus my post on "Mata Hari", one of Garbo's grossing films and my favorite one!

Greta Garbo in "Mata Hari" film 

Woman, dancer, performer, artist, spy, symbol, icon, inspiration and desire, all these characteristics concentrated in one person, in one role, in one film “Mata Hari” (1931) played by Greta Garbo. In my opinion “Mata Hari” is one of the most distinguished film noir movies of the 20^th century; not only for its deliberate representation and execution of the script, but mostly due to its very particular and ample artistic approach. Despite the fact that the “Mata Hari” movie was screened in 1931, it refers to Word War 1, a 4-year period between 1914 and 1918. This means that the film contains styling elements and influences taken from approximately 3 different decades. First of all, at the early 1910s, “Orientalism” was the new trend that came to prevail. Western designers adopted exotic stylish details, patterns and lines from different Asian cultures. “All things oriental” was the norm! The outbreak of war in August 1914 forced ordinary women to seek utility, comfort and simplicity in fashion. By 1918 waistlines had dropped to just above the hip. 1920s’ artist trend called “Art Deco” influenced the whole period, since it managed not only to combine architecture, graphic arts, industrial design, decoration and fashion, but also to successfully blend the old with the absolutely modern. In the end of the 1920s and with a new decade rising, designers worked in order to create an androgynous dress code, “one that would broaden the discussion of the relationship between the sexes”.

Greta Garbo as the seductive dancer-spy "Mata Hari"

In this point i have to make clear that Mata Hari’s style is very specific and should not be confused with the 1910s general look. The film presents both aspects of Mata Hari’s life; the seductive dancer and the woman-spy. For her performances, Hari is dressed in a metal breastplate decorated with Oriental and Indonesian ornaments, beaded bracelets and luxury rings adorned her fingers and wrists, elaborate jeweled headdress and impressive fancy turbans with additional long earrings decorated her head in order to demonstrate her special personality and unique style. As a woman-spy, Hari’s style was distinctive compared to this of the rest ordinary women of her period. During the film, Mata Hari appears with outfits, which combine elements from quite different sources and time periods. 1910s’ Orientalism constitutes the strongest influence; we see Hari repeatedly wearing different designs of ornately jeweled tunics combined with leggings covered by sarongs fastened with elaborate belts. The fact that Mata Hari wears this particular kind of leggings and harem-style pants, which were first introduced to Paris by Poiret in 1922, confirms not only her strong personality, but it also implies an androgynous silhouette that affected women during the ‘30s. Moreover, apart from Orientalism, Mata Hari’s long-torso dresses, capes and barrel shaped coats follow the 1920s general trend, without losing their unique character. Even today her total black finale dress remains remarkably elegant. Last of all, we cannot neglect her eyebrows’ thin line, quite mismatched with 1910s’ trend, but absolutely compatible with ‘30s general look and Garbo’s personal image. 

Greta Garbo in "Mata Hari's" outfit

Film’s costume designer, Adrian, did exceptional work and managed to create a fashion reference point for the next designing generations. Over the years that followed, Mata Hari’s style as it emerged through Great Garbo’s interpretation proved a source of inspiration in a great range of ways. Fashion designers all over the world reproduced and renovated Mata Hari’s style based on 1931’s classical movie.

First among the leading ones, Thierry Mugler, the designer that was distinguished for his avant-garde designs and reigned during the 1990s decade, almost always used clear references to “Mata Hari” film. For example, his autumn/winter 1997-1998 Haute Couture collection and the amazing outfit he created for the campaign of his perfume “Alien” (spring 2009), which looks like a modern-cyber Mata Hari, are only some evidence to confirm it.

Thierry Mugler's "Alien" perfume campaign

John Galliano frequently shows his preference to the earlier decades of the 20^th century. His spring/summer 1997 collection is influenced by various eastern cultures and especially his evening outfits and the styling are addressed to a modern Mata Hari.

From John Galliano's Spring/Summer 1997 collection

Moreover, a great number of Alexander McQueen’s autumn/winter 2007-2008 collection creations are undoubtedly inspired by “Mata Hari” film. McQueen’s gold toilets and overall jumpsuits could equally replace Adrian’s ones in Mata Hari’s movie. 

From McQueen's autumn/winter 2007-2008 collection

Jean Paul Gaultier also experimented with Mata Hari’s style, but in his case, he incorporated bohemian and gipsy elements into it. His fall/winter 2010-2011 ready-to-wear collection was full of elaborate huge turbans and Mata Hari style accessories.

From JPG's fall/winter 2010-2011 RTW collection