Edith Head
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===1930–1967: Paramount Pictures=== |
===1930–1967: Paramount Pictures=== |
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[[File:Color photograph of Victor Mature and Hedy Lamarr as Samson and Delilah.jpg|thumb|right|upright|Head's costume designs for [[Victor Mature]] and [[Hedy Lamarr]] in ''[[Samson and Delilah (1949 film)|Samson and Delilah]]'' (1949), for which she won an [[Academy Award for Best Costume Design|Oscar]]]] |
[[File:Color photograph of Victor Mature and Hedy Lamarr as Samson and Delilah.jpg|thumb|right|upright|Head's costume designs for [[Victor Mature]] and [[Hedy Lamarr]] in ''[[Samson and Delilah (1949 film)|Samson and Delilah]]'' (1949), for which she won an [[Academy Award for Best Costume Design|Oscar]]]] |
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Head remained employed by Paramount Pictures after the studio absorbed Famous Players–Lasky.{{sfn|Leese|1991|p=45}} Although Head was featured in studio publicity from the mid-1920s, she was originally overshadowed by the studio's lead designers, first Howard Greer, then Travis Banton. |
Head remained employed by Paramount Pictures after the studio absorbed Famous Players–Lasky.{{sfn|Leese|1991|p=45}} Although Head was featured in studio publicity from the mid-1920s, she was originally overshadowed by the studio's lead designers, first Howard Greer, then Travis Banton. Head was instrumental in conspiring against Banton, and after his resignation in 1938 she became a high-profile designer in her own right. Her association with the "[[sarong]]" dress designed for [[Dorothy Lamour]] in ''[[The Hurricane (1937 film)|The Hurricane]]'' (1937) made her well known among the general public, although Head was a more restrained designer than either Banton or [[Adrian (costume designer)|Adrian]]. |
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She gained public attention for the top mink-lined gown she created for [[Ginger Rogers]] in ''[[Lady in the Dark (film)|Lady in the Dark]]'' (1944), which caused much comment owing to the mood of wartime austerity.{{sfn|Head|1983|p=59}} The establishment, in 1949, of the Academy Award for Costume Design further boosted her career, giving her a record-breaking run of Award nominations and wins, beginning with her nomination for ''[[The Emperor Waltz]]''.{{cite web|url=http://www.oscars.org/oscars/ceremonies/1949|title=The 21st Academy Awards - 1949|archive-date=November 12, 2014|url-status=live|archive-url=https://archive.today/20141112173414/http://www.oscars.org/oscars/ceremonies/1949|work=[[Academy Awards]]}} Head and other film designers like Adrian became well known to the public.{{Cite news |url=https://www.nytimes.com/2013/09/19/fashion/costume-designers-for-tv-have-a-big-impact-on-fashion.html |title=Get Me Wardrobe! |last=Meltzer |first=Marisa |date=September 19, 2013 |newspaper=[[The New York Times]] |page=E1}} |
She gained public attention for the top mink-lined gown she created for [[Ginger Rogers]] in ''[[Lady in the Dark (film)|Lady in the Dark]]'' (1944), which caused much comment owing to the mood of wartime austerity.{{sfn|Head|1983|p=59}} The establishment, in 1949, of the Academy Award for Costume Design further boosted her career, giving her a record-breaking run of Award nominations and wins, beginning with her nomination for ''[[The Emperor Waltz]]''.{{cite web|url=http://www.oscars.org/oscars/ceremonies/1949|title=The 21st Academy Awards - 1949|archive-date=November 12, 2014|url-status=live|archive-url=https://archive.today/20141112173414/http://www.oscars.org/oscars/ceremonies/1949|work=[[Academy Awards]]}} Head and other film designers like Adrian became well known to the public.{{Cite news |url=https://www.nytimes.com/2013/09/19/fashion/costume-designers-for-tv-have-a-big-impact-on-fashion.html |title=Get Me Wardrobe! |last=Meltzer |first=Marisa |date=September 19, 2013 |newspaper=[[The New York Times]] |page=E1}} |
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