Renee Nicole Gray

British & American royalty collided when Barbra Streisand met Queen Elizabeth II at the Royal Film Performance of “Funny Lady on March 17, 1975. The British tradition of attending “Royal Film Performance” dates back to 1946 when King George VI attended the premier of “A Matter Of Life And Death.” Elizabeth II attended her first performance just before her coronation in 1952. She attended over 30 premiers before stepping down from the duty. Today they are often attended by Prince Charles, Prince William & Prince Harry. While in the receiving line upon meeting The Queen, Barbra famously asked “Your Majesty, why is it that women have to wear white gloves to meet you & men don’t?” The Queen didn't have any clue, but replied, “I’ll have to think about that one. I suppose it’s tradition.” For this event, Barbra asked Ray Aghayan (1928-2011) to design a beautiful lavender cape. Aghayan & Bob Mackie had recently completed designing all of the costumes for Funny Lady. He & Mackie were both life & design partners. Aghayan had designed looks for Barbra all the way back to The Judy Garland Show performance in 1963. This floor length Medieval style cloak is made from crushed velvet. It features a Scottish Widows hood & pleating at the shoulders. A T-shaped panel of fabric at the back features Art Nouveau embellishments with glass bugle beads & Swarovski crystals. This floral motif runs vertically to the bottom of the cloak. It is continued along the outside & inside of the hood, as well as vertically down the front. The neck fastens with a hook & eye closure. Cloaks are one of the earliest garments worn by humans. In ancient times blankets & beddings were used to create them. They reached the height of their popularity during Renaissance times when the wealthy & Royals began to wear them. Stunning ornate cloaks made from velvets, silks & satins indicated status in and out of court. The coat eventually came into fashion, overtaking the popularity of cloaks. Barbra’s cloak was auctioned in 2004, but is back in her possession today. She keeps it on prominent display in her antique clothes shop in her Malibu home. #streisandstylefiles #barbrastreisand #funnylady #thequeen https://www.instagram.com/p/Bxp2Y-TnmcM/?igshid=io0m6grgpra9

@BarbraStreisand first appeared in this Superman look in a scene from “A Star Is Born” (1976.) It was so popular with fans that Barbra decided to recreate the look for her “Superman” (1977) album key art. In photos shot by Steve Schapiro, Barbra is seen in many playful poses giving us total 70’s siren vibes. This iconic t-shirt is babydoll style, with cap sleeves, and a screen printed Superman logo. This was paired with white hot pants, striped tube socks & white Keds. Hotpants were huge in the 70’s, but by the end of the decade they became associated with the sex industry, which contributed to their fall from fashion. Prior to the 60’s these short shorts had been worn only for sports or as beachwear. Designers at the time made the bold decision to turn these into fashionable pants made with luxury fabrics. You’ll notice that the tube socks that Barbra wore in A Star Is Born were a different pair than the ones that appeared on the Superman album cover. The film version socks have classic red & yellow top-stripes, but the album cover socks feature red & yellow color blocks. The tube sock originated and evolved from the growth of organized sports in America, particularly basketball & soccer. Since players were wearing short shorts, knee high socks- also known as high risers became essential to cover skin. In 1955 Esquire printed that shorts “look like the devil unless you wear high-rise socks with them.” The tube sock design that we know today came to be in 1967. It was invented by Nelson Knitting Company in IL. The company touted a seamless sock knitting machine that created socks shaped like a tube with no heel in just six seconds. Unfortunately they never patented this design & it became widely knocked off. In the 60’s & 70’s tube socks became mainstream. The rise of popularity in roller skating contributed to this trend. Tube socks were immortalized on film with celebrities including Farrah Fawcett & Raquel Welch wearing them. They became trendy again in the mid 90’s but have not had a revival since. Barbra’s Superman T shirt is so iconic that it sold at auction in 2004 for $6,000 USD. #streisandstylefiles #barbrastreisand #superman #tubesocks #hotpants https://www.instagram.com/p/Bxk3NIsHssm/?igshid=l8grd0t0hems

@BarbraStreisand was draped in glistening Chanel and Donna Karan as she appeared to present the nominated film “BlacKkKlansman”, at the 91st Academy Awards on Feb. 21, 2019.   Barbra’s gown made it’s debut in the Chanel 2011 Cruise collection show, which took place in Saint-Tropez, France. Though the runway version of this dress had a nude lining, versions were also sold with a black lining. Barbra obtained this dress from Church Boutique in West Hollywood and had it customized to match her vision. Most notably, a large hand beaded applique was added to the front, and additional fabric was added to make the armpit area less revealing. A silver scalloped edge, art deco brooch was added just below the criss-crossed straps, which were also embellished with two rows of faceted round beads down the center.  The result is a look that is unmistakably Streisand. This gorgeous Chanel maxi dress features an empire waist and black silk, entirely embroidered with sequins. The bust area features openwork leather, which continues in a matching thick panel around the bottom of the dress. The straps criss-cross in the front and back and feature English embroidery. The fabric content of this dress is 44% Poly, 40% rayon, 13% silk and 3% cotton with a 100% cotton lining. Barbra paired this dress with a long sleeved sequined Donna Karan (likely Black Label), open front duster, which has pockets on both sides. It is 70% Cashmere, 30% silk. The duster was sewn with two darts under the bust to provide a more tapered shape. This look was completed with a Donna Karan black sequined beret and jewelry. The way these pieces perfectly complemented each other is a testament to Barbra’s amazing eye for fashion. #streisandstylefiles #barbrastreisand #academyawards #chanel2011 #chanel #streisand #oscars #donnakaran #churchbotique https://www.instagram.com/p/Bxh4SwPHCPY/?igshid=6erz6nb4olmq

As a child, @barbrastreisand wore classic oxford saddle shoes, as captured in this photo from her personal collection. Saddle shoes were first introduced to the USA around 1906, but reached the height of their popularity in the 50’s. Shoe factory A.G. Spalding introduced the original design as a men’s sport shoe with white soles to prevent rubber from marking off onto gym floors. By the 1920’s they were worn regularly for golf, tennis, hockey & more.  Around this time women also began to adopt the fashion. Eventually other sports shoes were developed, leaving the saddle for dress wear. During the jazz age, some fans supported racial harmony by wearing the black & white footwear. During the depression, lace up shoes were a fashion craze, but leather & black dye became scarce due to war rationing. Because of this, a cheaper version of canvas, brown & white saddles became the norm. Around this time white stitching and laces were added to the shoe. By the end of the 30’s factories returned to making leather saddle shoes. By the time Barbra was born in 1942, saddle shoes had come into pop culture. Nearly every teenager & adult had a pair. Due to the war in the early 40’s, the trend was to make new saddle shoes look worn, old & dirty. Post war, the dirty shoe craze ended & the new trend was for spotless saddle shoes with red soles. Girls and boys would spend hours every day cleaning their shoes & paired them with perfectly folded bobby socks, poodle skirts and jeans. These teens were dubbed  “bobby-soxers”. Many housewives had the secret ritual of wearing saddle shoes around the house for comfort, but changing into their heels before their husbands came home. Eventually saddle shoes became available in wider ranges of colors including red, blue, green and pink. By the 60’s the saddle shoe trend had died and they only worn by kids with school uniforms. Some schools kept these in dress code all the way through the 90’s. The saddle shoe has (sadly) yet to have a fashion comeback, but some companies still manufacture & sell modern versions for vintage lovers. #saddleshoes #barbrastreisand #streisandstylefiles #fashionhistory #streisand #vintageshoes https://www.instagram.com/p/BxdFjY6nyME/?utm_source=ig_tumblr_share&igshid=4f3pduqmaw8z

This unique Butler & Wilson brooch comes from @barbrastreisand’s personal collection. Based in London, Butler & Wilson began selling antique jewelry from a stand at Antiquarius Market in Chelsea in 1969. They opened their first shop in 1972 and started making original designs for their art deco collection around that time. "From the very beginning we never did subtle" says Wilson of his design style. Today they are iconic for their costume jewelry. This hand design is one of their famous pieces and was made in many variations. In the 80’s Butler & Wilson became well known enough to expand their store and launched billboards featuring celebrities including Faye Dunaway & Jerry Hall. Their designs were notably worn and adored by Princess Diana, Madonna & more recently by Adele & Duchess Kate Middleton. In 1984 they were commissioned to design exclusive pieces for the Giorgio Armani Collection. They soon expanded to more locations including Harrods and London’s West End. In 1994 the royal family appointed the company to design jewels for the Tower Of London’s gift shop and additionally, a line inspired by the décor of Buckingham Palace to be displayed inside for public tours.  By the 2000’s they were selling on QVC & had expanded to designing bridal as well as selling vintage handbags and clothing.  They also began collaborating with Victoria’s Secret for their fashion shows. In 2017 their South Molton Street location closed after 32 years due to rent increases, but you can still purchase their designs through QVC and at the flagship store on Fulham Road in London. Barbra’s hand brooch is circa 1980’s. It is 2” x 4.” The hand is set with clear Swarovski crystals in multiple sizes. Siam red & jet black teardrop shaped Swarovski crystals in a claw setting form the fingernails and cuff.  The back is signed and features a post pin with a revolver fastener. This piece was sold at auction in 2004 for $1,050.00 USD. #streisandstylefiles #butler&wilson #barbrastreisand #costumejewelry #handbrooch #streisand https://www.instagram.com/p/BxbJKLrA4Hw/?utm_source=ig_tumblr_share&igshid=1e7xsj55yoi67

Happy Mothers Day! @barbrastreisand Streisand wore this stunning Matej for Odette Barsa set for a July 25, 1967 LOOK magazine spread, titled “Mama Barbra.”  The magazine touted on it’s cover that it had the first color photos of “Funny Girl” with her son. She purchased the set while pregnant with Jason. Odette Barsa was a quality lingerie and nightgown maker, whose designs were at peak popularity in the 50’s and 60’s. She was born in Syria and came to the USA where she married Simon Barsa in 1922. Due to the stock market crash of 1929, Simon’s business began to fail. Odette decided to help out by forming her own business making lingerie. Her pieces were detailed and luxurious, made with imported embroideries and fabrics. She experimented with new lengths and introduced America to the ballerina length, which became popular in the 50’s. Her signature designs almost always included a beautiful peignoir over an elegant nylon nightdress. Women could buy her flowing, romantic and glamorous designs at Bonwit Teller, Neiman Marcus & other high end stores. The cut of these was so loose that they could easily be worn as maternity or nursing wear, as Barbra did. Barbra’s pale lavender set featured a nylon, floor length nightgown with pleating at the bust. Three layers of scalloped lace trim the bottom, as well as a panel of lace at the bust. Two bows accent the front of the gown and several bows accent the lace trim at the bottom. The matching poly blend peignoir features endless rows of ruffles, short sleeves and a snap closure neckline with a bow. Though this look was auctioned, it is said that for sentimental reasons, Barbra changed her mind and got it back at a later time. #streisandstylefiles #barbrastreisand #mothersday #odettebarsa #vintagenightgown #streisand https://www.instagram.com/p/BxYSartAUNz/?utm_source=ig_tumblr_share&igshid=186i5254elpqo

“If this is a hotel I don’t think they’re ready for us!” @BarbraStreisand wore this incredible red velvet coat dress in “Funny Girl” (1968.) You’ll see it appear onscreen during the scene from the “Sadie” montage, when Nick shows Fanny their new house for the first time. This look has many elements of popular 1920’s style, when velvet & fur trim were extremely trendy. Since the early 1900s, designers such as Jeanne Lanvin, Paul Poiret, Patou, Coco Chanel & more, would use fur in abundance as trim for coats. An innovation that led to the demand for fur was the development of the motor car. The early cars were open, and riding in them in cool weather required warm & protective clothing.  This costume was designed by Irene Sharaff (1910-1993). Sharaff had previously designed costumes for Barbra in Funny Girl’s stage production. Irene began her career as a fashion illustrator at Vogue before turning to set & costume design. After completing two four year contracts at MGM & RKO, she became one of the only costume designers to freelance in Hollywood. Her use of Thai silk in “The King And I” created such a trend in the world of high fashion that it became Thailand’s #1 export. Through her career she designed costumes for countless films & shows including “Cleopatra”, “West Side Story” & “An American In Paris.” Sharaff was known for her attention to detail, use of vibrant colors (she often said she saw everything in “blocks of color”) & versatility adapting to many genres & periods. Through her career she was nominated for a total of fifteen Academy Awards and won five, as well as one Tony Award. Barbra’s “Funny Girl” coat was made from red silk velvet, which gives it it’s softness & light sheen. The front of the jacket has an inner button closure & there are two inverted pleats down the front & back. This costume is a testament to Sharaff’s impeccable draping abilities. The jacket features an a-symmetrical panel which wraps across the high neck collar & over the left shoulder to create a flowing cape. Both the panel and dress are trimmed with black fox fur. This incredible piece sold at auction in 2004 for $5,750.00 USD. #streisandstylefiles #barbrastreisand https://www.instagram.com/p/BxVTxTbHj1t/?utm_source=ig_tumblr_share&igshid=emkt0k0cfmr4

@BarbraStreisand looked stunning in all black as she graced to cover of Vanity Fair’s Sept. 1991 issue. She was interviewed by Kevin Sessums for the inside story titled “The Queen Of Tides”, but was unhappy with the end result. She told the LA Times two months later “That other article has so many things that were terribly incorrect.” For this Herb Ritts photo shoot, Barbra was photographed at her home in Los Angeles. She wore a black angora sweater by Jil Sander, studio basics seamless fishnets by Capezio, a black velvet newsboy cap by acclaimed milliner Eric Javits, and black suede pumps by Susan Bennis-Warren Edwards. Most notable however is that she was styled by Marina Schiano. Schiano has been an influential figure in the fashion industry since her days as a model and Vanity Fair's creative style director. She moved to New York at 19, and in 1967 started as a fit model in Yves Saint Laurent’s atelier. She quickly became became one of Yves’s muses. She is said to have one of the most extensive archives of original YSL pieces. Schiano served as Vice President of Yves Saint Laurent from 1971-1982. During this time she was married to Warhol's studio assistant and Laurent’s close friend Fred Hughes for two years, reportedly because she needed a green card. She appeared on the cover of Warhol’s “Interview” magazine in May,1980 and Warhol famously painted her in 1985. She went on to work as Vanity Fair’s style and fashion director, but was eventually fired for pushing herself into the spotlight with the celebs she styled. In the late 90’s she retired in Brazil, where she began to design jewelry & currently lives. #streisandstylefiles #barbrastreisand #vanityfair #streisand #marinaschiano #fashion #jilsander https://www.instagram.com/p/BxSjd9rA06U/?utm_source=ig_tumblr_share&igshid=yufgecr8d3hi

@BarbraStreisand wore this Thea Porter kaftan as Ester Hoffman in “A Star Is Born” (1976). As Streisand fans know, the wardrobe from A Star Is Born was famously credited as “Ms. Streisands clothes….from her closet.” Porter’s pieces are highly collectable because they were made by hand no two were alike. She would source often various antique fabrics from the Middle East, therefore finding one is like finding a lost piece of art. Her highly collectable, rare pieces are now worth thousands of dollars & have been the focus of fashion exhibitions worldwide. Barbra was one of Thea’s many celebrity clients. When she was renovating her house in Malibu, she had gotten in touch with Thea (who was dubbed the godmother of bohemian sheek) and she explained what every room was going to be like, and that she needed a different outfit to match each room. Dorothea “Thea” Seale (1927-2000) was raised in Damascus. She moved to London after separating from her husband Robert Porter, where she worked in interior design. Her first shop in Soho sold imported fabrics & hangings. Determined to have beautiful cushion covers, she began cutting up imported kaftans, but realized they were fashionable in their own right. This led her to start selling them, but when her imports couldn’t keep up with the demand, she began to make her own from mixed fabrics & antique trims. Soon she expanded internationally, selling certain designs wholesale to Henri Bendel & Giorgio Beverly Hills, where Barbra’s kaftan came from. Giorgio is legendary for it’s vast selection of the finest fashion available. In the film “Pretty Women” it was Julia Robert’s first shopping stop. The store sold over $300,000 worth of Porter’s designs per year in the mid 1970’s. Barbra’s kaftan was made from silk, plain weave chiffon. It is resist dyed with heavy gold sequin & silver metallic embroidery, and discontinuing patterned wefts. It features a keyhole neckline & brocade panels accent the sleeves. Red velvet vertical trim runs down the front & back. This breathtaking piece sold at auction in 2004 for $2,000.00 USD. #streisandstylefiles #barbrastreisand #astarisborn #theaporter #kaftan #streisand https://www.instagram.com/p/BxNR41qnP15/?utm_source=ig_tumblr_share&igshid=13tqzd3pk8njj

@BarbraStreisand wore this mint green, pleated halter dress and matching strappy sandal pumps as Cheryl Gibbons in “All Night Long” (1981). Costumes for this film were designed by Albert Wolsky. Designer Adolfo Sardina once said that Barbra has the “best back in the world”, and this look showed it off. Albert Wolsky designed all of Barbra’s costumes for this film. He was born in Paris, France and fled to the US with his parents to escape the German occupation. After graduating college and serving in the Army for three years, he began to work for his fathers travel agency, but at thirty years old decided to change careers. His first job in costumes was as an assistant for noted costume maker Helene Pons. After six years of working his way up, he became established on his own and eventually designed for countless Broadway and film productions. Wolsky was also Bob Fosse’s go to designer. He is a two time Academy Award winner for his work on “All That Jazz” and “Bugsy.” He has also designed costumes for other notable films including “Grease”,  “Sophie’s Choice”, “Manhattan” and far more. The halter dress was made iconic by Marilyn Monroe in 1955’s “The Seven Year Itch”, but has been in style since the 1930’s. The dresses became en vogue at the time for exposing the new “sensual” zone of women’s bodies-her back and shoulder blades. Barbra’s mint green halter dress is made from rayon jersey. It features inverted pleating, an empire waist and zipper hook and eye closure. In the film is was worn with a fabric tie belt. This dress and shoes were sold at auction in 2004, and again in 2017 for $896.00 USD. #barbrastreisand #streisandstylefiles #halterdress #allnightlong #streisand #fashionhistory #albertwolsky https://www.instagram.com/p/BxLJSwzHUSK/?utm_source=ig_tumblr_share&igshid=1emjceq7wfuf4

@BarbraStreisand was far ahead of her time when she rocked this sherbert rhinestoned eye look while singing “Gotta Move” in Act One of Color Me Barbra. (1966). Images of her in this look also appeared on some versions of the DVD as the cover key art. Barbra’s rhinestones were almost certainly Swarovski flatback crystals around size 5-5.5SS in several shades. Scenes for this portion of the show were famously shot at The Philadelphia museum of art over the course of more than 24 hours straight. This intricate look seems complicated, but is easier than you might think. To recreate Barbra’s rhinestoned eyes, follow these steps. 1.Apply a vibrant eyeshadow in the color of your choice on your eyelid. (Barbra used a pale orange). Use a darker shade from the lid crease up to the eyebrow, blending well as you go. This is the backdrop for your rhinestones & a darker shadow will help them pop. Apply waterproof, black felt tip eyeliner in cat eye fashion, or per your personal style. I recommend Stilla Stay All Day or Kat Von D Tattoo Liner. Keep the eyeliner in a straight line as you pull it past the eye and do not flick it upward. 2.Be sure your upper eye area is dry of oil. Apply clear drying eyelash glue in dots where you want to place your rhinestones. You can do this using a toothpick, bobby pin edge, or the brush included in brush on adhesive. Do this in areas of only three to four dots at a time so the glue doesn’t dry before you apply the rhinestones. 3.Using either Swarovski flat back crystals in the color of your choice or (more affordably), 14 faceted resin rhinestones (around 3-4mm) for the best shimmer. Prep these with the flat backs down so they are easy to pick up. Using tweezers, a wax tip pencil (my favorite option), or the wetted pad of your fingertip, dot your flat back rhinestones onto the glue spots you have dabbed. If your spots have dried, add a bit more glue and continue to work. If something falls off, add more glue and try again. This is a fun look, so enjoy the process! You can get creative with the pattern and placement of your rhinestones. No matter what your placement, with proper glue these will stay all night. #BarbraStreisand #makeup https://www.instagram.com/p/BxF5MmUHXsv/?utm_source=ig_tumblr_share&igshid=145r5gfzri7nx

@BarbraStreisand wore these custom Bob Roberts for Max Factor hairpieces in Color Me Barbra (1966). They were styled into Barbra’s natural hair using bobby pins & built into her French twist updo as seen on film. Barbra was fond of wearing hair pieces similar to this during her early years. They allowed her to keep her hair short and give dramatic volume to her updos. Bob Roberts was a wig designer at Max Factor who created many famous looks including wigs for “The Wizard Of Oz.” Max Factor (1872-1938) was born in Lutz, Poland.  At the age of nine he became an apprentice to the city’s leading wigmaker and cosmetician. After four years he gained enough skills to join the staff of Anton’s Of Berlin. He eventually moved to Moscow, where he worked for the cosmetician at the Imperial Russian Opera. At 18 he was required to halt his career to serve four years in the Russian Army. When he was discharged he opened a small shop in Moscow selling his own wigs, perfumes & makeup. His shop became so popular that he was adopted by the summer court and worked privately for aristocrats. In 1904, with anti-Jewish persecution on the rise in Poland, Factor followed his brother and Uncle to the United States with his wife & three children. Upon arrival his last name was changed from Faktor to Factor. He quickly moved to LA where he saw opportunity to make money providing made to order wigs and makeup for the growing film industry. Within 15 years virtually every major move actress was a customer of his salon near Hollywood Boulevard, where he helped to create their famous looks. In 1920 Max coined the term “make up” based of the phrase “to make up” ones face. Until then the term was deemed vulgar. The acceptable only term for society had been “cosmetics”. By 1927 Factor’s products were being distributed nationally. After his death in 1938 his son took over the company and continued to develop products. By the 1960’s the company was still in the business of renting and selling hand made wigs to film and TV productions like “Color Me Barbra.” These hair piece sold at auction in 2014 for $1021.00 USD. #streisandstylefiles #maxfactor #barbrastreisand #streisand #wigs https://www.instagram.com/p/BxDrO8uAxCe/?utm_source=ig_tumblr_share&igshid=1nvyrsxlcen6w

@BarbraStreisand wore this elegant Bob Mackie jumpsuit to the 23rd Annual Grammys, on Feb 25th,1981. She presented the award for best rock male vocalist alongside Barry Gibb to Billy Joel for "Glass Houses”. That night Barbra & Gibb also won the "Best Pop Performance by a Duo or Group" Grammy for their hit single "Guilty." The ceremony was held at Radio City Music Hall. Bob Mackie & his lifelong partner Ray Aghayan (1928-2011) had previously designed many looks for Barbra including for The Judy Garland Show & “Funny Lady” (1975). In 1919 Italian painter Ernesto Michahelles invented the jumpsuit as we know it today. He dubbed it the “Tutu” because of it’s T shape. It was worn by parachutists & skydivers. Coco Chanel brought her own take to this look in the 20’s with her resort wear “lounging pajamas”. Not to be outdone, her rival Elsa Schiaparelli began to create jumpsuits cut from green silk. Though they were met with positive reactions, luxury jumpsuits were put on hold due to the war. In 1937 the image of Rosie The Riveter in her jumpsuit became a symbol of empowerment for women. The jumpsuit returned in the 60’s and 70’s with many designers adding the look to their collections. More women started wearing flowing pantsuits during the liberation movement, as they gave the ease of pants but illusion of a dress. Stars like Abba, Cher, Elvis, Bowie and Mick Jagger helped make the look iconic. By the 80’s jumpsuits had gotten bolder with supersized shoulder pads, bat wing sleeves & tapered pants. These became statement outfits and were the epitome of looking effortlessly cool. Barbra’s Mackie jumpsuit is made from ivory crepe & features intricate beadwork at the shoulder pads, comprised of fringed Czech bugle beads, faux pearls, & claw back rhinestones. The V neck gives way to gathering at the empire waist, creating pleating which continues down the trousers. There is an attached knot front self belt. The sleeves feature eight roulou button loops and covered buttons, and there is a zipper closure at the back. This jumpsuit sold at auction in 2004 for $1,350.00 USD. #streisandstylefiles #barbrastreisand #grammyawards #bobmackie #fashionhistory #jumpsuit https://www.instagram.com/p/Bw-G_LjnpYF/?utm_source=ig_tumblr_share&igshid=1t5kr069vjvyb

@BarbraStreisand wore this custom Adolfo knit suit & cloche hat on the cover of Harpers Bazaar in Nov. 1972.  In the accompanying article titled “Chutzpah Power, Funny Girl..Cover Girl..Gall Into Glamour”, Adolfo stated that Barbra “Looks so seductive & sensual, & the mood is so contemporary that it looks more like today than tomorrow.” Barbra’s pink mohair & brown striped ensemble is a wool/rayon blend. It features an amber fox collar & cuffs with two side pockets. Both the sweater and skirt feature a lettuce hem. The matching cloche hat adds a gorgeous flapper-esque touch to the look. Cloche hats were en vogue in the 1920’s, but had a resurgence of popularity in the 60’s. The name of the hat is derived from the French word for bell, due to it’s distinct bell shape. Adolfo Sardiña was born in Cuba in 1933 and came to NY at age 15. He worked as an apprentice milliner for Balenciaga from 1950-52, & eventually became chief hat designer for Emme. To further his skills, he apprenticed unpaid at Chanel’s NY hat salon. Though he admitted he never enjoyed making hats, he won the Coty award for millinery in 1955. With the help of Bill Blass, Adolfo opened his first salon in NYC in 1963, where his customer base (including the Duchess Of York) encouraged him to make clothes to match his amazing hats. His “fun and fantasy” looks included stunning bolero jackets and eveningwear made from antique patchwork quilts. Eventually his designs morphed into quietly understated clothing such as fur-trimmed knitwear, which brings us to the look Barbra is wearing in these photos. Adolfo’s knit dresses were mass-produced for Saks Fifth Avenue and Neiman Marcus. Even after his success he returned to Chanel for another unpaid apprenticeship & openly acknowledged her influence in his work. Adolfo’s Chanel inspired jackets became his design signature. His knit daywear became best selling in the 70’s & is still in demand today. His company currently sells ready to wear for men, women & children. #streisandstylefiles #barbrastreisand #adolfo #fashionhistory #knitwear #harpersbazaar #streisand #vintagefashion #clochehat https://www.instagram.com/p/Bw7g7_5HCnZ/?utm_source=ig_tumblr_share&igshid=tjplbfdxqcn1

@BarbraStreisand wore this Anna-Bella Designs floral dress on the back cover of her “Higher Ground” CD, which was released on Nov 11, 1997. This was Barbra’s 27th studio album and her eighth #1 album in the USA. Photos of Barbra in this look were shot by Randee St. Nicholas at Barbra’s Malibu home. In the 90’s no wardrobe was complete without a range of floral options. Floral dresses like this one were all the rage. This trend started in the late 80’s with nearly everyone buying Laura Ashley jumpsuits and dresses. Florals had fizzled out by 1998, but have been making a recent comeback. Anna-Bella Designs were known for making flowy, romantic clothing, and this set features all of the elements of their signature style. Barbra’s dusty rose, yellow floral print dress set is made of crinkled rayon and is “one size”. Though this dress was current at the time, it has a very Victorian feel which fit perfectly with Streisand’s personal style.  This tank sleeve maxi dress features a ruffle hem which ads graceful movement. Over the dress is a matching long sleeve, loose ruffle blouse which ties at the bust. For the photos shoot, this look was accessorized with a dusty rose, painted straw sun hat, and Barbra’s namesake hybrid tea roses. This look sold at auction in 2017 for $3,200. USD. #streisandstylefiles #barbrastreisand #streisand #annabelladesigns #florals #90sfashion #higherground #floralfashion https://www.instagram.com/p/Bw5IS6LnDhk/?utm_source=ig_tumblr_share&igshid=15sixfibu1p6d

@BarbraStreisand wore this pepto pink bridesmaid dress as Rose Morgan in “The Mirror Has Two Faces” (1996.) This was the third film that Barbra directed. The dress was designed by Theoni  V. Aldredge, & made by Carelli Costumes, NY. Images of Barbra in this dress were featured on the official poster for the film, as well as on the CD Soundtrack key art. If you look closely at the reception scene, you can see another young actress playing a member of the bridal party in a matching dress. This gown was designed to be a funny take on unflattering bridesmaid dresses. The style has features of classic late 80’s and early 90’s bridal party wear. This dress was made from pink taffeta & features a Basque waist with a fitted bodice. There is pleating around the waist, & two elastic straps give way to rushed, off the shoulder cap sleeves. The back of the dress has a zipper closure & a large, snap closure, pink bow at the shoulder blade. White cotton fingerless opera gloves, white anklet socks, a matching pink chocker, shoes, hair rosettes & a ruffled shawl accessorized this look in the film. Bridesmaid dresses have origins in ancient Roman times, when the Bride’s closest friends would wear the exact same dress as the Bride. Romans believed that happy occasions attracted evil spirits. The decoy dresses were also meant to distract the turned down suitors of the Bride to be. The goal was to confuse the spirits and would be grooms from the Bride long enough for her vows to be completed. By the Victorian era, the idea of evil wedding crashers had nearly fizzled out, but to be safe bridesmaids still walked down the aisle carrying herbs, grains & garlic to scare away evil spirits. The “white wedding” trend began after Queen Victoria & her bridesmaids all wore white. Around this time Brides’ dresses became far more elaborate than their maids’. Later in the 20th century-and in complete contrast to the tradition’s origin, wearing matching dresses fell out of favor so that the Bride would stand out and not be confused for her maids. Barbra’s bridesmaid look sold at auction in 2004 for $870.00 USD. #streisandstylefiles #barbrastreisand #bridesmaids #themirrorhastwofaces #fashion https://www.instagram.com/p/Bw2ox4Ag8BN/?utm_source=ig_tumblr_share&igshid=x5g62hhu69l6

@BarbraStreisand wore this fox fur, Turkis Tukku hat to the NYC Loews premier of “Funny Lady” in March 1975. This 6” high hat features a brown satin quilted lining and two tags inside that read “Henri Bendel, (handwritten) Barbara Streisand, Date 11-8-74” and “Turkis Tukku, Helsinki-Finland”, along with the hat size: 57, which is a US 7⅛. Established in 1952, Turkis Turkku was a classic concept & leader in women’s coats and furs in Finland. Their selection included carefully curated designs ranging from the trendiest jackets and furs, to top-class classics from globally renown brands. A highlight of fox fur is that it is very soft and much longer in comparison to other woodland creatures. There are 12 species of what we know as the “fox”, with the most recognizable being the red fox which is the fur seen on this hat. Finland is one of the leaders in Fox fur production. Fox was extremely popular in the 30’s-50’s in the form of mink stoles (many with heads and tails still intact!) but this look became less popular after the 50’s. Barbra’s hat highlights many of the natural colors of fox fur, with no dying needed as often happens with mink fur. This gorgeous hat sold at auction in 2004 for $312.00USD and then for a second time at Julien’s Hollywood Legends auction in 2015 for $1,280.00 USD. #streisandstylefiles #barbrastreisand #vintagefur #foxfur #furhat #turkistukku #henribendel #funnylady #filmex #1975 #streisand #fashionhistory #vintagehats https://www.instagram.com/p/Bwz9eLFnlD1/?utm_source=ig_tumblr_share&igshid=q65u20j816ba