Robert Kalloch
Robert Mero Kalloch III, often known by his professional mononym Kalloch, was an American fashion designer and, later, a costume designer for Columbia Pictures and Metro-Goldwyn-Mayer. He worked on 105 films during his career, and was widely considered one of America's top fashion designers in the late 1930s.
Early life and education
Robert Mero Kalloch III was born January 13, 1893, in New York City to Dr. Robert Mero Kalloch II and his wife, Emily. His father was a dentist of Scottish American descent. He attended New York City public schools, then spent four years at the Dwight School on Manhattan's Upper West Side. During his last three years at Dwight, he also attended and graduated from the New York School of Fine and Applied Arts. He later taught at the School of Fine and Applied Arts in his mid-20s, helping to educate Travis Banton and Adrian, and was a member of the jury in the school's 1918 costume design show. Although he won admission to Yale University, he never attended.Early career
Upon graduation from the Dwight School, Kalloch joined Vogue as an illustrator and designer of women's fashions. At the age of 18, Kalloch sought out one of his idols, the prima ballerina Anna Pavlova. After weeks of haunting the performers' entrance at the theater where she was appearing, he finally convinced her to look at his sketches. She was so impressed that she hired him to design costumes for one of her ballets. He later designed costumes for the opera singer Mary Garden.In 1919, Kalloch won a position with Lucile Ltd., the fashion house of Lucy, Lady Duff-Gordon. He worked in the London and Paris branches of the company, studying fashion and designing costumes for the Grande Revue of the Casino de Paris. Dancer Irene Castle was one of Lucile's clients, and Kalloch designed a number of her dance dresses. Castle swiftly became "the epitome of chic" to the public, and Kalloch was known as the "man who made the clothes that made Irene Castle famous".
Returning to the United States in 1920, Kalloch took a job with Madame Frances & Co., where he co-designed fashions with Travis Banton. According to Edith Head, Kalloch and Banton's designs resembled one another, but Kalloch's work was more imaginative. By 1921, Kalloch was well known in New York City for designing costumes for the Ziegfeld Follies. He also designed costumes for Grace Moore's 1923 Broadway debut in Music Box Revue. In the five years he worked with Madame France & Co., Kalloch visited Europe 28 times to study fashion.
Throughout the early and mid 1920s, he freelanced for Peggy Hamilton, a fashion designer who had worked as chief costume designer for Triangle Film Corporation.
It is unclear what Kalloch's work history included between 1926 and 1930, although for at least a year he worked for fashion entrepreneur Hattie Carnegie. He came to the attention of Hollywood in the late 1920s when Peggy Hamilton, by then a Los Angeles Times fashion columnist began promoting his work in her articles.
Hollywood
Early work: 1933 to 1935
In 1933, Columbia Pictures hired Kalloch to be their chief fashion and women's costume designer. He was the first contract costume designer ever hired by the studio, and he established the studio's wardrobe department. Until his death, he was often credited by the mononym "Kalloch". Columbia Pictures at the time had a reputation as a Poverty Row B movie studio. Founder and president Harry Cohn was determined to change that, and in addition to hiring popular actresses like Nancy Carroll, Irene Dunne, Lillian Harvey, Grace Moore, and Fay Wray he hired top-flight technical talent like Kalloch. Kalloch's employment, in turn, convinced these leading actresses that Columbia Pictures intended to invest in their careers.Among his first works was a lace gown for Mary Brian in the 1933 film Fog and a gown with enormous draped sleeves for Glenda Farrell in Lady for a Day. He also designed the costumes for Elissa Landi for Excursion to Paradise and for Barbara Stanwyck in The Bitter Tea of General Yen. He went to Paris in June 1934 to see the latest fashion trends, and by September of that year had designed costumes for Claudette Colbert, Carole Lombard, Grace Moore, and Genevieve Tobin. After his return, he designed notable costumes for Ann Sothern in Eight Bells and a set of clothes for Joan Bennett in She Couldn't Take It which altered the actress' look from conservative to chic.
Kalloch was Columbia Pictures' first good costume and fashion designer, Between 1930 and 1934, Columbia Pictures transformed itself from a Poverty Row studio to one of the eight major film studios during Hollywood's Golden Age. With Columbia's releases more than doubling from 21 to 47 a year, Kalloch was overwhelmed with work. In May 1935, Columbia Pictures hired Murray Mayer to lead its ladies' wardrobe department. Kalloch retained his position as the studio's fashion and costume designer. During this early period, Kalloch's work favored classic, graceful lines that treated actresses like sculpted marble. His work emphasized their height and slimness.
Kalloch's mother died on June 29, 1935. Her death prompted Kalloch to leave Columbia and return to New York City, where he took a job once again with Madame Frances & Co. When Madame Frances retired in 1936, Kalloch returned to Columbia.
Maturing work: 1936 to 1939
Over the next two years, Kalloch designed on-screen fashions for Ida Lupino in Weather or No, Irene Dunne in The Awful Truth, Madeleine Carroll in It's All Yours, and Mary Astor in No Time to Marry. Among his most innovative works during this time was a set of Persian cut cocktail pajamas for Grace Moore in I'll Take Romance. It started a brief fashion trend.During this period, Kalloch began to integrate low-cut décolletage and short bolero jackets into much of his work. He also became fascinated by the new colors the fabric, leather, and textile companies were creating and began using them in his designs.
Late Columbia years: 1939 to 1941
From 1939 to 1941, Kalloch designed notable on-screen fashions for Jean Arthur in Mr. Smith Goes to Washington and Only Angels Have Wings; Rosalind Russell in His Girl Friday; Rita Hayworth in The Lone Wolf Spy Hunt, Who Killed Gail Preston?, Only Angels Have Wings, Music in My Heart, and Angels Over Broadway; Loretta Young in The Doctor Takes a Wife; Penny Singleton in Blondie, Blondie Takes a Vacation, Blondie on a Budget, Blondie Has Servant Trouble, and Blondie Plays Cupid; Katharine Hepburn in Holiday; Joan Blondell in There's Always a Woman and Good Girls Go to Paris; and Barbara O'Neil and Wendy Barrie in I Am the Law.During this period, Kalloch continued to favor long, slim lines and form-fitting silhouettes. He preferred slim waists accented with a wide belt, and long skirts with long sleeves and a high collar. Only in 1939 for Good Girls Go to Paris did he shorten skirts to just below the knee.
Among his most outstanding works between 1939 and 1941 was for Katharine Hepburn in 1938's Holiday. Kalloch began experimenting for the first time with odd jackets, using them to create new looks for classic outfits. He also designed a yellow chenille robe for her which was widely acclaimed. The media also paid particular attention to his work for Joan Blondell in 1938's There's Always a Woman, where Kalloch had to design a chic-looking wardrobe out of cheap garments and cloth. Another of his important works in this period was a red wool suit designed for Loretta Young in 1940's He Stayed for Breakfast.
Kalloch traveled to Europe to view fashions again in late 1939, returning to the United States in March 1940.
MGM years: 1941 to 1943
Kalloch left Columbia Pictures in early 1941, and by May was working for Metro-Goldwyn-Mayer. The reason for his employment seems to be that his designs strongly resembled those of Adrian, MGM's chief fashion designer, with whom Kalloch had maintained a close friendship since Adrian's student days at the New York School of Fine and Applied Arts. Adrian then left the studio on September 5, 1941, to open his own fashion firm. During his short tenure at MGM, Kalloch designed costumes for Hedy Lamarr in H. M. Pulham, Esq., White Cargo, and Crossroads; Myrna Loy in Shadow of the Thin Man; Judy Garland in Babes on Broadway; Ann Sothern in Ringside Maisie and Maisie Gets Her Man; Eleanor Powell in I'll Take Manila ; Norma Shearer in We Were Dancing and Love Me Not ; Lana Turner in Somewhere I'll Find You; Veronica Lake in This Gun For Hire; Rosalind Russell in Design for Scandal; 18 sparkling white gowns for Jeanette MacDonald in her first non-period piece film, Shadow of a Lady ; and Greer Garson in Random Harvest and Mrs. Miniver; In an unusual endeavor, Kalloch also designed the drag costume for Mickey Rooney in 1941's Babes on Broadway.Among Kalloch's more important work in this period were the costumes he designed for Eleanor Powell in 1942's Ship Ahoy. Among these were 16 sheer dresses draped over crêpe tinted to look like a nude body. Another was a gown made of black marquisette, and which featured a high, round neckline; long, skintight gloves; and a pleated skirt over a slip dyed pale cocoa. He also designed a unique sarong of spun glass for her to wear in the film. Powell said she collaborated with Kalloch on her costumes in the film to ensure that the gowns both accommodated her dancing and moved and flowed well. For Norma Shearer in Her Cardboard Lover, Kalloch designed costumes which were the first indications of a new flowing, moving style in his work. One of the most innovative gowns he designed for Shearer in this film became known as the "umbrella dress". Made of pink chiffon, it was embroidered with pearls, leaves, tendrils, with the yoke heavily encrusted with these items. Its "umbrella" shape was due to its circular shape, with a central hole for the neck and no sleeves. Kalloch also began to design shorter dresses. Although he actually lengthened Shearer's skirts in Her Cardboard Lover by several inches, he cut off Jeanette MacDonald's skirts in Cairo.
The entry of the United States into World War II on December 7, 1941, led to heavy restrictions on the amount and kinds of fabric and other materials available to motion picture studios for use in costume design. Studios were also under pressure from the federal government to make films which exhibited confidence, energy, improvisation, movement, and spontaneity. Kalloch began altering his design look and feel in early 1942 to reflect these needs. He largely abandoned elaborate, studied designs in favor of the chemise dress. Belts, pleats, and unique fastenings were no longer used. Skirts were fuller, but generally above the knees. Shoulders were broader and clothes could ripple, but swirling movement was no longer possible due to restrictions on the amount of fabric used. Crocheted hats and knitted scarves were now common, and cords were used for draping but not as belts.
Kalloch often was forced to improvise due to restrictions on materials. Because silk prints were not available, Kalloch produced appliqués in large batches and had them applied to plain silk. These proved so popular that Greer Garson, Hedy Lamarr, and Jeanette MacDonald all bought appliqué garments for their private wardrobes. He created what he called "body bandanas" for Lamarr's wardrobe in White Cargo—three sarongs which could be redraped or reversed in order to provide variety. A renewed focus on line helped reduced the need for trim, and he discovered that piping could substitute for a belt. Using these and other innovations, he saved of fabric, trim, several pounds of sequins, beads and spangles, and multiple yards of thread on Jeanette MacDonald's wardrobe in Cairo.