The Streisand Style Files

An in depth look at Barbra Streisand's iconic style in life, onstage and in film. 

[thestreisandstylefiles]

@BarbraStreisand wore this hand tied, human hair, lace front wig in “The Way We Were (1973.) Kaye Pownall created this wig and was the key hairstylist for this film. She first worked as Barbra’s hair stylist for “Up The Sandbox” and would go on to do her hair for a total of eight films. Barbra wore this short, loose wave wig in scenes as Katie Morosky as a college student. It is parted to the right, leaving Barbra’s favorite left side profile open to the camera. In the decade these scenes were set, women’s hair was generally between just below shoulder length or shorter. Hair was cut with a rounded U-shape at the back, curving up towards the ears, and most haircuts had lots of layers as they were needed to create the styles. This wig also features a lace front. Lace wigs are used for almost all film, stage and TV productions. With a lace front wig, a sheer piece of lace surrounds the edges of the wig and pulls over the forehead and sides to provide a realistic, seamless hairline. This gives the illusion that hair growing out of the head. The process of hand tying/knotting a wig takes many hours and is known as ventilating. This wig sold at auction in 2004 for $630.00 USD. #streisandstylefiles #barbrastreisand #streisand #wigs #lacefrontwigs #ventilating #filmhair #hair #hairstyles #thewaywewere https://www.instagram.com/p/BwvVcQGA6VI/?utm_source=ig_tumblr_share&igshid=jxe8bcmyc1r2

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@barbrastreisand wore this Rudi Gernreich iconic “Cross My Heart” knit jumpsuit for a Lawrence Schiller photo shoot in 1970. The photos appeared in the January 9th, 1970 edition of LIFE magazine, which featured an article titled “Who Am I Anyway”. These photos can additionally be seen in Schiller & Steve Schapiro’s 2014 limited edition book titled “Barbra Streisand.” This jumpsuit was produced in collaboration with Gernreich and Harmon Knitwear. It is a knit blend of triacetate and nylon. Similar styles were mass produced for Lord & Taylor. Barbra’s jumpsuit features mod, checked purple and brown fabric with Gernreich’s signature cross my heart brown banding around the bust. The fabric is gathered in an inverted pleat under the bust and flows into a long wide leg, bell bottom pant with a drop crotch. There are two side seam pockets and a scoop neck back with a zipper/hook and eye closure.   Rudi Gernreich (1922-1985) was one of the most fearless designers of his time. He fleed Nazi Germany to California in 1938. In 1951 Gernreich began designing for Walter Bass and, in 1953, Westwood Knitting Mills. He produced knitwear that was comfortable and unstructured. He designed under both labels until 1959, when he left to start his own label and to design for Harmon Knits. As a former dancer, Gernreich was interested in liberating the body from the limitations of clothing. With support from Barbra Streisand, "Fearless Fashion: Rudi Gernreich”, an exhibit showcasing his work will be on display at Skirball Cultural Center in LA from May 9-Sept 1, 2019. This jumpsuit sold at Auction in 2004 for $880.00 USD. #streisandstylefiles #barbrastreisand #rudigernreich #gernreich #fashionhistory #vintagefashion #streisand #jumpsuit https://www.instagram.com/p/BwsOU0CgpfO/?utm_source=ig_tumblr_share&igshid=siiin0scs4n7

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Happy Birthday Barbra! @BarbraStreisand wore this custom designed silk and leopard skin suit and hat on several occasions in the 60’s. She was photographed in this look at the 1966 Chanel Spring show in Paris, and at a birthday party thrown for her by the “Funny Girl” Broadway cast and crew. She also wore this for her “Look” Magazine cover on April 5, 1966. This outfit was designed by Barbra and made by Reiss And Fabrizio, with it’s matching hat by Louise, New York. Stitched into it’s left inside pocket are the initials “BSG” (Barbra Streisand Gould).  This form fitting suit features a knee length skirt, and a tailored jacket with inside and outside pockets as well as four buttons- two decorative and two for closure.The skirt buttons and zips up on both sides. Reiss And Fabrizio was founded in 1942 and became famous for making luxury fur jackets and stoles. Some of their designs have displayed at The Metropolitan Museum Of Art. The bowler hat was handmade by a Milliner using matching fur, and features a ribbon around the brim. The Bowler hat was first made in 1849 for Edward Coke, the younger brother of the 2nd Earl of Leicester. He ordered it from the hatters Lock & Co as a sort of hard hat to be close-fitting and have a low crown so it would protect heads of Coke’s gamekeepers when they rode. The goal was to prevent them from hitting their heads on braches of the trees that hung low. Before bowler hat, gamekeepers wore top hats that were too high, got knocked off a lot and became damaged when they hit the ground. Bowler hats were designed to solve this problem. Lock & Co. gave job to its chief hatters Thomas and William Bowler (hence the name). When bowler hat was finished, Coke came to London in 1849, placed it on the floor and stomped on it two times. When he saw that it withstood the test he was pleased and bought it for 12 shillings. Barbra’s leopard ensemble sold at auction in 2004 for $6,600.00 USD. #happybirthdaybarbra #streisandstylefiles #barbrastreisand #streisand #vintagefur #leopard #funnygirl https://www.instagram.com/p/BwpO2fugzW8/?utm_source=ig_tumblr_share&igshid=fimpvvxzqhek

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@BarbraStreisand looked sexy and stunning on the cover of the December 2016 issue of W magazine titled: “Forever Barbra; The Gift That Keeps On Giving”. The accompanying story featured an interview by Lynn Hirschberg titled “The Eternal Star Power Of Barbra Striesand”, with photos by Steven Meisel. This shoot was styled by Edward Enninful. Hirschberg noted that before the shoot, Barbra had requested a fitting at Waldrof Astoria Towers, where she made some edits to her outfits. ““Hem this up a fourth of an inch,” she said about a men’s white dress shirt. She was exact, but she was lovely. And she was right.” For the cover shot, Barbra is seen with an Anne Fontaine black jacket thrown over her right shoulder, a Michael Kors collection pleated, French cuff blouse, a Georgio Armani black tie, Falke fishnet tights and Jimmy Choo peep toe pumps from her own collection. Edward Enninful began his career as fashion director of British youth culture magazine i-D at age 18, the youngest ever to have been named an editor at a major international fashion title. He worked as style director at W magazine for six years before he became the editor-in-chief of British Vogue in Jan 2017. #streisandstylediles #wmagazine #streisand #barbrastreisand #fashion #jimmychoo #michaelkors #falke #armani #annefontaine #edwardenninful https://www.instagram.com/p/BwkdU_jHFFe/?utm_source=ig_tumblr_share&igshid=1apjlpl4qqs64

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Pictured is a receipt listing some of the clothing items and accessories Barbra Streisand purchased at Bis & Beau in 1974. This Beverly Hills store was launched in 1973 by Priscilla Presley and her business partner Olivia Bis. 1973 was also the year Priscilla divorces Elvis. This high end boutique catered to stars and sold beautiful flowy feminine dresses & clothing. The store closed in 1976. Regarding it’s opening Priscilla said “My partner had her own boutique and I always loved her clothes. We would design together, which inspired us to open Bis & Beau in 1973.” Vintage clothing from this store is very rare to find. Thank you to the anonymous source who sent me this great piece of memorabilia! #streisandstylefiles #bis&beau #priscillapresley #vintageclothes #barbrastreisand #streisand https://www.instagram.com/p/Bwhcos_AdbL/?utm_source=ig_tumblr_share&igshid=1wf2nkcssyaed

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On March 3, 1994, Barbra Streisand’s prized Lempicka painting, "Adam and Eve" sold for $1,982,500.00 USD on day one of her Christie’s auction. The previous high for a Lempicka painting was $1.32 million, paid at Sotheby's in New York in 1989. Regarding it’s sale, Barbra told The NY Times “We screamed when the Lempicka price went over $1 million. I was working out with my exercise teacher and when the bidding went over the top I screamed. I paid only $135,000 for it 10 years ago." It took over a decade before Barbra agreed to team up with Christie’s for the sale of items from her one of a kind art deco and art nouveau collection. Straying from the norms of their other auctions, Christie’s agreed to wave their sellers commission and didn’t charge for shipping the collection across the world. Adam and Eve is an oil on panel painting by a Polish Art Deco painter Tamara de Lempicka. She is best known for her highly stylized nude paintings. It was completed in 1932 and is a religious subject based on the Art Deco style. The painting is 116 by 73 centimeters. Lempicka was fond of repeating certain interesting stories about the creation of Adam and Eve. The inspiration for this painting arose when a professional female model took a break to eat an apple. Lempicka asked her to hold the pose and started to sketch. She then invited a policeman who was making his rounds in the streets to pose for Adam. “By juxtaposing natural physical beauty and open sexuality with an ashen cityscape, Lempicka emphasizes the historical power of sexuality on humanity, from its biblical beginnings to a contemporary reality. Second only to the nude figures, the cityscape in Adam and Eve represents the enormous shadow of modern technology: "behind their intertwined bodies loom the skyscrapers, casting their menacing shadow, threatening to engulf, but never quite destroying, this divine moment of Paradise.” -- Marisa Sandoval. For the full version & more info on this post, visit the link in bio. #streisandstylefiles #barbrastreisand #lempicka #adamandeve #tamaralempicka #art #christiesauctionhouse https://www.instagram.com/p/Bwe5E5rn0MQ/?utm_source=ig_tumblr_share&igshid=17lt0cj902rqf

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@BarbraStreisand wore this gorgeous purple silk gown in “Hello Dolly” (1969.)       Costumes for Hello Dolly were designed by Irene Sharaff (1910-1993). This was the fourth and last production that Irene would work with Barbra on. Sharaff also designed costumes for Barbra in Funny Girl (both the Broadway and film versions) and for the “A Happening in Central Park” concert. This look was also featured on the cover of LIFE magazine on Feb 14th, 1969. “Hello Dolly” is set in the 1890’s, which inspired this gorgeous Victorian gown. During the mid-1890s, skirts took on an A-line silhouette that was almost bell-like. The late 1890’s returned to tighter sleeves often with small puffs or ruffles capping the shoulder but fitted to the wrist. In the very late 1890’s, the corset elongated, giving the women a slight S-bend silhouette that would be popular well into the Edwardian era. This gown has many of those classic features. It is made from purple silk with a slightly darker purple crew neck lining. The arms and neck are sheer and unlined. The detailing on this dress is what makes it outstanding. Rows of ruched silk in three colors criss-cross this gown and are beautifully weaved into one other. Each handmade flower on this dress features eight ribbon folds and a button at it’s center. These start large at the bottom and decrease in size as they reach the torso of the dress. They also change in color from bottom to top, from various shades of mauve and purple to a pale nude. The belt line of this dress is accented with a ruched mauve V shape. A tiny flower sits at center of the stand up lace collar. The dress features a zipper and hook and eye closure. The ruched silk continues as caps on the shoulders and at the sleeve hems. A matching drawstring purse with a flat bottom featuring all of these elements accessories this dress. A Victorian hat with plume feathers at the crown completed this look in the film. This was one of the many famous costumes saved by Debbie Reynolds. It was auctioned on June 18th, 2011 at an asking price of $20-30,000 USD. #streisandstylediles #barbrastreisand #streisand #hellodolly #irenesharaff #filmcostumes #costumedesign #victorianfashion https://www.instagram.com/p/BwcgijtnWsD/?utm_source=ig_tumblr_share&igshid=106o89ptjtg6

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@BarbraStreisand famously wore this Victorian style dress and apron in “Yentl” (1983). The story of Yentl is set in 1873, and this outfit was inspired by day/working/casual dresses from that era. Day dresses like this had high necklines that were either closed, squared or V shaped. One of the fashion trends during this period, were full skirts and high necks with long sleeves. Gowns were made to have curvy silhouettes with emphasis on cinched waistlines. Up to the 1880s, ladies would wear aprons of white muslin with pockets and ruffled edges around the house. This two piece Earth toned, pinstriped, cotton dress features a fitted stand up collar garnished with lace. It has a heavily boned bodice and puffed sleeves. Lace matching the collar trims each sleeve at the wrist. Decorative fabric covered buttons accent the front and wrists. The matching skirt is pleated at the waistline has an elastic waistband with hook and eye closure. The cotton apron has a bib with shoulder straps & a long back tie. A six fold embellishment sit above the thick hem line, and on the bib. Labels inside read: Bermans & Nathans, 40 Camden St. London, NW1. Additionally typed is, "BARBRA STREISAND, 18375, YENTL.”  Nathan's, established in 1790, was the leading house for historical costume as well as supplying Court dress, military uniforms and fancy dress. From the 1950s to 1980s, the company costumed a cannon of classic movies such as the entire James Bond series, The African Queen, Lawrence Of Arabia, Dr Zhivago, A Man For All Seasons, Cleopatra, Murder On The Orient Express, Raiders Of The Lost Ark, Gandhi, Chariots Of Fire and Star Wars. The company was acquired by Angels costumiers in 1992. Films using their costumes have won the best costume design Oscar 37 times. This famous outfit from Yentl sold at auction in 2004 for $3,100.00 USD. #streisandstylediles #barbrastreisand #yentl #bermansandnathans #angelscostumes #filmcostumes #fashionhistory #1800sfashion https://www.instagram.com/p/BwZFK2CnR2r/?utm_source=ig_tumblr_share&igshid=dc2zh2aj25k0

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Barbra Streisand wore this ethereal custom Marchesa gown for Act Two of her recent tour “Barbra: The Music…The Mem’ries…The Magic”. The tour ran for 16 shows from Aug 2, 2015 to May 6, 2017. Barbra co-designed this look with the help of Marchesa designers Georgina Chapman and Keren Craig. Regarding it’s creation, Barbra stated “For the second act, I redesigned a dress I saw on the runway. I know my own body and that’s why I know what to show and what to disguise. Barbra’s gown is a cross between Marchesa’s jeweled antique silk cocktail dress and their tulle Grecian gown. The grey, silk chiffon creation features a plunging with a nude illusion V neck, halter straps and off the shoulder chiffon sleeves. The fabric contains a light glitter sheen, which is most noticeable on the sheer arms. The silk is pleated at the empire waist. The focal point of this look was it’s jawdropping multi strand jeweled neckline. This pale pink pearl and antique silver chandelier style piece also contained crystals, large teardrop and Emerald cut stones. The intense beadwork is sewn into the nude illusion fabric and continues down the center of the dress vertically on a separate, long piece of chiffon. The back of the gown has a zipper closure and free flowing fabric in a cape style to the floor. This extra fabric allowed Barbra to utilize the dress more with dramatic arm movements. This dress is a nod to many of Barbra’s past concert looks. It is her classic style with a fresh take. This gown was also featured in the key art for the Netflix special of this concert. Marchesa is named after socialite Marchesa Luisa Casati. It’s founders, Georgina Chapman and Keren Craig met at Chelsea College of Art and Design in London. Chapman's draping and design paired with Craig's textile creations resulted in the launch of Marchesa in 2004. Streisand mentioned how impressed she was with the Marchesa team for bringing her vision to life so quickly. “You pin it, you talk about it, you see it, you try it, it’s one fitting and then it’s done. It was so delicious, so delightful, so wonderful.” #streisandstylefiles #barbrastreisand #streisand #marchesa #fashion #barbrathemusicthememriesthemagic https://www.instagram.com/p/BwUw7XynrI9/?utm_source=ig_tumblr_share&igshid=7q9hyh5ci2j4

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@BarbraStreisand is legendary for her signature eye makeup look-the dramatic cat eye. It’s so iconic that some makeup artists even call it “The Streisand eye.” Barbra nailed this technique before she was famous and continued to do her own makeup through her career, which is very rare. “I’ve done it from the beginning,” she said, adding that on the set of “Funny Girl,” they tried to get someone else to do it for her. “I said-let’s do two tests. You make me up for one, and I’ll make myself up for one.” Though eyeliner is now embedded into our daily lives, until 1920’s women had never even heard of it. Eyeliner's popularity didn't really skyrocket until the year 1922, when archeologists discovered King Tut's tomb in Egypt. This event introduced the Western world to Egyptian eyeliner styles, which quickly caught on in the United States. With women leaving the Victorian era behind wearing eyeliner became more popular. The cat eye look became popular post war, in the 1950’s but the 60’s amplified the drama of the look. The most popular style was winged liner paired with false lashes. Streisand, Twiggy and Brigitte Bardot are a few of the actresses who were famous for wearing this style. The cat-eye makeup of the time gave women a doe-eyed look, with the focus resting directly on the eyes and brows.  To achieve the legendary “Streisand Eye” visit my detailed tutorial on Facebook. (Link in bio!) #streisandstylefiles #barbrastreisand #streisand #makeup #eyeliner #cateye #wingedliner #makeupturorial #makeuphistory #streisand #60smakeup https://www.instagram.com/p/BwSn1XzHdGe/?utm_source=ig_tumblr_share&igshid=1jb3x29n28g7e

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@BarbraStreisand designed all of the outfits for her Las Vegas, New Years Eve “Timeless” concerts, and the following eight show run. (Dec 31, 1999- Sept 28, 2000). This memorable flowing gown and cape appeared in a photo shoot by Firooz Zahedi, paired with a Peridot diamond necklace, and onstage in Act Two of the concert paired with a garnet teardrop choker. This gown featured Barbra’s signature style elements-off the shoulder, and empire waist. The look was not worn for the entire run of Timeless. Barbra changed her Act Two costume as the shows progressed. This empire waist gown was made from Burgundy silk taffeta, which gives it a crispness and rustle as well as it’s soft sheen. There is ruching on the elbow length sleeves and drape collar, with gathering at the bodice. The dress has zipper, hook & eye closure. The matching, flowing gathered cape was made from silk taffeta in lime cream and was lined with burgundy taffeta to match the gown. The bottom of this gown features filigree style embossments. This texture and pattern is continued in various places on the cape. A separate crinoline hoop was worn underneath the dress to give it volume. This gown (without it’s cape) sold at auction in 2004 for $6,600.00 USD. #streisandstylefiles #barbrastreisand #timeless #streisand #fashion #silktaffeta https://www.instagram.com/p/BwP5sY-nrPV/?utm_source=ig_tumblr_share&igshid=x10rt54mezt9

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@BarbraStreisand wore this Armand Of Beverly Hills, custom made newsboy hat in “What's Up Doc?” (1972). Photos of Barbra wearing this hat were heavily seen in promotional materials for the film, and were used as the film’s key art. Armand Of Beverly Hills was a popular millinery designer for decades. His hats are still heavily sought out in the vintage market due to their detail and craftsmanship. This wool blend tweed cap features a lining inside the brim of ribbon and lace. After the release of this film, popularity of this hat style soared. Originally a flat cap, the baker boy-aka newsboy-originated in Britain & Italy and is a trend taken from the lower working class style of the 20’s. Costume and production design on this film was done by Polly Platt (1939-2011), who was the wife of director Peter Bogdanovich. Polly was the first woman ever admitted to the Art Directors Guild, and earned credits as a costume designer, production designer, producer and screenwriter. She met Peter while working as a costume designer in NY Summer stock. Together they produced films including Paper Moon and The Last Picture Show. Platt would also go on to work as a production designer on “A Star Is Born (1976). This famous cap sold at auction in 2004 for $8,000.00 USD, which was seven times more than the original estimate. #streisandstylefiles #whatsupdoc #barbrastreisand #armandofbeverlyhills #hats #newsboyhat #fashionhistory #vintagehat #pollyplatt https://www.instagram.com/p/BwNjGaCHU_B/?utm_source=ig_tumblr_share&igshid=1uvcjh621ehoj

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Legendary costume designer Anne Roth created this iconic outfit for @BarbraStreisand in “The Owl And The Pussycat”(1970). When researching for this look, Ann looked for inspiration for erotic & scuzzy underwear in “Screw Magazine”. She stated that this famous hands motif look was stolen from similar Burlesque styles in 1938. Barbra’s outfit featured a “Hollywood Vasserette” temptress style bra in size 36A, with a light pink hands sewn onto it, & rhinestone embellished straps. The sheer lace torso piece snaps onto the bra & has a drawstring tie in the back. These have matching marabou pom poms & satin bows. The bottom is also trimmed with hot pink marabou. Matching sheer, lace bellbottom pants with a zipper closure layer atop of black satin & lace underwear. These were embellished with a rhinestone heart at the crotch, rhinestone trim at the waist & down each leg with two satin bows. An applique on the back reads “Doris”, & the pants are trimmed with marabou about four inches above the hem. A matching rhinestone black choker completes this look. Ann Roth is an Oscar & Tony winning costume designer who started her career as an apprentice to Irene Sharaff. They worked together at Bucks County Playhouse in PA before Irene started to work in Hollywood. Sharaff became one of the rare costume designers in Hollywood who insisted on designing everything in her films -a technique Ms. Roth would also adopt. Roth went on to work on more than 100 films, & at 87 is currently designing costumes for “Wicked” (2021). Ann’s handprint look became the center of recent attention when a Brooklyn designer tried to sue Yoko Ono & Opening Ceremony for selling a similar design she said she created. Haleh Nematzadeh claimed that after she showed pictures of her collection to Ono’s design team, “they canceled the photo shoot,” and recycled her idea in their collection. When Roth was told of this lawsuit she said “This girl is going to have to start suing everyone. It might be from some burlesque queen from the 1920s. Who knows?” Roth recycled the sexy hands motif in “The Nance” (2013). The original sold for $13,250.00 USD at auction in 2004. #streisandstylefiles #barbrastreisand #annroth https://www.instagram.com/p/BwK6uQCHHV-/?utm_source=ig_tumblr_share&igshid=18oozs2uuwexa

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@BarbraStreisand rocked this adorable Jantzen brand, tiered ruffle & plaid two piece swim suit around (what I am guessing) is the late 1950’s. This swimsuit was made of Galey And Lord cotton and sold for $11 at the time at retail shops like Filenes and Saks Fifth Avenue.  Even as a teen, her eye for fashion was already shining through with this selection. Jantzen is a brand of swimwear that was established in 1916 and first appeared in the city of Portland, Oregon. The bikini was introduced in France in 1946 to set the style for brevity in swimwear and became a worldwide fashio classic. The 1954 movie Brigadoon, caused a surge in the popularity of tartan patterns, even for swimwear. When it came to bikini fashion in the ’50s, high-waisted bikini bottoms were daring and trendsetting. Around this time, swimsuit designers were starting to up the ante in terms of what was acceptable to show in public. For this cut, the waistline measured up to the natural waistline, always covering the belly button. Tops were usually a halter or bra hybrid. This swimsuit style was sexy, but gave more coverage to those hesitant to bare their midriff. This style of swimsuit embraces a classic feminine silhouette that flatters most figures. Special thank you to @chuckmacklin for the enhanced images. #streisandstylefiles #barbrastreisand #tartan #streisand #vintageswimwear #vintageswimsuit #fashionhistory #bikinis #plaid #jantzen https://www.instagram.com/p/BwHzVLQFnIa/?utm_source=ig_tumblr_share&igshid=8trz3s4qjqp7

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@BarbraStreisand wore this stunning eight strand, pavé diamond necklace by JAR to the 77th Academy Awards on Feb 27th, 2005. Alongside Dustin Hoffman, she presented the Best Picture award that night to “Million Dollar Baby.” The founder of JAR jewelry is Joel Arthur Rosenthul. He has been called “The Fabergé of our time.” Joel was born in The Bronx, NY and graduated from Harvard in 1966. Afterward he briefly lived in Paris where he opened a small shop as a needle stitcher. His work with utilizing uniquely colored yarn earned him clientele like Hermés and Valentino. One day he was asked to design a mount for a gem stone which sent his career in a new direction. Upon returning the the USA, he worked at Bulgari under Gianni Bulgari. In 1977 Rosenthal moved back to Paris and opened his own jewelry shop at 7 Place Vendome. This discrete appointment only shop has no signage. Entry to the shop is only made on the sponsorship of a known customer. Joel takes inspiration from the fauna and flora for his creations, combining throwbacks from the past with current techniques of jewelry. He is known for setting gems in pavé arrangements, as fine as needlepoint stitches, which you can see featured in Barbra’s necklace. He creates unique pieces for specific clients, with an output averaging only 70-80 pieces per year. Rosenthal is the only living "artist of gems" to have had a solo show at New York's Metropolitan Museum of Art. #barbrastreisand #streisandstylefiles #streisand #JAR #jarjewelry #paveset https://www.instagram.com/p/BwF97WtlaZ2/?utm_source=ig_tumblr_share&igshid=3tu6k1u7twny

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@BarbraStreisand wore this African head dress for an on location photo shoot by Steve Shapiro, during filming of “Up The Sandbox” (1972). Initially director Irvin Kershner had planned to shoot the African scenes in this film on a backlot at MGM. Barbra suggested shooting on location for more authenticity, and the producers greenlit the trip to Kenya. The Samburu are a Nilotic people of north-central Kenya. They are a sub tribe of the Maasai. Women of the Samburu tribe typically wear two pieces of cloth. One wrapped around their waist and the other around their breast. The distinctive feature of the Samburu is the amount of jewelry, especially colorful multi-beaded bracelets, anklets and necklaces. In the Samburu culture the more necklaces women wear the more they are considered beautiful, and it also identifies their wealth and civil status. Barbra’s head dress consisted of an orange spackled scarf, with an attached braided hairpiece sewn into a mohair wig base. The hair has many decorative bead strands braided into it. Two large, circular, tribal hoops are sewn into each side, and two long orange crocheted beaded pieces accent the front. Inside is lined with synthetic fabric. This item sold at auction in 2004 for $960.00 USD. #streisandstylefiles #barbrastreisand #upthesandbox #samburutribe #africanheadwraps #headdress (at Kenya, Africa) https://www.instagram.com/p/BwDEAgal4Ws/?utm_source=ig_tumblr_share&igshid=9zuzl11s1mdd

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@BarbraStreisand wore this 1940’s style, tailored wool trench coat during the filming of “The Way We Were” (1973). Though the scene she wore this coat in was cut from the final edit of the film, it was featured prominently in many promotional stills. In the 1940’s this style of coat would have been restricted by L-85. This rule was issued by the US War Production Board, with the goal of a 15% reduction in the amount of textiles used in women’s wear. Coats could not have a bi-swing back, could not have more than two pockets, and had a limitation on sleeve circumference that eliminated exaggerated sleeve types, such as the bell shaped Dolman sleeve that was popular in the 1930s. Like this one, most coats were herringbone, and made from wool and rayon-wool blends. Many were re-purposed wool from used coats and wool blankets. Wool trench coats like this are also called wrap coats. They were typically somewhat loose-fitting, but not over sized. This jacket features a wide pointed collar with a fully lined pleated bodice. There is a large button at the collar and a hook and single hook and eye closure at the waist. There are two slit pockets, as well as a detachable leather tie belt. Costume design for The Way We Were was a joint effort between Dorothy Jeakins (1914-1995) and Moss Mabry (1918-2006). Jeakins was unusual in that she freelanced, never signing a long-term contract with any one studio. She ended up leaving the production before it was completed and Mabry took over. Due to this, they were nominated for the best costume design Academy Award for this film together. This piece sold at a Juliens auction in 2004 for $2,040.00 USD. #streisandstylefiles #barbrastreisand #streisand #thewaywewere #vintagecoats #fashionhistory #costumedesign #mossmabry #dorothyjeakins https://www.instagram.com/p/BwAWDNnFr2J/?utm_source=ig_tumblr_share&igshid=hyi90072thcm