While retro fashions have flooded the market for quite some time now, the most authentic way of enjoying vintage designs in their most glamorous and sparkling state is still to turn to Hollywood’s Golden Age.
Indeed, the history of fashion and the history of film have much in common: whether they’re Classical film lovers or not, fashionistas will surely find pleasure in discovering rare restored movies like ‘Tonight or Never’ (1931) starring sublime actress Gloria Swanson who is exclusively dressed by Coco Chanel, favourite Film Noirs like ‘Gilda’ (1941) with Rita Hayworth wearing French Hollywood costume designer Jean-Louis’ gorgeous gowns, Hitchcock thrillers like ‘Stage Fright’ (1950) starring Marlene Dietrich in costumes designed by Christian Dior himself, or even ‘Paris Holiday’ (1958) and Anita Ekberg’s entire Balmain wardrobe, if only to marvel at the wonderful designs of these famous Couturiers.
Adding to that, how could one miss out Hubert de Givenchy and his long-lasting and outstanding collaboration with his muse, Audrey Hepburn, who proudly paraded the Couturier’s most famous designs in eight of her films?
Many characterise the duo’s relationship as the perfect match, since Givenchy’s cutting-edge geometrical models greatly complemented Hepburn’s ballerina physique in Cinderella-themed movies that often involved the transformation of a humble creature into a chic Parisienne, especially in the ‘Sabrina’ (1954) and ‘Funny Face’ (1957) fairytales. The famous LBD (little black dress) is celebrated in both ‘Sabrina’ and ‘Breakfast at Tiffany’s’ (1961), while Audrey’s iconic mandarin collared coat, midi heels, pointed pumps, gloves and cat-eye sunglasses were famously noticed in ‘Charade’ (1963) among many other of her films.
Classical Hollywood movies certainly share a habit of isolating editorial-like sequences, which seem to have a life of their own without particularly serving the plot. The scene in which Ava Gardner confidently strides down the yacht while undressing to reveal her one-piece black bathing suit in ‘The Barefoot Contessa’ (1954), for instance, bares a striking resemblance to a resort fashion catwalk.
Similarly, Grace Kelly’s flawless beauty and classy elegance ‘burst’ out of the screen in ‘High Society’ (1956), especially when she wears an overly chic pastel ensemble to go sailing. Kelly also wears impressive ‘New Look’ ball gowns in improbable settings in Hitchcock’s films ‘Rear Window’ (1954) and ‘To Catch A Thief’ (1955) all of which contribute to making her a spectacle, an imposingly beautiful figure put out on display for the eyes of the male protagonist who feigns indifference…without fooling anyone.
While at first glance these films seem to conform to traditional gender roles and to ‘trap’ women into their frivolity, frocks and mannerisms, female spectators can recognise the insolence and deceit of the female protagonist whose loveliness is constantly praised at the expense of the passive, interchangeable and insignificant male character.
For instance, in Howard Hawks’ musical comedy ‘Gentlemen Prefer Blondes’ (1953) which is a female version of the buddy movie, Marilyn Monroe and Jane Russell’s spectacular appearance gives them complete power and control over the male characters who are either exaggeratingly naïve or ridiculous. This feminine empowerment is expressed both through the costumes, which are flashy and ‘aggressive’, and through the shiny, candy wrapper comics aesthetic that mocks women’s consumption craze in 1950s America.
All in all, costumes either blend in with the setting and act as a tool for character development, or stand out as art pieces in their own right, especially when they own the recognizable signature of a great Couturier.
Louise Kissa
lkissa@neurope.eu
