The Politics of Mannequins, Part III – Mannequins in Art
Until the article I recently read, mannequins in their practical form held little interest for me; however mannequins in art have always attracted me, most likely due to my obsession with fashion coupled with my fascination with unsettling representations of people (and who doesn’t love to be unsettled?). Incorporating mannequins — invented to market and sell fashion ideas — into non-consumerist functions is another aspect of mannequin art I find appealing.
Artists James Rosenquist (1933-), Jasper Johns (1930-), Robert Rauschenberg (1925-2008), and Andy Warhol (1928-1987) were all window display artists in their early careers, in addition to (previously mentioned) author L. Frank Baum (1856-1919), so it should be no surprise that there’s a significant amount of crossover between “high art” works incorporating the lowly, functional mannequin, and “low art” window displays incorporating fine art. Modern art provided inspiration for window designers such as Robert Currie (1948-1993) and Candy Pratts-Price (1950-), who injected surrealist elements of violence, sex, and macabre humor into their 1970s windows. Artists like Salvador Dalí (1904-1989) and Andy Warhol and industrial designers like Donald Deskey (1894-1989) and Henry Dreyfuss (1904-1972) also played major roles in transmitting 20th-century movements such as minimalism and pop art to the audience on the street. Barneys’ famous windows, overseen by eccentric Simon Doonan (1954-), have incorporated works by Cindy Sherman and Barbara Kruger (1945-) and often reference pop culture, as in this 2009 display with traditional female mannequin bodies topped with (arguably lowbrow) Mad Magazine’s “Spy vs. Spy” characature heads to show off trenchcoats:
The window below attracted much criticism in 2009 for Barneys, though I personally think there’s something amazing about conveying such extreme movement — mimicking gangster movies — in a frozen tableau:
The Pucci Mannequin company (mentioned before) collaborated with many “high art” artists. Ruben Toledo (1960-) collaborated with Pucci on a “Shapes” series of mannequins for the fashion collection of Ruben’s wife, Isabel (1961-):
"Birdie": Height: 5'10", Bust: 38", Waist: 32", Hips: 44"
As you can see, the dimensions of these forms are atypical for mannequins which traditionally mimic the body type idealized at the time of production. By contrast, “Birdie” is curvy, hippy, and even has a little belly. Though she probably resembles the bodies of living, breathing women more accurately than traditional spindly mannequins, she looks startlingly disproportionate because we’re not used to seeing “real woman” proportions glorified in mannequins. (The obvious follow-up question should be: why?) Designed to be functional displays, I think these work as controversial art in their own right. Most artists who use mannequins do not attempt to be realistic, though.
Hans Bellmer (1902 – 1975) anonymously published an amazing “Doll Project” (a.k.a. “die puppe“) book in 1934 consisting of photos of a crippled-looking, armless, peg-legged young female mannequin posed in 10 tableaux. Because of the high contrast shadows and close-cropped frame, my mind wavers between seeing a decrepit doll and believing it’s an unfortunate triple amputee, perhaps in a war-torn country (and in fact the Doll Project was a direct criticism of the growing Nazi oppression and violence Bellmer observed):
Bellmer’s later work became more abstract and involved arranging increasingly mutated human forms in progressively unconventional poses (often focusing on female genitalia, which store mannequins still only attempt in nipple realism — see my earlier segment for more on this). Ultimately forced to flee Nazi Germany, he was welcomed by the Parisian Surrealists who appreciated his odd style (bless them!).
The Doll, 1935-37
Cindy Sherman (1954-), known for her literally transforming self portraiture, has also experimented wildly with mannequins and dolls in her photographs. Though the joints of her mannequins are pronounced, calling attention to their inanimate-ness, they are often outfitted with exaggerated or hyper-realistic sexual and reproductive organs, wrinkles and body hair, as store mannequins deliberately omit. Sherman calls attention to our simultaneous discomfort and obsession with self-image: the ravages of age, our preoccupation with hair removal, and our uneasiness with blurred gender lines, as in “Untitled #250″ (1992):
Store mannequins are created to be sexy — sex sells, after all — but Sherman pushes this concept to depict dolls in explicitly erotic situations that are somehow distinctly un-sexy, also calling to mind a doll’s (unadvertised) function as a child’s tool to explore sexuality. The doll in “Untitled Film Still #255″ (1992) has been outfitted with realistic (if hairless) genitalia and is surrounded by ordinary household objects (hairbrush, rope) that, in the context of the doll’s doggy-style position, become S&M objects of torture and pleasure:
Helmut Newton has collaborated with mannequin manufacturers since the 1960s to create “twins” for live models, used with or instead of live models. Interestingly, he features many women with visible imperfections like scars which humanize them, while gashes at joints betray mannequins. He draws your attention to the falseness of the fashion industry, the ridiculous standards of beauty, but he revels in it too.
Violetta (below) confronts her doppelgänger, even while she mimics the imposter’s oddly positioned arm. Who (or what) is more useful in the fashion industry, flesh or fiberglass?
The two Violetta's in bed, Paris, 1991
Newton experimented with the roles of mannequins and flesh-and-blood models, often pairing realistic dummies and women together (as above) or posing mannequins in public spaces and models in interior settings to create subtle disorientation. He frequently places human models in stiff, awkward positions as though their bodies had limited range of motion like mannequins (or more morbidly, like cadavers):
Thierry Mugler ensemble, Monaco, 1998
In “Store Dummies I” (French Vogue, 1976), two incredibly realistic dress forms are posed in a Sapphic moment of seduction, one on a marble slab (morgue reference?) and the other in a state of frozen dishabille:
I love how Newton pokes fun at the fashion industry, places lifeless forms in vulgar poses to sell clothes, drawing an uncomfortable parallel between glamor mannequins, vapid models, and outright sex dolls. And speaking of sex dolls….
I must mention sculptor Allen Jones (1937-), whom I discovered while browsing in an amazing art-and-literature bookstore in Montmartre several years ago. Jones is infamous for his pieces depicting forniphilia — where sexual (S&M) objectification is manifested in a submissive partner acting as a piece of furniture. Jones substitutes human submissives acting as inanimate objects with inanimate mannequins depicting human submissives acting as inanimate objects (got that?). These women (more voluptuous than standard mannequins, closer to blow up doll proportions) are sex objects and domestic objects at once, two roles (three if we’re including being an “object”) women have struggled to define themselves outside of:
"Chair," "Table," and "Hatstand," 1969
I must also point out the rug, indicative of the era and also deliciously vulgar in its associations with bear skin glamor shots and art historical connotations of pubic hair.
Predictably Jones’ creations have been deemed misogynistic by many. He has humorously responded, “I was reflecting on and commenting on exactly the same situation that was the source of the feminist movement. It was unfortunate for me that I produced the perfect image for them to show how women were being objectified.” Gotta love the self-aware man!
If Jones’ pieces look vaguely familiar, it’s probably because Stanley Kubric attempted to mimic them in the infamous Korova Milk Bar for his distopian A Clockwork Orange (1971), after Jones refused to work for free. Kubric’s versions are stripped of their fetish gear and props (cushions and glass tabletop) and are monochromatic white, establishing a visual relationship with the white-clad gang of the film and with classical marble sculpture:
Early Surrealist painter Giorgio De Chirico (1888 – 1978) made a similar comparison many decades earlier, between stone busts and more animate (if more abstract), jointed, mannequin-like figures. “Il Ritornante” (1918) depicts a drowsy marble bust with realistic facial hair and a dummy composed of mismatched scrap materials. It’s unclear if one of the figures is actually animated and has created the other, but regardless, a strong connection is made between the structure of the room itself and the bodies: one is a caryatid-like supportive column and the other appears to be made of ribbed sheet metal, wooden blocks, and T-square rulers. The flattened perspective makes it even more difficult to distinguish the human forms in the foreground from the cluttered tower of planks and door in the background, visually uniting the human-ish forms with the room’s architecture:
In “The Disquieting Muses” from the same year, De Chirico turned the column fluting into drapes of himation robes, topped with dress form knobs that resemble disproportionate heads. Again, there are buildings in the background and a more fully realized Grecian-like statue that has a similarly blank, oval head, blurring lines between the structures of buildings, statues, mannequins and humans:
Fellow Surrealist and Dadaist Man Ray (1890-1976) experimented with mannequins in photography around the same time. His father had fittingly worked in the New York garment industry and as a tailor, his mother was a seamstress. Times critic Sarah Rosenberg recently wrote, “Dada artists used mannequin parts… as a reflection of consumer culture and war trauma.” The mannequin below appears to be ensconced in a tangled wire bubble reminiscent of barbed wire, with a ridiculous fake mustache (disguise?) and a protective metal corset. It’s not hard to draw comparisons to Man Ray’s persecuted Russian Jewish immigrant history, which he went to great lengths to conceal even after achieving success.
Mannequin designed by Joan Miro, sculpture by Man Ray, 1938
“Mannequin with a bird cage over her head” (1938-66) is a similarly posed naked mannequin that has been gagged, her entire head and shoulders caged, some tiny arm-like appendages reaching out of one side. Places where “private” hair grows — armpits, crotch — have been decorated with whimsical flowers and feathers. It’s sinister and silly at once:
As mannequins have been anatomically perfected and increasingly incorporated into the public sphere via window displays, they have also been utilized by artists other than designers and window dressers. Humans are obsessed with self-representation: in 2-dimensional portraiture, 3-dimensional dummies, and even moving mechanical droids. Even while we understand they’re inanimate objects, when mutated, manipulated, or uncannily accurate, they have tremendous power to attract and repel (I’ll wager some readers were disturbed by at least one image I included). Like few other functional objects, they have the inherent ability to act as commentary on beauty standards, surgical manipulation, sexual taboos, persecution, and the very relationship of reality to its distorted image. Some day I’ll have my own mannequin collection, to dangle from my ceilings and to dress up and undress and to play with, but in the meantime, I’ll content myself with powerful images like these.
Additional resources:
- “Mannequins: Fantasy Figures of High Fashion” by Emily and Per Ola d ‘Aulaire, Smithsonian Magazine , April 1991
- Fashion Windows “Historical Overview of Mannequins“
- The Show Window periodical magazine, edited by L. Frank Baum
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The Politics of Mannequins, part II
Picking up from where I left off last week, I’m going to address mannequins’ evolution in the second half of the 20th century.
The revolutionary ’60s came as a shock to the world, the American youth rebelling against the traditions of their conservative parents who desired normalcy and stability after the chaos of WWII. The FDA’s approval of birth control pills in 1960 beckoned the sexual revolution; free love challenged the marriage-monogamy favored in the ’50s, women took charge of their bodies and their careers outside the home. After the post-war homemaking scenes enacted in ’50s storefronts, the next generation of mannequins aimed to capture real women rather than idealized versions of them… to a greater extent, anyway. Adel Rootstein’s company produced mannequins based on living, iconic people such as Twiggy (seen below), Patty Boyd, and Sandy Shaw, creating a secondary kind of functional pop art:
These mannequins were designed with increasingly kinetic stances, reflecting the growing obsession with youthfulness and freedom of movement (this could include freedom of professional sphere as well as freedom from more restrictive garments).
The 1970s saw more ethnic diversity in mannequins; Decter of Los Angeles presented it’s Reflections VII collection with Asian and Black mannequins “walking” arm in arm. There was greater attention to anatomical accuracy too, specifically nipples. As short and mod ’60s fashions evolved to the long, flowing, backless or see-through styles of the ’70s, structured bras were worn less by live women and mannequin nipples more realistically displayed these braless styles. Capitalizing on the “natural” look, VIVA Lingerie even had a nipple bra that had padded nipples with the “support you want” (hilarious!):
In the same vein of growing skin exposure, as the fashionable waist was lowered from the natural waistline to the hipline, the torso joint of mannequins’ upper and lower halves was likewise lowered, to display bikinis without the distracting visible split line.
The recession of the early 1990s led to minimalistic, abstract fashions, and also mannequins that still looked good in simple (cheaper) settings. Headless mannequins had the bonus of being politically correct (no ethnicity = every ethnicity) and era unspecific, with the bonus of eliminating time intensive makeup and hair styling.
Plus-size, juniors and maternity fashion were finally recognized as a significant part of the fashion industry and so mannequins were built with a wider variety of shapes and sizes to cater to these growing markets. Below are mannequins with larger-than-usual butts for those with a Jennifer Lopez shape, commonly seen in my former ‘hood, Spanish Harlem:
Several designers have experimented with mannequins in addition to straightforward fashion design. Alexander McQueen inspired mannequin designers when he utilized clear mannequins lit inside with fiber optics in Givenchy’s Fall 1998 haute couture runway show. The Pucci Mannequin company made a name for themselves by collaborating with different artists to produce unique, unusual mannequins. These guest designers included Kenny Sharf, Ruben Toledo, Maira Kalman,
Pucci mannequin by Maira Kalman, "Tango" series
and Anna Sui.
Pucci mannequin by Anna Sui
And mannequins have inspired fashion designers themselves in an interesting reversal of influence. Aminaka Wilmont created a trompe l’oeil dress that mimics a mannequin on a dress (that I desperately want to own, by the way):
And on that note, I’ll leave you with yet another cliff-hanger (it’s a stretch, I know): next week I’ll look into the relationship between mannequins and fine art, which is my personal favorite part of this story!
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The Politics of Mannequins, part I
I happened to run across an old issue of Hue, FIT’s alumni magazine, and read a surprisingly interesting article on “The Life and Times of Mannequins” by Alex Joseph. Though I have not previously studied dress forms in depth, I have been mistaken for a mannequin (I spaced out in a flu-induced frozen position while waiting for a friend when another customer hilariously reached out to inspect my garment), and I’m also drawn to the creepiness I think is inherent in mannequins… and so I’ll pretend my recent reading list and newfound interest qualifies me to inform you about the history of stationary models.
The Dutch word manneken literally means “little man,” though most mannequins were and are technically female forms. As the history of dress dates to ancient times, so does the history of dress forms; a wooden torso was found near a clothing chest in King Tut’s tomb, dating to approximately 1350B.C.:
Thousands of years later, European monarchs produced “fashion dolls” as examples of national style — Charles IV of France sent one to Richard II of England in 1396 as part of a peace negotiations. And Henry IV of France (1553 – 1610) dispatched miniature, elegantly attired dolls to his fiancée, Marie de’ Medici of Florence. Caroline Weber goes into amazing detail about the deliberate Frenchification of Austria-born Marie Antoinette in her book, similarly to update her on French trends and therefore facilitate her connection to her stylish adopted land and people. Monarch aside, these miniature models were used to spread the latest trends across countries throughout the 1700s. But it would take technological advancements to move the dress form from private doll to public display item.
English fashion doll, 1755-1760
The mid-19th century inventions of electricity-fueled incandescent light bulbs and plate glass enabled merchants to create window displays to advertise their goods. Add the ease and speed of manufacturing ready-to-wear clothes afforded by the invention of the sewing machine, and it becomes obvious why the mannequin became a standard display prop at this time, surpassing its initial dressmaker’s functionality. The department store established itself in the American way of life by 1910, and these larger businesses had more money to invest in expensive mannequins which would ideally help them move the quantities of merchandise they needed to. Facial expression and body language became increasingly important (ancient and pre-Victorian forms were often headless) as window dressers like L. Frank Baum (known for his masterpiece The Wonderful Wizard of Oz, 1900) used them to create arresting vignettes on their mini stages. “Window gazing” became a popular pastime for potential customers, eventually morphing into the familiar “window shopping.” Dressmaker suppliers like Gems Wax Models (est. 1885) and Siegel and Stockman of Paris experimented with articulated legs, arms and wooden hands with bendable digits in an effort to more closely mimic human activities, if stiffly. The latter company even began to produce sitting figures, bicyclists and representations of celebrated athletes at the end of the 19th century (see my post on Bicycles and Athletic Fashion). Sometimes with glass eyes, realistic teeth and human hair, attempts to make early mannequins more lifelike ultimately resulted in creepiness. Iron feet stabilized their teetering skeletons but contributed to unwieldy heft — they could weigh up to 300 pounds.
iron-footed mannequin
Skin-mimicking wax had the downside of melting under hot electric lights and cracking in cold winters. Subsequent mannequins constructed of plastic and papier mâché were more durable, lightweight, and flexible, making them easier to imbue with lifelike gestures.
Compare this 1909 storefront…
Auerbach's department store window display with mannequins, 1909
to one from 10 years later. Note the increased interaction between mannequins, the more sophisticated, narrative scene:
1918 window display
The 1929 stock market crash garnered invention in many ways. In the teens and early 1920s mannequin facial expressions became more animated, perhaps a reaction to silent films. Khol-rimmed eyes, bee-stung lips and razor-thin eyebrows that gained acceptance and popularity on the silver screen were transcribed onto new mannequins. Made with papier-mâché, the new material shed off about 100 pounds, coincidentally embracing the more slender female form, often with Mannerist-like elongated necks:
Art Deco mannequin head
In 1925, Siegel & Stockman, Paris startled the display industry with abstract mannequins in 1925 that mimicked the clean lines of Art Deco. Siegel himself said “The old mannequin, too realistic to respond to the abstract form assumed the architecture and decoration, could no longer fit into the window display with its effective and sober luxury as it is now conceived. This basic conviction prompted me to make an appeal to a new form of expression in order to bring about a timely rejuvenation and modernization.”
Siegel-Stockman streamlined mannequin (modern)
Author Nicole Parrot observed the “elegant and snooty” look of the 1920s were replaced with the “pert and gamine” look in mannequins during the Depression of the 1930s. An Austrian dollmaker-turned-mannequin manufacturer, Kathe Kruse, devised a metal skeleton that was covered with a skin-like material, enabling a variety of positions. “Cynthia” was a 100-pound model created by Lester Gaba in 1932 who had realistic imperfections like freckles, pigeon toes, and even different sized feet. Gaba posed with Cynthia around New York City for a Life Magazine shoot that humorously demonstrates how lifelike the mannequins had become:
Lester Gaba and Cynthia mannequin, Broadhurst Theater in NY at Madame Bovary, 1939
at the Stork Club, NY 1937
riding transit in NYC, 1937
Gaba repairs shoulder on Cynthia, NY, 1937. He almost looks like a doctor attending to a patient.
Tragically, Cynthia met her demise when she slipped from a chair in a beauty salon.
The more severe mannequin expressions reflected the unease and hardships of WWII. As a fashion historian I already knew that the dress silhouette in the 1940s became slimmer and less embellished to waste less fabric, due to raw material shortages and wartime rationing. I only recently learned, however, that mannequins themselves were made to be shorter than the 1930s models, with the same goal of conserving precious resources for the war effort. At the war’s conclusion, Mayorga Mannequins introduced “Welcome Home Mannequins” where a man and woman held their hands outstretched towards each other, while a small girl looked expectantly at her father. This narrative was tempered by glamorized Hollywood poses that were also available, but traditional family values (including consumerism) continued to be recreated in storefront vignettes:
1940s Christmas display
This article will be continued shortly in Part II…
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Cleopatra & Egyptian Fashion in Film
Fashion inevitably looks to history to interpret and re-interpret previous fashion trends. At the recent SAG Awards, I noticed 2 Egyptian-influenced dresses, worn by Toni Collette and Nicole Kidman:
Toni Collette, SAG Awards 2010
Nicole Kidman wearing Oscar de la Renta, SAG Awards 2010
As I’m never content to stay in the current era for long, let’s go back 100 years to trace a century of Egyptomania….
The Egyptian style has been adopted and interpreted by practically every generation. Cleopatra (69BC – 30BC) has always held special fascination for people. Documented by writers Plutarch and Casius Dio, the lady was “a woman of surpassing beauty, and at that time, when she was in the prime of her youth, she was most striking; she also possessed a most charming voice and knowledge of how to make herself agreeable to every one. Being brilliant to look upon and to listen to, with the power to subjugate every one, even a love-sated man already past his prime, she thought that it would be in keeping with her role to meet Caesar, and she reposed in her beauty all her claims to the throne.” The mythology of her man-seducing ways never gets old; she notoriously bedded Julius Caesar and his successor Mark Antony resulting in a Roman-Egyptian political alliance of unsurpassed breadth, and took her own life in a marvelously morbid manner. Having become an almost mythological creature, she’s been depicted in art ever since. With the dawn of the 20th century’s art form — the moving image — a new crop of Cleopatras have been etched into our collective consciousness. With each Cleopatra film, a new variation of familiar Egyptian themes rears its head. In spite of the common subject, virtually none of these films used historically accurate costumes. As always, the ideal female form, makeup techniques, and hairstyles are more indicative of the decade of film production rather than the period depicted.
THEDA BARA
The 1917 version of Cleopatra with the marvelously eccentric Theda Bara (see my post on Vamps for more on Theda) demonstrates how aesthetics were ripe for incorporating Egyptian motifs. Though it’s the earliest film I’ll discuss, in many ways it’s the most scandelous, with Bara wearing sheer, gauzy skirts and teeny, ornate bras that barely conceal her naughty bits (this was only legal pre- and post-Hays Production Code, 1934 – 1968). Fashion was just starting to move away from the corseted figure and Theda embraced the freedom in her Nile goddess:
Theda Bara as Cleopatra, 1917
Theda Bara as Cleopatra in transparant dress, 1917
Theda Bara as Cleopatra as firebird, 1917
This last one reminds me of “The Last Sitting” of Marilyn Monroe, photographed by Bert Stern in 1962 (Marilyn is clearly far more playful than Theda):
Marilyn Monroe in the Last Sitting photo by Bert Stern, 1962
The khol-rimmed eyes already popular in the 1910s and 20s were easily adapted to more accurate heavy Egyptian makeup:
Clara Bow in 1920s
In this outfit, the mythology of the Egyptian firebird and immortal Phoenix are translated into a more general symbol of Far East exoticism, the peacock:
Theda Bara as Cleopatra as peacock, 1917
The 1922 discovery of King Tut’s intact tomb of lost treasures rocked the world. The angularity of the Egyptian depictions of their garments played right into the visual fractures of the Futurism and Art Deco movements.
Here is one of my favorite Futurist paintings:
Duchamp's "Nude Descending a Staircase," 1912
Here is an elevator door from the Chrysler Building (built 1929-1930), monument of Art Deco architecture:
Chrysler Building, Egyptian-deco elevator doors
CLAUDETTE COLBERT
By the time Cecil B. DeMille’s Cleopatra (1934) starring Claudette Colbert was made, the bold Art Deco lines of the ’20s were starting to give way to the softer drapes of the ’30s. Coincidentally (or not), the ’30s gave way not to Egyptomania, but to similarly ancient Greek/Roman revival. Designers like Fortuny and Madeleine Vionnet embraced the pleats, draped lines and classical simplicity of the ancient Greeks and Romans.
Fortuny’s famous sheath gown was based on the classical Greek chiton was appropriately named the “Delphos” gown:
Fortuny "Delphos" gown, late 1920s
The crinkly texture is the result of a meticulous, top-secret process Fortuny never revealed — customers would return their gowns directly to the designer for re-pleating when the pleats flattened.
Woman wearing chiton
Colbert’s Cleopatra is a bit more smug, a bit cuter, a bit less vampy than others, as seen in her rather benevolent expressions. The first ensemble is one of the only film costumes I found that actually incorporated pleating:
Claudette Colbert and Henry Wilcoxon
The simple geometry is complimented by the extravagant gold lame skirt here:
Claudette Colbert as Cleopatra on throne
Again, with vaguely exotic peacock imagery:
Claudette Colbert as Cleopatra as peacock
The red lips and drawn on, razor-thin eyebrows were typical of the ’30s:
Marlene Dietrich, 1930s
Claudette Colbert as Cleopatra, 1934
LIZ TAYLOR
Though the movie was a box office flop — at least compared to its exorbitant, record breaking budget — Elizabeth Taylor as the 1963 version of Cleopatra is perhaps the best remembered today. They used the still-young Technicolor technology to great effect in her eye-popping monochrome outfits. While black and white certainly contributes to the bygone times feeling of the other films, color symbolism was important to the Egyptians, and the ’60s were all about psychedelic colors. Taylor’s wigs are probably the most blatant of the 3 Cleopatras — no effort is made to maintain consistent hair length, texture or style. This is actually accurate; wealthy Egyptians had shorn heads and wore wigs to avoid lice and to be cooler (sans wig) in private.
Elizabeth Taylor as Cleopatra in gold, 1963
Elizabeth Taylor as Cleopatra in blue
Liz Taylor as Cleopatra in red, 1963
The liquid-liner experiments of the mod 1960s and the geometric Vidal Sassoon hairdos come through in Liz:
Liz Taylor as mod Cleopatra
Peggy Moffitt with Vidal Sassoon haircut, 1960s
The cinched waists of the of the ’50s are still evident (these were always to be in style for the curvaceous Ms. Taylor):
Liz Taylor as Cleopatra in yellow, 1963
Madame Gres (1903-1993) continued the trend of classical Grecian style throughout her career, with unauthentic molded bodices and soft jersey that nonetheless mimiced the draped swags of Greek himations:
himation gown, 1967-85
These films have melded a generic Egyptian look, as recognizable by the general public, with fashions of the periods during which they were created. Critical as I may be in matters regarding historical accuracy, this liberty doesn’t actually bother me. The costume designers needed to convey the allure, sexiness, and unquestionable power Cleopatra commanded with her physical presence to modern audiences, and inaccurate as the garments are, I think all were successfully interpreted through modern lenses to further the plots using visuals viewers would implicitly understand.
We’re about due for another incarnation of Egyptomania, don’t you agree?
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Paper as Textile
I stumbled upon the contest Cheap-ChicWeddings.com sponsored for the most impressive wedding gowns made of — wait for it — toilet paper! Yes, this humble stuff is the focus of an annual challenge to use as the sole fabric of a wedding dress. I’m always interested to learn how technology affects textiles and by extension, fashion, but it’s equally interesting to be confronted with garments made of material whose primary function is not the building block of a dress (some will recall my earlier post on a similar duct tape prom dress competition). Yet another difficulty was probably disguising the “fabric” so it concealed its bathroom origins.
Though I myself have never tackled such a garment, challenges working with this particular paper would, I imagine, include transparency and flimsiness. But like all materials, I suspect experimenting with various brands would be part of the process, finding the texture, weight, stiffness, etc., that best suited various parts of the garment. Frankly, the whole contest reminds me a bit of the Charmin “quilted” toilet paper ads of bears and things sewing toilet paper for a supposedly softer, quilted product. It strikes me as hilarious that non-cartoon animals tackle this task… and in the form of wedding dresses, no less! Following are 2009’s winners.
First place winner:
Ann Kagawa Lee's toilet paper wedding dress
the back
matching hat
Though this contest is on the alternative side of crafty fashion, paper dresses are not actually new. The 1950s paved the way for this temporary and flimsy fashion by integrating more and more rapid obsolescence in products, from seasonal cars models to kitchen appliances, aggressively marketed as lifestyle essentials. Many historians attribute the ready acceptance of these sped-up trends to a pervasive feeling of impermanence, due in no small part to the fear and doom of nuclear war. It is with some irony that the government itself looked to paper as an alternative to cloth.
In the 1960s the government began experimenting with paper textiles. Paper’s light weight, insulating qualities, and cheapness made it an attractive choice for disposable combat garments, parachutes, and pup tents. The idea went viral when a corporation adopted the idea: in 1966 the Scott Paper Company used a paper dress as a gimmicky marketing ploy where for $1 women could buy a rather shapeless paper dress and get Scott coupons. To the surprise of many (including Scott Paper), women actually loved the dresses (though the color apparently rubbed off easily) and Scott sold half a million of them in 8 months. Fashion designers jumped on the bandwagon soon afterwards, and the paper dress craze lasted for the next few years.
Scott Paper dress, 1966
Here is perhaps the most recognizable paper dress, the 1960’s Campbell’s Soup dress that was inspired by the work of Andy Warhol — expendability and easy reproduction was central to the Pop Art movement, after all. These were produced by Campbell’s Soup as an advertising campaign (see the ad here). It’s a classic example of how fashion intersects art and industry:
Warhol's Campbell's Soup dress of the '60s
The infatuation with paper clothes didn’t last long. They tore easily, were highly flammable, and a bit too fad-ish to last past 1969. Though the full-blown craze died out decades ago, there are still those who use paper as a deliberately challenging material:
phonebook paper dress by Jolis Paons, 2008
And a 1960s version of similar concept:
phonebook paper dress by Waste Basket Boutique by Mars of Asheville
Hussein Chalayn constructed a paper airmail dress that you could write on, fold up and send, and finally wear, humorously playing with ideas of original textile function, disposability, and usefulness:
Hussein Chalayn paper airmail dress, 1999
Designer James Rosenquist created a papery suit out of Tyvek®, a nonwoven fabric made from spun-bonded olefin, adding gender to the mix of concepts (why weren’t paper clothes made for men in the 60s?):
Hugo Boss, designed by James Rosenquist, spring 1998
Leona Scull-Hons had a performance art piece where she wore an elaborate paper dress throughout the day and then sat in a chair in the gallery every evening to sew all the tears. Though I didn’t see the piece myself, I love how she incorporated the female-dominated tradition of sewing and mending, utilizing the frailty of paper to accelorate the breakdown process of clothes.
Leona Scull-Hons, "Mend," 2002
I thought I’d leave off with the paper gown we are probably most familiar with today, though it was invented in the mid 20th century alongside the obsolete paper dresses. Keeping in mind how awful these feel, can you imagine purchasing one to wear in public??
Further Reading:
- “Fashion: Real Live Paper Dolls,” Time Life article, March 1967
- Fear and Fashion in the Cold War, by Jane Pavitt
- DIY paper dresses
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Topics: Crafts, Pop Culture, Technology, Uncategorized, War | 1 Comment »
Anatomical Fashion & Lady Gaga
As friends and family already know, I love me some anatomical charts, grotesque dissections of the intricate layers of the human body, old-timey skeletons and medical charts of muscle groups and the nervous system, etc. It appeals to my love of dissection in general, I think: peeling away layers of a body — or a topic (i.e. fashion) — in order to better understand the interconnectivity between seemingly disparate systems and subjects. It has therefore been will great relish that I’ve explored the blog Street Anatomy which collects art, design, and fashion, as related to anatomy (check out the Fashion and Products + Apparel categories). Here are some of my favorites:
"Vertebrae" necklace c. 2002 by Molly Epstein, Temple student. Glass-filled nylon.
And I was blown away at the hand-bleached skeleton hoodie:
by Derek Bones Bo, using bleach like fabric paint
Another, more shameful, addiction I’ve indulged lately is Lady Gaga videos. Lady Gaga shares my fascination with anatomy, often merging the robotic and mechanical with flesh and blood in her always deliciously ridiculous outfits. Several of her videos feature men with metal prostheses — a jaw, an eye patch — and she herself assumes a kind of crippled robot appearance after falling from a balcony during a lovers’ scuffle:
Paparazzi video
This photo is terrible quality, but it still gives the full package of this awesomely crazy ensemble — and yes, those are braces she’s clutching (while in stilettos, no less!):
"Paparazzi" video
Though it’s more of a brace gone awry, the costume very much reminds me of the robot woman in Fritz Lang’s Metropolis (1927), playing with the idea of anatomy that mimics humans’ but is actually android:
Fritz Lang's "Metroplis" robot
I love this double bustier, which highlights how somewhat arbitrarily the corset (an exoskeleton if ever there was one) has dictated where breasts fall –
"Paparazzi" video
sometimes pushed flat (as in the 16th century),
Hans Holbein's "Jane Seymour," 1536
sometimes hoisted up to the collarbone.
David's "Comtesse Daru," 1810
And while this exaggerated, padded ribcage / spine seems edgy in 2009…
"Bad Romance" video
it was downright scandalous in 1938 when Elsa Schiaparelli designed the dress version (which I want sooooo bad, by the way):
Elsa Schiaparelli's skeleton dress, 1938
Even when her costumes don’t mimic metal armor, Lady Gaga favors clothes that are extremely restrictive, and hard or voluminous to the point of hilarious and delightful impracticality: essentially sartorial exoskeletons that often cover her very head and face. I highly recommend youtubing her full videos even if you don’t like her music, but beware: they are highly addictive and you too might end up loving her somewhat against your will.
Like every so-called cutting edge, influential trend setter, Lady Gaga is not without her influences. I see a lot of Helmut Newton (possibly my favorite fashion photographer) in Lady G’s style:
Helmut Newton's "Jassara," 1977
Helmut Newton's "Jane Kirby," crutches, 1977
Newton had a series juxtaposing live models with identical mannequins, as on the cover of his fantastically awesome book:
Helmut Newton's "Berlin," 1994
He also had an usual series of ads that were actually x-rays of the products (jewelry, shoes), directly comparing and contrasting the metal prongs and hinges to the bones and joints of the women wearing the baubles:
Helmut Newton's X-Ray, ad for boot by Karl Lagerfeld
Helmut Newton's "X-Ray," Van Cleef and Arpels ad, 1979
As much as I myself love adorning my body with beautiful underwear and clothes and jewelry and hats, there’s something beautiful, raw and powerful in the brutal functionality of human anatomy. Being somewhat of a prude in terms of body coverage, the idea of wearing modest layers that suggest the stripping away of clothes (and skin) appeals to me greatly, also satisfying my penchant for the grotesque. It’s not such a leap to see the relationship between structural skeletons, supportive braces / prosthetics, and protective armor, right? But what is it about these hard bodies that make them so repulsive, and yet enticing? The frailty and strength of the human form? Could it be related to our growing obsession with (corporate) transparency, coupled with a need for structure? It’s an idea, anyway.
See my post on Vamps for more on skeletons, sex, and death.
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Topics: Music, Pop Culture, Sexuality / Gender, Technology | 2 Comments »
Sandra Backlund: Knit Designer Extraordinaire
I recently happened upon a photo of Tilda Swinton, that delicious quirky fashion muse to Viktor & Rolf, wearing an intense layered dress whose filigreed crocheted bodice resembled a crocheted corset, and whose skirt dissolved into something resembling bulky sweaters piled on a floor (click for closeup):
Tilda Swinton wearing Sandra Backlund knit & crocheted dress
A knitter and crocheter myself, it has always frustrated me the lack of avant garde fashion patterns for yarn crafts, which often seem to be marketed to middle-aged mid-westerners and not so much to quirky, experimental fashionistas. It was therefore with extra relish that I explored the web and Sandra Backlund’’s own site for more knit fashion inspiration. She tends to favor super-bulky yarns that really show off stitches in high relief, taming the yarn to create bold geometric shapes. It’s truly incredible how she creates such stiff, specific shapes and structures out of stretchy, soft yarn.
Here are my favorites:
knit & crocheted dress - Pool Position collection
In No Time collection
In No Time collection
Last Breath Bruises collection
Blank Page collection
Body Skin and Hair collection
crocheted turban and sweater
Now, if only someone would publish the patterns, I could get started on my own Sandra Backlund/Tove creations!
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Topics: Uncategorized | 2 Comments »
Silk Stockings & Russian Communism
Over the summer I watched about half an hour of Silk Stockings (1957), a cheesy musical remake of the Greta Garbo classic Ninotchka (1939) where the cool, efficient, and distinctly anti-fashion Soviet agent Cyd Charisse falls in love with (capitalist) Fred Astaire’s flamboyant American producer character while on a government mission in couture capital Paris. Even with my passion for cheesy musicals I could not wade through the entire film, so bad was the dialogue and music, but the on-screen mingling of economic systems and fashion appealed to me greatly. Before turning it off, I did have the pleasure of seeing the namesake silk stocking dance solo performed by Ms. Charisse, a signal of her having fallen in love with Astaire and — not coincidentally — (capitalist) high fashion:
You can see she’s hidden various luxurious items — most of which are silky intimates — around her room, so ashamed is she of having been seduced by luxury goods. It’s a wistful number reminiscent of other more famous musical movies scenes like frumpy Audrey Hepburn singing “How Long Has This Been Going On?” while dreamily dancing around in an ostentatious hat left over by the fashion photo shoot in which she’d been forced to participate in Funny Face (from 1957 as well):
Or Anne Margaret’s “How Lovely to be a Woman” in Bye Bye Birdie (1963):
Or Natalie Wood in West Side Story (1961) singing “I Feel Pretty” and dancing in the dress shop where she works:
You’ll notice that all these were filmed in the late 1950s — the decade of hyper femininity in silhouettes — and early 1960s — the decade when sexuality and gender roles were being questioned more openly. What differentiates Silk Stockings from the other scenes I’ve grouped here (perhaps excepting Funny Face) is the heavy political overtones emphasized over a simple coming-of-age-as-a-woman, though all involve dress-up as experimentation. Though a love story, it’s also about a Commie Russian woman resisting capitalistic inclinations who is ultimately seduced by the capitalist-produced clothes (the relationship with Fred Astaire is curiously tepid, further shifting the emphasis away from the human relationship). What the clip unfortunately omitted was Cyd Charisse seated next to a framed Lenin photo which she puts down to slowly discard her drab green dress (it’s supposed to be drab, though I think it’s quite lovely in its simplicity), black tights and sensible shoes for silk stockings, lace negligee and white sparkly mules.
I too struggle with my collector’s urges to accumulate (not the least of my obsessions is clothes), and my political / social ideology, which is opposed the stockpiling and hoarding tendencies Americans are told is our right — and more than that, a measure of success in obtaining the capitalist dream. Following this train of thought leads to even larger questions concerning labor rights and ethical practices within the fashion industry which has, as Silk Stockings exemplifies, been a symbol of tremendous creative and technological achievements as well as a hideous exploitative industry ever since the Industrial Revolution and the concurrent birth of Marxism.
I have an article examining the relationship of Communism, capitalism, fashion and film in far more depth in an upcoming edition of Worn Fashion Journal.
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Topics: Class, Economics, Film, Politics, Sexuality / Gender | No Comments »
School Dress Codes Target Gender
tuxedoed Ceara Sturgis in her (banned) class photo
After reading the New York Times article “Can a Boy Wear a Skirt to School?,” exasperation and a wee bit of fury rumbled in my belly. As presented by Jan Hoffman, increasing numbers of school children are pushing the boundaries of so-called acceptable attire by cross dressing– a term used quite loosely here. “Cross dressing” could mean a boy wearing a bit of eyeliner or all-out lip gloss, dress and purse, or a girl in a tuxedo. Immediately obvious is a discrepancy between acceptable cross dressing for girls and for boys: girls may wear pants and button-down jackets or cut their hair short without having a finger pointed at them, but boys in a blouse are unacceptable.
Comprehensive dress rules are typically segmented by gender, revealing in and of itself. Girls may not wear midriff-baring blouses, stiletto heels, or miniskirts; boys may not wear sagging pants, tank tops, or hair longer than their shoulders. Dress codes in the office are an attempt to present a uniform level of professionalism, simultaneously curtailing skimpy clothes (generally targeted at women) that are deemed potentially distracting to coworkers and clients. In educational environments, they are supposed to improve academic and social behavior. Dress codes in schools have an additional moral argument: that of almighty child safety.
Hoffman sensationally mentions Lawrence King “who occasionally wore high-heeled boots and makeup” and who was murdered by one of his 8th grade classmates. Proponents of gender-specific dress codes claim they want to protect students who might attract assaults based on their garments, insinuating that the clothes themselves provoke violence, without actually addressing the root of the hate crimes and the subsequent pressure to outlaw gender bending in school dress codes. If a child or teenager has the desire to cross-dress in whatever subtle or loud form, I think that should be applauded. Thinking outside gender boxes and expressing creativity and originality should be integrated in every school curriculum– and dress is a wonderful, harmless playground in which to experiment with these concepts.
Though the article does not once mention homophobia, that is clearly at the crux of the anxiety surrounding cross dressing. It was instead pointed out that many so-called cross dressers are emo or punk kids whose boys may wear eyeliner and lipstick but who are staunchly straight, pointing to pictures of themselves with their girlfriends. While I agree that wearing makeup does not a fag make, the latent and pervasive fear of gays is undoubtedly the reason for people’s reluctance to accept even small gestures of cross dressing without trying to stamp it out under the guise of “safety” and learning without “distractions.” These anti-cross dressing codes are acts of willful, repressive ignorance. Hoffman mentions those who believe “high school should not be a public stage to work out private identity issues. School, they say, is a rigorous academic and social training ground for the world of adults and employment.” If unusual or gender bending clothes cause a dreaded disruption in class, banning the clothes is still not going to address the core problem: that gayness is considered an undesirable aberration, and adopting aspects of the opposite sex is interpreted (or misinterpreted) as a flaunting of gayness, which is inherently distracting. The feared (and yet misleading) link between gender ambiguity, cross dressing, and homosexuality should be confronted and addressed intellectually, ideally in an open health and sexuality class (and yes, I am woefully aware of the non-existent or inadequate health classes in schools).
Sexual self-discovery is an important and unavoidable part of puberty, and I can think of no redeeming argument to suppress this exploration– most especially in that playground of self adornment. The world is full of different people who dress is vastly different ways based on age, culture, personal taste, gender, sexuality, and more. By prohibiting creative or atypical dress in classrooms, are we teaching students that there is an inherent inferiority or unnaturalness in those who dress outside the “normal” dress codes they’ve been exposed to? If a youth in his awkward teenage years has the self possession to cross dress — in whatever form that takes — only hateful detractors should be afraid of reprimands. Think of the hypocritical disgust the Western world directs at the Muslim world for enforcing total body concealment and banning pants for women, circa 2009…. Uncomfortably similar, non?
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Topics: Age, Sexuality / Gender | 1 Comment »
The Original Vamps: Silent, Deadly, & Stylish
The vamp image, incorporating the requisite sex and death themes.
Occasionally fancying myself an exotic woman of mystery too, I have a special place in my heart for that early 20th century icon, The Vamp. When my friend (whose intelligent and fun horror blog And Now the Screaming Starts this is cross-posted on) suggested I write about them, I welcomed the opportunity to revisit some silent films when this aesthetic was solidified in concept and look.
THEDA BARA & THE LURE OF THE EXOTIC
Though Theda Bara (1890 – 1955) enshrouded her adult life in mystery, she was born plain old Theodosia Goodman in Cincinnati, OH. Hollywood producers gave her the anagram of “Arab death,” on the one hand cultivating her image of smoky, exotic sensualism — claiming she lit incense on her sets and swathed herself in tiger pelts — and on the other hand, hyping the macabre and frightening side of her.
Most recognize the term “vamp” to mean a femme fatale — an irresistible woman who leads to the destruction of those who surround her, typically men. But the term was initially coined only after the success of Theda Bara’s single surviving film, A Fool There Was (1915), in which her gleefully man-destroying character is listed in the credits simply as “The Vampire.” Based on Rudyard Kipling’s poem “The Vampire” (1897) and Sir Edward Burne-Jones’ painting of the same name (1897); the visual inspiration is obvious:
Sir Edward Burne-Jones' "The Vampire"
In A Fool There Was, The Vampire is seen in her nightgown several times, casting a spectral quality over her. Opaque and voluminous, this is not lingerie we are accustomed to today, but was risqué for the time, obviously derived from Burne-Jones’ sex-laden picture.
The Vampire grinning over her dead lover.
When wearing outerwear, The Vampire wore the amusingly impractical (and thankfully short-lived) hobble skirt, topped with exotic turbans and heavily kohled eyes. To seduce her victim she drops a flower and lifts her skirt to reveal her ankle — she is unashamed to show blatantly erotic skin.
What differentiated Theda from other actresses of her time was her other-worldliness, which she cultivated with her Oriental aesthetics. The horror genre is filled with tales of distant or remote lands; the audience’s presumed unfamiliarity with the locale makes the fantastic tales slightly more plausible; the storyteller prays on the public’s inherent mistrust and simultaneous attraction to the exotic, The Other. Though the most exotic location in A Fool There Was was Italy (puzzlingly portrayed as a palm tree paradise more suggestive of the Far East), The Vampire produces a non-specific and highly erotic exoticism. Not a tremendous actor, it was largely Theda’s unusual costumes and makeup on and off-screen that enshrouded her in Oriental mystique and secured her notoriety.
Theda Bara in hobble skirt and turban ensemble
Promises of harem girls with all the connotations of master / slave dynamics and orgies have been irrevocably linked to soft, sheer, feminine fabrics that simultaneously cover and reveal forbidden flesh (see my post on Innerwear as Outerwear for more on this subject). Seemingly anticipating the Egyptian madness that occurred after the 1922 discovery of King Tutankhamun’s tomb, the Far East captivated the imagination of the Western world. Designer Paul Poiret (1879 – 1944) made his mark on the fashion world by morphing the 19th century S-shape corset silhouette into un-corseted, athletic figures, and he incorporated many loose-fitting, Oriental-inspired designs to this end including harem pants, “formal” silk pajamas, and turbans. Poiret designed extravagant costumes for stage productions, hosted legendary Arabian-themed costume parties, his fondness for theatrical-scale dress-up evident in the fashions he produced for general consumption.
Paul Poiret, harem ensemble, 1911
Even earlier was Emilienne d’Alençon (1869 – 1946) who performed at the Folies Bergères in the 1890s (with trained rabbits!) and was just as famous a courtesan, who wore Art Nouveau inspired Salome costumes:
The Ballet Russes’ performance of “Schéhérazade” in 1910 was enormously successful, due in large part to the extravagant costumes of vague Eastern inspiration:
Ida Rubinstein in Ballet Russe "Scheherazade," 1910
Erte, who worked with Poiret and with whom I am obsessed, was yet another costume designer who marketed sensual Oriental decadence for lavish stage productions.
Erte Fashion Sketch with turban and harem pants
Mata Hari (1876 – 1917), the exotic Orientalist dancer of Dutch descent who posed as princess from Java while acting as courtesan and spy (try fitting that on your business card), was executed by firing squad just 2 years after A Fool There Was. Legend has it that she blew a kiss to her executioners.
Mata Hari
Her unusual headdress is strikingly similar to our Theda Bara’s, non?
Theda Bara publicity shot for Cleopatra (1917)
Theda tapped into a cultural obsession with styles of the Far East, while exploiting the unease and xenophobia that often accompanies our regard of The Other, rolling it all into a destructive, man-eating “vampire” character. The Vamp concept was to evolve, though never to shake the ruinous qualities Theda imbued in her.
LOUISE BROOKS & MODERN ADVANCEMENTS
As Theda’s star waned, a new vamp talent stepped up: Louise Brooks (1906 – 1985). If Theda was the vaguely ancient, exotic vamp, Louise was her modern flapper vamp successor. As women’s rights gained momentum in America a powerful new woman emerged, wearing visible makeup as she walked to the voting polls, smoking and drinking and dancing in shift dresses that bared shins (oh my!). Even as many women embraced this freedom, societal concerns of propriety remained and moralist detractors prophesized hedonistic anarchy. Dress also changed radically in the nineteen-teens, with fewer layers that a woman could slip into (and out of!), exposing more skin than ever. And so Louise Brooks was a very different looking vamp from Theda, even while her characters carried the torch of man destroyers.
More often than not Louise Brooks smiles, a departure from Theda Bara's vamp image. Here she sweetly pours a drink for her stressed out lover.
Pandora’s Box (1929) was adapted from 2 erotic plays written in the 1890s by Frank Wedekind, but updated to then-modern times. As many young women cut their cumbersome long hair, Brooks as the Lulu character sports her own iconic, modern bob and wears clothes un-constrictive enough that she can do light gymnastics (like swing from a strongman’s biceps), hinting at the newly acceptable athleticism for women (see my post on Athletic Aesthetics). The erotic zones had shifted and multiplied since Theda Bara’s time, moving from the ankle to the shoulders, back, legs, and breasts which were often displayed braless.
Lulu appears practically naked in this Y backstrap dress, with a touch of rope bondage metaphor to boot.
Having become a somewhat accidental murderess, Lulu goes into hiding and curls the famous hair, sweeping it off her forehead. Ridiculous as it sounds, Brooks’ hairstyle was so recognizable that this shoddy disguise actually succeeds in confusing the audience a little, though Lulu is discovered anyway.
Lulu is a dangerous vamp not because she’s controlling and malicious, but because she’s a beautiful young woman whose very power is derived from her lack of pretension and seeming ignorance of her own desirability, her delicious un-self-conciousness. One-upping Bara’s Vampire, Lulu was a double threat desired by both men and women, so potent was her sexual power. The Pandora of the Greek myth was not an inherently evil woman either, just one whose curiosity got the better of her, with unfortunately dire consequences. Lulu is not even interested in money or advancing her social status — she shows equal preference for newspaper moguls and paupers, all of whom are trying to exploit her. However, she shares with other vamps her unrepentantance for acts that inconvenience or even destroy others and herself — all vamps are animalistic, with no regrets (as a side note, non-moral tales like these were only possible to portray in American cinema pre-1934, before the Hays Code was enacted).
She’s an unusual vamp fatale because she doesn’t have malicious intent. “Money, they all want money!” she complains of her blackmailers and suitors alike. She’s not a gold-digger, she’s simply a careless and carefree pleasure-seeker — exactly what conservatives feared about real-life flappers and, by extension, the women’s movement.
RESURRECTION OF THE VAMP
Since these early 20th century beginnings, the vamp has been resurrected in film and fashion many times. Blood sucking, literal and figurative, has unavoidably sexual connotations, and fetish gear and goth style has both influenced and been influenced by vamp(ire) lore. Fashion photographer Helmut Newton channels the sexy and macabre themes of bondage and female sexual power regularly. Even as women expose themselves in his photos, they seem to retain absolute authority over their settings:
Helmut Newton photo, c. 1990s
And Uma Thurman seemed to channel a bit of Louise Brooks herself with her portrayal of modern-day Mia Wallace, another beautiful, hedonistic woman whose pursuit of carnal pleasures (leading to the infamous drug overdose) jeopardizes all the men around her in Pulp Fiction (1994).
Impulse control is often explored in times of economic or political turmoil. True to point, there has been a rash of vampire productions recently including Twilight and the True Blood HBO series, but truth be told, I much prefer the original vamps!
Further Reading:
- Fashion, Desire and Anxiety, Rebecca Arnold
- Fashion Fetishism, David Kunzle
- Fetish: Fashion, Sex & Power, Valerie Steele
- Seduction: A Celebration of Sensual Style, Caroline Cox
- “The Girl in the Black Helmut,” Kenneth Tynan
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Topics: Ethnicity / Race, Film, Marketing, Politics, Pop Culture, Sexuality / Gender, Social Commentary | 3 Comments »
