Thread for Thought

As a young woman who has atypically looked forward to turning shocking silver (I’ve even promised myself to grow my pixie haircut at that time to accentuate it), I’ve read with some curiosity but ultimate skepticism, the rash of articles and blog posts about the supposed trend of women embracing grey hair. The most recent that I read, in UK Telegraph, was one of the more thoughtful ones; it concentrated on 46-year-old ’90s supermodel Kristin McMenamy’s latest photo shoot for Dazed and Confused magazine. Having always been a rather startling-looking woman with Tilda Swinton-like pallor and a broad sneer of a mouth, the shock of flowing, natural grey tresses doesn’t seem so out of place on McMenamy. “You can get older and still be rock’n'roll,” she told the magazine. “I thought all that grey hair would make a beautiful picture.” Below are two photos (neither from the D&C shoot) that exemplify how grey can be romantic…

in Vogue, August 2010

sleek…

in Calvin Klein RTW F2010

or totally fucking fierce:

on the Givenchy runway, S2008

This is not the first time grey hair has been in style; compared to the 18th century, this current fad is a drop in the pan. Men and women alike oiled and powdered their hair shades of grey and white starting in the mid-1700s. Oil was necessary to make the powder stick, and yes, oil and powder was unavoidably shed with movement; you can see Charles-Alexandre de Calonne, below, is leaking powder on his shoulder, like dandruff, where his ponytail rubs:

detail of Charles-Alexandre de Calonne by Élisabeth Louise Vigée Le Brun, 1784

Below Madame Grand (later Madame Talleyrand-Périgord, Princesse de Bénévent) models the bouffant du jour in the late 18th century:

Madame Charles-Maurice de Talleyrand-Périgord, later Princesse de Bénévent, by Élisabeth Louise Vigée Le Brun, 1783

Mature as her dusty locks make her to our 21st century eyes, this is only a 22 year-old woman; you can see her cheeks are still youthfully plump and rosy (though blush undoubtedly assisted). Here is the same woman — approximately 25 years later:

detail of Madame Charles-Maurice de Talleyrand-Périgord, later Princesse de Bénévent by François Gérard, c. 1808

In addition to the change of hair color and style, it is obvious by this comparison that there was a radical change of silhouette in the costume of the mid-late-18th century and that of the early 19th century. As with the turn of the 20th century, a great deal of bulk and fussiness was discarded in favor of a sleeker and ultimately more youthful, modern look in hair and costume. I don’t think it’s the powdered grey hair alone that ages our subject, but rather the compilation of big, fussy, surreal hair with busy bows and lace and volume in the dress and accessories. In my humble opinion, the neo-Classical look of the early 19th century just feels more modern. But I digress.

Marie Antoinette (1755 – 1793) was both early champion and ultimate victim of powdered coiffures. The Flour War of 1775, caused by the de-regulation of wheat prices by the government, lead to hoarding, gouging, and the inability of lower classes to afford simple bread, and was the ominous precursor to the crescendo of the French Revolution. Wig powder, a product of finely ground starch (a.k.a. flour), was used liberally by the naive queen in her legendary towering bouffants, casting her and her fashion statements in a distinctly unflattering, frivolous light.  French historian Caroline Weber observed,

“…although historians have established that Marie Antoinette never uttered the legendary remark “Let them eat cake,” it is not implausible that the lasting association between her callousness and baked edibles in fact originated with her habit of parading her powdered, wedding-cake hairstyles before a bread-starved nation.”

Here is Marie Antoinette in the very year of the Flour War, seemingly flaunting her willful ignorance of the economic struggles of her country, and all to achieve that trendy grey hair:

Marie Antoinette by Jacques-Fabien Gautier D'Agoty, 1775

With no small irony, according to legend, Marie Antoinette’s hair turned grey with stress and fear the night before her execution; grey hair as fashion statement had clearly run its course as it became associated with the demonized, decapitated monarch. Two years later the English government levied a tax on hair powder, the last coffin nail of that grey-haired trend… until today?

Granite hair was on the 2010 runways shows of playful Giles Deacon and goth Gareth Pugh, and the Telegraph article quoted high end hairdressers claiming to have more young clients who want grey, like Peaches Geldof, Kelly Osbourne, Kate Moss and Victoria Beckham. This kind of minimal evidence has prompted sites like trendhunter.com to prematurely declare “For decades men and women have been trying to mask signs of aging, but a new wave fashionable gray hair is reflecting a shifting attitude regarding the physical effects of getting older.” A more tempered NYTimes article quoted colorist Sharon Dorram, “who said that among her downtown New York patrons, it is mostly younger women, renegade types, who request gray. Not lost on Ms. Dorram is the irony that their older, more conventional counterparts spent $1.3 billion to cover their grays last year, according to Nielsen.”

I don’t think gunmetal tresses were a sign of the fetishization, or even simple respect, of mature women in the 18th century, and I don’t think that’s the case in 2010 either. It’s an unusual, edgy color precisely because so many women with natural grey hair darken it, so it really pops when a woman such as Kristin McMenamy rocks it. I think that even if more grey hair dye is being sold, it is unfortunately not a sign that older women — specifically, naturally mature women — are all of a sudden welcomed back into the fold for the general, fashionable, youth-obsessed public. Pixie Geldof, for example, I don’t think could be said to be furthering the cause of women aging gracefully, though her hair is certainly grey:

Pixie Geldof

Along a similar line, premature articles claiming the emergence of older models on runways and magazine spreads as being indicative of older women being accepted as beautiful and sexual are, I think, overlooking that those older models might be over-the-hill 30+, but they are recognizable and have proven themselves exceptionally good at selling products — hence their previous successes. In economically strapped times I think we all return to the familiar, tried-and-true methods of existence, and I believe designers are returning to supermodels of yesteryear because they have the most experience and accomplishments, and fame/notoriety that can only come with age — also, they are still smokin’ hot. Kate Moss is still landing covers at age 36 (which is, by the way, close to the height of a woman’s biological peak of personal sexuality), and 37 year-old Heidi Klum is even modeling in Victoria Secret lingerie shows (after having popped out 4 children). This is evidence that magazines and designers don’t want to take as many risks these days, when merchandise is harder to move off shelves. They know Moss and Klum, they know their scopes, their talent, and the sales they still consistently generate. After all, you don’t hear about a surge of random, unknown older women taking up the runways — that would demonstrate real progress in my eyes.

A TIME article from a few years ago astutely pointed out the frustrating correlation between the success of the feminism movement and women’s increased use of hair dye. The very same Baby Boomers who fought to enter the workplace are the same who feel compelled to color their hair, to appear more youthful, energetic, or conservative (grey-haired women can appear alternative or hippy-like, often to their detriment in the workplace). The TIME article quotes some shocking statistics about female politicians, for whom it could be argued the physical manifestation of age and experience should be an asset:

“…of the 16 female U.S. Senators — the highest number ever — who range in age from 46 to 74, not a single one has visible gray hair. Of the 70 female members of the House, only seven have gray hair. Political professionals say that the double standard is a great unspoken inequity but that candidates and officeholders don’t dare publicly discuss it for fear of seeming trivial. In an interview before her death last year, Ann Richards, the famously white-haired former Governor of Texas, told me, ‘You can’t appear to be too flashy because it will send the wrong message, but at the same time, you need to appear energetic. The issue is much more significant for women because the hurdle is higher in our society. We’re not sure what we want our [female] elected officials to be — mother, mistress or caretaker.’”

female US senators, 2007 -- not a grey hair in the joint

As evidenced by the world’s obsession with Michelle Obama’s style, politicians’ wives face intense scrutiny too, and most of them color their hair. I wonder if Nancy Reagan would have received the same childish sniggering that Barbara Bush endured for supposedly looking so much older than her hubby, if she had not concealed her own grey hair with that frosted brown. It might come as a surprise to learn Barbara and Nancy were the same age — 64 — when their respective husbands became the President, and though I admit that from a distance Babs looks older, I frankly like the luminescent white she has going on, and I don’t think it diminishes her stature or poise:

Ronald and Nancy Reagan, inauguration, 1985

George and Barbara Bush, inauguration, 1989

Lord knows I’m not against experimentation with appearance. But I sincerely hope women start challenging the gender bias we perpetuate against ourselves and fellow women by playing into the same limiting roles we’ve fought so hard to break out of. Going grey naturally may seem like a small step for Feminism (and the closely linked Ageism), but having grown up in Cambridge, MA, where there are many vibrant, intelligent, artistic women who let their grey show, it becomes suspicious and puzzling that other cities that are diverse in many ways, including appearance, are not like that. Let this so-called trend of grey hair chic be inspiration for actual grey-haired women to embrace their ages, their accomplishments, their strengths, and know they can do so stylishly.

May I suggest some role models?

Susan Songtag, writer

Jamie Lee Curtis, actress

Gloria Steinem, activist writer

Helen Mirren, actress

Annie Leibovitz, photographer

Diane Keaton, actress

Emmylou Harris, singer

Judi Dench

Further Reading:

• Queen of Fashion: What Marie Antoinette Wore to the Revolution, by Caroline Weber

A recent NYTimes article on the latest Levi jeans ad campaign featuring not dead-eyed models in awkward sexualized positions, but real-life residents of Braddock, PA caught my eye. A continuation of last year’s “Go Forth” ad campaign, this one uses actual inhabitants of Braddock to show real workers in their natural habitat: a town that has been particularly hard-hit by the recession. Here’s the accompanying commercial:

Though not all the ads are quite so literal in their depiction of rural workers as the one that heads this post (namely men with heavy tools with expanses of sky and/or land), the campaign appears to be trying to tap into the history of Levi’s as the jeans of 1870s Western frontiersmen and merge it with the tough lives of contemporary men and women who are struggling with their own era’s economic hardships. “People don’t think there are frontiers anymore,” says the young narrator wistfully, “they can’t see how frontiers are all around us.”

While it is true that Levi’s jeans have been a staple of the blue collar working man for more than a century, the idea of capitalizing on the somewhat romanticized images of poverty still strikes me as manipulative in a distinctly American way. Americans in particular, I think, are obsessed with making the casual and ordinary glamorous. Ever since the American Revolution, Americans have reveled in our self-perceived scrappiness, adventurousness, tough sportiness and casualness. Though Hollywood has always proved we can glam it up when we want to, much of the history of American fashion has been just a little more simple, a little more pared down, a little more casual. Consider quintessential American Ben Franklin (1706-1790) who eschewed the powdered wigs far earlier than popular fashion, allowing his own thinning, greyish locks to hang limply:

Benjamin Franklin by Joseph Siffred Duplessis, 1778

Compare to a French contemporary of Ben’s, whose jacket fabric has a sheen suggesting it’s silk, in addition to the meticulously coiffed and powdered wig (he was only 42 at the time of this portrait):

Abbe Charles Bossut by Pierre Pasquier, 1772

John Singleton Copley (1738 – 1815) turned the art world on its head when he painted a formal portrait of Paul Revere, not in a heroic equestrian pose indicative of his famous midnight ride which was just a year earlier, but in the distinctly informal attire of his trade as a silversmith (no jacket!), and complete with his tools and a project. You can see how this is even more dressed-down than Franklin:

Paul Revere by John Singleton Copley, 1776

This very much reminds me of Irving Penn’s series “Small Trades” from the 1950s, where he photographed blue collar men and women dress in their work clothes and usually with a prop to indicate their particular trades. He executed these photos just as he did with so many fashion models and celebrities, in front of his standard mottled backdrop that was particularly striking in that it removed the people from their natural working environments. Suffice it to say, I adore this series. Penn portrays each subject so respectfully, with such dignity — in some cases, downright majestically, as a monarch’s portrait might be taken, and thus elevating their perceived importance. Here are a couple in denim overallls, staple of the laborer:

Lineman by Irving Penn, 1951

Bricklayer by Irving Penn, 1950

Contrast those photos now, to the recent collections of Ralph Lauren and Jean Paul Gaultier. It was obvious that fashion designers were incorporating the “worst recession since the Great Depression” that peppered the news into their Spring 2010 collections. Though I didn’t love the clothes themselves, I thought the ideas presented were interesting. Ralph Lauren regularly taps into Americana tropes and exploits America’s fascination with juxtaposing markers of the working class with upper-end, designer fashion motifs. Below is an ensemble of silk satin that mimics denim in its cut and color; next to it is an interesting metallic satin gown that, from the waist up, resembles overalls, and from the waist down, standard 1930s drapey eveningwear, mashing up the highly functional Great Depression farmers’ “uniform” with the distinctly impractical gowns from the silver screen:

I’ll admit there was some legitimate discomfort at the collection — Robin Givhan wrote “The sight of a freshly scrubbed model sashaying in distressed overalls and glittering evening sandals was akin to watching some indulged young party girl go slumming for the day. It was the kind of ensemble Naomi Campbell might have worn when she was forced to mop floors in jail after an altercation with her housekeeper.”  But there was, of course, the blatant disconnect in Hollywood’s representations of Americans during the original Depression, and while I certainly wouldn’t buy designer jeans and cotton shirts meant to look like they’d been sun-bleached and worn threadbare, I appreciated the commentary on the economic/social gap that still exists in America in supposedly straightened circumstances.  The 1930s were known for their escapist screwball comedies, often featuring impeccably dressed society folks who seemed blissfully untouched by any economical discomfort. Satins and metallics were used liberally in women’s gowns, conveying wealth and glittering brilliantly on the black and white celluloid; stars like Ginger Rogers and Jean Harlow were almost exclusively seen in highly wrinkleable, impractical fabrics and impossibly slinky styles like these below, though almost no one outside Hollywood could afford such luxuries:

Jean Harlow and Clark Gable in Saratoga, 1937

And below you can see how the light reflects off satin in movement — divine! Ginger Rogers’ dress even has a bit of an overall-esque racer back, hinting at a sportiness/athleticism as the Ralph Lauren dress hinted at manual labor:

All this to say, working class attire has been fetishized for centuries. Sometimes for philosophical beliefs, sometimes for political reasons, and sometimes for pure aesthetics. I don’t think Levi’s latest ad campaign is nearly as risky as they thought, but however profitable it turns out to be for them, I hope some money from the ads is circulating in and around Braddock.

Further Reading:

• “Small Trades,” Irving Penn
  

Coney Island by Weegee, 1938

In weather like this (namely, 90+ degrees, little-to-no wind, and me without air conditioning), beachy escapes are on everyone’s mind. Following is a rough timeline of how women have historically bared their flesh — or not — to enjoy the sand and sun.

Classical Times

In Classical antiquity swimming and bathing was most often done nude; only sometimes were there were coverings. Murals at Pompeii and ancient mosaics show women wearing two-piece wrap-around garments that resemble bikinis; these were worn for athletic pursuits as on the woman below, who wears the crown and cradles the frond of athletic victory.

woman in athletic bikini, 4th century CE Roman mosaic

19th century

But alas, western society did not long embrace the celebrated nude of the Greco-Roman era, and for many centuries afterwards, beachwear mimicked streetwear, and submerging oneself in water was generally limited to private experiences. It wasn’t until the middle of the 19th century when water sports, sun bathing, and swimming gained momentum again. Starting around 1830, a series of changes eventually led to the participation of women in sports and in specialized clothing being developed for those sports. The Industrial Revolution hearkened an age of train travel, the invention of the sewing machine and mass-produced fabrics enabled clothing in lower price ranges, and household machines and the development of labor unions gave the working classes more leisure time to indulge in travel, sports, and sun worship in exotic locales. The Dress Reform Movement (see my earlier post on Women, Pants, & Politics) advocated shorter dresses worn over loose harem trousers (the Bloomer Costume) that allowed women greater freedom of movement, as was needed for sports and swimwear. Exercise was increasingly prescribed by doctors and advocated by writers to maintain healthfulness; exercise programs even became an integral part of women’s college curriculums.

The typical 19th century “bather” wore black, knee-length, puffed-sleeve wool dresses, often featuring sailor collars for extra-special nautical costume effect (I say this somewhat facetiously, but it was probably used as a deliberate visual device to distinguish proper day wear from risqué sportswear), and worn over bloomers (derived from the Bloomer Costume) or drawers trimmed with ribbons and bows. Accouterments included long black stockings, lace-up bathing slippers that resembled ballerina slippers, and caps. As the 19th century progressed, bloomers and dress hemlines slowly but surely crept higher. Foundation garments being the basic (however questionable) mark of sartorial respectability, it wasn’t until the 20th century that women stopped wearing corsets underneath their bathing suits. Men had swim suits so closely resembling their undergarments that they made the distinction by wearing either black wool or black-with-stripes. You can see where how term bathing suit applied — the bathing costumes were made up of many layers that were worn as a cohesive ensemble.

Bathing dress, 1858

Beaches typically segregated the sexes, either with portions of the beach or different hours of operation. “Bathing machines” were used for additional modesty: they were dressing rooms on wheels in which women could change into their swimmies, were then wheeled out into the water by horses or people, and then were lifted out into the water to bathe. Below is an amusing cartoon from an 1870 edition of Punch:

Modest Old Gentleman (who has swum out to sea and whose bathing-machine has, in the meanwhile, been walked off by mistake). “Ahem! Pray Excuse me, Madam My Bathing-Machine I think.”

And another cartoon from a postcard, closer to the end of the 19th century, showing the hilarious efforts men might exert to catch of glimpse of the women exiting the bathing machine:

1900s

By the turn of the century, bathing suits underwent a revolutionary change in styles as they ceased to be patterned after street wear and began to show a little more of the human form.

bathing costumes c. 1900

bathers by Georges Marchand, published by A. Bettembos, Dieppe, France, 1904

More athletic (and risqué) women pared down the bathing costume to be as form fitting as possible while still covering their bodies. In 1907 the Australian swimmer Annette Kellerman (1887-1975) visited the United States as an “underwater ballerina,” a version of synchronized swimming involving diving into glass tanks. She was arrested in Boston (my hometown is always Puritanical!) for indecent exposure because her swimsuit showed arms, legs and the neck. Kellerman changed the suit to have long arms and legs and a collar, still keeping the close fit that revealed the shapes underneath:

Annette Kellerman in "one piece all-over Black Diving Suit", 1906

Laughable as this costume might be to our unshockable eyes, compare this to the body stockings worn by the prostitutes photographed by E.J. Bellocqu (1873 – 1949) in Storyville, New Orleans’ Red Light district circa 1912. It’s hard to see, but this woman is wearing a full white unitard of the variety worn by burlesque performers (it’s important to note that only dark colors were used in early bathing costumes exactly because they were to be visible, and not to even give the illusion of nudity as this one does):

E J Bellocqs Storyville prostitute in body stocking, c 1912

1920s

The swimwear industry took off in the ’20s. As athleticism and slimmer figures gained increasing fashionableness (see my post on Bicycle Chic and Athletic Aesthetic), knitwear companies expanded their market from sweaters and underwear to include swimwear. With its beautiful beaches and warm waters, it’s unsurprising that the West Coast emerged at this time as a hotbed of swimsuit manufacturers with Catlina, Cole of California, and Jantzen all setting up shop there. The West Coast was not coincidentally the home of burgeoning Hollywood, and this proximity led to the early adoption and wide dissemination of new bathing suit styles in popular films and publicity photographs. Mack Sennett (1880-1960) was a slapstick comedy director whose films frequently featured his titillating “Bathing Beauties,” pictured below:

Mack Sennett's Bathing Beauties eating apples, 1922

The boyish figure favored in the 1920s affected the style of the bathings suits, which were shorter and very much mimicked men’s bathing trunks. (Note also how these bathing suits resembled the mod miniskirts of the ’60s, yet to come.) As ever, when hemlines are raised and garments tightened, modesty becomes a priority for moralists. Below is a 1922 photo of Washington policeman Bill Norton measuring the distance between knee and suit at the Tidal Basin bathing beach after Col. Sherrell, Superintendent of Public Buildings and Grounds, issued an order that suits not be over six inches above the knee (it looks like someone might be in trouble!):

1930s

Knit wool swimsuits, though infinitely more practical than the bathing costume of the 19th century, were still imperfect. They became waterlogged, droopy, and heavy when wet, weighing an average of 20 pounds (owning a vintage wool bathing suit, I can attest that the sagginess is both uncomely and uncomfortable). Technology development stepped in, and the elastic rubber fiber Lastex was invented in 1934. This new material, with natural fibers surrounding a rubber core thread, was used in undergarment corsetry and swimsuits.

The close proximity between the swimsuit manufacturers and Hollywood continued to influence each other. As Lizzie writes in her excellent piece on swimsuits, “Stars and Hollywood designers were used to advertise and promote the latest in swimwear.” Below is Carole Lombard, brash comedienne and lucky wife of Clark Gable. You can see the swimsuits are tighter, shorter, and introduce glamor to what had been previously been somewhat clunky sportswear:

Carole Lombard

Though Jean Harlowe’s white number is even skimpier (and plays with the suggestion of nudity with its white fabric on white skin), note that it is only the necklines and silhouettes that are played with — the leg hemlines remain solidly and straightly at crotch level, no higher.

Jean Harlow

1940s:

Esther Williams (1921-), who had made a somewhat oxy-moronic career for herself as a soloist synchronized swimmer in film musicals, signed a modeling contract with Cole of California in 1947 which also included an annual swimsuit design named for her. Here is a nice montage (feel free to turn the sound off) where she actually pretends to be the aforementioned Australian swimmer Annette Kellerman, among others, in The Million Dollar Mermaid (1952).

If I’ve said it once, I’ve said it a thousand times: war affects fashion. U.S. factories are often commandeered by the military during wars, using their existing facilities to produce supplies for the war effort; this was true of the swimwear industry during World War II, as well. Fabric rationing led to sleeker, more closely tailored silhouettes in day wear, and sanctioned increasingly skimpy swimwear: as Lizzie points out, “The US government actually mandated that bathing suits were to be made with at least 10% less fabric, and so the midsection was eliminated” (keeping that scandalous orifice, the navel covered!). French engineer-turned-swimsuit-designer Louis Reard created the “bikini” in 1946, macabrely named after the concurrent nuclear bomb test site on the Bikini Atoll, though some say it was an allusion to the explosive effect the midriff-baring bikiniwould have on viewers. A year after it was released in France, Reard’s bikini was released in America, though its sales were not so great, and was even outlawed in some states as a result of its scantiness.

Louis Reard's bikini, 1945

More popular in the colonies were slightly more modest bikini tops with shorts, which actually crossed the line into non-swimming casual wear.

1950s

Post WWII, there was a so-called return to femininity with Dior’s “New Look,” emphasizing curves with yards of skirt fabric, torpedo bras and stiff bodice corsetry. Swimsuits conformed to this ideal too, often with stiff strapless bodices, cinched waists, and apron-like skirts that fell over an invisible skimpier under-layer. More colors than ever were incorporated into swimwear, too, with the return of all America’s factory and supply resources.

apron style swimsuits of 1950s

On the flip side, pin up girls were regularly drawn and photographed in swimsuits, as cousin of the negligee. Below, Bettie Page models some racier swimwear, always designed by herself:

Bettie Page in animal print bikini

1960s

The 1960s heralded the dawn of the Sexual Revolution, the generation that rejected their parents’ prudish impact in the ’50s (Bettie Page very much excepted). This was the first time the female bathing suit moved its hemline above the crotch to encircle the legs rather than square them off. Bond Girl Ursula Andress became an iconic figure (literally and figuratively) in this bikini from Dr. No (1962):

Ursula Andress in white bikini in Dr No, 1962

Below is the publicity shot for Rudy Gernreich’s infamous topless “monokini:”

Peggy Moffitt in monokini by Rudi Gernreich, 1964

Even as it created a fashion sensation, it’s unclear how many women actually bought and wore this number, scandalous even today. Compare the artsy studio photo above to a photo of a model in public (with a billboard man leering at her no less!):

woman wearing Rudi Gernreich's monokini on beach, by Paul Schutzer for Time magazine, 1964

1970s, ’80s, & ’90s

The 1970s embraced less structured clothes and swimsuits, exchanging the stiff elastic ruching and bullet-bra cones for simpler, softer patterns that conformed to the wearer’s body rather than the other way around. The waistline was lowered to hover at the widest point of the hips, rather than at the thinnest point of the waist. The fabric was often unlined, exposing the outlines of nipples (see this hilarious ad for nipple enhancing bras from that period!), as can be seen in the iconic poster of Farrah Fawcett:

Farrah Fawcett photo by Bruce McBroom, 1976 LIFE photo shoot

The ’80s embraced exaggeration in all fashion: huge shoulders, tiny waists, big hair, monochromatic, etc. Bathing suits took on a distinctly geometric feel, often with strategic cutouts for some interesting looks that must’ve created creative tan lines.

Baywatch reigned the small screen in the 1990s. Everyone remembers the Baywatch babes running in slow motion in their bright red, high-cut, low-cut lifeguard swimsuits:

Pam Anderson and Yasmine Bleeth in Baywatch

1990s to now

Since the 1990s, bathing suits have more or less leveled out. Leg holes have generally lowered to a less crotch-pulling height, but we’re in the throws of a nouveau ’80s, so I’ve seen a resurgence of those cutout bathers.

Bathing suit technology has been in the headlines in the past decade due in great part to the press everything Olympics-related generates. Though it’s too expensive to be used for leisure beach activity, Speedo’s LZR swimsuit, invented in 2008, has caused much ruckus among competitive swimmers in recent years. Its corset-like sleek design (it’s said to necessitate 3 people to help a swimmer get into it!) and lasered seams eliminated so much water drag and shaved precious milliseconds off speeders’ times that it was ultimately banned as a kind of performance enhancer that competitors who had non-Speedo sponsors could not wear.

And on that note, I’m off to my local pool to escape this cursed heat, in my Esther Williams vintage-style swimsuit.

Further Reading:

• The Shifting Tides of Seaside Posdtcards – bathing suits as seen in vintage postcards (you need to scroll halfway down the long page to find the right post)
• The California Swimsuit

After seeing Gisele Bundchen’s latest Vogue shoot entitled “Call of Duty” in various military-inspired ensembles, my conflicted feelings about the sexifying of war gear swung hard and fast in the “that’s not cool” direction. Huffington Post presents these images with significantly less conflict: “let us know which is Gisele’s fiercest moment.” I should mention that this was shot for Vogue Korea no less — presumably South Korea, but a country locked in heated, no-end-in-sight military animosity with its former countrymen. (Insular, distinctly militaristic North Korea now has the highest percentage of military personnel per capita of any nation in the world with approximately 1 enlisted soldier for every 25 citizens.) I mean, I wonder if anyone involved in this Vogue fashion shoot experienced any irony whatsoever. Photographed by Nino Muñoz, clothes are from Balmain, Alexander Wang, Chloé and others in Call of Duty (in case you didn’t get the soldier reference from the images alone). Some choice selections follow.

Gisele is so parched from her desert swim that she must provocatively douse herself with her canteen:

The practical cargo shorts paired with the distinctly impractical shorty army-issued t-shirt and stiletto-heeled combat booties are almost laughable:

This one has clean lines and uniform (as opposed to combat) tailoring that generally appeal to me, but it’s still disturbingly devoid of irony or socio-political critique:

Now, shall we look at some historical moments when military uniforms crossed over into day wear?  Frederick Law Olmsted (1822 – 1903) noted that after the Mexican War (1846 – 48) “a great deal of military clothing was sold at auction in New Orleans, and much of it was bought by planters at a low price, and given to their negroes, who were greatly pleased with it.” Not only did military uniforms carry the associations of literal warfare, but they had the compounded layer of becoming sloppy seconds for African American slaves. Later, the surplus army clothing of the Civil War (1861 – 65) was adopted by Western frontiersmen: functional heavy coats and trousers, double-breasted pullover shirts, boots, and individually crimped hats were appealing to those living a rugged civilian lifestyle. And many men who served in WWII found many articles of clothing designed for warfare (i.e. khaki pants) to be comfortable, practical, and even stylish. War generals Dwight D. Eisenhower, George Patton, and Douglas MacArthur became fashion icons of sorts, and the sensible “Eisenhower jacket” was adopted by men and women for its formal practicality:

In the years immediately following WWII, record numbers of veterans entered colleges (in 1946, 75% of entering Harvard students were former G.I.s), bringing with them the comfortable and practical khaki pants, fitted tailored shirts, and casual military jackets. With America’s current casual collegiate styles this might not seem noteworthy, but pre-WWII college students typically dressed in suits and ties, emulating the businessmen many aspired to become, and the casual military look was a sharp digression.

But the natural dissemination of actual army/navy clothes into regular society is a far cry from the fashion industry appropriating military as a trendy look (see Style.com “Marching Orders” trend). In one aberrant season of Rudi Gernreich (1922-1985), better known for his whimsical ’60s graphic mini dresses and topless swimsuit, his 1970 resort collection was distinctly military inspired. His muse and model Peggy Moffitt actually brandished a rifle in a different shot, as did the models on the live runway (and this is one of the tamer looks):

Generally embracing a mod-meets-hippie look, Gernreich showed this controversial collection just months after the Kent State shootings and during the dragging Vietnam War (1955 – 75). During a 1985 retrospective presentation at the Smithsonian Institute, Gernreich commented, “I did the military look in the late 1960s because some designers were making Scarlett O’Hara clothes, which I thought was an insult to women when they were becoming totally equal to men.” I’m the first to admit military-influenced styles of WWII acted as a gender equalizer (see my other posts on War), but Gernreich’s feminist message was lost and this is an inherent problem with glorifying military clothes: there is too much damn violence in the world for it ever to be appropriate without implied commentary (making it shorter/tighter/sexier does not count unless you’re trying to say “war is sexy”).

On the one hand, I have residual fondness for pairing fancy bling with camo — I think it can call attention to the inherent disconnect between wealth, individuality, style, and the conforming, functional purpose of military uniforms that are mostly worn by the young, underprivileged, and uneducated racial minorities. On the other hand, glamorizing the military — especially when one’s own country is in a dragging, controversial war — seems problematic. As a designer (or a photographer, or a model), how do you make this distinction? I am all about playful fun in fashion, but glamorizing bigotry and government-sanctioned violence is distasteful at best and irresponsible at worst. Practical innovations that have come from military issued uniforms should absolutely be adopted by the general public: deep cargo pockets and trench coats are utilitarian and stylish. But making sexually provocative military clothes is not conceptually provocative.

There is some interesting art incorporating fashion and the military. Peter Gronquist’s show entitled “Firearms and Fashion” included weapon objets d’artes with fashion house labels, alluding to a complicit (if vague) relationship between corporate fashion and violence. Below is a Burberry rifle from the collection:

Bringing back the Korean military thread, I saw a powerful piece last summer of Do-Ho Suh’s entitled “Uni-Forms: Self-Portrait/s: My 39 Years” from 2006:

This is a sartorial timeline of Suh’s mandatory life in the South Korean army, from the disturbingly tiny boy’s crested jacket to the full-grown man’s camo and khakis.

Martha Rosler is known for collaging images of the Vietnam battlefield and magazine clippings from the home front including fashion models, washing machines, living room sofas, Playboy nudes, etc. Here is a more recent 2006 work using Iraqi/Afghani footage with a superimposed fashion model who appears to be turning away from the confrontation:

Though the model doesn’t actually wear military gear, it does point to an irresponsible relationship between the fashion world (and the public that so eagerly consumes it) and concurrent warfare.

So readers, do you think it’s ever ok to sexify military wear, and if so, in what context?

Further Reading:

• NYTimes article on “Houlihan” M*A*S*H cargo pants (especially funny, since M*A*S*H was a deeply anti-war film and TV series)
• Precision Targets and the Militarization of Everyday Life from Threadbared

Recommend this post:

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After reading the recent NYTimes article highlighting Eddie Feibusch’s zipper business in New York’s Lower East Side, I was reminded of — what else? — the history of the not-so-humble zipper. This now-ubiquitous device that fastens and unfastens our pants, dresses, and bags, is a relatively recent invention, as far as the history of fashion goes, and also had more trouble taking off than you might imagine.

Elias Howe (inventor of the sewing machine) patented an “automatic, continuous clothing closure” in 1851, and Whitcomb Judson and Lewis Walker marketed the “Clasp Locker” in 1893, which was presented but largely ignored at the 1893 Chicago World’s Fair:

Whitcomb Judson's clasp locker, a hook-and-eye zipper created to replace shoe laces

It wasn’t until Gideon Sundback increased the number of teeth per inch, joined and separated them with a slider, and built a machine to manufacture continuous chains of the “separable fastener” (patented in 1917), that the zip started to take off. One of its first big customers was the US Army which applied time-saving separable fasteners to the clothing and gear of the troops of World War I. This was not, however, widely adopted by the general public.

It was next incorporated into B. F. Goodrich’s 1925 rubber “Zipper Boots” (named for the “zip” sound they made), but it still struggled with mass marketing. In the 1930s a sales campaign suggested that buttons were hard for children to manage and the zipper made it easier for them to dress themselves. Using modern-day infomercial creativity, the zipper industry alerted people to problems they didn’t know they had — namely “gaposis,” gaping holes between ill-fitting buttons and clasps that exposed drafts and prying eyes to the body underneath. The solution? Spray on hair! — I mean, zippers! Exciting yes, but reliable? Not entirely.  A certain amount of trial and excruciating error was enough to dissuade tailors from suggesting their clients adopt the zip (think There’s Something About Mary bathroom scene).

A well-appointed proponent of the zipper assisted its limping acceptance. The Duke of Windsor (1894 – 1972), in addition to abdicating this throne in favor of marrying the trollop  — I mean divorcée — Mrs. Wallis Simpson, made a(nother) scandal by advertising his adoption of trouser flies. Known for his daring but impeccable fashion taste (mixing patterns, cuffing pants, etc.), his vocal adoption of the zip fly did much for the device. (For more on the Duke’s influence on fashion see this article.) I like the following picture of him because, though I imagine he is not actually lifting his jacket for us to inspect his fly, I like to pretend he is:

Most fashion designers only began to see the myriad of possibilities after after the zipper beat the button in the amusing “Battle of the Fly” in 1937 (I imagine an Iron Chef-like competition, though I could be wrong); Esquire magazine concluded the “new” zippered fly would end “the possibility of unintentional and embarrassing disarray,” tapping into that somewhat imagined “gaposis” crisis of the ’20s. Conservative tailors who disdained zipper flies as vulgar but who couldn’t argue with its ultimate popularity created a fold of cloth to conceal the zipper, which is, of course, the standard in flies today.

But to backtrack just a titch, the biggest breakthrough came when Hoboken zipper factories amped up the erotic associations of the zipper, capitalizing on the alluring promise of “a quick and effortless disrobing.” It was the very vulgar, potentially lewd quality of the zipper that tailors resisted but that the public loved. Synchronized dance musical director extraordinaire Busby Berkeley (1895 – 1976) tapped into the suggestive and tantalizingly promiscuous possibilities of the zipper by featuring one made of women (it didn’t hurt that they were all scantily clothed and splashing about in water). Here is “By a Waterfall” from Footlight Parade (1933) (fast forward to 3:35 – 4:18):

A whole seduction is played out with the zipper: a triangular pubis is formed by the bodies, which dissolves into the neat formation of a closed, modest zipper which a lone swimmer (the seducer) voyeuristically observes (like watching a woman dress). The zip is then ripped open by this peeping Tom who somewhat violently breaks the links. An attempt to stave off the sexual advance and reclaim self-decency is made by immediately re-zipping the zipper, and the vignette is concluded ambiguously with an underwater shot of an orgiastic flurry of confused legs and feet and not-unhappy faces. I realize this might seem like a bit of stretch in this day and age of explicit sexual scenes, but the erotic message was not lost on 1930’s audiences. I love that Busby B.!

Elsa Schiaparelli (1890–1973) was the first couturier to feature zippers as a style element. She first used brightly colored zippers on sportswear in 1930, and her 1935 collection of evening dresses were dripping in colored, oversized, decorative and nonfunctional zippers. While other designers were using zippers simply as a fastener (and trying to hide them), Schiaparelli was using them to create visual interest in garments (and maybe a little scandal too). This dress has a prominently displayed front-of-torso zipper closure that is functional and artistic, and gives the witty, Surrealist suggestion that the dress is being worn backwards:

Schiaparelli's Fall/Winter 1939 collection, worn by Millicent Rogers

Since Elsa, other designers have used the zipper as adornment. The corset onesie Jean-Paul Gaultier designed for Madonna’s 1990 “Blond Ambition” tour had a zipper running from breasts to crotch, merging the fetish aspects of pre-20th century underwear with that of modern-day ease of disrobing:

And Victoria Beckham’s fledgling fashion line often features deliberately visible zippers. Below Ms. Beckham and Jennifer Lopez are modeling former Posh Spice’s own line, with modest hemlines but body hugging silhouettes and partially un-zipped full-length zippers, hinting at impropriety without actually showing a lot of flesh:

While visible zippers lend an air of daring sexual prowess and vulnerability, so do invisible zippers that allow modern women to don boots that have 15 inches of prominent but superficial decorative lacings that fetishize the corset lacing while utilizing the practicality of the zipper:

Fluevog Sugar boots with invisible inner zippers

After the initial slow adoption of the gadget, the zipper has even infiltrated our civilian vocabulary now: to “unzip” is literally to open, but also to reveal a truth, as the zipper reveals the body underneath. The hilaaaarious 1995 documentary about manic designer Isaac Mizrahi is aptly called “Unzipped,” playfully using the clasp’s undoing action to imply that the normally hidden, backstage part of the design process will be exposed. (Is it ever!)

Finally, though the zipper has come so very far from its humble origin and initial ineffectual marketing, to now being the current standard in clasps more than the exception, there remains an un-solvable problem. Easy and quick as the zipper is to close, it is equally easy to forget:

Brad Pitt

Suggested Reading:

• “Zipper: An Exploration in Novelty” by Robert Friedel

Recommend this post:

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I recently gave a lecture on cross-dressing to a terrific sociology class at FIT (and yes, I wore the outfit above), and I had such ridiculous fun (and stress!) researching it that I thought I’d share with the blogosphere to spread the wealth. You don’t get the pleasure of my witty repartee, but you do get a decent, if slightly inferior, substitute. I do want to give the disclaimer that this is not even close to a comprehensive, in-depth study of cross-dressing, but rather a quickie pictorial romp through the ages. This is “cross-dressing” very loosely defined: the fashions included are technically male fashions worn by men, but have distinct feminine qualities that were widely adopted, but also criticized by an endless list of moralists. Lastly, am also concentrating on Western fashion, which is, I acknowledge, an additional shortcoming of this essay, with the Eastern cultures embracing bisexual skirts for so long. So be it. I included examples of both clothing that was actually considered cross-dressing in its own day, and garments that were perfectly hetero-normative then, but appear to be borrowed from the opposite sex to our modern eyes.

I’m not going to spend much time on the ancients, but I would be remiss if I didn’t point out that it took many hundreds of years to develop sex-specific clothing styles, and though the ancient Greeks and Romans from which we came did have differentiation between sexes in their draped garments (the women’s breasts were covered while men’s chests might be exposed, for example), those variations were relatively slight, immediately drawing attention to the fact that sex-specific clothes is a societal construct that was honed — as gender roles and expectations were — over time. Mighty, manly Zeus (below) wears a draped himation that could be just as easily worn by a woman, were the front flap pulled up for modesty:

Zeus marble statue wearing himation

The Medieval houppelande was a loose bodied, floor-length coat with narrow sleeves that became a symbol of gender non-specificity in the late 14th/early 15th centuries:

Les Petites Heures de Jean de Berry Duke Jean de Berry departing on a pilgrimage Bourges, c.1412

Marie de Gueldre depicted as the Virgin Mary (in a houppelande), 1415

Men wore jewelry off and on, and in the mid-16th century, they often wore a single dangling earring along with their wide, padded breeches that resembled puffy skirts. Whatever femininity this might have indicated was counter-balanced with hyper-masculine pointy beards and codpieces (which were not uncommonly erect, in case you had any lingering doubts of a man’s virility). The pointy beard mirrored the triangular waistline, and punctuated by the essential phallic sword accessory, further drawing the eye to the crotch:

"Boy with a Greyhound" by Paolo Veronese, c.1570s

It has been hypothesized that the exaggeratedly stuffed breeches of the 16th century was a sartorial salute to (or at least an acknowledgement of) an age of powerful female monarchs including Elizabeth I (1533-1603); Catherine de’Medici (1519-1589); and Mary, Queen of Scots (1542-1587). In the mid 1580s (just a couple years before the portrait below), Philip Stubbs wrote that apparel is a signifier of biological and social differences between the sexes. I find this somewhat hilarious, given that male clothes had so many feminine features (skirt-like breeches, emphasis on curvy legs, nipped waistline, elaborate embroidery, long hair), and also that King James I of England (1566 – 1625) — who succeeded Queen Elizabeth I — was quite probably homosexual or bisexual and it was known that he bestowed favors upon the male peacocks of the court.

Sir Walter Raleigh by H., 1588

Henry Wriothesley, Earl of Southampton, 1594

There was a growing acceptance of licentious aristocratic behavior in the 17th century in which the choice of sexual partner was not necessarily restricted to male or female, but could incorporate relationships with boys alongside mistresses without jeopardizing the ideals of “manliness.” The man below has something of the feminine about him with his loose, baggy pantaloons, festive sash, lace garter bows, and pointed toe pose with fist on hip, but this was nothing out of the ordinary for the time:

Standard-Bearer of the Civil Guard by Evert van der Maes, 1615

Male attire was designed to emphasize the soft, curvy lines of the male physique rather than sharp angles at this time — ironically, women wore corsets that virtually flattened their busts. Both sexes wore  lace neck ruffs; lace wrist cuffs; coiffed, longish hair; and high waistlines with short pantaloons which emphasized elongated, shapely legs (hoes were often padded to achieve desired visions of muscularity):

George Villiers, 1st Duke of Buckingham by George Villiers, c. 1616. Archetypal Jacobean dandy

King Louis XIV (1638-1715) was aesthetically extravagant in many regards (the Hall of Mirrors in Versailles is testament to that), and clocking in at only 5′ 4″ tall, he undoubtedly assisted the height of men’s shoes: some of his own were 6 inches high! As modern women know, heels also help produce flexed, shapely calves which were still very much in the style of the Sun King’s time. In 1663 the English court adopted the periwig, further feminizing the men of the time (the pointed toe pose should be familiar):

King Louis XIV, 17th Century

As the century wore on, the periwigs remained, and though men’s legs were increasingly covered, the longer garments that covered them resembled female outerwear, not unlike the unisex Medieval houppelandes, but with modern embellishments like enormous cuffed sleeves:

James Craggs the Elder by John Closterman c. 1710

Post 1700, homosexual behavior was increasingly constructed as a depraved activity associated with a minority of effeminate men; by the 1720s extreme bodily gestures, affected mannerisms in speech and contrived magnificence in costume had come to indicate sexual preference (and perversion). Post-1720, the effeminacy of the previously innocuous “fop” was identified with the effeminacy of the sodomite, adding a significantly more judgmental layer to the language of male attire. The bitter irony is that there was still significant gender crossover in dress. Compare the gentleman below to his female partner: the full skirted frock coat resembles her own skirt; the wide cuffs mimic her lace ones; their gracefully pointed toes meet between them; and the long, coiffed hair is covered for modesty by the woman but styled and flaunted by the man.

detail of The Dancing Lesson by P Longhi, c. 1760

The Macaronies of the latter half of the 18th century were often accused of effeminacy, with their outrageously tall powdered wigs, the rosettes on his shoes, and the teeny-tiny three-cornered hat perched atop his sculptural headdress. Macaronies followed the general styles of the time, but typically with tighter silhouettes, often employing vertical stripes to emphasize sleek lines, as in this man’s tights:

The Macaroni. A Real Character at the Late Masquerade, by Philip Dawe, 1773.

Though the wig in and of itself is deliciously ridiculous, remember that Marie Antoinette (175501793) was commissioning equally tall wigs (for women, it’s true):

The 1830s brought male girdles that created feminine wide hips and nipped waists (again). Dandy Beau Brummell (1778 – 1840) is credited with creating the modern 3-piece suit with full-length trousers replacing shorter breeches, fitted, tailored clothes, and downplaying flamboyant color in favor of more muted, “masculine” tones. With this feat he also accelerated the separation of  male and female fashion crossover. Likewise, the implication of caring about appearance now became associated with the “weaker sex,” whereas in previous centuries men were expected to primp and preen — and for the results to look like they did. Flamboyance was now expressed more subtly in brightly patterned accents like neckwear and waistcoats.

dandy, 1822

Dandies c. 1840s

I’m taking a huge leap in time now, assuming that readers are far more familiar with the 19th and early 20th century male fashions and already understand how relatively monochromatic and plain they became after Brummel’s time. With the sexual revolution of the 1960s and Glam Rock of the 1970s, there was a revival in experimentation with sexuality and gender identities. Young men once again wore ornate and ostentatious clothes that often made explicit references to days of yore when the adult population favored the resplendent over the conservative. To wit, Earl Lichfield emulating 18th century male (and yet effeminate with embroidery and ruffles) below:

Thomas Patrick John Anson, Earl of Lichfield, 1968

Open bisexual and hugely influential David Bowie (and other glam rockers) deliberately pushed gender boundaries by applying makeup, lengthening hair in deliberately female styles, and wearing high heels. Though the music movement had (and maintains) an impressive following, the gender role-play was viewed by the general public as subversive act of abnormal sexuality.

David Bowie in The Man Who Sold the World cover, 1970

Allow a detour into Tove’s childhood: at the dentist’s office in the early 1980s, I picked up a small pin of Madonna with ratty, teased bangs, heavy eyeliner and thick eyebrows. I treasured it and wore it on my daily backback. I was absolutely flabbergasted to learn  from my best friend (who was a sage 3 years older) that the image was not Madonna at all, but Boy George, a regularly cross-dressing man I hadn’t heard of before!

Boy George, 1980s

Madonna, 1980s. (I know the difference now.)

On the heels of the revolutionary ’70s, the reactionary conservative Regan/Thatcher ’80s gave way to a new generation of cross dressing men, but this was mostlylimited to pop / rock stars like Georgie here, and those associated with the New Romantic music genre including Roxie Music and Adam and the Ants (whose frontman favored an 18th century pirate/aristocrat look with lipgloss and eyeliner):

Adam and the Ants

Current revivals of cross-dressing for men have dwindled again, I’m afraid. Fashion exhibitions like the Met’s “Men in Skirts” (2003-04) confirms that men in skirts are anomalies to be studied behind glass, these days. However, the Utilikilt is a modern-day skirt for the man “man enough” to wear it against gender pressures, with a manifesto including “The Utilikilts Company does not accept preconceived limitations as our own.” Interestingly, it is geared towards men in construction as opposed to gay, fey, or transvestite men, offering comfort, ventilation, cargo pants-like pockets and optional built-in tool belts. Interestingly, it has been adopted by some subcultures like punk and goth kids that are known for experimenting with gender roles in dress:

Um, and also this adorably dorky (but admirably self-possessed) highschooler:

highschooler in utilikilt

These days fashion remains a female preoccupation in the public’s eye; men supposedly dress for fit and comfort rather than style, and women commonly “make over” their men, keeping gender roles solidly separate in philosophy and image. It’s only been in the last few years that male fashion has swung back to embracing decorative, colorful elements (which the Utilikilt does not). However, I see this as a corporate marketing ploy rather than the ideal acceptance of polymorphous sexuality or the understanding of sexism as dictated by fashion. Marketers simply wanted to capitalize on the largely untapped male market (and the higher income-earners to boot) for what have become “female” products: makeup, accessories, hair products, etc. And thus, the metrosexual was born — a term indicating a heterosexual man who nonetheless adorns himself (like gay men or straight women are supposed to do).

metrosexual, 2000s

As a final note, gender flexibility in dress has almost always been more acceptable for the elite classes (this was certainly true of the 17th and 18th centuries, and perhaps today as well), where it might be viewed as “eccentric” rather than “deviant.” For middling classes, clear distinctions between feminine and masculine dress signified precious respectability, so they were therefore more reluctant to adopt gender-ambiguous trends. Though I am sickened by the capitalist manipulation it seemingly took to accept a teeny tiny bit of cross-dressing into mainstream fashion culture in the form of the metrosexual, I hope this small step develops further to legitimize gender blurring in dress (because as you can see, we have a strong history of cross-sex trends), and dissolving ideas of “heterosexual normalcy,” and opening the creative channels of personal adornment to all economic strata.

Next week, I’ll dissect female cross-dressing in history, which, though superficially similar in concept, has had different implications of oppression.

Recommend this post:

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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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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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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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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 20^th 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 19^th 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 20^th 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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