This is evident in the Ball scene. When she enters in her new ‘lovely dress with yards of skirt –way of the shoulders’ not only does she obtain flattering gazes from men, but also women. A Close up of a man’s face drop as he witnesses the beauty of Sabrina despite having a partner highlights her show stopping appearance. A long shot of men crowding around Sabrina further reveals her image of desirability. The gown she is wearing is set apart from the mundane women’s fashion around her through its innovation in various lengths with both a tightly fitted strapless bodice with attached train skirt. Its thick heavy skirt train with copious amounts of material behind creates a fantasy like Cinderella appearance. Her design stands out though the intricacy of the detailing which included flattering floral embroidery with a dark lining to accentuate the fullness of the gown. Drastically the other women part of Larrabee ball wore unvarying, monotonous gowns creating The Parisian gown to be of as much attraction as Hepburn herself. This accentuates the exquisiteness of each, Hepburn and gown, but ultimately enriches Audrey to a star status. This can be evident though the quote “Women invested in Audrey Hepburn as a star and in ‘the Hepburn look’ as a model of fashionable style” (Moseley, 2002, p.6) revealing how By becoming synonymous with designer fashion Hepburn image is enriched and appeals to women audience . Thus influencing Hollywood fashion trends and hence popularised her looks.
We can see further the aid of couture clothing in glorifying Hepburn’s star image and thus influencing Hollywood fashion though her association with women in the upper class. The relationship she had with Givenchy (styling her on and off screen) was...
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...e in which the image of the clothed figure is rendered…governs the way we create and perceive out own clothed selves’ (Hollander 1975-349-50) Sabrinas gaining of independence and selfhood was created through her stylish transformation , encouraging viewers to also create an increased sence of self through the use of dress.
Works Cited
(Berry,2000, p. )
(Dresser & Jowett ,2000, p. )
(Moseley, 2002, p. )
(Bruzzi, 1997, p. )
Berry, Sarah, 2000, Screen Style: Fashion and Femininity in 1930s Hollywood, University of Minnesota Press, united states
Dresser, David. & Jowett, Garth. 2000, Hollywood Goes Shopping, University of Minnesota Press, united states
Rachel Moseley, 2002 ,Growing up with Audrey Hepburn, Manchester university press,175 fifth ave New York
Stella Bruzzi, 1997, Undressing Cinema, Published by Routledge, 11 new fetter lane, London.
Fashion reflects the attitudes of a society more than any other art form. Like art, fashion is a material record of the ideals that swayed the nations at the time of their creation. Through examining the styles, and tastes of a particular era, we can realize where the interests and priorities of a time lie. As Frank Parsons wrote in his 1920 study, The Psychology of Dress, "There is surly no better field in which to trace the devious paths of human thought than in that of clothes, where man has ever given free play to self expression, in a way which, thought not always a credit to his intelligence, is yet quite true to his innermost self, whether he will acknowledge it or not." Through, tracing and analyzing, side by side, art and fashion, and the effects that one had on the other and society, we can understand the ideals, and interests of European culture, here, through the Renaissance.
Todd, Janet. Women and Film. Vol. 4. New York, NY: Holmes and Meier Publishers, 1988.
How were young women of all classes dressing to be modern in the nightclubs and dance halls of the 1920s and 1930s? Focusing on the middle-classes, yet considering women of both the upper and working classes, discuss what were the influences in their fashion choices.
As the stock market booms and society prospers, women’s fashion undergoes drastic change during the 1920’s. The hems of skirts and dresses rise to newer, more promiscuous level. The traditional long hair, supposedly the crowning glory of a women, is cut shoulder-length or shorter. Defined waistlines are lost, giving way to a shapeless and loose fitting style of clothing. Manufacturing of cosmetics emerges during this decade, and a variety of products become popular among women. The famous Gabrielle Chanel, more commonly known as “Coco Chanel,” introduces her renowned perform in the late 1920s (Yarwood 139). Peggy Whitley, dean at Lone Star College, sums up the newfound cosmetic craze in her American Cultural article: “Powder, lipstick, rouge, eyebrow pencil, eye shadow, colored nails. They had it all!” Associated with the distinct new styles of the era, the iconic “flapper girl” is born. This term is often used for women who donned the edgy style of the time, particularly with a defiant and independent outlook on life. Outside the exciting and rebellious life of the flapper girl, everyday clothing also experiences significant change. Relaxed sport’s attire bec...
The way women dress now is based off of how Joan Crawford dressed when she was a flapper. Women wear makeup, shiny dresses for special occasions, even wear flowers or feathers on their heads for fashion. Her acting has left a big impact on actresses today. She inspired them to be the best actresses they can be.
Coco Chanel, born Gabrielle Bonhuer Chanel, on August 19, 1883 in Saumur, France was an amazing woman who redefined fashion as we know it today. She was a clothing designer who revolutionized the fashion industry with her suits, little black dresses, and avant garde flare. Because of this quickly in her young life she became well know, and rose to be the fashion icon that she is today. From the timeless designs that are still popular to this day, and the sophisticated outfits that can be paired with great accessories Chanel has done it all. When it comes down to it though it was Coco Chanel’s philosophy that “luxury must be comfortable, otherwise it’s not luxury” that lead to her success. (“Coco Chanel”)
In the early 1900’s the ideal woman would be dressed with long dresses and would normally have long hair. Several events such as World War I, in July of 1914, changed women’s role in society. They were not only taking care of the children and the household but they were also taking the role of a man. As men went to war, women replaced them in factories. This caused woman to be more independent. Women realized that having a job was something that could be done; their sex didn’t restrict them from taking this action. This was extremely important as it lead to women being more confident and capable. In the 1920s young women began to change. They went from having long dresses and long hair, to a short haircut and wearing dresses that were above the knee. Women developed a greater interest in looking attractive. According to Russell L. Johnson, the beauty industry grew rapidly as cosmetic expenses sky rocketed from 750 million to 2 billion dollars (Johnson 3). This was one of the causes of the sexual revolution. Women became “ less formal but more expressive (Mag...
Freeman S. (2004). In Style: Femininity and Fashion since the Victorian Era. Journal of Women's History; 16(4): 191–206
The future of women’s fashion is uncertain—in that shock value is harder to come by with each passing year. There is a concept in fashion that nothing is new, everything has been done before. This theory is coming closer to obvious reality, as fashion shows of recent years have visual throwbacks as late as the Victorian era. Although the direction is not yet decided, it is almost definite that women will use fashion as an important tool for expression and freedom in the future.
Women in pictorial history have often been used as objects; figures that passively exist for visual consumption or as catalyst for male protagonists. Anne Hollander in her book Fabric of Vision takes the idea of women as objects to a new level in her chapter “Women as Dress”. Hollander presents the reader with an argument that beginning in the mid 19th century artists created women that ceased to exist outside of their elegantly dressed state. These women, Hollander argues, have no body, only dress. This concept, while persuasive, is lacking footing which I will attempt to provide in the following essay. In order to do this, the work of James Tissot (b. 1836 d. 1902) will further cement the idea of “women as dress” while the work of Berthe
Women used to dress very conservatively and strict before the turn of the decade. Clothing consisted of fitted dresses, long skirts, and corsets in lady like manners. Since the 1920’s brought women’s rights along, young women decided that they were not willing to waste away their young lives anymore being held down to the rules; they were going to enjoy life. The younger generations of women were breaking away from their old habits and their fashion statements changed their roles in society completely. Women were modeling their lives after popular icons...
“Elegance is not the prerogative of those who have just escaped from adolescence, but of those who have already taken possession of their future “(Elegance par. 1). Chanel was a woman who was always seen wearing her own unique fashion. She would never be seen wearing something society would see as something a normal woman would wear; this made her unforgettable (Charles-Roux 5-6). In the beginning, Chanel was only known for creating and designing hats, but she would soon be known for so much more (Charles-Roux 91). Because of Chanel’s new bold ideas, the women’s fashion industry has forever been changed (Charles-Roux 6).
Fashion plays an important role in the lives of billions all over the world; people, as part of a status craving society, turn to “fashion capitals” of the world for ways in which to dress and carry themselves. New York, Milan, and Paris are leaders among this fierce industry that the world lusts after. Fashion can speak volumes about ones personality, or also about the condition the world is in at the time. In France, fashion changed rapidly and feverously as the times changed.
middle of paper ... ... It also analyzed the influences of modern dresses. As Palmer and Clark (2005) mentioned earlier, both decades are the classic era in fashion history.
Audrey Hepburn was an amazing woman who’s unique personality and iconic style touched the hearts of people all over the world. She was a sensible, goofy, personable actress who had everything in her life that she could desire, and still put her time and effort into helping those around the world who weren’t as fortunate. "If there was a cross between the salt of the earth and a regal queen," Shirley MacLaine told People; that would be Audrey Hepburn. Many people only know her as the beautiful Holly Golightly who sat on a window sill and touched the hearts of the world with her song, but some others will always remember her best as the fairy godmother of their lives who’s deep soul committed to life stepped in to help them when their lives seemed at their darkest and no one else could.