Araştırma Notu
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The Power of Dress: Donning 1930s Hollywood Replication Gowns

Yıl 2024, Cilt: 18 Sayı: 1, 182 - 192, 30.06.2024
https://doi.org/10.47777/cankujhss.1428150

Öz

During the 1930s, Hollywood enticed women to purchase film costume replicas and product tie-ins in their local department stores via a cooperative marketing campaign. Hollywood replication gowns were inexpensive, available to consumers of modest means, and offered a way to explore the glamour of stardom through dress. They were available in a variety of styles, but the Letty Lynton dress was the most famous of its genre, and its success solidified the wide-shouldered look of the 1930s. The prevalence of similarly designed gowns establishes it as a cultural sub-meme of Hollywood replications. One example, housed in the Alameda Historical Museum (AHM), was analyzed using the material culture methodology of E. M. Fleming. The study presents a case in which women of this era experimented with the percolating sense of self-determination through Hollywood dress replications, unique to how women express that today.

Kaynakça

  • “All the World Wears Dots,” (1934, June 1), Women’s Wear Daily, p. 10.
  • Arnold, R. (2008). Movement and Modernity: New York Sportswear, Dance, and Exercise in the 1930s and 1940s. Fashion Theory, 12(3), 341-57.
  • Berry, S. (2000). Screen Style. University of Minnesota Press.
  • Berger, A., & Berger, A. A. (2016). What Objects Mean. Routledge.
  • Boumaroun, L. (2017). Becoming Annie: When Film Costume and Fashion Converge. Fashion Theory, 21(6), 647-66.
  • “Color Contrast is Well Played Up in ‘While Parents Sleep’” (1934, June 5). Women’s Wear Daily, p. 12.
  • DeLong, M. R. (1998). The Way We Look: Dress and Aesthetics (2nd). Fairchild Publications.
  • Eckert, C. (1978). “The Carole Lombard in Macy's Window.” Quarterly Review of Film & Video 3(1).
  • “Fashion Creations Give Color to Ball,” (1934, January 31). Alameda Times-Star.
  • Fleming, E. M. (1974). Artifact Study: A Proposed Model. Winterthur Portfolio 9, 153-73.
  • Garber, M. (2017). Why Do We Call Celebrities "Stars?"- An Investigation. The Atlantic. https://www.theatlantic.com/entertainment/archive/2017/02/why-are-celebrities-known-as-stars/517674
  • Harrison, H. (1934, September). Adrian’s Fashion Secrets. Hollywood, 23(9), 42-43.
  • Kidwell, C., & Christman, M. (1975). Suiting Everyone: The Democratization of clothing in America. 2nd. Smithsonian Institution Press.
  • Kaiser, S. (2012). Fashion and cultural studies. Bloomsbury Academic.
  • Marcketti, S. B., & Angstman, E. T. (2013). The Trend for Mannish Suits in the 1930s. Dress, 39(2), 135-152.
  • Mindiak, O. (2017, September 22). The “Letty Lynton” Gown. fashionsflashback. https://fashionsflashback.com/2017/09/22/the-letty-lynton-gown
  • Murray, Mrs. William F. (donor). Copy of dress worn by Lupe Vélez [Rayon crepe and taffeta]. 1982. Accession number 82.26.1. Alameda Historical Museum, Alameda, CA.
  • Reyer, C. (2017). When Hollywood Glamour Was Sold at the Local Department Store. Smithsonian Magazine. https://www.smithsonianmag.com/arts-culture/when-hollywood-glamour-was-sold-local-department-store-180962262
  • Richards, F. (1951). The Ready-to-Wear Industry: 1900- 1950. Fairchild Publications.
  • Rogers, E. M. (2003). Diffusion of Innovations (5th ed.). Free Press. https://ebookcentral.proquest.com/lib/gbv/detail.action?docID=4935198
  • Schudson, M. (1989). How culture works. Theory and Society, 18, 153-80.
  • Warner, P. C. (2013). From Clothing for Sport to Sportswear and the American Style: The Movies Carried the Message, 1912–1940. Costume, 47(1), 45-62.

The Power of Dress: Donning 1930s Hollywood Replication Gowns

Yıl 2024, Cilt: 18 Sayı: 1, 182 - 192, 30.06.2024
https://doi.org/10.47777/cankujhss.1428150

Öz

During the 1930s, Hollywood enticed women to purchase film costume replicas and product tie-ins in their local department stores via a cooperative marketing campaign. Hollywood replication gowns were inexpensive, available to consumers of modest means, and offered a way to explore the glamour of stardom through dress. They were available in a variety of styles, but the Letty Lynton dress was the most famous of its genre, and its success solidified the wide-shouldered look of the 1930s. The prevalence of similarly designed gowns establishes it as a cultural sub-meme of Hollywood replications. One example, housed in the Alameda Historical Museum (AHM), was analyzed using the material culture methodology of E. M. Fleming. The study presents a case in which women of this era experimented with the percolating sense of self-determination through Hollywood dress replications, unique to how women express that today.

Kaynakça

  • “All the World Wears Dots,” (1934, June 1), Women’s Wear Daily, p. 10.
  • Arnold, R. (2008). Movement and Modernity: New York Sportswear, Dance, and Exercise in the 1930s and 1940s. Fashion Theory, 12(3), 341-57.
  • Berry, S. (2000). Screen Style. University of Minnesota Press.
  • Berger, A., & Berger, A. A. (2016). What Objects Mean. Routledge.
  • Boumaroun, L. (2017). Becoming Annie: When Film Costume and Fashion Converge. Fashion Theory, 21(6), 647-66.
  • “Color Contrast is Well Played Up in ‘While Parents Sleep’” (1934, June 5). Women’s Wear Daily, p. 12.
  • DeLong, M. R. (1998). The Way We Look: Dress and Aesthetics (2nd). Fairchild Publications.
  • Eckert, C. (1978). “The Carole Lombard in Macy's Window.” Quarterly Review of Film & Video 3(1).
  • “Fashion Creations Give Color to Ball,” (1934, January 31). Alameda Times-Star.
  • Fleming, E. M. (1974). Artifact Study: A Proposed Model. Winterthur Portfolio 9, 153-73.
  • Garber, M. (2017). Why Do We Call Celebrities "Stars?"- An Investigation. The Atlantic. https://www.theatlantic.com/entertainment/archive/2017/02/why-are-celebrities-known-as-stars/517674
  • Harrison, H. (1934, September). Adrian’s Fashion Secrets. Hollywood, 23(9), 42-43.
  • Kidwell, C., & Christman, M. (1975). Suiting Everyone: The Democratization of clothing in America. 2nd. Smithsonian Institution Press.
  • Kaiser, S. (2012). Fashion and cultural studies. Bloomsbury Academic.
  • Marcketti, S. B., & Angstman, E. T. (2013). The Trend for Mannish Suits in the 1930s. Dress, 39(2), 135-152.
  • Mindiak, O. (2017, September 22). The “Letty Lynton” Gown. fashionsflashback. https://fashionsflashback.com/2017/09/22/the-letty-lynton-gown
  • Murray, Mrs. William F. (donor). Copy of dress worn by Lupe Vélez [Rayon crepe and taffeta]. 1982. Accession number 82.26.1. Alameda Historical Museum, Alameda, CA.
  • Reyer, C. (2017). When Hollywood Glamour Was Sold at the Local Department Store. Smithsonian Magazine. https://www.smithsonianmag.com/arts-culture/when-hollywood-glamour-was-sold-local-department-store-180962262
  • Richards, F. (1951). The Ready-to-Wear Industry: 1900- 1950. Fairchild Publications.
  • Rogers, E. M. (2003). Diffusion of Innovations (5th ed.). Free Press. https://ebookcentral.proquest.com/lib/gbv/detail.action?docID=4935198
  • Schudson, M. (1989). How culture works. Theory and Society, 18, 153-80.
  • Warner, P. C. (2013). From Clothing for Sport to Sportswear and the American Style: The Movies Carried the Message, 1912–1940. Costume, 47(1), 45-62.
Toplam 22 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Konular Çeviribilim, Dünya Dilleri, Edebiyatı ve Kültürü (Diğer)
Bölüm Araştırma Notları
Yazarlar

Nancy Martin 0009-0006-2513-1834

Yayımlanma Tarihi 30 Haziran 2024
Gönderilme Tarihi 30 Ocak 2024
Kabul Tarihi 4 Nisan 2024
Yayımlandığı Sayı Yıl 2024 Cilt: 18 Sayı: 1

Kaynak Göster

APA Martin, N. (2024). The Power of Dress: Donning 1930s Hollywood Replication Gowns. Cankaya University Journal of Humanities and Social Sciences, 18(1), 182-192. https://doi.org/10.47777/cankujhss.1428150

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