by Xin Wen Two months ago, I watched Annie Hall, and felt quite amused by it. (Here is my favorite scene): So, it surprised me a little bit when I read of Woody Allen’s dislike of Annie Hall. In 1977, on the premiere of the film, as Julian Fox stated “Pessimistically, he declared it, like a number of his films, ‘a personal failure’: a view scarcely borne out by its enormous critical and commercial success.” (Woody—Movies from Manhattan, Julian Fox, page 97) In fact, apart from the commercial success, the film Annie Hall also had an impact on fashion--The style of the female leading role Annie, played by Diane Keaton, “Fueled a world-wide phenomenon and a trend in cross-dressing that continued to influence womens’ wardrobes into the 1980’s.” When Diane Keaton first came to the shooting scene, it is said that her way of dressing was criticized by the costume designer Ruth Morley—“Curiously, Annie Hall’s costume designer, Ruth Morley, had been initially resistant to Diane’s ‘crazy’ way of dressing, but Woody, considering the actress something of a sartorial ‘genius’, persuaded Morley to let her have her own way. ” (Woody—Movies from Manhattan, Julian Fox, page 98) At last, Diane’s style was a little bit masculine: baggy shirts and pants, waistcoats, ties and a very big tote (she even put her tennis racket in it). The whole style was androgynous, but very cheeky, and suitable for the character Annie. She was confused sometimes and needed Alvy (the leading man’s) help to gain confidence (he encouraged her to sing publicly), but she was brave and independent enough to leave him and fly to Los Angeles for her own career. Although in the actual movie’s end, Annie returns to New York, though my version of the story would have been more feministic—Annie would have been fine in LA. Two years after the release of Annie Hall, another film Kramer vs. Kramer captured the beat of the era—the second wave of feminism reached its climax in the 1970’s. Although the film was largely created by Woody Allen and in it he expressed his bitterness and confusion toward life, the success of the film owed a lot to the character Annie. ‘It was on Annie that the emotional heart of the movie finally fastened and thus provided for America, as elsewhere, a feminine ideal for the late 1970s.’ (Woody—Movies from Manhattan, Julian Fox, page 92) Like the dressing style, the personality of the character, Annie, greatly resembled Diane Keaton. It is said that, “The film has been seen by many observers as a cinematic love-letter to Diane Keaton and, indeed, makes use of the couple’s off-screen as well as the entrancing quirkiness Woody and Brickman discerned in Diane’s personality.” (Woody—Movies from Manhattan, Julian Fox, page 87)
Annie’s look was referred to as the “Annie Hall look” since the popularity of the film. All the elements of the look are easy to find nowadays, what’s hard to copy is the spirit behind the look. Annie was quirky, sentimental, and daffy, but most importantly, she was independent, or at least, she wanted to be independent. For women in hardship or deep poverty, Annie’s image should provoke more insights. References: http://movies.msn.com/movies/galleryfeature/film-fashion/?photoidx=2 http://www.missomnimedia.com/2009/04/fashion-meets-film-annie-hall/ http://www.costumedesignersguild.com/aw-archive/aw-recipient.asp?AwardID=34&award by Xin Wen Recently the death of Bin Laden brought my thoughts back to WWII. Though lasting for over ten years, the war on terrorism has not caused as much trouble as WWII did for ordinary people in America. Even if you include the ‘taking-off your shoes’ inconvenience happening at every American airport, the trouble nowadays can not compare with that of seventy* years ago. For countries that were involved in the war, since all the goods and materials had to be used preferentially by frontline people, there were severe shortages in home front. As a result, rationing system was established in both Britain and America. People were giving coupons to buy daily necessaries. According to Lauren Olds’ Constructing the Past: ‘First the British and later the American governments passed bills limiting fabric usage and rationing clothing items. In 1941, each British adult received 66 clothing coupons, but this number quickly dropped to 48. In 1945, each person received only 36 coupons.’ If you think you can buy 48 pieces of new clothes with 48 coupons, then you are completely mistaken: because ‘a woman’s tweed suit alone cost 18 coupons, half of the yearly ration.’ In 1942, the War Production Board in America set several rules concerning textile and clothing: such as-- ‘jackets could not have more than two pockets; an evening dress could not be made of wool cloth; or people can barely add any attachments on a dress.’ The impact of these regulations on fashion was dramatic: for example, the two-piece bathing suit for women came into being because U.S. government said the fabric used in women’s swimwear had to be reduced. Faced with shortages, designers and consumers accommodated their aesthetic tastes to tough circumstances. On the designer’s side, (in Lauren Olds’s words): ‘because rubber was necessary for the war effort, designers promoted styles that did not require girdles.’ On consumers’ side: since nylon stockings were unavailable at the market, ladies painted their legs to pretend they were wearing stockings—some even used black eye pencil to draw “seams”. Governments also tried very hard to persuade civilians to make full use of their current wardrobes. A booklet called <800 Ways to Save and Serve or How to Beat the High Cost of Wartime living> contained many handy tips: such as buy more cotton clothes since cotton is cheaper and hard to wear out; or buy fabrics that are tightly woven. During the WWII, austerity was the key word. Women clothes during war time were indeed simple and practical, after all Rosie the Riveter can not wear feminine gowns to work. However, new designs emerged during war time. According to the research of Lauren Olds, ‘keyhole neckline’ as a new design first appeared in 1941. Apart from this, ‘the variety of ladies hats during the war is also evident…there are hats with wide brims, small caps that rest on the back of the head, and many other unique, fanciful designs.’ In 1945, the war ended. However the haze hovering fashion world did not disappear until the year 1947—when Christian Dior introduced his ‘New Look’. With plenty of fabrics and cloth, women rebuilt their elegant images with long gloves, wasp-waisted silhouette, full-length skirts and high heels. The skirts alone used as much fabric as 10 or even 15 wartime skirts, some using as much as 30 yards of fabric! (Lauren Olds.) Within ten years, rationing, coupons and scarce nylon stockings seemed forgotten by the same generation. Some people said the drabness and uniformity of womens’ clothes during wartime manifested the patriotism of women. However, comparing with the actual sacrifices female soldiers made during WWII, obsolete or stale clothes were only pieces of cake. Dior----New Look, 1947 References:
http://www.fabrics.net/joan702.asp Olds, Lauren (2001) “World War II and Fashion: The Birth of the New Look,” Constructing the Past: Vol.2:Iss.1, Article 6. Pictures come from: http://www.fabrics.net/joan702.asp http://brilliantlybritish.blogspot.com/ *correction made as update-S.B. By Xin Wen When Louis XV was still alive, and when Marie Antoinette as a young dauphine was still popular among French people, she once wore men’s breeches and a riding coat. The audacious outfit gave her the fame of ‘the only man of Bourbon’. In fact, only after the revolution broke out, did she act as a political figure. At first she refused to leave France and then she wrote letters to her relatives in Austria with the hope that they would rescue her and her family. However, this time she was out of luck. After a very short stay in the Tuileries, in August 1792 she and her family were transported to the Temple, where they were captivated as prisoners. The royal family’s life in the Temple was filled with indignities: one of the queen’s valet recalled that the guards of the Temple even put their hats on in order to express their disrespect when they saw the royal couple. As for clothing —Marie Antoinette’s wardrobe shrank greatly: with the small amount of money the Commune de Paris gave, she ordered ‘two white bonnets, nine gauze and organdy fichus of varying sizes, one skirt, one white linen capelet, one black taffeta capelet, and three lengths of white ribbon, several shifts made from linen and muslin…’ (Caroline Weber, 2006, Queen of Fashion, page 255) Let us not forget this was a woman who used to purchase more than 300 new outfits a year, a woman who spent thousands of livres to comb her hair into a series of new styles, and a woman who was imitated by all the aristocratic women in France. However, when ‘the only living creature in France who still cried “Long live the King!” was a parakeet’ (Caroline Weber, 2006, Queen of Fashion, page 259), the crowd with admiring glances disappeared--partly because they were blocked by the tall, thick walls of the Temple, partly because they didn’t care anymore. After her husband was executed, Marie Antoinette wore a black mourning gown day after day for two months. Her body condition got worse because of the abominable environment of her cell; her hair became white as her trials went on. She was steady and calm in front of most of her charges; however, she couldn’t remain silent when she was accused of ‘incest’—having a sexual relationship with her son—then a 7-year-old boy. Though hard to believe, the aggressive revolutionists indeed invented this absurd accusation. Maybe they thought for a chief culprit who relentlessly depleted the French national treasury (though actually France’s aid for America also contributed to the depletion of the French national treasury), the charge of incest was something she deserved. On the morning of October 16, 1793, Marie Antoinette changed into her last outfit—a white chemise with the stare of a gendarme. This scene reminded me of the stripping ceremony she went through 23 years ago. Over these years she failed as a queen, but succeeded as a fashion example. In Caroline Weber’s account: ‘She slipped into her plum-black shoes, a fresh white underskirt, and her pristine white chemise. To complete the ensemble, she put on the white dishabille dress Madame Elisabeth had sent her from the Temple and wrapped the prettiest of her muslin fichus around her neck. Marie Antoinette’s final fashion statement eloquently condensed her complex sartorial history into a single color with a host of different associations: white.’ Marie on her way to her execution, by Jacques Louis David
According to Stefan Zweig, only one person was truly woeful after Marie Antoinette’s death: her lover from Sweden—Mr. Ferson. He could never forget the glamour and radiance of the Austrian lady. However the turbulent wave of history did not have the leisure to mourn an evil queen’s death, or an old man’s misery. It took 22 years until people identified the corpse of Marie Antoinette among hundreds of dead bodies. Sarcastically, it was a piece of cloth that led the searchers to Marie Antoinette, in Zweig’s words: ‘A moldering garter enabled them to recognize that the handful of pale dust which was disinterred from the damp soil was the last trace of that long-dead woman who in her day had been the goddess of grace and of taste, and subsequently the queen of many sorrows.’ References : Stefan Zweig, <Marie Antoinette>, Pushkin Press, 2010 Caroline Weber, <Queen of Fashion>, Henry Holt and Company, 2006 The sketch came from Wikipedia. by Xin Wen At the age of 14, Marie Antoinette was sent by her mother- Maria Theresa of Austria to France to be the wife of the future king- Louis XVI. On her way to the foreign country, just after she set foot on the soil of Bourbon, she was asked to get rid of all the Austrian things she was carrying. Even her little puppy was taken from her. (As shown in the movie Marie Antoinette, directed by Sophia Coppola). In front of many noble people’s staring, she was stripped bare and given a whole set of French clothes. The little young princess burst into tears. 241 years later, we don’t know whether this awkward experience ruined the first impression of French people for Marie Antoinette, what we do know is that French people in 18th century pretty much hated her. Why? Because in Zweig’s words: ‘From the outset, the Queen’s mistake was that she wished to conquer as woman instead of as queen.’ During her 15 years of Queen she cast her primary energy on clothes, hairstyle, party, and gamble. She had great interests in everything except for the affairs of state. A typical day of Marie Antoinette starts at 11pm, ends at 5am approximately. As soon as she got up, she had to decide which gown to wear (which could take a few hours), and after that she let her hair done by her beloved hairdresser- Monsieur Leonard. The hairstyle this gentlemen offered was exaggerated, pretty fit into the zeitgeist of 18th century—Rococo art. Here is how the hair was done: ‘To begin with, by means of huge hairpins and a lavish expenditure of stiff pomade, the hair was strained upwards from the temples like a huge flaming candle, about twice the height of the pointed head-dress of a Prussian grenadier.’ (Stefan Zweig, <Marie Antoinette—the portrait of an average woman>) When Marie Antoinette’s mother in Vienna heard about the 36-inch-height of hair her daughter was carrying, she was furious and wrote letters to warn the Queen of France. However, Marie Antoinette did not take any cordial advice. Soon the hairstyle was popular among the circle around Palais de Versailles. Since the hair of noblewomen was too high, the ceilings of boxes were changed into vaults. Sometimes women could not sit in the carriages-- for the safety of their hair, they had to kneel down. However, height was not the only object; political sensitivity was also valued: the hairstyle even reflected current events. ‘In the free space, eighteen inches above the eyebrows, began the artist’s plastic realm. Not only were landscapes and panoramas, with fruit, gardens, houses, ships, the sea in a storm, the whole motley world, but, to provide for sufficiently frequent changes in fashion, the event of the day had to be symbolized in this superstructure.’ (Stefan Zweig, <Marie Antoinette—the portrait of an average woman>) Though hard to believe nowadays, Marie Antoinette actually got a boat on her head: ‘When France joined forces with the American revolutionaries, Marie Antoinette showed her support by wearing an intricate hairdo displaying a French frigate that won a key victory against the British in June 1778.’ (Caroline Weber, <Queen of Fashion>) Marie Antoinette was a classic representative of 18th century. She totally embraced the zeitgeist, and even elaborated and extended it at the cost of her life. Over the years, she squandered money on nothing related to the governing of the country. (She was not that into shoes as the 2006 movie showed). Her poor husband never blamed her; instead he paid her debts and tried his best to let Marie be the only peacock in the court.
However, French people did not have the same tolerance as Louis Louis XVI: sarcastic cartoons and rumors pervade; people attributed the empty national treasury to the life style of Marie Antoinette. Meanwhile she retained her extravagance without being slightly aware of the upcoming danger. That’s when the seed of her future death was planted. That’s when the tragedy of the Queen of Rococo started. Reference: Stefan Zweig, <Marie Antoinette>, Pushkin Press, 2010 Caroline Weber, <Queen of Fashion>, Henry Holt and Company, 2006 Anne Hollander, <The Queen's closet—What Marie Antoinette really wore>, Slate Liesl Schillinger, <The Queen's Wardrobe>,NY times The first picture comes from the website of Palais de Versailles The second picture comes from http://www.cfa.ilstu.edu/lmlowel/ The last one comes from <The Queen's wardrobe>, by Liesl Schillinger The Heian Period of Japan from 794 to 1185 AD, was one of fashion oriented sophistication as it was an era of cultural blossoming in Japan. The nation was at peace and the time period is named of the capital Heian, now the city of Kyoto. The Heian Period is considered the height of classical culture in Japan. A world renowned tale, also known as the first novel written is: The Tale of Genji by Murasaki Shikibu, a noblewoman of the Heian court. The Tale of Genji reveals the status of women in court affairs at the time and that of men. The novel also makes clear the balance of gender relations. Noble women, protected by the court were to study the fine arts and this time period produced some of the world’s best female writers. Though women were not encouraged to participate directly in governance. For the most part, the men governed and lead in affairs while women, though allowed solid educations, were not enabled to be of political power. The Tale of Genji is sardonic and at times near scathing toward the shallowness of human nature. Yet, it is incredibly elegantly written and reveals much about court life at the time. Genji is the son of Emperor Kiritsubo by a lesser woman of the court known to be the emperor’s favorite. She is beautiful and bullied by the other women as, because she is favored, she lessens the chances of the other womens' children position in court. It is interesting, that it does not seem that the women are competing to be the emperor's favorite for their own protection directly. All the women, in relations with the emperor are protected by the court according to degree. It is the position of the womens' children within the court system that is at risk, according to the favor of the emperor. In certain ways, Genji is born the male version of his mother, and is spoiled for his beauty and charm as much as she was punished for hers. His mother dies, because of the evils the people of the court were always placing upon her. Genji grew to have many affairs and a few children. He was technically an imperial officer, but little was written of his duties, either due to him not really having any or else, if he did, Shikibu was unable to write of them due to her gender. Genji spends his time writing simple and symbolic poems based on the world of nature, to the latest woman he is interested in, and basing his next move on the style and manner of her reply. Her handwriting, the type of paper she uses, as well as the words of the poem in direct right would all be noted by Genji. Once he receives her reply Genji would go about picking out the proper style of paper to express his mood based on the words he would reply with. Among his recipients, is the Lady of Rokujo, the sad, sweet forever waiting, Lady of the Orange Blossoms, the peasant girl, Lady Fujitsubo, (who is essentially Genji's mother in law) and so many others. Lady Aoi, Genji's wife, is loved by him in a conceivably abstract manner, though really, not at all. She is a beautiful, simple, and dignified woman, who puts up with Genji, with inner rage cooled by social constraints. Lady Aoi, has Genji's child, and dies shortly after to be incredibly grieved by a court that never particularly noted her presence when she was actually alive. Though, Genji is always made even more handsome by his grief. Sadness is the main beautifying element of the novel. The words of the novel itself end in a summation point which perfectly embody the persona of Genji. It is a tale of the lives of people, as they happen to be born into this world; a place of poetry, couplings, sadness, and joy. And it all was of such meaning, except for that it was never of moment at all. This dichotomy of life reflected by Genji's personality, is absolutely brilliant for the first novel written. It is born from a perspective, though objectively written, of a very personal nature. For what more really is there, within the life of the average man (at least the average player)? For The Tale of Genji things really are entirely, except for they are never at all. And the entertainment value within this dichotomy is certainly timeless. The tale was written during an era when fashion and the importance of dress in communicating hierarchy are time consuming and noteworthy processes. Women of the court wore up to twelve inner and outer layers of cloth. Their faces were painted white, their lips pouty, and natural eyebrows were singed off. The natural eyebrows were replaced by gray ones drawn on and arched near the hairline. Also, teeth were blackened, as the effect was considered more lovely than yellowed teeth upon a whitened face. The clothing was meant to be reflective of the seasons and women were to have full faces, signifying wealth, though figures were hidden by the layers of cloth. The womens' hair was worn extremely long. The Heian Period, lead to a sharply contrasting Kamakura period, during which militaristic rule settled over the previous widespread court rule based on code. The pathos of the times changed as did the fashion sensibilities, leading to much more simplistic kimono type wear with lessened adornment. By Sarah Bahl Image: http://people.cohums.ohio-state.edu/bender4/eall131/EAHReadings/module02/m02japanese.html |
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