One of the most famous and persistent images of the eighteenth century is a woman with an enormous tall wig decorated with ribbons, feathers, and all manner of figurines. Known as the pouf, this tall hairstyle is often cited as a visual representation of the excess of the 18th century. But these tall hairstyles were not just an example of extreme elite fashion. Often times these hairstyles were an expression of patriotism, politics, and the latest trends in culture. Today we may express our personalities and taste by wearing a T-shirt bearing the image of our favorite band, sports team, or the flag of our country. In the late 18th century, aristocratic women did the same thing using their hair.
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| Anonymous, Coëffure à l’Indépendance ou le Triomphe de la liberté, c. 1778. In the collection of the Musée franco-américain du château de Blérancourt. |
As a fashion historian, I find that an interesting aspect of Disney is how the animated features serve as records of the visual culture of their day. The Disney Princesses, a successful sub-franchise launched by Disney in the late 1990s, are everywhere these days. They have not been without controversy, but they are certainly popular. They are also records of changing standards of beauty for women in the 20th century. This post series will discuss selected Disney Princesses, exploring how they embody the ideals of femininity of their time.
Snow White and the Seven Dwarfs is a landmark moment in the history of film. It was the first full length animated feature produced by Walt Disney, and is one of the top ten performers at the North American box office. Based on the Brothers Grimm fairy tale, it tells the story of an evil queen who is jealous of Snow White's superior beauty and orders her murder. After a huntsman, Snow White's would-be murderer, shows mercy, Snow White begins a life of hiding in the woods and befriends seven dwarfs. Furious that Snow White is still alive the evil queen disguises herself and visits Snow White in her woodland cottage giving her a poisoned apple. Snow White takes a bite and seems to die but is ultimately awoken and rescued by the kiss of a handsome prince. And they all lived happily ever after.
Snow White from Snow White and the Seven Dwarfs (1937)
Snow White and the Seven Dwarfs is a landmark moment in the history of film. It was the first full length animated feature produced by Walt Disney, and is one of the top ten performers at the North American box office. Based on the Brothers Grimm fairy tale, it tells the story of an evil queen who is jealous of Snow White's superior beauty and orders her murder. After a huntsman, Snow White's would-be murderer, shows mercy, Snow White begins a life of hiding in the woods and befriends seven dwarfs. Furious that Snow White is still alive the evil queen disguises herself and visits Snow White in her woodland cottage giving her a poisoned apple. Snow White takes a bite and seems to die but is ultimately awoken and rescued by the kiss of a handsome prince. And they all lived happily ever after.
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| Marjorie and her animated counterpart dance. |
The rendering of Snow White in Disney's film, with her blue bodiced and yellow skirted dress, dainty red bow, and short black hair, has become iconic, and the character is the earliest of the Disney Princesses. Development for the movie began in early 1934. Snow White was modeled on a young dancer named Marjorie Celeste Belcher, daughter of a Disney animator. Marjorie was filmed performing scenes as Snow White, which Disney animators later used as reference to create a realistic human depiction.
But how does Snow White's appearance reflect the aesthetics of the 1930s? Simply look at fashion illustrations of the period and you'll see that Snow White fits right in with the illustrated fashion models. Fashion illustrations are a great source for looking at ideals of beauty because a drawing can convey ideal aesthetics in a way a real human body cannot. Furthermore, fashion illustration also takes a cue from dominant artistic trends of the period, showing broader visual influences.
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| Illustration of two women wearing dress coats from Croquis de bal, 1930s. The New York Public Library. |
Snow White is a slim figured Art Deco beauty. Her silhouette is sleek and long, with no large curves interrupting the smooth line from head to toe, reflecting the ideal silhouette of the period and the sleek lines of the Art Deco style. Her dress has a close fitting bodice, puffed sleeves, and a narrow skirt, all elements of fashionable dress from the 1930s. Compare her to the figures in the fashion illustration above, which also feature a long, slim figure, and a dress with emphasis on the shoulders and narrow lines.
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| Hat designs from the 1930s. |
Snow White's face also shows ideal features. Her hair is cropped short, and she has cherub-like red lips, circular eyes, and pencil thin eyebrows. Once again, these features are mirrored in the fashion illustration above. Snow White's face gives her a dainty, girlish appearance, reflecting the elegant femininity which characterized 1930s fashion. And once again, her round and simply drawn facial features conform with the Art Deco aesthetic which combined sleek lines, round shapes, and a minimal aesthetic without much embellishment.
As time goes by how do the Disney Princesses evolve? Stay tuned!
If you're interested in the historical influences of Snow White's clothes, please check out this excellent post from the lovely ladies over at Frock Flicks!
If you're interested in the historical influences of Snow White's clothes, please check out this excellent post from the lovely ladies over at Frock Flicks!
This afternoon I was interviewed for a segment on AirTalk about the increasing informality of dress in today's society. This is an enormous topic with many contributing factors, but one thing the host mentioned is that in America, informality in dress could be connected to the (supposed) lack of a class system. I agreed, and believe that the mythological identity of America as a place where everyone is equal has been influential on our dress. I referenced an eighteenth-century portrait where one of America's founding fathers is dressed informally. The painting I was thinking of was this portrait of Paul Revere by John Singleton Copley.
To have your portrait painted was a very expensive affair, and in the days before photography a portrait was how you would be remembered for all eternity. Thus traditionally most people wore their very best clothes, wanting to show themselves in the best possible light. European portraiture of the same period often shows clothing at the height of fashion and luxurious settings. Compare Revere's portrait with this image, painted just one year earlier.
In the Copley portrait, Revere is very informally dressed. He doesn't wear a coat, his waistcoat loosely hangs from his shoulders and his shirt is open at the neckline. His hair is unstyled, and pulled casually back. A silversmith by trade, Revere references his status as a tradesman by holding an unfinished silver pot while engraving tools are scattered on the table. Revere is relaxed, thoughtfully looking out to the viewer, and the background is simple and black and the table plain and unremarkable. He is saying to the world, "Yes, I am rich/important enough to have my portrait done, but really I'm just a simple silversmith, I work hard and am just like anybody else."
In the von Maron portrait, on the other hand, the two gentlemen are formally attired in fashionable clothes. Their suits are sleek in cut and fit tightly to the body, and are decorated with gold embroidery. Both gentleman are most likely wearing wigs, and their hair is in a fashionable style. The man in the blue coat has his hair powdered as well, another fashionable and expensive touch. Both casually hold long walking sticks, another fashionable accessory for the 18th century gentleman. Finally, the gentlemen are posed by an Ancient Roman arch, demonstrating that they are worldly, well-traveled, and knowledgeable about classical societies. Combined, all of these elements demonstrate wealth, refinement, and formality. The message of this portrait is quite different from that of the Paul Revere portrait.
Even when dressed in informal attire, European portraits still convey a different message. In the above image the subject, Johann Joachim Winkelmann, is not yet dressed for the day, wearing a robe and covering his undressed head with a turban. Yet the clothing still conveys wealth and luxury. The voluminous robe is made of a lustrous red fabric and lined with fur. Although Winkelmann does not wear a wig, his turban is an equally fashionable headdress, a product of the highly fashionable orientalist influence which swept Europe in the 18th century. Furthermore, his surroundings include a luxuriously draped swag of fabric, a marble bust of a classical figure, and a fashionable writing table. Like the other portrait by von Maron, the sitter in this portrait is broadcasting his wealth and status.
Did all wealthy Americans choose to portray themselves as Revere did? Absolutely not. But I think there is an interesting comparison to be made. Revere is a famous figure of the American Revolution, and his portrait is emblematic of the mythological American identity which still holds influence today. It is this same mythological identity that many American politicians and public figures still try to convey. During the 2008 American presidential election, Republican Vice Presidential candidate Sarah Palin built her entire image on the idea that she was (supposedly) just like the rest of us. So to return to the original topic, the increasing informality in our society is due to a number of causes and could easily be a dissertation topic. But for Americans, I think that one cause is the identity, demonstrated by Revere, which is so fundamental to the mythos and history of this country.
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| Portrait of Paul Revere by John Singleton Copley, 1768. Museum of Fine Arts, Boston. |
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| Portrait of Two Gentlemen Before the Arch of Constantine in Rome by Anton von Maron, 1767. Private collection. |
In the von Maron portrait, on the other hand, the two gentlemen are formally attired in fashionable clothes. Their suits are sleek in cut and fit tightly to the body, and are decorated with gold embroidery. Both gentleman are most likely wearing wigs, and their hair is in a fashionable style. The man in the blue coat has his hair powdered as well, another fashionable and expensive touch. Both casually hold long walking sticks, another fashionable accessory for the 18th century gentleman. Finally, the gentlemen are posed by an Ancient Roman arch, demonstrating that they are worldly, well-traveled, and knowledgeable about classical societies. Combined, all of these elements demonstrate wealth, refinement, and formality. The message of this portrait is quite different from that of the Paul Revere portrait.
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| Portrait of Johann Joachim Winkelmann by Anton von Maron, 1768. Kunstsammlungen Weimar. |
Did all wealthy Americans choose to portray themselves as Revere did? Absolutely not. But I think there is an interesting comparison to be made. Revere is a famous figure of the American Revolution, and his portrait is emblematic of the mythological American identity which still holds influence today. It is this same mythological identity that many American politicians and public figures still try to convey. During the 2008 American presidential election, Republican Vice Presidential candidate Sarah Palin built her entire image on the idea that she was (supposedly) just like the rest of us. So to return to the original topic, the increasing informality in our society is due to a number of causes and could easily be a dissertation topic. But for Americans, I think that one cause is the identity, demonstrated by Revere, which is so fundamental to the mythos and history of this country.
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