Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
Hostname: page-component-745bb68f8f-b6zl4 Total loading time: 0 Render date: 2025-02-09T11:40:58.723Z Has data issue: false hasContentIssue false

26 - Hollywood and Beyond

Fashion and the Fiction Film

from Part IV - Fashion, Modernism, and Modernity

Published online by Cambridge University Press:  04 August 2023

By
Stella Bruzzi
Edited by
Christopher Breward ,
Beverly Lemire  and
Giorgio Riello
Christopher Breward
Affiliation:
National Museums Scotland
Beverly Lemire
Affiliation:
University of Alberta
Giorgio Riello
Affiliation:
European University Institute, Florence
Get access

Summary

The significant and enduring interrelationship between fashion and film is ‘a force as old as film itself’; it remains an enduring truism that cinema reflects the fashions of its age but also that it has dictated and inspired fashion. The story of this relationship invariably starts with and centres on Hollywood, a globally dominant force since cinema’s earliest days, and although this chapter will look beyond Hollywood (especially when it comes to more recent decades), it will follow suit for, as surrealist fashion (and occasional costume) designer Elsa Schiaparelli once declared: ‘what Hollywood designs today, you will be wearing tomorrow’. From early examinations of clothes in film (such as Elizabeth Leese’s Costume Design in the Movies from 1976, a fabulous anecdotal compilation of random facts about costume and fashion in film) the rich but fragmented and at times elusive story of fashion and the fiction film has overwhelmingly prioritized Hollywood productions.

Type
Chapter
Information
The Cambridge Global History of Fashion
From the Nineteenth Century to the Present
 , pp. 934 - 968
Publisher: Cambridge University Press
Print publication year: 2023

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Select Bibliography

Barthes, Roland, ‘Erté, or À la lettre’, in The Responsibility of Forms: Essays on Music, Art and Representation, trans. Richard Howard (Oxford: Blackwell, 1973), 103–28.Google Scholar
Berghahn, Daniela, ‘“The Past Is a Foreign Country”: Exoticism and Nostalgia in Contemporary Transnational Cinema’, Transnational Screens, 10/1 (2019), 34–52.CrossRefGoogle Scholar
Black, Prudence, ‘Designed to Death: Tom Ford’s A Single Man’, Film, Fashion and Consumption, 2/1 (2013), 105–14.CrossRefGoogle Scholar
Bruzzi, Stella, ‘F For Fashion’, Sight and Sound, 6/11 (1996), 24–8.Google Scholar
Bruzzi, Stella, ‘Italian Fashion Designers in Hollywood’, in Stanfill, Sonnet (ed.), The Glamour of Italian Fashion since 1945 (London: V&A Publishing, 2014).Google Scholar
Bruzzi, Stella, Undressing Cinema: Clothing and Identity in the Movies (London: Routledge, 1997).Google Scholar
Butchart, Amber, The Fashion of Film: How Cinema Has Inspired Fashion (London: Mitchell Beazley, 2016).Google Scholar
Carter, Ernestine, Magic Names of Fashion (London: Weidenfeld & Nicolson, 1980).Google Scholar
Gibson, Church, Pamela, Fashion and Celebrity Culture (Oxford: Berg, 2012).CrossRefGoogle Scholar
Gibson, Church, Pamela, ‘Interview: Fashion, Film and Costuming’, Film, Fashion and Consumption, 6/1 (2017), 5–18.CrossRefGoogle Scholar
Dargis, Manohla, ‘Quentin Tarantino on Pulp Fiction’, Sight and Sound, 4/11 (1994), 25.Google Scholar
Karen, De Perthuis, ‘I Am Style: Tilda Swinton’s Emma in Luca Guadagnino’s I Am Love’, Film, Fashion and Consumption, 1/3 (2012), 269–88.Google Scholar
Entwistle, Joanne, The Fashioned Body: Fashion, Dress and Modern Social Theory (Cambridge: Polity Press, 2000).Google Scholar
Gaines, Jane and Herzog, Charlotte (eds.), Fabrications: Costume and the Female Body (London and New York: Routledge, 1990).Google Scholar
Haggard, Claire, ‘Dressing up in Public’, Screen International MIFED Issue/20 (September 1990).Google Scholar
Head, Edith (with Paddy Calistro), Edith Head’s Hollywood (New York: E. P. Dutton, 1983).Google Scholar
Lee, Spike (with Lisa Jones), Do the Right Thing: A Spike Lee Joint (New York: Simon & Schuster, 1989).Google Scholar
Munich, Adrienne (ed.), Fashion in Film (Bloomington: Indiana University Press, 2011).Google Scholar
Paulicelli, Eugenia, ‘Reframing History: Federico Fellini’s Rome, Fashion and Costume’, Film, Fashion and Consumption, 8/1 (2019), 71–88.CrossRefGoogle Scholar
Steedman, Carolyn, Dust (Manchester: Manchester University Press, 2001).Google ScholarPubMed
Tarantino, Quentin, ‘Interview’, Empire, 44 (February 1993).Google Scholar
Wilson, Elizabeth, Adorned in Dreams: Fashion and Modernity (New Brunswick: Rutgers University Press, 2003 [1985]).Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure no-reply@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×