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U; "n with. .. ..u,uw.w_§...._ . .fi r, {4%.v .- cw! . flex...43f. 73‘111‘313 l 300\ LIBRARY Michigan 331:» University ‘m‘ r This is to certify that the thesis entitled THE INFLUENCE OF AUDREY HEPBURN AND HUBERT DE GIVENCHY ON AMERICAN FASHION, 1952-1965 presented by KATE ELIZABETH SMITH has been accepted towards fulfillment of the requirements for MASTER QE__ABIS__degree in MOMENT & DESIGN Major professor Date 51.11.10.1— 0-7639 MS U is an Affirmative Action/Equal Opportunity Institution PLACE IN RETURN BOX to remove this checkout from your record. TO AVOID FINES return on or before date due. MAY BE RECALLED with earlier due date if requested. DATE DUE DATE DUE DATE DUE (3511875 2092 6/01 c:/CIFIC/DaeDuo.p65—p.15 THE INFLUENCE OF AUDREY HEPBURN AND HUBERT DE GIVENCHY ON AMERICAN FASHION, 1952-1965 By Kate Elizabeth Smith AN ABSTRACT OF A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of Human Environment and Design 2001 Dr. Sally I. Helvenston ABSTRACT THE INFLUENCE OF AUDREY HEPBURN AND HUBERT DE GIVENCHY ON AMERICAN FASHION. 1952-1965 By Kate Elizabeth Smith The purpose of this research was to investigate the influence of Audrey Hepburn and her collaboration with llubert de (jivenchy on fashionable dress between 1952-1965. A content analysis of high fashion, general women‘s periodicals, and one clothing catalog was conducted using selected styles/garments featured in popular Audrey Hepburn movies to see if these styles emerged just after the movies were released. High fashion periodicals also were searched for a two year period prior to the release of each movie to look for evidence of prior trend emergence. Articles which showed a Hepburn/Givenchy collaboration for the “Hepburn Look” also were included in the content analysis. Few examples of the selected styles (coat. bateau neckline. and black sheath dress) were found prior to the release of the movies. Examples of the bateau neckline and coat increased following the release of their respective movies, suggesting possible influence, however. there was little evidence ofa collaboratitm between Givenchy and Hepburn in his designing for her. It was concluded that two styles traditionally associated with the Hepburn Look became popular after being featured in her movies. but in the sources used for this study no direct link to her movies or collaboration with Givenchy can be found. DEDICATION There are many people who helped make not only this paper. but also these last two years of school possible. I would like to take this opportunity to formally thank them for all their support. First, to my parents without whom I never would have made it this far. Your love and support throughout all of this has been simply wonderful. Thank you also for your belief in me and making sure that I always knew I could do anything as long as I put my mind to it. To my sister. who always knows just what to do to make me laugh, and I hope she never stops. And finally to Joel, your love and friendship has helped me more than you know. With you by my side I know that I can do anything. I thank you all from the bottom of my heart. iii TABLE OF CONTENTS LIST OF FIGURES ............................................................................... v-vi INTRODUCTION ......................................... 1 CHAPTER] REVIEW OF LITERATURE ....................................................................... 6 Fashion Diffusion ........................................................................... 6 US. Movie History ........................................................................ 10 Costume Design in Movies ............................................................... 13 Audrey Hepburn ............................................................................ l8 Hubert de Givenchy ........................................................................ 21 CHAPTER 2 METHODOLOGY ................................................................................. 28 Content Analysis Procedures ............................................................. 28 Data Collection Procedures ............................................................... 30 Source Profiles .............................................................................. 31 Definition of Terms ........................................................................ 34 CHAPTER 3 ANALYSIS .......................................................................................... 38 Bateau Neckline ............................................................................ 38 Sheath Dress ................................................................................. 42 Overcoat ..................................................................................... 46 Hubert de Givenchy ........................................................................ 49 Audrey Hepburn ........................................................................... 50 CHAPTER 4 CONCLUSIONS .................................................................................... 53 APPENDIX .......................................................................................... 61 BIBLIOGRAPHY ................................................................................... 64 LIST OF FIGURES FIGURE 1 Average Weekly Cinema Attendance ............................................................ 13 FIGURE 2 The Sabrina Neckline on Audrey Hepburn ...................................................... 35 FIGURE 3 Audrey Hepburn in the Sheath Dress ............................................................. 36 FIGURE 4 A Still of Audrey in Charade ...................................................................... 37 FIGURE 5 Total Number of Bateau Necklines ............................................................... 41 FIGURE 6 Frequency of Necklines in each Magazine ...................................................... 41 FIGURE 7 Example of Counted Neckline ..................................................................... 42 FIGURE 8 Example of Counted Neckline ..................................................................... 42 FIGURE 9 Total Number of Dresses ........................................................................... 45 FIGURE 10 Frequency of Dresses in Each Magazine ......................................................... 45 FIGURE 11 Total Number of Coats ............................................................................. 48 FIGURE 12 Frequency of Coats in each Magazine ........................................................... 49 FIGURE 13 Number of Articles featuring Hubert de Givenchy ............................................ 50 FIGURE 14 Articles featuring Audrey Hepburn ............................................................. 52 FIGURE 15 Data Collection Sheet ........................................................................... 62 FIGURE 16 Sketch of Coat from Charade .................................................................. 63 vi Introduction Throughout history many people have influenced fashion. From the time kingdoms were established in early European history through the late 19th century, kings and queens have been known for their influence over the court fashions. Henry VIII, Queen Elizabeth 1, Queen Victoria, and Louis XIV were all fashion leaders. Even those people associated with rulers were copied, most notably Louis XV’s mistresses Madame DuBarry and Madame de Pompadour.l After the couture system was established in France in the mid-nineteenth century, designers such as Charles Worth, Paul Poiret, and Coco Chanel exerted fashion authority. Professional beauties like Lily Langtry and stage actresses such as Sarah Bernhardt, along with other highly visible women, began to develop a fashion following. After the motion picture industry began. "movie stars" became a source of fashion influence. During the 19203, silent film stars became a source of emulation. Perhaps two of the most popular were Mary Pickford and Clara Bow. Both women were beautiful, Mary with her classic beauty and long hair worn in ringlets and Clara with her shingled hair and bee stung lips. It is easy to see why these women were held as fashion ideals. During this time most actors and actresses provided their own wardrobes and it isn’t until the 19305 that we see movie costume designers emerge. Many of the most famous Hollywood costume designers began their careers in the 19303. Some of the best known designers include Adrian, Orry-Kelly and Edith Head.2 Fashion designers also began to work in the movie industry in the 303, most notably was Elsa Schiaparelli, who dressed ' Mary Ellen Roach and Kathleen Musa New Perspectives on The History of Western Dress (New York: Nutriguides lnc., 1980), p. 21. 2 Nigel Cawthome The New Look: The Dior Revolution (New Jersey: Wellfleet Press. 1996), p. 25. some of the best known stars of the decade. Stars she dressed included Gloria Swanson, Marlene Dietrich, Norma Shearer and Claudette C olbert.3 By the 19505, actresses like Marilyn Monroe
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