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Burlesque: Redefining the Representation of Women

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BURLESQUE: REDEFINING THE REPRESENTATION OF WOMEN An analysis of burlesque subcultural style and its potential to create alternative social roles for women LAUREN VASSALLO A thesis in fulfilment of the requirements for the degree of MASTER OF DESIGN (HONOURS) UNSW ART & DESIGN MARCH 2015 1 PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Vassallo First name: Lauren Other name/s: Fay Abbreviation for degree as given in the University calendar: MDes (Hons) School: Design Faculty: UNSW Art & Design Title: Burlesque: Redefining the Representation of Women. An Analysis of burlesque subcultural style and its potential to create alternative social roles women. Abstract 350 words maximum: (PLEASE TYPE) This thesis explores the expression of women’s social roles in burlesque subculture in Sydney, Australia, between 2010 and 2015. The analysis reflects on the gender roles available to women in burlesque via bricolage, described by media theorist and sociologist Dick Hebdige, and on twenty-first-century subcultural fashion in relation to gender, as discussed by Theresa Winge, Claire Nally and Helen Reddington. Resurgence in the popularity of burlesque in Sydney since 2005 has generated new questions about gender roles available to women. Through my case study of burlesque performers and my experimentation with fashion silhouettes in use in Sydney’s burlesque scene, I contribute to this debate and explore the ways in which bricolage explains previously overlooked aspects of burlesque adaptations of gender stereotypes in a contemporary context. Declaration relating to disposition of project thesis/dissertation I hereby grant to the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or in part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all property rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstracts International (this is applicable to doctoral theses only). ……………………………………..……………… 8 September 2015 Witness Date Signature The University recognises that there may be exceptional circumstances requiring restrictions on copying or conditions on use. Requests for restriction for a period of up to 2 years must be made in writing. Requests for a longer period of restriction may be considered in exceptional circumstances and require the approval of the Dean of Graduate Research. FOR OFFICE USE ONLY Date of completion of requirements for Award: ABSTRACT This thesis explores the expression of women’s social roles in burlesque subculture in Sydney, Australia, between 2010 and 2014. The analysis reflects on the gender roles available to women in burlesque via bricolage, described by media theorist and sociologist Dick Hebdige, and on twenty-first-century subcultural fashion in relation to gender, as discussed by Theresa Winge, Claire Nally and Helen Reddington. Resurgence in the popularity of burlesque in Sydney since 2005 has generated new questions about gender roles available to women. Through my case study of burlesque performers and my experimentation with fashion silhouettes in use in Sydney’s burlesque scene, I contribute to this debate and explore the ways in which bricolage explains previously overlooked aspects of burlesque adaptations of gender stereotypes in a contemporary context. 2 ORIGINALITY STATEMENT I hereby declare that this submission is my own work, and to the best of my knowledge it contains no materials previously published or written by another person or substantial proportions of material that have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project’s design and conception or in style, presentation and linguistic expression is acknowledged. Signed Date 8 September 2015 3 COPYRIGHT STATEMENT ‘I herby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1985. I retain all proprietary right, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstract International (this is applicable to doctoral theses only). I have either used no substantial portions of copyright material; where permission has not been granted I have applied/will apply for a partial restriction of the digital copy of my thesis or dissertation.’ Signed Date 8 September 2015 AUTHENTICITY STATEMENT ‘I certify that the Library deposit digital copy is direct equivalent of the final officially approved version of my thesis. No emendation of content has occurred and if there are any minor variations in formatting, they are the result of the conversion to digital format.’ Signed Date 8 September 2015 4 ACKNOWLEDGEMENTS First and foremost, I would like to thank my supervisor Dr Katherine Moline. My thesis would not have been possible without her guidance, encouragement and support. Katherine’s dedication to my thesis and research went beyond the requirements of a supervisor, and her wealth of knowledge and insight played a pivotal role in the success of my project. I feel privileged to have had Katherine as a lecturer throughout my university degree, and I will be eternally grateful for all the assistance she has given me. I would like to express my gratitude to the four case-study participants—Bunni Lambada, Memphis Mae, Bella Louche and Rosie Rivette—who gave so willingly of their time and shared so openly their knowledge of their craft. Without their assistance, my thesis would not have been possible. I would like to acknowledge the contribution of the wider burlesque community, including Gigi Vine; photographers Ashley Savins, Hayley Rose, Dusk Devi and Leslie Liu; and makeup artists Katya Lonsdale and Emma Lee Court. Thank you to Wendy Monaghan for her thorough editing of the thesis. Wendy Monaghan Editing Services edited this thesis, and editorial intervention was restricted to Standards D and E of the Australian Standards for Editing Practice. A special thank you, as well, to my mother and father, Rhondda and John Vassallo, for their love and support throughout this journey. Thank you to my siblings, Sarah, Rebekah and Jonathan Vassallo, for helping me to keep on track and never lose sight of my goal. Finally, to Lucie Sandoe, Megan Lau, Alina Kaye and Carly Hush, whose friendship and support were invaluable during the years of my candidature. 5 Table of Contents ABSTRACT 2 ORIGINALITY STATEMENT 3 COPYRIGHT STATEMENT 4 AUTHENTICITY STATEMENT 4 ACKNOWLEDGEMENTS 5 LIST OF FIGURES viii GLOSSARY OF TERMS x INTRODUCTION 1 Research Statement 1 Study Rationale 3 Theoretical Framework 5 Methodology 6 Research-­‐led Practice 7 The Significance of the Study 9 1 BACKGROUND 10 1.1 Defining the Terms of the Study 10 Classic burlesque 1.2 Fashion silhouettes and textile design 15 Neo-­‐burlesque 1.2.1 16 1.2.2 18 1.3 Conclusion 22 2 THEORETICAL FRAMEWORK 24 2.1 Subcultural theory as defined by Dick Hebdige 24 2.2 Subcultural style and body style 26 2.3 Style of bricolage 29 2.4 Production versus consumption 31 2.5 Subcultural ideology 35 2.6 Conclusion 38 3 CASE STUDIES and ANALYSIS 39 3.1 Defining the case studies and their significance 39 3.2 Limitations 406 Mrs Rivette’s Wild Night In 3.3 and performing gender 41 3.4 Bella Louche, the MacGuffin and body style 46 3.5 Memphis Mae: a punk interpretation of burlesque production 52 3.6 Bunni Lambada: gender blending, bricolage and dichotomies 58 3.7 Conclusion 62 4 RESEARCH-­‐LED PRACTICE 65 4.1 Introduction to the research-­‐led practice 65 4.2 Design development of burlesque garments 65 4.2.1 Rosie Rivette 66 4.2.2 Bella Louche 69 4.2.3 Memphis Mae 73 4.2.4 Bunni Lambada 77 5 FINAL DESIGNS 80 5.1 Rosie Rivette 80 5.2 Bella Louche 83 5.3 Memphis Mae 87 5.4 Bunni Lambada 92 6 CONCLUSION 96 7 FIGURES 100 8 REFERENCES 152 9 APPENDICES 156 Appendix A: Human Research Ethics Advisory Panel B Arts, Humanities & Law Ethics Approval 156 Appendix B: Case-­‐study Interview Transcripts 157 Rosie Rivette 157 Bella Louche 173 Memphis Mae 189 Bunni Lambada 211 7 LIST OF FIGURES Figure 1 Figure 2 Bunni Lambada, Red Fan Dance, 2013 ............................................................................... 100 Figure 3 Sally Rand Interior performing her signature fan dance, 1934 ................................................ 100 Figure 4 The Backroom, Interior , 2012 (a).......................................................................................... 101 Figure 5 The Central Backroom, Sydney , 2012 (b) ......................................................................................... 102 Figure 6 , front page, 2014 ..........................................................................................
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