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“Beautiful and Good Things”: the Dress of Anaïs Nin, 1931-1932 Gwendolyn Michel Iowa State University

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“Beautiful and Good Things”: the Dress of Anaïs Nin, 1931-1932 Gwendolyn Michel Iowa State University Iowa State University Capstones, Theses and Graduate Theses and Dissertations Dissertations 2018 “Beautiful and good things”: The Dress of Anaïs Nin, 1931-1932 Gwendolyn Michel Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/etd Part of the American Material Culture Commons, English Language and Literature Commons, Fashion Design Commons, and the History Commons Recommended Citation Michel, Gwendolyn, "“Beautiful and good things”: The Dress of Anaïs Nin, 1931-1932" (2018). Graduate Theses and Dissertations. 17268. https://lib.dr.iastate.edu/etd/17268 This Dissertation is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. “Beautiful and good things”: The Dress of Anaïs Nin, 1931-1932 by Gwendolyn M. Michel A dissertation submitted to the graduate faculty in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Major: Apparel, Merchandising, and Design Program of Study Committee: Sara B. Marcketti, Major Professor Mary Lynn Damhorst Eulanda A. Sanders Michèle Schaal Christiana Langenberg The student author, whose presentation of the scholarship herein was approved by the program of study committee, is solely responsible for the content of this dissertation. The Graduate College will ensure this dissertation is globally accessible and will not permit alterations after a degree is conferred. Iowa State University Ames, Iowa 2018 Copyright © Gwendolyn M. Michel, 2018. All rights reserved. ii TABLE OF CONTENTS Page ACKNOWLEDGMENTS ......................................................................................... iv ABSTRACT………………………………. .............................................................. v CHAPTER 1 INTRODUCTION .......................................................................... 1 Overview…… ...................................................................................................... 1 Purpose Statement. ............................................................................................... 3 Theoretical Approach and Positionality of the Researcher.................................. 3 Method ……... ..................................................................................................... 3 Rationale for the Study ........................................................................................ 4 Significance ......................................................................................................... 4 Research Question. .............................................................................................. 6 Assumptions and Limitations of Study. ............................................................... 6 Organization of the Dissertation. ......................................................................... 7 Definition of Terms........................................................................................ 7 CHAPTER 2 LITERATURE REVIEW ............................................................... 10 Overview…. ......................................................................................................... 10 Biographical History ............................................................................................ 10 Previous Literature on the Dress of Anaïs Nin .................................................... 14 Cultural Context: Nin’s Interwar Paris. ............................................................... 16 The Use of Autobiography and Diaries as Source Material in Dress Studies. .... 18 CHAPTER 3 METHOD ....................................................................................... 20 Overview…. ......................................................................................................... 20 Method of Data Collection................................................................................... 20 The Author(s) and Editors of Henry and June............................................... 25 Primary Sources Utilized in the Study ........................................................... 32 Diary 33 and Diary 33 Bis .................................................................... 36 Method of Data Analysis ..................................................................................... 38 Reliability and Validity .................................................................................. 40 Theoretical Framework ........................................................................................ 40 CHAPTER 4 RESULTS ....................................................................................... 43 Overview…. ......................................................................................................... 43 Overview of Nin’s Dress and Appearance Practices: 1931-1932 ........................ 44 Nin’s Dress for Day ............................................................................................. 47 The Millers Come to Dinner: June Miller’s Appearance as Related to Nin’s 49 Stockings ........................................................................................................ 56 Shoes…. ......................................................................................................... 58 iii Cosmetics: Lip Rouge, Powder, and Nail Polish ................................................. 59 Nin’s Make-up ............................................................................................... 60 Nail Polish ....................................................................................... 62 June Miller’s Make-up ................................................................................... 63 Perfume……. ....................................................................................................... 64 The Scent of the Diaries ................................................................................. 70 Hairstyling…........................................................................................................ 72 Jewelry……. ........................................................................................................ 73 Undergarments ..................................................................................................... 78 Evening Dresses ................................................................................................... 80 Outerwear: Capes, Coats, and Jackets ................................................................. 83 Hats and Turbans ................................................................................................. 86 Other Accessories ................................................................................................ 87 Sleepwear and Loungewear ................................................................................. 87 Cosmetic Surgery ................................................................................................. 88 Spanish Dance Costume ...................................................................................... 91 Body Image ......................................................................................................... 92 The Effects of Henry Miller’s Appraisal of Nin’s Appearance ..................... 95 Nin’s Abiding Love of Luxury within A Bourgeois-Bohemian Tension ............ 98 CHAPTER 5 DISCUSSION AND CONCLUSIONS .......................................... 107 Overview .............................................................................................................. 107 “Beautiful and good things”................................................................................. 107 Tseëlon’s Paradox Three: The Visibility Paradox ............................................... 109 Implications: Composing a Text, Composing a Self ........................................... 120 Limitations.. ......................................................................................................... 122 Suggestions for Future Study ............................................................................... 122 Conclusions .......................................................................................................... 123 REFERENCES .......................................................................................................... 125 iv ACKNOWLEDGMENTS Simple thanks will never be enough to express how appreciated and valued are all those who supported this endeavor. First and foremost, I would like to thank my committee chair, Sara Marcketti, and my committee members, Mary Lynn Damhorst, Eulanda Sanders, Michèle Schaal, and Christiana Langenberg, for their guidance and support throughout the course of this research. To Dr. Marcketti and Dr. Damhorst, thank you for our years of collaboration. Here’s to many more. To Dr. Sanders, it was your research on narrative that inspired this study in its earliest form. To my outside committee members, Dr. Schaal and Christiana Langenberg, thank you to both of you for recommending so many good books which served to inspire and shape this study. To each of my committee members, my deepest gratitude and warmest appreciation for your time, suggestions, expertise, and patient shepherding as I made the journey from proposal to
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