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The Dress, Design and Identity of the London Couturier Norman Hartnell, 1921-1979

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The Dress, Design and Identity of the London Couturier Norman Hartnell, 1921-1979 A Life in the Archive: the Dress, Design and Identity of the London Couturier Norman Hartnell, 1921-1979. [Redacted Copy] Jane Hattrick A thesis submitted in partial fulfilment of the requirements of the University of Brighton for the degree of Doctor of Philosophy October 2011 Volume I The University of Brighton AHRC Funded 1 Table of Contents Abstract 10 List of Illustrations 12 Chapter One 12 Chapter Two 15 Chapter Three 22 Chapter Four 25 Chapter Five 36 Chapter Six 42 Chapter Seven 48 Acknowledgements 49 Author’s Declaration: 51 Chapter One 52 The Identity of ‘Britain’s Most Famous Fashion Designer’: Historiography and Methodology. 52 1.1 Introduction 52 1.1.a. Norman Hartnell 55 1.1.b. The Private Hartnell Archive and Collection 57 1.2 Aims of thesis 58 1.2.1. Summing up of aims 62 Aim One: Analysis of the archive 62 Aim Two: Hartnell’s personal life, his gendered and sexual identity 63 Aim Three: Hartnell’s personal creative taste 63 Aim Four: Hartnell’s professional identity (Chapter Six) 63 Aim Five: Hartnell’s public celebrity identity (Chapter Two) 63 Aim Six: 63 1.3. Published work and exhibitions on Norman Hartnell and related London couturiers 1980-2009. 64 1.3.1. Collection and display of British couture in national museum exhibitions and accompanying publications 64 1.3.2. Published work on Norman Hartnell and twentieth century British couturiers 70 1.3.2.a. London Couture and the Fashion Phenomenon: Published Historical, Critical theoretical debate 76 2 1.2.3.b. Some conclusions 77 1.4. Research Sources: Introduction to The Hartnell Archive 78 1.4.1. History of my access to the archive 79 1.4.2. Research Environment and Ontological Process: definitions and taxonomy of the Archive 81 1.5. The Social Life of The Archive 83 1.5.1. The Hartnell archive ‘under house arrest’ 70 1.5.2. New Critical Theoretical Approaches to the Use of Archives: Scraps, traces, fragments 88 1.5.2.a. Queering the Archive 90 1.5.2.b. Auto/biography and the materiality of archives 92 1.5.2.c. Material Culture Approaches to Objects in the Archive – objects as ‘historical evidence’ and as ‘sites of meaning acquisition.’ 93 1.5.2.d. Biography of objects in the archive 96 1.6. Oral Testimony: methodology 96 1.6.1. Memory and History 98 1.7 Theoretical interpretation 100 1.7.1. Identity 100 1.7.1.a. Personhood and Self-Identity 100 1.7.1.b. Self-presentation and self-fashioning 102 1.7.2. Gender and Sexual Identity 104 1.7.2.a. Performing gender and sexuality through dress 106 1.8. Interior Design, Theories of collecting, Gender and Sexuality 108 1.8.1. Interior design, taste, gender and sexuality 108 1.8.2. Susan Pearce – collecting practices 109 1.8.3. Russell Belk – collecting practices 110 1.9. Conclusion 111 Chapter Two 112 ‘An Unexpected Pearl’: Self-presentation and the Personal, Gender and Sexual Identity of Norman Hartnell, 1921-1979. 112 2.1. Introduction 112 2.1.2. Gender, identity, consumption and surviving objects of dress 113 2.1.3. ‘Life’ and ‘Story’, Narrative and Self-Identity 113 2.1.3.a. ‘Designers and Designs Goods – the Proper Objects of Study?’ 115 3 2.2. Hartnell’s professional identity 115 2.3. A Couturier’s Autobiography: ‘the Great Unspoken in Fashion’ 118 2.4. Autobiographical writing – a life/work in progress 119 2.4.1. A Published Life: Silver & Gold 124 2.4.2. Hartnell, the self-publicist 125 2.5. Personal Identity: Letters in the archive: 127 2.6. Studio portraits and the self-presentation of Norman Hartnell: From Debutante to Dandy 128 2.6.1. Negotiating multiple Queer identities through dress and photography 135 2.7. From Debutante to Dandy: The public versus private in the self-presentation of Hartnell through dress 138 2.7.1. The Debutante 142 2.7.2. The Dandy 143 2.8. Conclusion 148 2.8.1. Personal Interview with Maureen Markham 149 Chapter Three 153 Collecting and Displaying Identity, Intimacy and Memory in the Staged Interiors of the Royal Couturier Norman Hartnell. 153 3.1. Introduction 153 3.2. A queer reading of Hartnell’s interiors and collections 156 3.2.1 The Archive House 160 3.3. Hartnell the man, the collector and his interiors 163 3.4. Reading the interior through photographs 166 3.5. The display of Hartnell’s objects as ‘memory cues’ 169 3.6. Conclusion 170 Chapter Four 173 House Style and Signature Looks: An analysis of the development of Hartnell’s design work and the presence of his taste and identity in the clothes he designed, 1922-1979. 173 4.1 Introduction 173 4.1.1. The impact of Hartnell’s gender identity on the clothes he designed 173 4.2. House style and signature looks 174 4.2.1. ‘Selling a surface’ – pre-design stage and Hartnell’s feeling for clothes 177 4.2.2. Couture clients and key house styles - Theatre and fancy dress, debutantes, the ultra- sophisticated designer for the everyday, the actress as client 178 4 4.2.3. 1924 – Norman Hartnell’s first couture collection 180 4.2.4. Theatre, Fancy dress and Fashion: ‘Dressing Up’ the Debutantes 183 4.2.5. ‘The ultra-sophisticated designer’ for the ‘everyday clientele’ 186 4.2.6. The Actress as Client 188 4.3. Taste and Identity: House Style and Signature Looks 191 4.3.1. The Fashion Designer’s Eye 191 4.3.2. The Designer’s Hand - The couturier’s handwriting in terms of both written word and signature looks. 193 4.3.3. Evidence of his ‘eye’ in the archive: his ‘Famous Dresses’ 193 4.4. Design Development: Approaches to the design and production of the Hartnell Fashion Collection 195 4.4.1. The Hartnell Collection 195 4.4.2. Fashion Drawing and Initial Education 196 4.4.3. Male couturiers and fashion design education 199 4.4.4. The Personalised Fashion Sketch: issues of representation, artifice, royal deference and propriety. 203 4.5. The Hartnell Fashion Drawing 205 4.6. Raw Materials: Hartnell’s choice of textiles and colour and his use of embroidery as embellishment. 207 4.6.1. ‘Mouth Watering Materials’Hartnell’s choice of colour and textiles 209 4.6.2. Hartnell’s Use of Luxury Fabrics and Choice of Fabricants 210 4.7. Hartnell’s use of beaded embroidery: ‘the Hartnell touch’. 214 4.8. Signature Trims: Fur, Feathers, Flowers and Fringing 215 4.9. The Interpretation and Making-up of Hartnell’s Designs by Workroom Staff 216 4.9.1. Hartnell Workrooms, Working Conditions and Contribution of Key Staff 217 4.9.2. Translation of Hartnell’s Designs by Workroom Staff: A Case Study of the Embroidery Workroom 223 4.9.3. Signature Motifs, Techniques and Colours in Embroidery 226 4.9.4. Royal Embroideries 229 4.10. Conclusion 230 Chapter Five 232 House style and signature looks: Hartnell’s signature looks over time represented in couture collections and royal dressing, 1921 – 1979. 232 5.1. Introduction 232 5 5.1.1. Signature Clothes for Couture Customers 233 5.2. The Soft Tailored Coat and Dress Ensemble 235 5.2.1. Tailor-mades at Hartnell’s 236 5.2.2. The soft-tailored coat/jacket and dressmaker made dress: a biography, 1921-1979 237 5.2.2.a. The Dress 237 5.2.2.b. The Dress and Jacket, early biography, 1922-1939 238 5.2.3. Examples of the coat and dress ensemble made during the 1930s for fashion collections and royal clients 239 5.2.3.a. The soft-tailored coat and dress ensemble 239 5.2.3.b. The tailor-made suit and coat in the 1930s 240 5.2.3.c. Wool tailoring for The Duchess of Gloucester 241 5.2.3.d. Couture made, silk day-dress and coat for The Duchess of Gloucester 242 5.2.3.e. Colour, technique, decorative motif and trim the dress and coat ensemble 242 5.2.4. The royal dress and coat ensemble for Queen Elizabeth 1939-1979 243 5.2.5. Signature daywear for Elizabeth II, Her Majesty the Queen 1948-1979: 245 5.2.5.a. The dissemination of Hartnell’s identity and his British couture styles throughout the Commonwealth 246 5.2.5.b. Preferred colours 248 5.2.5.c. Preferred styles: plain coats and print dresses 250 5.2.5.c Preferred textiles, colours and decorative elements 251 5.2.6. Signature daywear: royal styles for average clients 252 5.3. The Slim Sheath and ‘Mermaid Line’ Dress and Jacket Ensemble 253 5.3.1. The ‘Mermaid Line’ dress and jacket 254 5.3.2. The Hartnell dinner dress 255 5.3.3. The Mermaid Line on stage, 1939-1945 256 5.3.4. The Hartnell ‘speciality’ – a sequinned dress. 257 5.3.5. The beaded sheath dress and coat in the 1960s fashion collection. 257 5.4. The Hartnell Crinoline 257 5.4.1. Royal tour of Canada June-August 1959 259 5.4.2. The crinoline for Hartnell’s personal use 260 5.5. Conclusion 261 5.5.1. Signature styles in the Archive, 1960s and 1970s 261 5.5.2 ‘The Maestro’s Swan-Song’ – Autumn/Winter Collection 1979 262 5.5.3. ‘Character and personality’ - Identity and biography in a dress design 264 Chapter Six 266 6 Personal, Celebrity and Professional Identity and the Hartnell trademark signature and the Promotion of Business at ‘Home’ in the post-war period.
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