Appendix: Partial Filmographies for Lucile and Peggy Hamilton Adams The following is a list of films directly related to my research for this book. There is a more extensive list for Lucile in Randy Bryan Bigham, Lucile: Her Life by Design (San Francisco and Dallas: MacEvie Press Group, 2012). Lucile, Lady Duff Gordon The American Princess (Kalem, 1913, dir. Marshall Neilan) Our Mutual Girl (Mutual, 1914) serial, visit to Lucile’s dress shop in two episodes The Perils of Pauline (Pathé, 1914, dir. Louis Gasnier), serial The Theft of the Crown Jewels (Kalem, 1914) The High Road (Rolfe Photoplays, 1915, dir. John Noble) The Spendthrift (George Kleine, 1915, dir. Walter Edwin), one scene shot in Lucile’s dress shop and her models Hebe White, Phyllis, and Dolores all appear Gloria’s Romance (George Klein, 1916, dir. Colin Campbell), serial The Misleading Lady (Essanay Film Mfg. Corp., 1916, dir. Arthur Berthelet) Rebecca of Sunnybrook Farm (Mary Pickford Film Corp., 1917, dir. Marshall Neilan) The Rise of Susan (World Film Corp., 1916, dir. S.E.V. Taylor), serial The Strange Case of Mary Page (Essanay Film Manufacturing Company, 1916, dir. J. Charles Haydon), serial The Whirl of Life (Cort Film Corporation, 1915, dir. Oliver D. Bailey) Martha’s Vindication (Fine Arts Film Company, 1916, dir. Chester M. Franklin, Sydney Franklin) The High Cost of Living (J.R. Bray Studios, 1916, dir. Ashley Miller) Patria (International Film Service Company, 1916–17, dir. Jacques Jaccard), dressed Irene Castle The Little American (Mary Pickford Company, 1917, dir. Cecil B. DeMille) Rebecca of Sunnybrook Farm (Mary Pickford Company, 1917, dir. Marshall Neilan) The Little Princess (Mary Pickford Company, 1917, dir. Marshall Neilan) The Price She Paid (Clara Kimball Young Film Corp., 1917, dir. Charles Giblyn) The Easiest Way (Clara Kimball Young Film Corp., 1917, dir. Albert Capellani) Shirley Kaye (Clara Kimball Young Film Corp., 1917, dir. Joseph Kaufman) Virtuous Wives (Anita Stewart Productions, 1918, dir. George Loane Tucker) The Reason Why (C.K.Y. Film Corp., 1918, dir. Robert G. Vignola) The Misleading Widow (Paramount Pictures, 1919, dir. John S. Robertson) Eyes of Youth (Garson Productions, 1919, dir. Albert Parker), dressed Clara Kimball Young Mid-Channel (Garson Studios Inc., 1920, dir. Harry Garson), dressed Clara Kimball Young Harriet and the Piper (First National, Louis B. Mayer/Anita Stewart Productions, 1920, dir. Bertram Bracken), dressed Barbara LaMarr April Folly (Marion Davies Film Corp., 1920, dir. Robert Z. Leonard), dressed Marion Davies Way Down East (D.W. Griffith Inc., 1920, dir. D.W. Griffith), with Henri Bendel; Lucile dressed her models Dinarzade, Arjamande, and actress Mrs. Morgan Belmont 181 182 Appendix The Forbidden Woman (Garson Studios, 1920, dir. Harry Garson), dressed Clara Kimball Young Heedless Moths (Perry Plays, 1921, dir. Robert Z. Leonard) Nice People (Famous Players-Lasky, 1922, dir. William deMille) The Green Goddess (Distinctive Productions, 1923, dir. Sidney Olcott), dressed Alice Joyce Knowing Men (United Artists, 1930, dir. Elinor Glyn), dressed Elissa Landi and Elinor Glyn Peggy Hamilton The following films were costumed by Hamilton when she was employed at Triangle: The Maternal Spark (1917, dir. Gilbert P. Hamilton) The Gown of Destiny (1917, dir. Lynn F. Reynolds) Smoke (1918, dir. Jack Conway) Limousine Life (1918, dir. Jack Dillon) Her Decision (1918), dir. Jack Conway) Station Content (1918, dir. Arthur Hoyt) False Ambition (A Woman of Mystery) (1918, dir. Gilbert P. Hamilton) Her American Husband (1918, dir. E. Mason Hopper) Everywoman’s Husband (1918, dir. Gilbert P. Hamilton) The Secret Code (1918, dir. Albert P. Parker) Who Is to Blame? (1918, dir. Frank Borzage) Society for Sale (1919, dir. Frank Borzage) Prudence on Broadway (1919, dir. Frank Borzage) Shifting Sands (1918, dir. Albert Parker) For Better, For Worse (1919) Non-Triangle films: The Concert (Goldwyn Pictures, 1921, dir. Victor Shertzinger), featuring a Peggy Hamilton fashion revue Little Wildcat (1922, Vitagraph, dir. David Divad), featuring Peggy Hamilton’s shop; she choreographed a fashion show that featured her models A Slave of Fashion (MGM, 1925, dir. Hobart Henley), featuring a Peggy Hamilton revue Making Fashion (Dufay-Chromex Ltd., 1938), about Norman Hartnell, British designer, in which Hamilton makes an appearance Notes Chapter 1 1. Childhood pictures, Folder 349.4, Gloria Swanson Papers, Harry Ransom Center, University of Texas at Austin. 2. Gloria Swanson, Swanson on Swanson (New York: Random House, 1980), 25, 27. 3. Baltimore, MD News, 12 Oct. 1919, Box 582a Scrapbook 79; “Tells Secret of Dress; Actress Gives Pointers,” 12-29-19, Box 577, Scrapbook 1917–26, Gloria Swanson Papers, Harry Ransom Center, University of Texas at Austin. 4. Box 575, Scrapbook 56, ibid. 5. Folder 357.12, ibid. 6. Eileen Bowser defines the nickelodeon period as lasting from 1907 to 1915. See Eileen Bowser, The Transformation of Cinema, 1907–1915 (Berkeley and Los Angeles: University of California Press, 1990), 1, 121. 7. Caroline Rennolds Milbank argues that French couture became more influential in the post-World War I era; see New York Fashion: The Evolution of American Style (New York: Harry Abrams, 1989), 72. See also Kristen Thompson, Exporting Entertainment: America in the World Film Market, 1907–1934 (London: British Film Institute, 1985). 8. Bowser cites a June 1910 New York Dramatic Mirror article as the first known use of the term “motion picture star.” See Bowser, The Transformation of Cinema, 113. See also Richard deCordova, “The Emergence of the Star System in America,” in Christine Gledhill, ed., Stardom: Industry of Desire (New York: Routledge, 1991), 17. 9. The Ny-Fax fashion reel showing the latest fashion from New York designers, for example, was promoted as a film that would be a “very strong draw for the ladies.” See Hugh Hoffman, “New York Fashion Show in Pictures,” Moving Picture World, 4 Oct. 1913, 32. 10. Moving Picture World, 11 Mar. 1911, 527. 11. Swanson, Swanson on Swanson, 106. 12. “She Only has One Love – Her Beautiful Clothes,” unidentified clipping, c. 1919, Box 577, Gloria Swanson Papers, Harry Ransom Center, University of Texas at Austin. 13. Gloria Swanson Papers, Harry Ransom Center, University of Texas at Austin. 14. “The Big Ten and Their Yearly Earning,” unidentified newspaper clipping, early 1920s, Gloria Swanson Papers, Harry Ransom Center, University of Texas at Austin. Swanson is the fourth highest-paid star after Harold Lloyd, Charles Chaplin, and Douglas Fairbanks, earning $1 million per year. 15. Elizabeth Wilson, Adorned in Dreams: Fashion and Modernity (Berkeley: University of California Press, 1987). 16. Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction” (originally published 1936), reprinted in Hannah Arendt, ed., Harry Zohn, transl., Illuminations: Essays and Reflections (New York: Schocken Books, 1968); Walter Benjamin, Arcades Project, Howard Eiland and Kevin McLaughlin, transl. (Cambridge, MA: Belknap Press of Harvard University, 1999); I have also drawn 183 184 Notes on Susan Buck-Morss’s overview of Benjamin, The Dialectics of Seeing: Walter Benjamin and the Arcades Project (Cambridge, MA: MIT Press, 1999). 17. Jane Gaines, “Costume and Narrative: How Dress Tells the Woman’s Story,” in Gaines, ed., Fabrications: Costume and the Female Body (New York: Routledge, 1990), 186. 18. Rebecca Arnold, Fashion, Desire and Anxiety: Image and Morality in the 20th Century (New Brunswick, NJ: Rutgers University Press, 2001). 19. Charles Musser, “At the Beginning: Motion Picture Productions, Representation, and Ideology at the Edison and Lumière Companies,” in Lee Grieveson and Peter Krämer, eds., The Silent Cinema Reader (London: Routledge, 2004), 15–16. 20. Advertising World 16 (March 1912), 11, cited in William R. Leach, “Transformations in a Culture of Consumption: Women and Department Stores, 1890–1925,” Journal of American History vol. 71, no. 2 (Sep. 1984), 327. 21. Miriam Hansen, Babel and Babylon: Spectatorship in American Silent Films (Cambridge, MA: Harvard University Press, 1991). Chapter 2 1. “Fashion’s Toy,” Moving Picture World (13 Sept. 1913), 1200. 2. The nickelodeon period, 1905–15, is defined as an era that saw the rise of the small moving picture house. Originating in storefront theaters with shows that cost only a nickel, the Vaudeville style of presentation consisted primarily of moving pictures, and often included illustrated song slides and/or live entertain- ment. See Charles Musser, The Emergence of Cinema: The American Screen to 1907 (New York: Charles Scribner’s Sons, 1990), 417–89. 3. The Progressive era lasted from approximately 1897 to 1920 and was marked by reform movements that addressed a wide variety of social ills caused by indus- trialization and urbanization, including labor issues and the rise of slums in big cities of the United States. Encyclopædia Britannica Online, http://search.eb.com/ eb/article-77841 (accessed 12 Jan. 2010). 4. Although films that presented high fashion, such as newsreels, were being pro- duced and presented in increasing numbers, they are the subject of Chapter 4. 5. Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction,” (1935) reprinted in Leo Braudy and Marshall Cohen, eds., Film Theory and Criticism: Introductory Readings (New York: Oxford University, 1999), 744. 6. Ellen Boris, “Social Change and Changing Experience,” in Pat Kirkham, ed., Women Designers (New Haven, CT: Bard Graduate