Film Costume

Abstract

Research Article| April 01 2018 Film Costume Drake Stutesman Drake Stutesman Drake Stutesman is an adjunct professor at New York University, teaching theoretical film costume. She edits the peer-reviewed cinema and media journal Framework. Her work has been published by, among others, the British Film Institute, MoCA L.A., and Bookforum. Recent work includes Hat (Reaktion, forthcoming) and essays on melodrama (Columbia University Press), silent cinema (Rutgers University Press), Japanese film (Film, Fashion & Consumption), the 1960s (Indiana University Press), subjectivity in biography (China Film Press), and costume scholarship (Bloomsbury). She is writing a biography of costume designer Clare West, and a monograph on milliner and couturier Mr. John. Search for other works by this author on: This Site PubMed Google Scholar Feminist Media Histories (2018) 4 (2): 84–89. https://doi.org/10.1525/fmh.2018.4.2.84 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Drake Stutesman; Film Costume. Feminist Media Histories 1 April 2018; 4 (2): 84–89. doi: https://doi.org/10.1525/fmh.2018.4.2.84 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentFeminist Media Histories Search Keywords: costume, fashion, film Film costume design is a profession that has been dominated by women since the industry's beginning and, although it is an influential cinematic art, it is one of the least recognized. One reason is that although a film costume is a highly constructed garment made, fundamentally, to support the narrative, it is often, in culture and in scholarship, blurred with fashion (as branding or shopping versus creative design) and typically referred to as “fashion in film.” That these separate skills need to be redefined makes film costume a compelling, even frontier subject for feminist scholars, and in the last fifteen or so years it has gained greater status as more information emerges about how women influenced cinema. Cinema's roots lie with the nineteenth-century stage giants. Costume, in this world, was important and openly discussed as a performance tool until the early 1900s.1 In 1906 fashion writer Eliza Davis Aria... You do not currently have access to this content.