The release of Baz Luhrmann’s adaptation of The Great Gatsby is bound to spark a revival of 1920s fashion. Beaded flapper dresses haven’t yet been revived on my local high street – there are some Modernist dropped waists and a few fringes, but nothing to compete with the opulence of Luhrman’s film. Nevertheless, there is enough interest in the film’s costume design that the influence is bound to spread.
Curiously, much of this interest seems to come from those who want to admire these dresses from a distance, rather than wear them. Luhrman’s lavish party scenes are spectacular, featuring costumes in the style of Jazz era designers such as Paul Poiret and Elsa Schiaparelli. With their extravagant beading and shimmering colours, they are a visual spectacle. Unfortunately they are also remarkably delicate. The thousands of beads and sequins that adorn these dresses are not at home in a recession-proof wardrobe. We can adore these clothes from afar, and enjoy how they sparkle in the artificial lighting of a film-set, but would we ever really want to wear a tasselled cloche?
Much of the online discussion that celebrates Gatsby style has focused on originals rather than on revival. Vintage clothing dealer Leslie Verrinder has taken the opportunity to advise audiences on purchasing 1920s partywear. Verrinder stresses that a 1920s dress is a wise investment, likely to increase in value if it is undamaged and unrepaired . His advice seems to indicate that fans of the film might consider these costumes as a nest-egg: something to display and preserve; not something to wear.
In a previous post, I rallied against the notion that the dress “cannot be understood without reference to the body” . Numerous texts have argues than a garment “exists only when it is in the process of being worn”. Alison bancroft goes so far as to say that clothes that are not worn have a “sinister otherworldliness”. If this is true, what drives the desire to own an original piece that can never be worn?
There are financial incentives: a Poiret dress can fetch about £2000 at auction . For most investors, however, it is akin to buying a piece of fine art. These dresses are not, and never were, primarily functional items. Despite being created in the era of Modernist fashion, when women were being liberated from the Victorian silhouette, these party dresses are all about ‘bling’*. The superfluous ornamentation is just as effective on a flat surface as a curved body. Indeed, many of these garments would sparkle more brightly in a display case than in a darkened ballroom.
Ornamentation exists only on the surface. Its superficial beauty is what has made it so controversial in design history. It has been variously seen as “a waste of manpower, materials, and capital” and “dishonest” in the way it apparently conceals that true nature of the object beneath . This superficiality – that prioritizes style over substance – makes a garment ideal for collectors’ displays. In a cabinet, one can closely inspect the fine detail of the embroidery in a way that would not be possible in another context. The exquisite detail in these costumes can only be truly appreciated when we present them as art objects, and invite people to take a closer look.
[* Note: In contrast to the contemporaneous designs of Coco Chanel, which prioritized form over ornamentation. Chanel’s designs were functional, not decorative. Poiret and others used a similarly free silhouette to Chanel, but targeted a wealthier audience whose lifestyles demanded more extravagantly decorated clothes.]
 ‘Great Gatsby remake inspires 1920s fashion revival’, The Telegraph [online] , 24 April 2013, http://fashion.telegraph.co.uk/videos/TMG10016727/Great-Gatsby-remake-inspires-1920s-fashion-revival.html
 Enwtistle, Joanne, and Wissinger, Elizabeth (2006) ‘Keeping Up Appearances: aesthetic labour in the fashion modeling industries of London and New York’, The Sociological Review 54 (4), pp. 774-794.
 Bancroft, Alison, Fashion and Psychoanalysis, London: I.B. Tauris, 2012, p. 2.
 Twemlow, Alice (2005) ‘The Decriminalisation of Ornament ‘, Eye 58 (Winter 2005) http://www.eyemagazine.com/feature.php?id=126&fid=553 (visited 24/10/2010)
‘11 Fresh, Modern Ways to Channel The Great Gatsby’, http://www.refinery29.com/twenties-style/slideshow?page=5#slide-11
and for those of you who would rather ogle at the Gatsby menswear:
‘Go Behind the Scenes of The Great Gatsby Style with Brooks Brothers’, http://www.gq.com/style/blogs/the-gq-eye/2013/04/exclusive-video-go-behind-the-scenes-of-gatsby-style-with-brooks-brothers.html
Great Gatsby stills: http://screencrush.com/the-great-gatsby-trailer/ and http://www.hitfix.com/galleries/most-luxuriously-opulent-images-from-the-great-gatsby-trailer
Vogue Gatsby photoshoot: http://pinterest.com/pin/185703184607566993/
Vintage 1920s dresses by Poiret and others: http://doloresmonet.hubpages.com/hub/WomensFashionsofthe1920-FlappersandtheJazz-Age and http://angelasancartier.net/art-nouveau-and-art-deco and http://www.artnet.com/magazineus/features/spivy/spivy5-15-07_detail.asp?picnum=11
Close-up of beading: http://ehive.com/account/3009/object/120074/1920s_beaded_flapper_evening_dress