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The Girl You Don't See

Bibliographic Data

ID23036375
AuthorsMelanie Williams (0000-0002-3609-207X, corresponding author)
Year2016
Volume2
Issue2
Pages71-106
Publication date2016-04-01
Open AccessNo
TypeARTICLE
VenueFeminist Media Histories (JOURNAL)
Journal identifiersISSN: 2373-7492 • E-ISSN: 2373-7492
PublisherUniversity of California Press (PUBLISHER • US)
DOI10.1525/fmh.2016.2.2.71
OpenAlexW2344463259
LanguageEN
Citations received3
References cited3

Drawing on new and established approaches to film costume, this article examines the creative work of the costume designer, contextualizing it as a gendered profession. It takes the career of the British film costume designer Julie Harris as its illustrative case study, tracing her working practice and sense of creative agency through interviews and press coverage as well as the BFI's extensive collection of her annotated costume sketches. Special emphasis is placed on Harris's negotiation of changing modes of postwar British film production, and her management of the professional tensions between costuming in the service of narrative or costuming as spectacle—in Stella Bruzzi's words, the dilemma of whether to look at or through the clothes on-screen. It culminates in a detailed analysis of Harris's Oscar-winning costume work for Darling (1965) and her ambivalence toward the youth-oriented off-the-rack fashions of the 1960s. In conclusion, it emphasizes the significance and complexity of the costume designer's creative labor, and the need for that work to be granted greater visibility.

Aesthetics · Agency (philosophy) · Ambivalence · Art · Clothing · Costume design · Literature · Narrative · Political science · Psychoanalysis · Social science · Sociology · Visual arts · Crafts, Textile, and Design · Cultural Industries and Urban Development · Fashion and Cultural Textiles · Law · Psychology

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Citations per year0.5
Citation span2020 - 2026 (7)
Highly citedNo

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