Abstract
a accordé une Per¡¡rission has been granted to the LIBRARY O¡ THE LINTVEÍISITY OF MANITOBA to lend o¡ sell copies of this ihesis, to the NAIONAL LIBRARY OF CA¡\ADA to microfilm this thesis and to lend or sell copies of the film, and LIBRARY MICROEILMS to publish an abstract of this thesis. The author reserves other publication rights, a¡d neithe¡ the thesis nor extensive extracts f¡om it may be p¡inted or other-wise reproduèed without the authols w¡itten permission- Though the thesis bears my nalne, there are other people who deserve credit and my thanks. I woufd fike to thank my advisor, Dr. Susan Turnbullcaton, for her patience, direction, and unflagging interest and enthusiasm. I would also like to thank the other committee members: Dr. Nelma Fetterman for her support and attention to detail, and Dr. Eugene WaLz for his enthusias¡n and questions which never failed to provoke new ideas. The help of ny advisor and committee v¿as invaluable. I would like to acknowledge the Statistical Advísory Service of the University of Manitoba for their assistance. I would also líke to thank my family: my parents for passing on their l-ove of history, my mother for teaching me to sew and for encouraging my interest in clothing, my sisters for their interest and support. caryl sparked my curiosity about fil-m and film costume and fashion. Her enthusiasrn and questions throughout the process were very welcone. Lastly, f r,¡oul-d like to thank my husband Brian for his nutritional, financial, and most inportantl-y, his e¡notional support and encouragement. I coul_d not have done it without him. It is a connon perception that movie costumes influence fashion. There are logicat reasons why films and fashion can be linked together: both are part of the materiaf culture and popul-ar cufture of a socieÈy, both are forms of communication. Theories frorn fashion, film studies and mass communications can be used to explain how films and fashion relate. None explains the relationship entirely. A white dress designed by Adrian and worn by ,loan crawford in the L932 McM f il-m ¡etty Lynton was chosen for study. The costume was analyzed for design details. ChateTaine and Good Housekeeping were exarnined for píctures of garments. The 2,016 gannents, chosen equally from each magazine, distributed evenly over the seven year col-Lection period (1930) (1931) (1932) (1933) (1934) (1935) (1936) and equally distributed between fashion features, advertisements and illustrations, v/ere checked for the presence of the design details. Any impact the ¡etty I'ynton dress had on women's fashion of the 1930s was found in the increase of the number of design detail-s rather than in copies of the costume. No duplicates and only 2l-pictures of similar garments were found. ALl of the design details used in Lh,è Letty Lynxon dress were present in the magazines before the release of lhe movie. The design details of puff sleeves, hour-glass silhouette and ruffles, used by Adrian to enhance the funct.ion of the costume, became more common after the release of the movie and were important to the recognition of similar dresses. Sjmilar resul-ts were found in chatelaine and cood Housekeeping. List of Tables Tablè 1. Similarity and Visibility of Design Details in Garnênts . .. 2. Important Design Detail-s 3. Total-References .
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