Reasons for Historical Inaccuracies in Costumes
The different types of costumes that have emerged over time occurred due to the advancements in people’s preferences at the time of production. Although the designers still rely on the aesthetic, social, and physical limits to make costumes that make the creation acceptable and comprehensive by contemporary standards, changing times have led to the constant historical inaccuracies in the costumes for different periods. According to Maeder, people of every age developed a style that they felt was a more comfortable and acceptable aesthetic for the day (9). In the early 20th century, the film industry witnessed more significant inaccuracies in the used costumes since every movie chose a wardrobe that would enhance the actor’s character, contribute to the setting, and help the film tell a story. In sum, many of the differences evident today in the film industry occurred due to different times and the changing consumer preferences and adaptability of the costumes to the setting.
Besides, the discrepancies between costumes for every period film occur due to a lack of access to different production materials. Maeder states the designers faced a significant challenge finding authentic fabrics and accessories following the lack of previously used materials, which accounted for the differences between the costumes (15). For example, designers seized to produce some clothes like garb for the Northern European Lord since small squirrels that made the miniver became extinct. Such circumstances forced the designers to improvise and adapt to the only available materials and strategies to develop film costumes. Altogether, the primary reason behind the differences between costumes across time lies in the availability or distinction of the production materials.
Hairstyles and Makeup in Historical Films
In the 20th century, moviemakers used wig and films based on commercial considerations rather than historical considerations. Since the 1920s, the film industry adopted the star system, where the star’s appearance became the cornerstone of Hollywood’s economic existence. The star’s value to a studio depended on its impact on the box office, which also relied on the star’s ability to project an image that the audience could admire and love (Annas 52). As a result, hair and makeup become some of the significant elements of creating a successful screen image.
The film producers found it hard to depict hair and makeup in historical films since the audience identified more with the screen performers, even when the film’s primary focus was historical events. Based on the viewer’s expectations, the heroines had to be glamorous and beautiful, while men needed to be strong and handsome (Annas 54). Hence, unlike the costumes, which are occasionally realistic, the hairstyles are less accurate, while makeup remains unauthentic. Max Factor remains an influential person in the film industry who designed the first makeup for motion pictures. Expressly, in 1914, Max created Flexible Grease Paint, which was the first-ever natural-looking cosmetic ever used in film production (Annas 55). In sum, the film industry did not effectively depict hairstyles and makeup in historical films since the audience focused more on the actors than on movie concepts.
Costume Designers
Adrian and Plunkett are some of the designers of the early 20th century who left a more significant impact on the film industry. Adrian is one of the most famous designers who served between 1928 and 1942, during which he left a substantial influence on commercial fashion. For instance, Adrian’s work on Norma Shearer inspired many retail designs, with some designers borrowing elements like modest little hoods and pleats to make other designs (LaValley 82). Similarly, Walter Plunkett also generated numerous ideas and strategies for the fashion industry. Indeed, his work led to the manufacture of gowns for the retail market borrowed from Plunkett’s designs in the 1930s films. Hence, Adrian and Plunkett are influential designers of the early 20th century.
Works Cited
Annas, Alicia. “The photogenic formula: Hairstyles and makeup in historical films.” Hollywood and history: Costume design in film, 1987, pp: 52-77.
LaValley, S. (1987). Hollywood and Seventh Avenue: The impact of period films on fashion. Hollywood and history: Costume design in film, 78-96.
Maeder, Edward. “The celluloid image: Historical dress in the film.” Hollywood and History: Costume Design in Film, Los Angeles and London: Los Angeles County Museum of Art and Thames and Hudson, 1987, pp: 9-43.