History of Fashion How to Marry a Millionaire 1953 Monroe Film Review

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History of Fashion: HOW TO MARRY a MILLIONAIRE 1953 (Monroe)

History of Fashion: How to Marry a Millionaire

How to Marry a Millionaire is a 1953 romantic comedy set in New York City starring Betty Grable, Marilyn Monroe, and Lauren Bacall, directed by Jean Negulesco. The costumes of the film, as designed by Charles Le Maire, showcase the 'New Look' popularized by Christian Dior. The 'New Look' (as exemplified most prominently in the red, full-skirted gown worn by Marilyn Monroe in a scene set in a powder room) featured sweeping skirts, a tiny cinched waist, and an exaggerated bosom. It was an ultra-feminine ideal that stood in stark contrast to the more practical, comfortable, and androgynous appearance of World War II fashion. The style of the New Look was far more restrictive and made women look more like artificial adornments than the ideal of 'Rosie the Riveter.' Women during the era were being encouraged to go back home, give up the work they had embraced during wartime, and have children. With Dior's "soft shoulders, waspy waists and full flowing skirts intended for what he called 'flower women,'" Dior clearly viewed women less as functional human beings and more as confections ("Christian Dior," The Design Museum, 2012).

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The clothing was difficult to walk in, and was considerably more expensive and ornate than the clothing of the past, to suit the postwar affluence of America.

The message of How to Marry a Millionaire and its embrace of the New Look are conjoined. The three female protagonists are all obsessed with finding wealthy husbands. None of them are interested in meaningful work. During the film, although they are reproached for seeking to marry for money, none of them are chastised for failing to seek meaningful employment and attempting to find a life outside of the sphere of men. "In peacetime those women were expected to return to passive roles as housewives and mothers, leaving their jobs free for the returning soldiers. The official paradigm of post-war womanhood was a capable, caring housewife who created a happy home for her husband and children. Dior's….....

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