Josie Andrews 412 Midterm Projects Main Menu Introduction The Ideological Function of Stars: Contradictions and Promises of Individualism. Prompt Analysis Little Women (George Cukor 1933) Tomboyism: Negotiating and Celebrating a Strong, Sprited Woman in the Great Depression Sylvia Scarlett (George Cukor, 1936) "Woman of the Year" (George Stevens, 1942) Conclusion Bibliography CATCH ME IF YOU CAN The Contradictions and Promises of Individualism in the Films of Katharine Hepburn 1933-1942

Iconic Fashions: Trend Setter

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Magazines, newspapers, and the studios enjoyed promoting Hepburn’s upcoming films by releasing studio photos of her costumes. For example, in The Hollywood Reporter, June 22, 1922, the press ran a photo of Hepburn’s button down cape, noting it is “seen everywhere.”


 Another September 1933 Variety article notes that fans showed up wearing shorts to her films to honor Hepburn because she also wears shorts. An early August 1933 Photoplay Interview of Hepburn also discussed makeup with her (she loves her freckles and wears only lipstick on screen) and her favorite clothes. She told Photoplay that “on days she feels particularly kittenish out comes the shawl. Its silk. With fringe. And things.” Her overalls are soft because she has laundered them so much. She talks louder than anyone else in the dining room.

After The Philadelphia Story, Katharine Hepburn became more amenable to taking publicity shots of her gowns and outfits. During her MGM time period,  their famous costume designer, Adrian, created the iconic gowns shown above for her role as Tracy Lord. The public display of costume images became increasingly important as women became part of the growing consumer society. In 1940, as the country was coming out of the Great Depression, they could not only dream about these outfits (cars, jewelry, furniture and other things displayed in the movies), but  maybe purchase replicas of these items.



 

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