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Given the popularity of the film ŕ costumes with1950s French cinema audiences, it is surprising how littleattention has been shown to this genre. Costumes were crucial to thisgroup of films, which featured exquisite reproductions of historicalfashions. Yet despite being a major visual component thesefantastic costumes and the talented personnel responsible for theirdesign have received scant recognition. This book aims tore-dress this oversight by showcasing the wardrobes of four costumedesigners, namely Georges Annenkov, Rosine Delamare, MarcelEscoffier, and Antoine Mayo. Each designer's costume is undressedthrough the identification of and subsequent methodological focuson their signature garment and/or design trademark. Thus, thecorset, the crinoline, and accessories are explored in order todetermine an ideological pattern from which the analytical fabricof this book is then cut. In so doing, the way in which film costumespeaks as an independent producer of meaning is uncovered. Thisresearch should find resonance with anyone interested in filmcostume, historical fashion, and 1950s French cinema.
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