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Anne K. Reilly

In 1916 the couturière Lucile, Lady Duff Gordon (1862-1935), transformed her fashion show into a war charity revue on the New York stage, featuring her house models in current fashions. It became a successful vaudeville touring production conceived entirely by Lucile, starring her fashions, models, and herself. She is responsible for the celebrity fashion model – finding, training, and renaming exotic beauties as her shows’ stars. Phyllis Francatelli starred in the title role of Lucile’s revue, Fleurette’s Dream at Peronne, while Dolores (born Kathleen Mary Rose) became a famous showgirl in Florenz Ziegfeld’s Follies, where she continued to promote Lucile’s fashions by wearing them on stage. Having been introduced by Ziegfeld’s wife, Lucile designed fashion costumes for both his Follies and Midnight Frolics from 1915 through 1919. Ziegfeld was able to take Lucile’s fashion theatre to a new level, combining his provocative revues with outrageous theatrical costume and turning the audience’s interest in current fashion into theatrical entertainment unto itself. Ziegfeld and Lucile’s fashions helped create the visual identities and thus the celebrity power of Ina Claire, Marilyn Miller, as well as Dolores and other Ziegfeld girls. This chapter draws upon research from photographs, magazine and newspaper articles, Ziegfeld programmes, and the Locke Robinson scrapbooks at the New York Public Library for the Performing Arts as well as Lucile’s sketches and scrapbooks in the library of the Fashion Institute of Technology, SUNY. This chapter will examine what these stage stars were wearing and why Lucile’s name was so important to the fashions of the shows, providing new research in understanding this period’s imaging of American women.


Anne-Marie Evans

Edith Wharton was eager to follow Henry James’s advice when he famously suggested she “Do New York” in 1902, and the result of her subsequent endeavours was The House of Mirth (1905). This chapter considers the function of forms of space in Wharton’s text, and draws on the work of economist Thorstein Veblen, author of the seminal The Theory of the Leisure Class: an Economic Study in the Evolution of Institutions (1899). By re-reading The House of Mirth in terms of the consumer politics of the Gilded Age, and analysing how the central protagonist Lily Bart is able to manipulate areas of public space, it is possible to explore how women are consistently relegated to the status of products for male consumption. Wharton’s scathing critique of the leisure class, exemplified through Lily’s hazardous journey from attractive product to impoverished producer, illustrates the narrow options available to the single woman of the time. By exploring the utilisation of consumerism and the use of different forms of space in Wharton’s bestseller, this analysis intends to understand better the changing role of women within a materialist-centred culture.

Vox Naturae

Music as Human-Animal Communication in the Context of Animal Training in Ancient Rome

Rodney Martin Cross

that performed in a spectacle orchestrated by Germanicus. Both the role of music and the training practices recorded in this case study differ fundamentally from the first, which offers an important point of contrast and adds depth to the investigation of auditory cues in a training context. This study


Malcolm Charles Pollard

It is easy simply to attribute the high profile of Sollers, the numerous autobiographical details in his novels, and also the espousal of so many different views and causes, to egocentrism and opportunism. Alternatively, one could say that they are all significant elements in an ongoing enquiry into the role of fiction in a society where attitudes are often thought to be determined more by images than by the written word. Given Sollers's questioning of society's conventional images (as in Debord's notion of the 'spectacle'), his awareness of his own role in the media, and his interest in developing a discourse on the visual arts, how do such concerns come together to create new forms of fiction and a coherent aesthetics? These seemingly disparate questions are all in fact related to Sollers's desire to challenge the accepted parameters of representation by creating an alternative scene in the novel, a subject which forms the basis of this book.