Scarlett Style

Since this year is the 70th anniversary of the 1939 classic film Gone With The Wind, I thought it deserved a nod on the blog, due to it's huge fashion influence on the past century. Not only did the film win 8 Academy Awards and became an American classic, but it is probably THE costume film of the era and still continues to inspire fashionistas today. (For proof - they still issue "Barbecue Gown" sewing patterns every Halloween. :) Even if the film itself were not as impeccably crafted as it is (aside from a story line almost devoid of characters with morals or a conscience), the costumes would stand out as some of the most beloved and iconic gowns of the century.

The designer of these magnificent costumes, Walter Plunkett, almost didn't get his job. Although he was hired to costume the film (actors, extras and all), David O. Selznick (one of three directors involved in the film) was not pleased with his designs for Scarlett. They lacked the opulent "over-the-top" factor the producers wanted. Another designer was seriously considered and all seemed lost, but Plunkett surprised everyone by pulling through in the eleventh hour and giving the director what he wanted.

Although the costumes in Gone With The Wind are not entirely historically accurate ("historically inspired" might be the best term) and tend to reflect the shapes and styles popular in the 1930s (as was common in historical films from this era), they fit the production perfectly. Capturing the spirit and storyline is important, and there's a reason why Scarlett O'Hara in her Twelve Oaks barbecue dress has become the stuff of legend, even if her clothing and hair-style are not period appropriate. Each costume; from the ruffled, innocent white dress at the beginning of the film, to the serious, black mourning gown at the end, tells part of the story and follows the main character's journey (albeit usually in an unfortunate direction).

And, of course, the costumes fit the look and personality of the film's leading lady, Vivien Leigh, superbly. Her dark, intense eyes, high cheekbones and pursed mouth are largely accented by what she is wearing in each scene. The gowns give put her into character and provide a canvas on which the life of the stubborn and selfish Scarlett may play out.

I don't know about you, but I think that if there had been an Academy Award for Best Costumes in 1939, Walter Plunkett would have carried it off.

What are your favorite gowns in the film? Any special ideas or fashion-y inspirations?


Image Credits: All photos from simplyclassics.net