Marlene pants
Marlene trousers , also known as Marlene Dietrich trousers , is a technical term from fashion and denotes wide, straight suit trousers made from particularly soft woolen fabrics and a foot width of up to 54 cm, borrowed from men's fashion. The name goes back to the German film actress Marlene Dietrich and has been used in fashion magazines since 1932.
background
Originally the Marlene trousers were made of soft wool , later also made of fine worsted yarn . It was based strictly on the style of classic men's suit trousers, which were cut up to the waist , with pleats and banana pockets or French pockets . In the original, the pants ended with the large foot width up to 54 cm just above the floor or halfway up the heel. Since then, the shape of the pants has seen a great variety of designs. Fashionable variants are sometimes just ankle-length or shorter. Since then, the material has also varied to include more flowing and less classic suit fabrics.
In film classics such as Morocco (1930) and Blonde Venus (1932) by Josef von Sternberg , Marlene Dietrich wore a tailcoat, waistcoat and top hat with wide men's trousers and still looked feminine. It is unclear what say she herself had in choosing the costumes in the films.
The fashion journalist Else Meissner wrote about Marlene Dietrich's inspiration in 1933 : “Some say that their manager was to blame, while others think it was the mood of a spoiled woman that made Marlene Dietrich look after her long, recognized legs Men's fashion tailored trousers to pin. She herself claims with a smile that it is only a small step from house pajamas to evening tuxing , which, however, requires courage ... "She spoke of her" sincere preference for men's clothing ", that she" looked more attractive "in them and was convinced that" in to have complete freedom and comfort in these clothes ”.
She described why she preferred men's clothing with her own pragmatism. She doesn't want to cause a sensation or a revolution against women's clothing, but rather women's clothing requires so much time and is so tiring because hats, shoes, handbags, scarves and other things have to go together. “It takes a lot of thought and the most precise selection, and I really don't have the time or interest for that. And every month the fashion changes. And you have to start again. "
According to her own statement, she did not begin to wear men's clothing in public until the summer of 1932. “It was really just a matter of convenience.” Marlene Dietrich even had her daughter made similar suits so that she felt “much more free and uninhibited”. “I don't care what people say about it. I only want to hope that other women will soon try to wear men's suits instead of women's clothes, and that they will experience the same comforts as I do and are happy that they have been freed from all constraints and the conventions of women's fashion. "
Marlene Dietrich's fondness for trouser suits and accessories such as waistcoats , ties and wide-brimmed hats ensured that actresses , artists and avant-garde women in the fashion capitals of Paris , London and Hollywood have adopted her personal clothing style many times over and adopted it internationally in women's fashion. The sensation of their external appearance has an impact by leaving the fashion world with an eternal look. She became a style icon, her adaptation of men's clothing a technical term. “Men's clothing and the imitation of the masculine had been apparent since the 1920s and, under Marlene Dietrich's influence, acted like an initial spark for women. Fashion designers cannot help but orientate themselves by their style. The wide trousers with pleats and a turn- up will go down in the annals of fashion history as Marlene trousers. That is one of the uniqueness of this fashion century ... "
literature
- Erika Thiel: History of the Costume. European fashion from the beginning to the present. Henschelverlag Art and Society, Berlin 1980, ISBN 3-89487-260-8 .
- Alfons Hofer: Textile and fashion dictionary. Deutscher Fachverlag, Frankfurt am Main, 1988, 6th edition, ISBN 3-87150-280-4 .
- Gundula Wolter: Pants, female. Cultural history of women's pants. Jonas-Verlag, Marburg 1994, ISBN 3-89445-176-9 .
Individual evidence
- ↑ Alfons Hofer: Textile and Model Lexicon . 6th edition. Deutscher Fachverlag, Frankfurt am Main 1988, ISBN 3-87150-280-4 , p. 583 .
- ↑ Marlene-Hose: The epitome of emancipation. ELLE, accessed February 10, 2020 .
- ↑ Gundula Wolter: Pants, female . Jonas-Verlag, Marburg 1994, ISBN 3-89445-176-9 , p. 318 .
- ↑ a b c d Marlene Dietrich interview . In: My film . No. 381, 1933.
- ↑ Annette Gilles: Marlene is alive! In: Textile Economy . No. 21 . Frankfurt am Main May 21, 1992.
- ↑ Ina Krauss: Nonchalance instead of "Femme fatal" . Ed .: Young World. Berlin May 15, 1992, p. 32 .