In yesterday's post, we explored colors and knitwear through a fashion obituary. Today, let's continue drawing inspiration from knitwear, this time with a subtle twist, by turning to a black-and-white film that has just entered the public domain in the United States: The Wild Party (1929), starring Clara Bow (note: the film includes an uncomfortable scene where some of the protagonists are leered at by drunken men, as well as racially insensitive portrayals, with Black actors primarily cast as waiters and train attendants).
Directed by Dorothy Arzner and based on Samuel Hopkins Adams's novel Unforbidden Fruit, this pre-Code classic marked Clara Bow’s debut in talkies (the film’s audio quality varies across available copies - especially those found online - but some versions include English subtitles for easier viewing).
The story follows the antics of a boisterous group of girls at an all-female college, focusing on the boldest of them all, Stella Ames (played by Bow). All the girls are attracted by the new anthropology lecturer, Professor Gilmore, whom they affectionately call "Gil" (played by Fredric March).
However, Stella has a unique connection to him: she recognizes him as the man with whom she accidentally shared a bed after mistakenly entering his sleeping compartment on a night train ride back to the college. In a cheeky twist, Gil humorously left her a parting gift - a spoon - along with a playful reminder of "the dangers of spooning."
Yet, when Stella and Gilmore meet again in the classroom, he is cold and detached, a stark contrast to their earlier encounter. The plot thickens during a costume party, where Stella and her friends make a striking entrance in skimpy, sequined outfits featuring zigzagging patterns that evoke lightning bolts across the front.
The night takes a darker turn when the girls are harassed by drunken men at a bar, leading to a brawl. Stella finds herself in danger, but she is ultimately rescued by Gilmore. Despite his growing feelings for her, Gilmore is disheartened by Stella's lack of ambition and carefree behavior. However, his disapproval doesn't stop him from falling in love with her.
Stella, meanwhile, remains immersed in her partying lifestyle. Trouble arises when the gang of drunkards Gilmore confronted to save Stella seeks revenge, and Gil is shot. As Gil recovers, he and Stella find their way back to one another.
The drama escalates when Stella's friend Helen faces expulsion for breaking college rules to meet a man. Stella takes a stand to protect Helen, jeopardizing her own standing at the college. For Stella, leaving college isn't an option, but for Gilmore, it is. In a dramatic gesture of devotion, he decides to do so to follow her.
The costumes for The Wild Party were designed by the legendary Travis Banton, and they perfectly complemented the girls' party-centric lifestyle. As a pre-Code film, many of the evening gowns featured here are strikingly daring for their time. Banton's designs favored figure-hugging silhouettes crafted from silky, reflective fabrics, often adorned with feathers or beads, and paired with sumptuous fur coats.
The wardrobe reflects the height of 1920s fashion, showcasing Banton's exceptional talent for blending Hollywood glamour with the sophistication of Haute Couture and French fashion. Before joining Paramount, Banton worked at the prestigious house of Lucile until 1924, eventually launching his own high-fashion label. Known for his glamorous and elegant creations, he later gained acclaim for designing extravagant gowns such as those worn by Rosalind Russell in the Broadway play Auntie Mame (a collaboration with Marusia Toumanoff Sassi).
By the time he worked on The Wild Party, Banton had already cemented his status as Paramount's leading and most innovative costume designer, crafting looks that were as iconic as the stars who wore them.
While the costume party outfits in The Wild Party are undeniably striking, it’s the knitwear that feels particularly modern and timeless. Stella’s evening wear exudes pure glamour, but her daily class attire is simpler yet equally striking. She has a knack for geometric patterns, often wearing thin jumpers adorned with cascading squares that grow progressively larger or streamlined triangle motifs - designs clearly influenced by the Art Deco aesthetic (the clean and elegant font employed for the initials of Stella's name on her nightgown also align with a modernist aesthetic; echoing the architecture and decorative arts of the era, the letters are enclosed in a circle that creates a harmonious and modern appearance - View this photo).
Her friends also sport elegant knitwear, featuring oblique stripes (View this photo) or zigzagging patterns (View this photo). It's a shame the film is in black and white, leaving us to imagine the original colors. Still, some of the scarf patterns and Stella's accessories - like the tie she pairs with a sleeveless white shirt, suspenders, and a pleated skirt (ironically, Stella chooses this more serious "studious girl" outfit to impress Gilmore, only to be accused of plagiarizing an essay while wearing it View this photo) - hint at Sonia Delaunay’s artistic influence and colorful patterns.
Stella's jumpers, with their artistic geometric designs, often gain a personal twist through her choice of scarves or hats, subtly subverting the strict lines and order of geometry to reflect her lively, rebellious character.
So, what will you take away from this film? The glamour of the evening gowns or the edgy, geometrical knits with a twist?
Comments