In 1917, the feathered starlet was created in the chaos and confusion of World War I, as wealthy global French singer Gaby Deslys performed for Parisians, Allied troops, and other international stars. Laissez-les tombe! Let Them Fall is a stunning spectacle with rhinestones, ostrich feathers and beauty.
Deslys’ revue, which featured showgirls in red, white, and blue feathered dresses, was a triumphant new addition to Paris. Massed feathers, dancing in the streets and body displays were all part of a celebration of French extravagance. They also communicated to Germany that France would not be bowed down by Germany.
Henri Manuel’s 1919 photograph of Gaby Deslys in her ostrich feathers and jewels.
Wikimedia
Deslys, a woman of extravagant jewellery and feathered hats who had affairs with men like Harry Selfridge (the department store magnate) and King Manuel II Portugal created many headlines before 1914.
She was vocal about the right of women to earn their own money and raised funds tirelessly for the Allies during World War II. Deslys paid all of the costumes for the Parisian Nightlife. Laissez-les tombe! herself.
Since then, Deslys has had a profound cultural impact on feathers, celebrities, and showgirls.
The French on Broadway
Feathered Showgirl Revues became so popular, they were quickly exported to other countries. Florenz ziegfeld, an impresario in 1920s New York who staged lavish Broadway productions to glorify the American showgirl.
He made an exception for American women. Dolores was one of Ziegfeld’s most celebrated showgirls. She was born in poverty as Kathleen Mary Rose, in London’s East End. She became a supermodel and walked for Lady Duff Gordon, also known as Lucile.
Ziegfeld regarded Dolores as one of the most beautiful women in the world. She was tall, graceful and slim. Ziegfeld loved her when she glided on stage in Ziegfeld costumes and displayed her opulence.
Showgirl and haute couture designer ‘Dolores,’ dressed as the White Peacock from Ziegfeld’s Midnight Frolics in 1919.
Wikimedia Commons
Dolores made her fortune as a model by becoming a Showgirl. She earned the equivalent today of US$10,000 per week in 1923.
The feathered aesthetic was also adopted by other performers, such as the twins Jenny Dolly and Rosie Dolly. They were born into humble circumstances but used their talent, beauty and dedication to conquer American and European stage in the 1920s.
Ziegfeld gave the Dollys 64,000 dollars per week in 1915. They were also known for the same things as Deslys: their love of fashion, and having affairs with celebrities.
Dolly Sisters, performers of Ziegfeld Follies in 1910s and 1920s.
Metropolitan Museum of Art
Stage revues were no longer popular around 1930, due to the high cost and rise of the cinema. So the actresses went to Hollywood.
She was honoured in films like The Great Ziegfeld, (1936), with feathered, glittering costumes designed by Adrian.
Deslys, a showgirl from 1917, was credited with boosting troop morale during the Second World War.
Hollywood produced feel-good movies, including The Dolly Sisters (1954-5), in which Betty Grable (1940s) and June Haver (1945) were cast as 1940s pin-up girls to reimagine the twins’ brunette appearances.
Hollywood to Vegas
The American showgirl performed in all the hotels and casinos on the Strip in the 1950s through the 1960s.
These performers are akin to the old showgirls, whose allure came from their beauty and grace. They also wore extravagant costumes designed by world-renowned designers.
The showgirl was a staple of Las Vegas’ entertainment in the 70s and 80s. Donn Arden, Madame Bluebell and Bob Mackie created the signature visual spectacles with costumes designed by Bob Mackie.
One such revue was Jubilee! which debuted at the MGM Grand in 1981. The show was credited with causing a worldwide shortage of Swarovski Crystals due to its massive plumes.
Backstage, showgirls prepare for Jubilee’s opening act in 2001.
AP Photo/Joe Cavaretta
The old MGM Grand was renamed Bally’s Casino in 1986, but Jubilee stayed. stayed. Some of the costumes costing more than US$7,000 (roughly US$25,000 in today’s dollars) were worn six nights per year by 18 staff members for over 35 years.
Jubilee! Closing in 2016, its costumes are still valuable cultural items that stars borrow for reinterpreting the American showgirl to 21st century audiences.
Showgirls can be independent, talented and hard-working women.
Taylor Swift: From Vegas
Dita von Teese, a burlesque artist from Los Angeles, is inspired by the legacy of American showgirls and wears costumes made for Jubilee. In her Las Vegas cabaret she cited the 1945 Dolly Sisters movie as an inspiration.
Pamela Anderson donned Jubilee! Costumes in The Last Showgirl 2024, a movie that shows the sacrifices women performers have to often make to follow their dreams.
Taylor Swift, the latest pop star to embrace showgirl icons.
Swift in the Jubilee! Mackie’s “Diamond”, “Disco”, and other costumes.
Swift is also seen in another photo wearing a dark bobbed hairstyle and an ostrich feather cloud, which are a reference to the 1920s American performers and showgirls such as The Dolly Sisters.
Swift has stage outfits designed by some of the most renowned fashion designers in the world, and her lyrics often make reference to historical figures as a way of criticizing the treatment that female performers receive from the media.
Mackie’s Jubilee is the best choice! Swift can become an American Showgirl by wearing the costumes. She will be able to tap into the glamour of the past and show that she has also worked hard to achieve success.
