The Southwestern Historical Quarterly, Volume 101, July 1997 - April, 1998 Page: 44
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44 Southwestern Historical Quarterly July
"Better Dressed British Pictures," her verbal crusade enthusiastically
reported by the press during the late 192os and early 1930s.42
Gordon Conway intended to influence the way British films were
dressed, as well as the look of films in general. She urged motion picture
leaders to adopt the wardrobe organizational structure of Hollywood
studios like M-G-M and Paramount. The designer realized that costumes
not only defined the character roles of the performers but also made a
fashion statement for women movie-goers. Conway's scheme empha-
sized the Hollywood strategy of costume publicity and tie-ins with the
fashion market aimed at a growing female audience. However, Conway's
desire to transplant a modified version of Hollywood's costume set up to
England did not include replicating Hollywood movies in toto in order
to meet competition in the international marketplace. In fact, as one
exposed from an early age to an astonishing number of movies from
Dallas to Lausanne, and from New York to Paris, Conway possessed a
cosmopolitan view of cinematic themes, subject matter, and techniques.
Over the years she supported the dictum of "indigenous" English cine-
ma espoused by Michael Balcon-the legendary Gaumont-British pro-
duction chief and pioneer in the British film industry, as well as
Conway's future boss. He challenged the board policy at Gaumont-
British, which pursued world markets by mimicking Hollywood pictures.
Making a plea for films with "genuine British character," Balcon insisted
that the studio could "become international by being national."43
As to Conway's ambitions in the field of art direction, she experienced
hopeful signs during her first two years in the motion picture business,
beginning with director Graham Cutts's commission to dress Confetti in
1927. Working alongside art director Norman G. Arnold, she orchestrat-
ed part of the look of this splashy silent film, although without screen
credit. Shot at Rex Ingram's studio in Nice, this First National-Path6
production allowed Conway to work with Cutts and his production team
dealing with minor casting and the selection and purchase of set props.
She worked on lighting with cameraman Roy Overbaugh, script revision
with Douglas Furber, and offered insight into the carnival scenes shot
on location, which was based on Conway's first-hand knowledge of the
4 Ibid., 158-160; Gordon Conway diaries, GCC. For important books on costume design see
Elizabeth Leese, Costume Design in the Movies (New York: Frederick Ungar, 1976); Bobbie Owen
(ed.), Costume Design on Broadway: Designers and Their Credits, 1915-1985 (New York: Greenwood
Press, 1987), 39-40; Susan Perez Prichard (ed.), Film Costume: An Annotated Bibliography
(Metuchen, N.J.: Scarecrow Press, 1981); Catherine A. Surowlec (ed.), Cinema Design (London:
British Film Institute Publishing, forthcoming).
49Low, The History of British Film: 1918-1929, 71-106; 156-199; Brown and Kardish (eds.),
Michael Balcon, 27, 51.
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Texas State Historical Association. The Southwestern Historical Quarterly, Volume 101, July 1997 - April, 1998, periodical, 1998; Austin, Texas. (https://texashistory.unt.edu/ark:/67531/metapth117155/m1/72/: accessed May 5, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; crediting Texas State Historical Association.