(AP Photo)

As Beaton’s first move into the artistic world came as a photographer, his early sense of style involved becoming an ardent scrapbook creator, utilizing photographic montages to create new work out of his photography. [1] This type of compilation fed directly into his work as a costume designer, where he would sometimes juxtapose overly dressed figures of the past with minimalist, contemporary counterparts to highlight how both states could be excessive. [2] Regardless of these excessive designs, his work always came off as “marvelously extravagant and opulent in line, color, and fabric.” [6]

As Beaton made the move to the stage and costume design, his taste for nostalgia became a stylistic trademark for his designs that were featured in ballet, opera, and theatrical productions. [4] While some reviewers noted that Beaton defined British snobbery, he still received many lauds and awards. In fact, Beaton received adulation for dressing both Hepburn’s, receiving a Tony for dressing Katherine Hepburn in the 1969 Broadway production of Coco and an Oscar for dressing Audrey Hepburn in the 1964 film My Fair Lady. [5]

(AP Photo)

As Beaton’s early career on the stage overlapped with the post-war era, his work sought to use lavish designs to help lighten the gloom of destruction in the wake of the Second World War. [7] Beaton spent this era reconstructing the Edwardian era in his designs, and this reconstruction would not achieve its full glory until his work on My Fair Lady. [8] Following this high point in the Edwardian look, Beaton felt it was time to move on to slightly more modern designs, and took this opportunity to redecorate his home and reflect his shift from the Edwardian influence that had built up his career. [9]

Beaton’s style would outlive him, noted by Christopher Petkanas in a 2016 New York Times article that described the late artist “as a continuing commercial franchise.” [3] Today, while remembered primarily for his work in Hollywood, his lavish stage designs, and his popular photography, Beaton has had an undeniable impact on designing in the modern era.

 

[1] Janes, Dominic. “Cecil Beaton, Richard Hamilton and the Queer, Transatlantic Origins of Pop Art.” Visual Culture in Britain, vol. 16, no. 3, 2015, 314.

[2] Janes, 319.

[6] Jorgensen, Jay, and Donald L. Scoggins. Creating the Illusion: A Fashionable History of Hollywood and Costume Designers. Running Press, 2015. 132.

[4] Chambers, Colin, ed. “Beaton, Cecil.” The Continuum Companion to Twentieth Century Theatre. 2010.

[5] Jorgensen, 130.

[7] Spencer, Charles. Cecil Beaton: Stage and Film Designs. St. Martin’s Press Inc., 1975. 33.

[8] Ibid, 11.

[9] Haslam, Nicky. “Flashback: Nicky Haslam recalls partying with Cecil Beaton, 1979.” Telegraph Magazine, 2016.

[3] Petkanas, Christopher. “Cecil Beaton Is Back in a Big Way.” New York Times (Online), 11 Mar 2016.

Images: Above right: “USA Los Angeles Cecil Beaton.” Associated Press Images, 1963, <http://classic.apimages.com.dartmouth.idm.oclc.org/OneUp.aspx?st=dl&id=4a1130267dc142a08a82d919c3dc1364&showact=results&sort=relevance&sh=14&kwstyle=and&dbm=PY2000&adte=1495668433&ish=x&pagez=60&cfasstyle=AND&rids=4a1130267dc142a08a82d919c3dc1364&page=1&xslt=1&mediatype=Photo>. Below left: “USA Los Angeles Cecil Beaton.” Associated Press Images, 1963, <“USA Los Angeles Cecil Beaton.” Associated Press Images, 1963, <http://classic.apimages.com.dartmouth.idm.oclc.org/OneUp.aspx?st=dl&id=53c79b4431dd452ebb8fca391dacfe51&showact=results&sort=relevance&sh=14&kwstyle=and&dbm=PY2000&adte=1495668650&ish=x&pagez=60&cfasstyle=AND&rids=53c79b4431dd452ebb8fca391dacfe51&page=1&xslt=1&mediatype=Photo>.