Ancient Egypt in Film: A Look at Cleopatra in Hollywood

Ancient Egypt is one of the most fascinating cultures in history because the Ancient Egyptian citizens were far ahead of their time. Since the beginning of the 20th century, when several discoveries of the time period were exhumed, filmmakers have been inspired by Ancient Egyptian life to the point where Egypt is now a mystical fantasy in movies produced by Hollywood. As a result, the fashion in Egyptian-related films has gone through an evolution over the past 100 years. Nevertheless, few have mastered the excitement of the civilization with historical precision of costume.

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The unknown costumer for Theda Bara’s Cleopatra was extravagant in her designs because they didn’t accurately reflect Egyptian fashion at all. It is apparent that the fashion in the film was influenced by the French high fashion of the 1910’s and the Pre-Art Deco era of heavily beaded clothing with dramatic accents. Furthermore, Bara wasn’t wearing a wig, which was one of the main staples of Egyptian fashion during ancient times. In Cleopatra, Bara's hair was smooth and in finger waves with multiple headdresses on top (one including a snake in the front). Moreover, her breasts were covered with conical bra-style tops that included numerous amounts of beads, but Egyptian women rarely covered their breasts with any clothing. The male actors that appeared in the film also wore costumes that were immensely beaded and exaggerated. The headdresses and shentis they were dressed in had more of an ostentatious feel than an Egyptian inspiration. Cleopatra of 1917 clearly portrayed an imaginative side of Egyptian dress, which was probably due to the fact that King Tutankhamun’s tomb wasn’t discovered until 1922. After 1922, replica Egyptian clothing became more precise in Cleopatra films as time went on. 

Although a decade passed between Tutankhamun’s unearthing and the release of Cleopatra of 1934, the costumes in the film still weren’t on target, but improved a fair amount. For example, Claudette Colbert wore a black wig in the movie, but her hair was influenced more by the wavy curls of the 1930’s than the coarse horsehair worn by the women in Ancient Egypt. The costumes weren’t as beaded, or as extravagant, but the body-hugging silhouettes encompassed in the 30’s inspired the fabrics and materials the garments were made out of. In addition, the makeup was perceptibly a product of the makeup in the Golden Age of Hollywood because Cleopatra wasn’t wearing thick elongated eyeliner, but rather long false eyelashes, penciled-in eyebrows, and dark bee-sting lips. Even though the jewelry style became more accurate because Claudette Colbert wore large necklaces, bracelets, and rings, the style echoed the 1930’s because pearls and sapphires were the focus. This Cleopatra had her breasts constantly covered as well, and she was even more modest than Theda Bara’s Cleopatra. Finally, the men in the film were mostly in Ancient Roman costumes, with no trace of Egyptian headdresses or shentis. 

Lastly, Cleopatra of 1963 became an even more defined depiction of fashion in Ancient Egypt. To start off with, the setting included sphinxes and hieroglyphs, which were a major component of Ancient Egyptian culture. But relating to fashion, this film was the most exact thus far. Egyptian makeup was evident because the eyeliner was bold and thick. Elizabeth Taylor wore a headdress of Lower Egypt and multiple black wigs as Cleopatra. Additionally, she carried a crook and flail, key accessories in Ancient Egypt. Jewelry was mainly gold and didn’t take much influence from the jewelry of the 1960’s. Furthermore, the film included various colors that were prominent in Egyptian culture. However, some of the clothing Cleopatra was dressed in represented the modesty of the 1960’s because the sleeves and hemlines were too long to imitate the clothing from Ancient Egypt. Yet, this was the first Cleopatra film to accurately illustrate Egyptian men’s fashion because the male actors were seen in thick collared necklaces, headdresses representing their locations in Egypt, and shentis. 

I Am Nostalgia

Do you ever get the vibe that you're more connected with prior periods of time than you are with the present?

I've realized that I'm not only drawn to vintage fashion, but all components of my life extract elements from previous eras.

Any shade of red lipstick will do, whether it's classic red or vampy black cherry. There's no other route for me to take with makeup or I don't feel like myself. Fundamentally, I am naked without red lipstick. The more Lucille Ball or Arleen Whelan my hair, the better it looks. I wish every day of my life that the Nestlé Permanent Hair Wave was prevalent and still in existence so I could have the finger wave look of the 20's and 30's. And even when I don't put too much time into sculpting my hair, I turn to a close imitation of 40's Victory Rolls in an up-do.

Now my apartment has no elements of modernity present inside. I integrated characteristics of the Rococo period into its style. For instance, the colors are the major ones that appeared all throughout 18th century decadence: seafoam, light pink, cream, and gold. Tapestries depicting the elegant life in the 1700's adorn my walls imported from Germany, Italy, and Belgium. My plates are even Marie Antoinette inspired with portraits of Pompadour ladies wearing ship, flag, and flower bouquet hats on top of their extra-high powdered wigs. The more romantic, the happier I am.

And where do I begin with the media I am fond of? I think I've covered most period television shows and films, and if I haven't, then I'm currently watching them. As of the moment, I most enjoy Vikings, Call the Midwife, Parade's End, and The Americans. Still, the film I can put on repeat and never tire of is Pride and Prejudice. Out of every last book I've recently read, Rules of Civility stands out. The detailed lives of those living in New York in the sophisticated 1930's is a story especially intriguing and unforgettable.

Although I don't frequent the night scene too often, when I do, the bars I visit aren't dive bars loaded with an array of beers and fried anythings, but authentic speakeasies that actually existed during prohibition. The one I most adore is Clover Club, inspired by the gentleman's Clover Club from the 19th century to the 1920's that congregated at the Bellevue Hotel every month. The cocktails are reminiscent of another generation and the setting takes you to a time when it would feel scandalous to take a sip of alcohol. 

Besides the usual stops at the market and pharmacy, the only shops I frequent are antique and vintage boutiques. I cannot get enough of looking through relics from the past that all have a particular story to tell. Items from shoes to garments to glassware were all crafted with much more care and quality than in the present.

Let's not forget music. I don't frequently have an iPod in my ears because I deny the obsession with technology. Yet, when I listen to music, I get lost in jazz from the 20's, Big Band from the 30's, and the eloquent voices from the 40's and 50's. Sixties music provides a range of elements I'm attracted to as well. A unique voice and instrumental talent was treasured in the past, which is why the equation is me + vintage music = love. 

I know, I know. Old cars don't have airbags, aren't safe, and cost more than chump change if they have a problem that needs fixing. However, that doesn't mean I can't be crazy about them. There's nothing like seeing a vintage car pass you by when you're in a sea of modern plastic boxes trying too hard to seem futuristic and sleek. Vintage cars just emit an aura: beauty and class emanating through every single atom.

Furthermore, I know you're surprised, but Disneyland is not my preferred travel destination, nor is hiking through volcanoes in Hawaii. I prefer touring the majestic castles erected during 15th century Europe, strolling along a cobblestone road lined with antique shops in Rothenburg ob der Tauber, or picturing what the Parisians felt in the Moulin Rouge during La Belle Époque (such as in Midnight in Paris). 

Finally, what would my life be without work and school? Well, of course I'd only search for the most fitting intern position at Helen Uffner Vintage- a 6,000 square foot warehouse with an amass of special vintage clothing, accessories, and shoes from the 1850's to 1980's to rent out to films, theater, television, and editorial work. Working there is a dream. Nevertheless, acquiring a place such as that museum is a goal to aspire to. Plus, I want to own all of the rental pieces (it's hard to resist). The most enticing classes at school for me have always involved history. Whether it was fashion history (also touching on cultures of the world), American history, or an entire semester learning about The Beatles, former decades have always been my go-to.

Thus, there's no question, the past weaves into my present through all aspects of my being. 

A 1920's Work of Art

For years now, I've wanted to acquire my own genuine artifact preserved from the deco age- the 1920's. All created then was exquisitely beautiful, artistic, and intricately crafted. At first, I thought I would be able to search and search to find an agreeable deal on an authentic 1920's beaded dress. Nevertheless, it turned out that the most structurally sound and wearable articles are beyond what I can even comprehend to afford to pay for them.

Fortunately, my experiences have turned me in another direction: purses. A plethora of uniquely beaded bags with origins from France, Germany, and even the United States are unmatched by any other time period. Because of my time spent working at Helen Uffner Vintage with close contact to unimaginably mind-blowing relics, I have become inspired by each and every purse that captivated the Art Deco Era.

From completely beaded, beaded with metal frames, beaded with ornately detailed frames, beaded with celluloid accents, crocheted with beads, micro-beaded, metal mesh, enameled metal mesh, steal beaded, and so on, there are infinite options. Undoubtedly, there was no other decade with as many works of art gracing a woman's beaded wristlet than the roaring 20's. Luminescent colors ranged from emerald to turquoise to sapphire to violet to ruby to coral to bright white. Pictures were formed from tiny beads: swans swimming in a pond beneath a clear blue sky, a scenic mountain view glimpsed through a European cottage, and a bountiful cornucopia surrounded by fruit and flowers. These traveling masterpieces debuted on every woman's wrist. 

Thus, after such an infatuation took over me with these 90-year-old showpieces, I realized my calling was to purchase one of the purses for myself. I knew I had to have one that was all intact because I can't sew (and definitely not tiny beads that need to be restrung). While I was taking a break from New York at home in Arizona, I stopped in to this quaint antique shop in a house called Cherry Street Antiques. There were cases of older heirlooms all over the shop, signifying it was imperative for me to look carefully.

I inspected about 20 different 1920's beaded purses. All were inspiring, yet entirely out of my price range, with more than one flaw (which is perfectly acceptable, but with me, I like to wear my vintage in addition to admire it). Finally, one caught my eye during my assessment. Probably one of the most exceptional beaded bags I have ever seen, mint condition, and only 45 dollars, instead of a whopping 120 to 300 dollars. 

When I realized this 1920's bit of history was meant to be mine, a thrilling and accomplished feeling came over me. I now would be an owner of a piece of deco art. And how often do you see mimicked zebra-like stripes fashioned out of tiny beads attached to a pewter frame adorned with cherubs matched together for the perfect juxtaposition in an accessory that was meant to be carried by a woman on her elegant evening out? Never.

I lucked out with a one-of-a-kind for sure.