Image
Miranda's Hollywood image was one of a generic Latinness that blurred the distinctions between Brazil, Portugal, Argentina, and Mexico as well as between samba, tango and habanera. It was carefully stylized and outlandishly flamboyant. She was often shown wearing platform sandals and towering headdresses made of fruit, becoming famous as "the lady in the tutti-frutti hat."
Miranda's enormous, fruit-laden hats are iconic visuals recognized around the world. These costumes led to Saks Fifth Avenue developing a line of turbans and jewelry inspired by Carmen Miranda in 1939. Many costume jewelry designers made fruit jewelry also inspired by Carmen Miranda which is still highly valued and collectible by vintage and antique costume jewelry collectors (recently featured on America's Next Top Model Cycle 12 Ep. 10). Fruit jewelry is still popular in jewelry design today. Much of the fruit jewelry seen today is often still called "Carmen Miranda jewelry" because of this.
Her image was much satirized and taken up as camp, and today, the "Carmen Miranda" persona is popular among drag performers. The style was even emulated in animated cartoon shorts. The animation department at Warner Brothers seemed to be especially fond of the actress's image. Animator Virgil Ross used it in his short Slick Hare, featuring Bugs Bunny, who escapes from Elmer Fudd by hiding in the fruit hat. Bugs himself mimics Miranda briefly in What's Cookin' Doc? Tex Avery also used it in his MGM short Magical Maestro when an opera singer is temporarily changed into the persona, fruit hat and all, via a magician's wand.
Read more about this topic: Carmen Miranda
Famous quotes containing the word image:
“No far-fetched sigh shall ever wound my breast,
Love from mine eye a tear shall never wring,
Nor in Ah me’s my whining sonnets dressed,
A libertine, fantastically I sing.
My verse is the true image of my mind,
Ever in motion, still desiring change;”
—Michael Drayton (1563–1631)
“For women ... bras, panties, bathing suits, and other stereotypical gear are visual reminders of a commercial, idealized feminine image that our real and diverse female bodies can’t possibly fit. Without these visual references, each individual woman’s body demands to be accepted on its own terms. We stop being comparatives. We begin to be unique.”
—Gloria Steinem (b. 1934)
“The style of an author should be the image of his mind, but the choice and command of language is the fruit of exercise.”
—Edward Gibbon (1737–1794)