Goddesses in the Machine: Fashion in American Silent Film

By Apollo, 11 September 2026


Before the ‘talkies’ revolutionised Hollywood in 1927, film-makers had to get creative to convey a sense of character on screen. One way of expressing personality was through clothing, and the Bard Graduate Center has gathered an impressive array of costumes, accessories, photographs and film clips to chart how fashion influenced early American cinema and vice versa (18 September–3 January 2027). Only one in five films from the silent era have survived, and original garments and costume jewellery are even rarer, but that hasn’t crimped the scope of this exhibition, which explores fan culture, wardrobe departments, gender-bending in silent cinema and the influence of Mexican and Indigenous apparel on cowgirls’ clothes on screen. The curators have been particularly playful with the opening gallery, which brings a cinema foyer from the 1910s to life complete with programmes, posters and pre-show announcements.

Find out more from the Bard Graduate Center’s website.
Preview below | View Apollo’s Art Diary

Picture hat worn by Lulu Glaser (c. 1910). Jimmy Raye Collection. Photo: Joel Benjamin
Mae Murray, photographed by Ruth Harriet Louise. Robert Dance Collection
Gown (1914) worn by Lilian St. Cyr in The Squaw Man (Jesse L. Lasky Feature Play Co.) and In the Days of the Thundering Herd (Selig Polyscope Co.; both 1914). Wisconsin Center for Film and Theater Research