Celebrity and Stardom
As the idea of stardom emerged in 1940s America, celebrity paper dolls grew tremendously in popularity. Hollywood starlets were shining examples of what the ideal American woman should be – elegant, youthful, and domestically capable. Feminine stereotypes of the 1940s were apparent in the house dresses, daywear, and ballgowns found in celebrity paper doll books.
While recognizable names like Rita Hayworth, Elizabeth Taylor, and Hedy Lamarr rose to fame, major movie studios continued to govern the marketing of their client’s likenesses. Movie stars were easier to print than fictional characters, as there were no rights to be fought over. Unlike today, where celebrities have some agency in personal branding, Hollywood stars of the 1940s had little say in how their images were reproduced. Because actresses had little control over their public personas, it is unsurprising that 1940s celebrity paper dolls were homogeneous in appearance and often vaguely resembled their title stars.
Jane Withers, 1940, Whitman Publishing Co.
Jane Withers was a child actress who rose to fame at eight years old in the 1934 film Bright Eyes along with co-star Shirley Temple. While she was a recognizable star, she did not directly benefit from her image being used in paper doll books. As a young girl, Withers represented the target audience of paper doll books and gave users a more relatable option for play.
Claudette Colbert, 1948, Saalfield Publishing Co.
Claudette Colbert
Claudette Colbert, born Émilie Claudette Chauchoin, began her career in Broadway productions in the 1920s. With the advent of talking pictures in the late 1920s, Colbert made her way into the film industry. Colbert's versatility, charm, wit and sophistication made her one of the highest-paid movie stars in the 1930s and 1940s. She won the Academy Award for Best Actress for It Happened One Night (1934). Notable films Colbert starred in include Cleopatra (1934) and The Palm Beach Story (1942), among many others.
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In 1989, Claudette Colbert was honored with a Kennedy Center award of Lifetime Achievement for her illustrious career.
Bette Davis
Ruth Elizabeth "Bette" Davis was an American actress, with a career spanning 50 years and over 100 acting credits. Similarly to Colbert, Davis started out on Broadway in New York, then moved to Hollywood in 1930 to kickstart her film career. An icon of her time, Davis was the first ever actor - male or female - to receive 10 Academy Award nominations (she won 2 of them). Davis's notable films include All About Eve (1950), Now Voyager (1962), and What Ever Happened to Baby Jane? (1962).
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Bette Davis was also known for her distinctive eyes and piercing gaze, and was often filmed in close-ups that emphasized this. Davis's name thus became well known to a younger audience upon the release of a namesake song titled "Bette Davis Eyes," by singer-songwriter Kim Carnes (below). It became a chart-topping worldwide hit and the best-selling record in the United States in 1981.
Bette Davis, 1942, Merrill Publishing Co.
Rita Hayworth
Rita Hayworth was one of the biggest stars of the 1940s, best known as the beloved femme fatale, Gilda. Her identity as a “love goddess” was carefully cultivated to keep her in the limelight. Born Margarita Cansino, Hayworth got her start dancing with her Spanish father. While her ethnicity was acknowledged through highly exoticized and sexualized Spanish dance later in her career, Rita was otherwise considered an all-American celebrity. As one of the most popular pin-up girls—a true bombshell—her likeness was literally used on an atomic bomb. Hayworth, who had not given consent, was outraged that her image was associated with a weapon of mass destruction.
Rita Hayworth in Gilda (photo: IMDb.com)
Rita Hayworth, 1948, Saalfield Publishing Co.
“Men fell in love with Gilda but they woke up with me.”
from Rita Hayworth: Portrait of a Love Goddess (1977) by John Kobal
Movie Starlets
1942, Whitman Publishing Co.
Movie Starlets
1946, Whitman Publishing Co.
Picture-Perfect
Unlike Hayworth or Withers, who were featured in their own paper doll books, these books bundled aspiring stars together. These actresses’ identities were watered down to reflect the ideal Hollywood woman: white, effortlessly polished, with an hourglass figure. While users could experiment with identity through play, feminine stereotypes of the 1940s limited their options.
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These books contained paper dolls of: Anne Nagel, Peggy Moran, Jane Frazee, Anne Gwynne, Helen Parrish, Ann Gillis, Gail Russell, Diana Lynn, Olga San Juan, Marjorie Reynolds, and Joan Caulfield.