The curse of this thing is the Technicolor blood: why need vampires be messier eaters than anyone else? – Criticism to the British Board of Film Censors on viewing Dracula (1958)
Horror has crept under our skin and is currently racing through our veins. We’ve become a culture obsessed with gore, fear and more importantly, fangs – as vampires become an increasing cultural obsession it’s no coincidence that they happen to be the supernatural beings with the most sartorial flair. Who wouldn’t risk a brush with death for one night as a fangbanger? And we’re equally responsible this side of the Atlantic. The League of Gentlemen’s Jeremy Dyson’s West End screamathon Ghost Stories recently extended its run due to popularity, and Mark Gatiss’s equally chilling ‘History of Horror’ on BBC4 garnered great reviews.
No wonder the time is ripe to resurrect a horror classic. Hammer Films have been dragged back from the grave, their first feature of the millennium being Let Me In (2010) – a remake of the Swedish Let the Right One In, swiftly followed by Wake Wood (2011) and The Resident (2011) which fittingly features a cameo from Christopher Lee.
Due to hefty investment, Hammer is fast becoming a cross-platform content producer, keen to capitalise on their heritage as a great British brand. And what a heritage they have. Founded in 1934, it wasn’t until the mid ’50s that they had their first run-in with horror, the sci-fi classic The Quatermass Xperiment (1955) which became an unexpected hit.
Their next endeavour, The Curse of Frankenstein (1957) saw the first ever pairing of Christopher Lee and Peter Cushing which would become the stuff of horror legend. As Hammer’s first gothic (rather tha sci-fi) horror it cemented the Hammer formula that would last until the ’70s, and along with the next two films Dracula (1958) and The Mummy (1959), served to create something of an unholy trinity for the Hammer studios; it marked a resurgence in gothic horror that hadn’t been seen since the equally iconic pairing of Bela Lugosi and Boris Karloff twenty years earlier. (For more on Hammer’s Frankenstein series see this comprehensive post.)
The use of colour technology had moved on considerably since the early ’30s, which gave Hammer a gory edge over its monochrome predecessors. The Curse of Frankenstein (1957) was the first film to show blood in a graphic way – bright red, and not afraid to ooze, drip and splash. Audiences went wild.
As tastes changed in the late ’60s and ’70s the Hammer formula began to look staid, and became almost a parody of itself. Psychological horrors like Rosemary’s Baby (1968) were becoming more sophisticated, and subjects turned to inner demons rather than old-fashioned monsters. Instead of toning down, Hammer did the opposite and upped the kitsch-stakes, increasing the sexual content and churning out glorious lesbian-tinged trash-fests like Vampire Lovers (1970) and Lust for a Vampire (1971), which have since been hailed as camp cult classics but signaled the death knell for Hammer. The company finally ceased production in the mid ’80s.
Horror films have provided rich inspiration for designers, especially those of a somewhat macabre sensibility (McQueen without horror would be like Cavalli without leopard print – the Savage Beauty retrospective at the MET is evidence enough). With the Seventies trend in full swing, it was only a matter of time before the rustic Paganism of films like The Wicker Man (1973) was referenced, as highlighted on Threadbared in the Pamela Love presentation. Last year saw the ultimate fusion of fashion and horror as Rodarte were asked to collaborate on the costumes for Black Swan (2010). The resulting controversy aside, the Mulleavy sisters have had a long-standing interest in horror-aesthetics, taking Japanese horror films as a starting point for their A/W 2008 collection.
Rodarte A/W 2008 from Style.com
The recent exhibition of Gothic style at the FIT featured an eclectic array of designers such as Jean Paul Gaultier and the inevitable McQueen, and told us how important fashion is to create a dark aesthetic; From its origins in 18th century gothic literature of terror to its contemporary manifestations in vampire literature and cinema, the gothic has embraced the powers of horror and the erotic macabre. Throughout its history, fashion has been central to our vision of the gothic (see more here).
Mourning dress and hat (1870s); Dior evening dress inspired by the Marquis de Sade and the French revolution (S/S 2006); Kazuko Ogawa Gothic Lolita dress from Japan (A/W 2008). From Gothic: Dark Glamour at the FIT
The designer Maaike Mekking took inspiration from cult ’70s blood-fest films for her S/S 2010 ‘Contemptation’ collection. In true ‘first comes the blood, then comes the boys’ style, she shot an edited selection of the collection being drenched in blood (featuring yours truly).
The film also starred rock ‘n roll baker Lily Vanilli who is also known for her macabre aesthetic. Author of A Zombie Ate My Cupcake! Lily’s baked goods are a far cry from the ubiquitous powdery pink, twee cupcakes on offer just about everywhere else. Lily offers a far more interesting selection, from body parts and tombstones, to beetles and her infamous Bleeding Heart Cakes.
Irresistible. Red velvet sponge, cream cheese frosting and blackcurrant and raspberry blood. These beauties are now available at Lily’s new bakery at 6 The Courtyard, just off Columbia Road in East London.
With horror influencing everything from fashion to baking and music, it seems the resurrection of Hammer Films is a timely affair. And with Topshop getting in on the Freddy Kruger action, you know it’s a trend that’s not destined to die a natural death.