The gamine is a popular archetype of a slim, often boyish, elegant young woman who is described as mischievous or teasing, popularized in film and fashion from the turn of the 20th century through to the 1950s. The word gamine is a French word, the feminine form of gamin, originally meaning urchin, waif or playful, naughty child. It was used in English from about the mid-19th century (for example, by William Makepeace Thackeray in 1840 in one of his Parisian sketches), but in the 20th century came to be applied in its more modern sense.
In 1997 the publisher HarperCollins drew up a list of 101 words – one a year – that defined the years 1896 to 1997.[1]Gamine was chosen for 1899, being described by Philip Howard in The Times as follows:
Gamine has been used particularly to describe women in the performing arts or world of fashion. In that context, the closest English word – of Anglo-Norman origin – is probably "waif" (although "gamine" is often seen as conveying an additional sense of style and chic). For example, in a press release of 1964, impresario Andrew Loog Oldham described the 17-year-old singer Marianne Faithfull as "shy, wistful, waif-like";[3] and writer and musician John Amis referred to German-born actress Luise Rainer (1910–2014) as Paul Muni's "waif-wife" in the 1937 film, The Good Earth.[4]
Gaminerie has sometimes been used in English with reference to the behaviour or characteristics of gamin(e)s.
In the early 20th century, silent films brought to public attention a number of actresses who sported a gamine look. These included the Canadian-born Mary Pickford (1892–1979),[5] who became known as "America's Sweetheart" and, with her husband Douglas Fairbanks, was one of the founders of the film production company United Artists; Lillian Gish (1893–1993),[6] notably in Way Down East (1920); and Louise Brooks (1906–1985),[7] whose short bobbed hair, widely copied in the 1920s, came to be regarded as both a gamine and a "Bohemian" trait (this style having first appeared among the Paris demi-monde before World War I and among London art students during the war.[8]) In 1936, Charlie Chaplin cast his then-girlfriend Paulette Goddard (1910–1990) as an orphaned gamine (credited as "A Gamin") in one of his last silent films, Modern Times.[9]
In the 1950s "gamine" was applied notably to the style and appearance of the Belgian-born actress Audrey Hepburn (1929–1993): for example, in the films, Sabrina (1954) and Funny Face (1957). Hepburn also played the role of the gamine Gigi in New York (1951) in the play of that name, based on the novel (1945) by Colette, who had personally "talent-spotted" her when she was filming in Monte Carlo.[10] On film and in photographs, Hepburn's short hair and petite figure created a distinct and enduring "look", well defined by Don Macpherson,[11] who cited her "naïveté which did not rule out sophistication", and described her as "the first gamine to be accepted as overpoweringly chic".
Audrey Hepburn's most iconic "gamine" role, as the main character Holly Golightly, came in 1961's Breakfast at Tiffany's. In many ways, the "gamine look" of the 1950s paved the way for the success of the following English models: Jean Shrimpton (b. 1942), one of the first to promote the miniskirt in 1965; Twiggy (b. Lesley Hornby, 1949),[17] who became "The Face of '66";[18] and Kate Moss (b. 1974),[19] associated in the 1990s with the "waif" look and what, notably through an advertising campaign for Calvin Klein in 1997, became known as "heroin chic." Moss was part of a trend of "wafer" thin models which was satirized in Neil Kerber's strip cartoon "Supermodels" in the magazine Private Eye.
Penelope Chetwode (1910–1986), later Lady Betjeman, wife of the Poet Laureate, John Betjeman, was described by Betjeman's biographer A. N. Wilson as "gamine of feature, but large-breasted".[58]Corinne Bailey Rae alleged that she was called a gamine in her song, "Choux Pastry Heart" (2005).
In the modern romance The Life and Loves of a She-Devil by Fay Weldon, one of the female characters is a 'gamine', wife of the Doctor Black, the surgeon of Ruth Patchett, the heroine of the story.