in volume at that time. This has seen the price of purchased costumes becoming more and more affordable. Coupled with the modern trend in costume parties, 'retro' fashion as a costume theme (such as a 1970s or 1980s fancy dress) is also popular, the costumes to some extent parodying or pastiching the fashions of earlier decades. Amongst the most popular parodied costumes are: Audrey Hepburn (as Holly Golightly), Madonna in her classic stage outfits, and more recently Lady Gaga. Fancy dress parties are popular year round in the United Kingdom. The 1996 novel Bridget Jones's Diary features the classic British costume party theme "Tarts and Vicars" at which the women wear sexually provocative ("tart") costumes, while the men dress as Anglican priests ("vicars"). Fancy dress parties have been held by the British Royal Family. Prince William, heir to the British Throne, celebrated his 21st birthday with an "Out of Africa" theme, Princess Beatrice of York chose an 1888 themed party for her 18th birthday, and Lord Frederick ("Freddie") Windsor and his sister Lady Gabriella Windsor, celebrated a joint birthday party with a pre-French Revolution courtly theme. United States Nineteenth century In late nineteenth century New York, costume parties were popular amongst the affluent. Costumes were typically historical European aristocracy. Authenticity was important, even extending to using actual period elements. For example, Cornelia Bradley-Martin attended her own party, the notorious Bradley-Martin Ball, dressed as Marie Antoinette, wearing jewellery actually owned and worn by Antoinette herself. The choice of aristocratic costume allowed rich Americans, with relatively limited family history, to assume some element of history and legitimacy. This coincides with the celebration of Halloween in the United States during the late nineteenth century. As a reaction to Halloween pranks and vandalism brought to the country by Celtic immigrants, women's magazines introduced a new, middle-class rendition of the holiday that would come to assert women as the dominant celebrants of Halloween throughout the coming decades. It sought to enforce the ideals of white Anglo-Saxon Protestants by encouraging young people to partake in tame, preferably indoor, activities instead, often with a focus on romance. While the middle and upper classes shifted their Halloween celebrations toward these new actives, including costume parties, the poor and immigrant populations of the United States continued to celebrate in the ways that they always had, demonstrating the effect that class differences had on costume parties during this time. Twentieth