Interview: Agent Carter costume designer Gigi Melton

Previously: A guide to the 1940s costume design of Agent Carter

Agent Carter combines so many of my favorite things: comicbook adventures, a complex female protagonist, 1940s spy hijinks and, of course, beautiful costumes and set design. The post-war setting is a fascinating period to explore from a fashion history perspective, and I was happy to see that all of the costumes have a strong characterization element as well.

Costume designer Giovanna "Gigi" Melton caught my attention on Twitter with her many behind-the-scenes posts about her work on Agent Carter, and she was kind enough to grant me an interview. Read on for more background on the amazing costumes in this show, plus a selection of Melton's original design sketches.

HelloTailor: How did you go about researching and designing the overall look for the show? Were you influenced by any of the comics, or was it more a matter of exploring the 1940s aesthetic?

Gigi Melton: A combination of much research.  For Peggy the influences were Lauren Bacall, Katherine Hepburn, Hedy Lamarr. The smart, strong, fashionable and beautiful women of the era.

For SSR [Strategic Scientific Reserve] agents Dooley, Thompson, Sousa, and Krzmenski I researched government and detective looks. For eccentric Stark it was Howard Hughes and for Jarvis it was a British nod to tweeds. Coupled with comic book research, I took all of my inspiration and tailored it to create the individual looks for the scripted characters.

HelloTailor: I saw that you managed to source at least one vintage dress for Hayley Atwell, which made me wonder how many other costumes are original pieces from the '40s. A lot of historical dramas try to use a mix of vintage costumes and new designs, occasionally with vintage-style underwear to add authenticity to the look. Is this how you worked with Agent Carter?

Gigi Melton: Most of Peggy was built for the show, however there are  a few amazing vintage pieces in her closet.  We have vintage style lingerie but we modify with other pieces as well because of all the action. For Dooley, Thompson, Sousa and Krzmenski , their sport jackets and suits are about half vintage and half custom, all of their ties are vintage. With the exception of vintage ties, Stark and Jarvis are custom.

HelloTailor: How do you deal with creating clothes for action scenes? That must be tricky, especially since Peggy spends so much time wearing skirts.

Gigi Melton: Lots of multiples. As an example: the gold dress in episode one has a built foundation made with cotton trigger [a sturdy type of cloth], all boned so she do the kicking as well as being slammed around. Otherwise the fabric would have ripped. We make blouses and jackets with specific slits to allow for harnesses. For kicks in skirts I have vintage style black silk tap shorts to wear under.

Carter's disguise from episode 1 was inspired by Veronica Lake.

HelloTailor: Could you tell me a little about Peggy's red hat? Did you realize at the time that it was going to become such an important part of her image?

Gigi Melton: The red hat was scripted as:  A red hat in a sea of gray fedoras. For my design I thought,  Peggy is competing in this man's world, and her hat needs to be powerful to match all the fedoras but still be feminine. I truly had no idea it would take off this way.

Note the red, white and blue color scheme!

HelloTailor: I'd love to know more about how you differentiated between the male SSR agents, since they have to wear relatively similar outfits to work each day. Were you aiming to give Sousa a softer look with his cardigans?

Gigi Melton: For our SSR guys Dooley, Thompson, Krzeminski, and Sousa, each have a distinctive look befitting their character. Chief Roger Dooley (Shea Whigham) wears  strong double breasted suits; Jack Thompson (Chad Michael Murray) wears  single breasted with a fashion edge  coupled with suspenders; Daniel Sousa (Enver Gjokaj) wears sweater vests under his sport coats and pleated pants, I chose the sweater vests as a more approachable look, but also one that he could be comfortable with a crutch ; and Ray Krzeminski (Kyle Bornheimer) is a bit of a slob with his sport jacket, and open collar shirts. 

HelloTailor: Finally, Jarvis really stands out from the other male characters. Were you going for a particularly British style with his tailored suits, as opposed to a more American look sported by characters like Jack Thompson?

Gigi Melton: Yes -- I wanted his look to reflect his British roots, and the Jarvis look is very distinctive to all the other characters . The script  described him as a man in a tweed suit. But I wanted him to have a European style and aesthetic as well. So I felt the direction of a suit and vest, balanced with the casual but beautiful tweeds (which Britain is famous for) created a perfect look for his character as butler and front man for Stark. 

Previously: A guide to the 1940s costume design of Agent Carter
Further reading: ABC's featurette on Agent Carter's costumes, and Tyranny of Style's preview interview.
See also: The Bletchley Circle

Tumblr: HelloTailor
Twitter: @Hello_Tailor

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Behind the seams of the Oscars' costume design category

The Oscar nominees were announced yesterday, and of course I was compelled to write about the costume design category. Specifically, my frustration regarding the kind of films that are routinely ignored, year after year.

Do all of the designers on this list deserve to be nominated? Well, yes. They're all brilliant, and did great work on the films in question. But the selection process for this category is still deeply flawed, and fails to represent the range of talent on offer.

As Roger Ebert pointed out in his unwritten rules of the Oscars, the Academy rarely gives out awards for subtlety. "It never hurts to ask yourself," he wrote, "Who did the 'most' acting? Most editing? Most noticeable cinematography or music?"
In the costume category, this is truer than ever. The award invariably goes to the film with the most impressive and noticeable costumes, whether this means creating a selection of historically accurate crinolines or outfitting an army of elves.
Two ingredients are required for an Oscar nomination in costume design. First, it's helpful to be a familiar face who has been nominated several times before. Secondly, you need to have worked on a historical drama (preferably starring Keira Knightley), a sci-fi/fantasy epic, or a musical—the three genres that produce the most showy and memorable costumes.
Judging by these two criteria, this year's nominees are comfortably predictable.
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A guide to 1940s costume design in Marvel's Agent Carter

Marvel's Agent Carter begins tonight, and I wrote this Daily Dot article to coincide with the first episode. It's a spoiler-free background for Peggy Carter's costumes, and why the show is set during such an interesting period in fashion history.

Set in 1946, Agent Carter's seven-part espionage story is rooted in postwar culture. And like the first Captain America movie, one of its defining features is its 1940s aesthetic, immediately setting it apart from Marvel's other TV show, Agents of S.H.I.E.L.D.

The biggest influence on Western fashion in 1946 was, obviously, World War II. Fabric rationing led to a trend for simpler clothes, and women's fashions suddenly became more practical due to the influx of women joining the workforce—like Peggy Carter, whose career began in the Strategic Scientific Reserve during the war. These factors added up to women wearing low heels and plain, knee-length skirts without pleats or frills, and men wearing suits without cuffs or flaps on the pockets. 

Agent Carter takes place during a dynamic period in fashion history, the transition from wartime austerity to the postwar styles that would define the 1950s. By 1947 the French fashion industry was up and running again, and Christian Dior introduced the so-called "New Look" of nipped-in waists and flouncy calf-length skirts.

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Mockingjay and Costume Design: Real or not Real?

Previously: Capitol Couture in the Hunger Games, and Capitol Couture: Catching Fire.

In terms of costume design, first two Hunger Games movies never quite lived up to my expectations. It wasn't that the costumes were bad -- far from it -- but they seemed far too homogeneous. Given free rein to create the most outlandish designs imaginable, the Capitol fashjons were disappointingly conservative and homogeneous.

Mockingjay, Part 1 was another matter entirely. With no Hunger Games, Capitol makeovers, or District 12, the story focused on Panem's growing revolution, shown through the eyes of the propaganda war between the Capitol and District 13. Before the film even came out, YouTube propaganda clips began to illustrate the calculated nature of President Snow's public image.

Mockingjay flipped the cliché of dark and light, with the villainous President Snow surrounding himself with pure white to match his signature white roses. His brainwashed prisoners Peeta (dressed in an uncharacteristically stiff suit and a painful-looking white paper collar) and Johanna presented a united front, fitting in with Snow's clean, luxurious aesthetic. Meanwhile Katniss, daughter of coal miners, wears black body armour and fatigues.

In the earlier films, this kind of contrast was meant to highlight Katniss's salt-of-the-earth nature with Snow's obsessively controlled image, but this time it's more complex. Katniss may look more practical and less "styled" than Snow and his entourage, but that's because her District 13 stylists decided this was the best way to market her to the rebels. Her Mockingjay armor (in real life, modeled off a Japanese archery breastplate) was designed for her by Cinna, and continues the asymmetrical theme of previous outfits she wore to public appearances.

Each Hunger Games film has a different costume designer, which I'm beginning to think was a very smart idea. I found The Hunger Games (Judianna Makovsky) to be overly simplistic, but the filmmakers probably didn't want to take too many risks when first introducing the setting. The costumes of Catching Fire (Trish Summerville) were closer to what I'd hoped for, but they still had to adhere to the visual themes set up by the first film. But as Mockingjay branches out into the wider world of Panem, more avenues open up for interesting work by the new costume designers Kurt and Bart, who previously worked on the wonderful Stoker.

Visually, District 13 felt a lot more coherent than the Capitol ever did. My issue with Capitol fashion is that while the costumes were gorgeous, they all had an oddly similar aesthetic -- something that didn't make sense when you consider the furious competition between stylists. District 13, on the other hand, has a perfect excuse for everyone to look the same: It's a military bunker where citizens are given food, clothing and shelter by the state, and where luxury items are rationed. The end result is a utilitarian grey uniform that reflects the stern practicality of President Coin's leadership.

Uniforms and bland, drab costumes are an easy way to illustrate a certain type of dystopian setting. Given the right encouragement and/or legal obligation, most people probably would agree to wear the same uniform every day, especially if they think it's for the greater good. However, there's always someone who can't bear to look the same as everyone else, which is why I'm so fond of Effie Trinket's new costumes.

Dragged away from her life in the Capitol, Effie quickly begins to modify her District 13 fatigues until she's got a collection of grey turbans and capes. Even the way she wears her shirt is different from the neat and practical appearance of characters like Beetee and Plutarch. She simply cannot bear to not look her best.

Between Snow, Katniss, and District 13, we have a white/black/grey color scheme that contrasts beautifully with the rainbow of luxurious costumes we saw in the first two movies -- and each one of these design themes has a solid foundation in the film's worldbuilding. Katniss is dressed in black by Plutarch and Effie, in armor that was designed by Cinna to make her look like the perfect Mockinjay. President Snow is dressed in pure white to offset the filth of the Districts, and the people of District 13 are proud to give up their individuality in favor of wearing the uniform of the revolution, all working hard for what they believe to be a better tomorrow.

For me, the most satisfying aspect of Mockingjay's costumes was the constant theme of "real or not real." The first two movies were already obsessed with authenticity (Katniss and Peeta faking their relationship for the cameras; the sinister glamour of the Capitol's propaganda machine), but Mockingjay upped its game.

Along with Katniss, we begin to realize that nothing is "real." When Katniss sings the Hanging Tree song, that brief moment of genuine emotion is recorded, remixed, and broadcast to budding revolutionaries out in the Districts. Her image as the Mockingjay was designed by Cinna and propped up by clever camera work. Even the goal-oriented practicality of District 13 is arguably the result of propaganda. And so, while I love the costumes of Mockingjay in their own right, their greatest strength is their ability to make the audience think about why characters wear what they do. Instead of just being beautiful or helping build characterization, Mockingjay's costumes are a central aspect of the film's worldbuilding, and constantly demand our attention.

Previously: Capitol Couture in the Hunger Games, and Capitol Couture: Catching Fire.

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Interstellar, costume design, and the difficulties of "realistic" visual worldbuilding.

Interstellar is one of those movies where the costume design is almost invisible, which is part of what makes it so interesting. The simplest explanation is that the visual style is purposefully "realistic" and avoids any kind of futurism... which in itself is unrealistic. A conundrum, right? Technically, it doesn't make sense for people 50-100 years in the future to wear the same clothes as people in 2014. But from the perspective of a filmmaker who wants his apocalyptic sci-fi film to be taken seriously, this aesthetic decision makes perfect sense.

The earthbound setting of Interstellar is a classic American fantasy: a manly farmer hero, raising his kids in a bleak, rural landscape. Despite the film's image as a deep and thoughtful space epic, it still relies on the familiar old Hollywood scenario of a messianic white American dude being the one person who can save mankind. (And yes, I know his daughter does the actual saving, but this is very much a film about Cooper, not Murphy.) Underdog heroes NASA and Matthew McConaughey save humanity while the rest of the world is apparently helpless. Politically and socially, this is a tired old trope, but it aligns well with the kind of generic hero that can be inserted into a complex movie with minimal exposition. Cooper is the kind of guy who, for better or worse, is perceived as "universal." Luckily, McConaughey's performance was brilliant.

So here we have Coop and his kids, looking both relatable and realistic in their jeans and hoodies. This is the difference between a meticulously researched film that is actually realistic, and a film whose worldbuilding gives the appearance of realism, and therefore does not jolt viewers out of their comfort zone. On the whole, the appearance of realism tends to be the better choice. We're watching fiction, after all.

Decades in the future, the characters on Earth continue to wear clothes that look nondescript in the context of present-day fashions. We see Murph in her practical, neutral-toned outfits both at work and when visiting her brother at the farm. Judging by the clothes worn by Murph and her peers, fashion has stopped evolving altogether. 

As someone who follows fashion, I'm certain this level of sartorial stagnation could never happen in real life. Even within a dying civilization where fewer new clothes are commercially available, fashions would continue to change over time. But I understand why Christopher Nolan and his costume designer made this decision, because it grounds the film in a sense of reality -- or rather, what we think of as reality in 2014. The other option would be to dress Jessica Chastain in futuristic outfits to illustrate the passage of time, which would clash with Nolan's desire to distance himself from the popular visual tropes of the Hollywood sci-fi genre.

When we see Murph wearing nondescript shirts and jackets, we only think of the passage of time in relation to to her age and Cooper's journey, not in the general sense of what year it is for the rest of the world. We already know the film is set in the future, so there's no point in introducing the costume equivalent of a flying car.

The space suits are the only costumes that look like "costumes" in this film, so they're the only ones that really get discussed in promotional interviews. The earthbound costumes are designed to be absorbed passively without any kind of conscious thought, rather than reminding the audience that they're watching a work of fiction.

In this interview, Interstellar costume designer Mary Zophres says, “My first, gut instinct was that you should not anticipate what the future is going to look like. In fact, there is no attention paid to sartorial aspects at all. It’s unimportant.” She goes on to say that the space suits were meant to look like they'd been cobbled together from spare parts. Since most viewers' personal image of a space suit is still based on the astronauts of the late 20th century, that's what they went for in Interstellar. Any additions or changes were for purely practical purposes.

Costuming is always important to the way we consume a movie, but it's particularly important to Christopher Nolan's work as a writer and director of science fiction blockbusters. All of his best-known films are out-and-out fantasy (The Dark Knight, Inception, The Prestige), but their costumes and set design are intended to add a veneer of realism. 

Nolan movies are treated with an unusual amount of respect compared to other sci-fi and fantasy blockbusters, and I'm pretty sure his costume design choices are a major contributing factor to this attitude. With the unavoidable exception of Batman, all of his characters are dressed to look as normal and everyday as humanly possible, which distracts us from the fantastical concepts behind each movie. In Inception (perhaps my favourite costume design film of all time) Nolan is telling a story of pure fantasy, but it's illustrated in the visual language of a real-world drama.

Dreams are depicted as buildings and hotel rooms full of everyday humans, and the only fantasy elements are the stretching dimensions and timescales of the dream world. Even those are introduced to us by an architect who carefully explains the situation by scribbling a diagram on a piece of paper -- which, incidentally, is also how Nolan explains wormhole travel in Interstellar.

Because most of Inception takes place in this realistic urban landscape, and because all of the characters are dressed in staid, businesslike clothes, it feels more like a corporate espionage thriller than a successor to the worlds depicted in movies like Dark City, Paprika and The Matrix.

In the case of Interstellar, we're watching a movie that melds sci-fi ideas about relativity, apocalyptic climate change (more or less), and space travel. But we're also watching a Hollywood fairytale where NASA selects an American everyman farmer dude to lead a world-saving space mission, where five-dimensional beings help him transmit Morse Code messages to his daughter through time and space. Humanity is saved by a combination of the power of love and faith, and a message sent via books falling off a shelf and the ticking of a wristwatch. 

As a viewer, this combination of hard sci-fi and nonsensical Hollywood fantasy requires a herculean feat of suspending one's disbelief. We need all the serious and "realistic" trappings we can get. Hence why Interstellar was marketed with Google-sponsored lesson plans and interviews with the film's astrophysicist, and why Nolan spent so much time on the ground-level worldbuilding elements of Coop's farm, the NASA labs, and the overall aesthetic of Earth scenes taking place in a contemporary setting.

I usually tend to write about costume design from a characterization standpoint, but characterization is rarely an important aspect of a Nolan film. In Interstellar, the most personal costuming detail is Cooper's jacket -- which is later copied by Murphy as an adult, as she wears a jacket that looks very nearly identical to her father's. In amongst a cast of characters with no individual style whatsoever, this is a beautiful little personal touch; a subtle sign that Murph hasn't abandoned her father's memory quite as thoroughly as she likes to think. 

Further reading

• "Why won't Christopher Nolan just embrace sci-fi?"
• My response to people who object to Interstellar being described as a Hollywood fantasy.
• The costumes of Alien: Uniforms and characterization. 
• Space suits, retrofuturism, and Prometheus.
• Supercut of Christopher Nolan's favourite movie tropes.
• Q&A with Jeffrey Kurland, costume designer of Inception.
• Article discussing Interstellar's space suits.

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Schedule for Seattle Geek Girl Con this weekend

I’m in Seattle for Geek Girl Con this weekend! I’m doing two panels and a talk about superhero costumes — please come along! :D Here’s my schedule. (The superhero costume design talk is probably the most relevant to people who read this blog: 3pm on Sunday in room LL2.)

SATURDAY

3pm: “21st Century Boys: Slash in the Mainstream”

“Today, male/male slash is the predominant form of ‘shipping in online fandom. Growth of slash and femslash has spawned new problems: exploitation of ‘shipping by media; the push to make fanfic “publishable”; and the ongoing struggle to translate fandom’s feminism, diversity, and push for queer pairings into increased media representation.”

5pm: “Fandom and the Media”

This panel is basically me and several other fandom/geek culture journalists (Lauren Orsini, Aja Romano, Versha Sharma, Lisa Granshaw and Amanda Brennan) discussing our experiences in the field, and talking about what it’s like to report on fandom news when you yourself are a fan.

SUNDAY

3pm: “Evolution of the Superhero Movie Costume”

I’m doing a 45-minute talk about how superhero movie costumes have developed over the years, and why. If you like my blog posts about superhero movies, hopefully you’ll enjoy this! 

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Costuming and Design in Captain America: The Winter Soldier -- Nick Fury, Black Widow, and S.H.I.E.L.D.

Part 1: "Trust No One" -- How Captain America became the gritty superhero we never knew we wanted.
Part 2: HYDRA, Sitwell, and diversity in the Marvel universe.
Part 3: Black Widow and Falcon. 
Part 4: The Tragedy of Bucky Barnes.
Part 5: Worldbuilding in the MCU. 
Part 6: Costuming and design: Steve & Bucky.

People love to namecheck spandex when talking about superhero costumes, but as far as I recall there's no spandex to be seen anywhere in the Marvel Cinematic Universe. With Cap's costume toned down to a subtle navy blue for Captain America: The Winter Soldier, the most comicbook-looking character we see is Nick Fury.

With each new appearance, I've grown to love Nick Fury's costumes more and more. Not just because they look cool, but because of the internal logic of why he dresses like that. To understand what I'm getting at here, take a moment to think about S.H.I.E.L.D. itself, and Fury's role within the organization.



In The Avengers, Agents of S.H.I.E.L.D. and other Marvel movies, S.H.I.E.L.D. is portrayed as a quasi-governmental Men in Black organization. It's populated by military types, agents like Coulson, jumpsuit-wearing Helicarrier personnel, and a smattering of individuals like Black Widow and Hawkeye. Fury is in charge, with Maria Hill as the deputy director and Alexander Pierce as his immediate superior, a kind of liaison between S.H.I.E.L.D. and various world governments.

Up until now Fury was the authority figure, a character who swoops in and solves problems or tells the heroes what to do. He was basically a trigger-happy, morally ambiguous Gandalf figure.

CATWS brought in a much-needed new dimension of fallibility to Nick Fury, as well as showing him inside S.H.I.E.L.D. headquarters for the first time. Alexander Pierce, in his old-fashioned but stylish three-piece suits, both fits in with those surroundings and represents the political establishment. Meanwhile Fury, with his ostentatious black leather outfits, does not exactly seem like he belongs in a grey office building.

There's a certain internal consistency to the costumes at S.H.I.E.L.D., with Maria Hill and most of the Helicarrier personnel wearing navy blue uniforms (the same shade as Cap's new uniform and his nylon biker jacket in this movie, incidentally), and characters like Coulson and Agent 13 wearing subdued businesswear.

Nick Fury does not fall into either category. He's sure as hell not wearing normal clothes that could blend into his surroundings, and I highly doubt that his outfits adhere to S.H.I.E.L.D.'s official uniform. Instead, I can only describe his favourite costume as some kind of supervillain-themed black leather cosplay outfit.

Yes, Nick Fury is a goth.

GIF by harlequinnade

Black leather trenchcoats have a long and storied history in the sci-fi/action movie genre, and it's one that I'll go into in more detail if I ever write about The Matrix. Suffice it to say that there's no practical reason why Nick Fury, a man in his sixties, would choose to wear an ankle-length leather coat every day.

This decision was surely based on style and style alone. And since we've definitely seen him wearing several different coats, I can only imagine what the inside of his wardrobe might look like.

In The Avengers

Fury has two basic costumes throughout the Marvel franchise: a black turtleneck/black trousers outfit, usually coupled with a long black leather coat, and the black "uniform" suit we see in Captain America: The Winter Soldier.

Aside from being totally goth, Fury's outfits have one major thing in common: they're menacing. The softest, most casual thing we ever see him wear is a dark grey cardigan when he's hospitalized after faking his death, and even then he's wearing it with some sort of bespoke leather sling that looks like a holster.

His black body armour/leather coat outfits are a blatant visual signal for badassery, while the high-collared, uniform-inspired suit he wears in CATWS is particularly interesting in that it has a lot in common with classic villain costumes. That "uniform" jacket is reminiscent of the officer's uniforms on the Death Star. Fury has the potential to "look evil," whereas Alexander Pierce looks perfectly neutral at all times. Rich and neutral, much like Guy Pearce's supervillain character in Iron Man 3, in fact.

Nick Fury's badass black outfits make him into a visually iconic figure, even within the movie itself. This has the effect of a kind of reverse disguise because as soon as Nick Fury takes off his signature costume, it's very easy for him to disappear. When people are expecting a big, imposing figure in a sweeping black coat and eyepatch, they're not going to be looking for an elderly man in a hoodie and sunglasses. I absolutely loved this costume changeover at the end, not just because of the way it utilizes Samuel L. Jackson's age but because of the link it provides with Black Widow.

I'm not overly familiar with Black Widow comics, but my impression is that she's often portrayed as a rather vampy character. Her most famous visual characteristics are her vibrant red hair and shiny black catsuit, which is generally drawn to be sexier than the version we see in the movies. I'm happy with the MCU's interpretation of her appearance, partly because it allowed me to develop a pet theory about her hair.

The movies obviously had to keep Back Widow's red hair, but instead of going for a natural shade like Pepper Potts, they went for a bright red tone that could only come from a bottle. That's where my comparison with Nick Fury comes in. I think that Black Widow purposefully dyes her hair such a noticeable shade because it then becomes her defining feature. The result? As soon as she changes her hair colour to something else, she can easily slip under the radar. Another reverse disguise, just like Nick Fury's carefully constructed image as a leather-wearing badass.

I'm ambivalent over whether we ever see Black Widow's own "real" dress sense. Perhaps she doesn't even have one. In Iron Man 2 she wears tight, expensive businesswear while undercover as Tony Stark's new P.A., while in The Avengers we see her wearing a similar costume to the jeans and leather jacket she wears for a few scenes in CATWS. The dark leather blazer she wears in the graveyard scene looks far closer to the kind of thing we might expect from the comics (although I also think it looks about 15 years out of style, despite being a $2,400 Burberry design).

Black Widow is meant to be a very enigmatic character, and her ability to change and utilize her appearance means that her costumes are understandably difficult to pin down.

When you see Steve and Natasha together they both appear to be wearing generic, nondescript clothes, but they chose them for very different reasons. Steve probably doesn't know how to shop and may just have picked out the plainest thing possible, whereas Natasha has the capacity to put a great deal of thought and analysis into what image she wants to present to the world.

For me, the most important aspect of Black Widow's costuming in CATWS is that it's yet another volley against the idiots who think Scarlett Johansson is only onscreen to look pretty. Even in a general sense CATWS is the most sexless movie in the entire franchise, and the most sexualised Black Widow situation is perhaps a split-second shot of her butt in the catsuit in an early scene. (Incidentally, Guardians of the Galaxy was pretty awful in this regard.)

When she's wearing what we assume are her own clothes, she wears skinny jeans and casual jackets, and when she's in disguise she wears a baggy grey hoodie and sneakers. Her t-shirts for each outfit are so similar that they might as well have come from a multipack. In other words, a selection of incredibly normal, neutral-coloured outfits designed to blend in with thousands of other women in their twenties. Perfect for an accomplished spy, and perfect for the realistic tone of the movie as a whole.

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Previously: The costumes and characters of The Avengers, Part 1: SHIELD and Part 4: Black Widow & Hawkeye.

Part 1: "Trust No One" -- How Captain America became the gritty superhero we never knew we wanted.
Part 2: HYDRA, Sitwell, and diversity in the Marvel universe.
Part 3: Black Widow and Falcon. 
Part 4: The Tragedy of Bucky Barnes.
Part 5: Worldbuilding in the MCU. 
Part 6: Costuming and design: Steve & Bucky.

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Doctor Who: The Doctor's new outfit, and some thoughts on female companions and costume design.

The unveiling of a new Doctor Who costume is a lot like a superhero rebranding -- or a new collection by an established fashion label. It's a combined attempt to get people excited about innovation, while reassuring everyone that not too much has changed. And so, the BBC announced Capaldi's new costume by talking about how it blends elements of old and new -- for example, the visual callback to John Pertwee's costume.

Thanks to the age gap between Capaldi and Matt Smith, the whole "old vs. new" thing is specifically relevant to this regeneration. Smith was dressed in an almost grandfatherly way (tweed, bow tie and braces), but that had the side-effect of making him look like a hipster. This was problematic because the Doctor's costume should never resemble a current fashion trend.

If you can look at the Doctor and say, "That guy looks like he should be hanging out in a vintage shoe shop in 21st century Hackney," then it detracts from his image as an alien -- although of course, if you make him look too alien then you can't take him seriously. Capaldi's costume sidesteps this issue by being extremely simple and pared-down, which I enjoy a great deal (not least because I want to wear the entire outfit myself).

Looking at Clara and the Doctor in the first episode of season 8, the similarities between their two outfits are obvious. He's wearing a white shirt with a prominent collar and no tie, in a more severe version of Clara's lace collar. Then there's the black/white/red color palette, and the fact that he's wearing a cardigan rather than a waistcoat underneath his jacket. If you wanted, you could probably even stretch to linking Clara's tartan skirt to the fact that Twelve has a Scottish accent.

To me, this link between the Doctor and Clara's clothes is a clear sign that intentionally or otherwise, he imprinted on her after regenerating. (Although if you look at Clara's cardigan, you'll see that it's patterned with bow ties -- a callback to Eleven's signature accessory. She's still looking back to the Doctor's previous incarnation, whereas the new Doctor is calling out for her attention.

I no longer have much trust in Steven Moffat as showrunner, but I enjoyed the way the new Doctor was introduced as being rather emotionally vulnerable. He isn't just desperate for attention (which would be typical for the Doctor) but is needy for support from Clara. When he puts on his new costume for the first time, he immediately looks to Clara for reassurance.

Intriguingly, there's a third person in this regeneration costume club: "Missy." This character is almost certainly a villain, and seems to be collecting people who die as a result of the Doctor's actions.

Missy wears a female version of the Doctor's costume: A stiff white collar with no tie, and a black coat with short lapels. Missy is also clearly linked to the Doctor in some way -- although the less said about that, the better. I don't trust Steven Moffat to introduce a female antagonist who refers to the Doctor as her "boyfriend."

Regarding Doctor Who's increasingly dubious relationship with its female characters, I have mixed feelings about Clara's tenure on the show. Her characterization last season was practically nonexistent, but season 8 seems far more promising. Unfortunately, I do have some problems with this new running "joke" where the Doctor makes fun of Clara's appearance, because it's just so... pointless and mean? Moffat is weirdly obsessed with the attractiveness of his female characters, and this often carries over into episodes by other writers.

Moffat may not write every episode, but he's in charge of the overall story arc and tone of the show, which often means editing or adding to other people's scripts. For example, I find it difficult to believe that last season, Neil Gaiman wrote the Doctor describing Clara as “a mystery wrapped in an enigma, squeezed into a skirt that’s a little too tight." This line obviously annoyed me due to Moffat's history with female characters, but also because Clara's skirt was not actually tight during this scene. If you're gonna insert creepy, sexist comments into the show, then at least make sure they're relevant.


When you combine this with the way Moffat talks about women in real life, all those comments about Clara's appearance are far more distracting. In two episodes, the Doctor has called her "short and mannish," mocked her (supposed) vanity, said that she was "built like a man," and commented that she looked tired and it was good that she was "still making an effort."

The thing is, all these jokes seem to have come out of nowhere. In "Deep Breath," the Doctor says Clara is egocentric and obsessed with her appearance, but we've never seen much evidence of that. Not unless you count the fact that she always has nice hair and clothes, which you could equally have said about Martha back in season 3. Then there's all the unrelated comments about her appearance from characters like Strax, which are apparently just included for laughs.

If this dynamic only existed between Twelve and Clara, then I might accept it as a quirk of their relationship. However, we've already seen plenty of Moffat-era episodes that include things like River advising Amy, "Never let the Doctor see you age." Moffat has a creepy fixation with gender roles and women's looks, and this is inadvertently ruining a characterization detail he introduced in "Deep Breath": Clara's vanity.

I really enjoy the idea of Clara being a little vain about her looks, because it's very rare to see this trait in a "good" female character. It also explains why Clara always looks so pretty all the time, because otherwise we'd have to assume that it's simply because she's a young woman on TV. Sadly, this characteristic is completely undermined if we only ever hear about it in the context of male characters mocking and belittling her for it.

Modern Doctor Who has been very good at providing realistic costumes for its female leads. Rose's hair, makeup and fashion sense all looked appropriate for a 19-year-old girl who grew up in a London council estate. Donna wore clothes that implied she shopped in bog-standard department stores, while Martha, a doctor from a more middle-class family, looked a bit more put-together. Then once we reach the Moffat era, both of Amy's jobs ("kissogram" and fashion model) were based on her attractiveness, so her casual-but-beautiful appearance made sense. But Clara's fashion sense was always a lot harder to pin down, partly because the show failed to tell us much about her as a person.

Compared to the family backstory for Rose or Donna, Clara's background is virtually nonexistent, which didn't help when combined with her shaky characterization in season 7. In her first episode, "Clara Oswald" is actually Oswin the Dalek, who is portrayed by Jenna Coleman in a sexy red dress, perfect makeup and an apron (because she loves to bake). Clara's "real" appearance is a little more toned-down, but is still very pretty and feminine.

In the second episode of the new season, one character remarks that Clara looks like a schoolteacher -- which she is. However, those schoolteacher outfits (patterned dresses, cardigans and cute accessories) alway look very fashionable, which is why I like the idea of Clara taking a lot of pride in her appearance. It explains why she always has such perfect makeup, shiny hair, and great outfits, and I like the idea of a female character who can be heroic and nice, but also kind of vain.

It's just too bad that these traits are accompanied by the Doctor making cracks about her appearance, since this show already includes way too much gender-based humour.

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Interview: "Snowpiercer" costume designer Catherine George.

Following my review of Snowpiercer, I originally intended to write a post discussing the film's very striking costumes. But after looking back at some photos and clips, I was struck by how much more I wanted to learn about the process behind this film's visual design. Each section of the train had such a strong theme (filth and poverty in Tail Section; delusionally wholesome springtime pastels in the school car; opulence and luxury towards the front of the train), but nevertheless felt grounded in reality.

Happily, costume designer Catherine George agreed to an interview about her work on the film. She discussed the inspiration behind Snowpiercer's most memorable costumes, and what it was like to work with director Bong Joon-Ho and a cast including Chris Evans and Tilda Swinton.

HelloTailor: To begin with, how did first you get involved with Snowpiercer? The combination of Korean and English-language production made me curious about how you came to work on the film.

Catherine George: Director Bong had seen We Need To Talk About Kevin at Cannes in 2011, when he was on the jury, and he liked how the costumes looked. They sent me the script a couple of months later and I Skyped with Bong and and his producer Dooho because they were already in Prague prepping [for Snowpiercer]. Before I knew it, I was on a plane to Prague. Bong also met with Tilda Swinton at Cannes as they were both fans of each other’s work, and he decided to cast her as Mason -- a role that was originally written as a man.

[You can read more about the costumes of We Need To Talk About Kevin in this article by Clothes On Film.]

HelloTailor: How much did you consider the idea of finite resources onboard the train? In the Tail Section, people were wearing whatever rags they had left after 17 years. I was wondering what kind of thought went into the idea of a world where you can't really obtain new materials for new clothes. Was this a major concern when you were designing the overall look of each train car?

CG: Yes, we talked a lot about how long the passengers had been on the train, where they’d come from, what random materials they would use to fashion practical clothing. In the Tail Section, the aging and distressing was quite heavy and their clothes were made of different parts of garments pieced together. They had to improvise with whatever materials they could find. Curtis' coat had layer upon layer of repairs.

The character Painter wore a poncho made from old moving blankets. He also wore a helmet with a lantern left over from the train utility-wear, to enable him to draw in his cage at night.

Chan, the kid who steals the matches and lights the flame, was the little thief of the Tail Section. We looked at pictures of child soldiers in Africa who attach small charms and amulets to their clothing to warn off evil spirits. Chan had all kind of stolen trinkets attached to his jacket.

While designing Gilliam and his team of martyrs, I was inspired by an image of an Indian street beggar. The martyrs had missing limbs, and the sarong idea was more practical and combined Eastern and Western elements.

In the prison section, Nam and Yona wear the darker-coloured intense black that we don’t see until we get there. Nam’s costume was inspired by train engineers from the early industrial period. We had discussed at length the global aspect to the mix of people on  the train, and this was elemental in the making of the film. The cast was international as well as the crew, and we did a lot of research into bringing details from different cultures into the wardrobe.

HT: Did you take inspiration from other dystopian and post-apocalyptic movies? Or alternatively, were there any particular aspects of the genre you were trying to avoid?

CG: I loved Tarkovsky’s Stalker, how the colour changes and becomes more intense in the two different worlds. But mostly we talked about how we wanted Snowpiercer to start off at a point of realism and not go in a futuristic sci-fi direction. I love Children of Men and how realism is strong in that movie.

I had designed different headgear for the axe soldiers. They were more like medieval-inspired helmets, but we decided to keep them simpler and in keeping with the theme of creating something from pre-existing materials or that could be improvised, so now the old ones look quite surreal.

HT: When you were creating the look for each of the main characters, how much input did the actors have? I read an interview with Tilda Swinton where she mentioned you visiting her house to discuss what her character would look like, so I'd be really interested to hear more about that. 

Also, I was wondering if she was intentionally designed to look slightly like Ayn Rand, which is a comparison I've heard from a few people already.

CG: I contacted all the actors and shared the research and design ideas for their character early on. When we fit John Hurt in London we tried out an outfit and he shared a great story about aging his own costume for ‘Midnight Express’. Some of the other actors schedules didn’t allow for early fittings so we had to share images via email and we Skyped a lot. 

In Tilda’s case, Mason’s look was so drastically different that we needed to have clothes and prosthetics made in advance in order to camera test. So we travelled to Scotland with a couple of suitcases of clothes, wigs, glasses and teeth and really had fun with the wardrobe, all while Tilda’s fish pie was baking, and we also got to enjoy the Scottish countryside.

I had collected pictures of dictators wearing elaborate uniforms and crazy hand-made medals. I hadn't looked at Ayn Rand specifically but I had collected some images of old ladies from that period who would wear their fur and look down their noses at people who were less better off, a bit like Thatcher. But now people are mentioning it, there are similarities to Ayn Rand .

HT: Could you tell me a little about the process for designing the lead character, Curtis? I remember reading that Chris Evans had to wear sleeveless shirts under his coat in an attempt to make him look less muscular and healthy. That made me wonder how much of an active effort there was to visually distance Chris Evans the actor (who is now so recognizable as Captain America) from Curtis the character.

CG: We talked and worked on Curtis' outfit for a while before Chris came to Prague. We wanted to make Curtis look very recognizable but at the same time anonymous, the common man who can't take the status quo any longer -- and yes, quite different from Captain America.

We did have to fight against his physique and had to cut away the under-layers, his t-shirt, shirt and sweater. We had so many multiples made without sleeves for different scenes.

Chris was available pretty early on to us. He wholeheartedly embraced his role and was in Prague rehearsing the stunt scenes, most of which he did himself. So luckily we were able to have more than one fitting and have more of his input, which was really helpful.

HT: Each of the individual compartments is almost like a little world unto itself, with its very own colour palette. Was there an unusual amount of collaboration with production and set designers for this film, or is it just simply more noticeable thanks to this kind of strong visual cue?

CG: I worked closely with Ondrej Nekvasil, our incredible production designer who himself was somewhat of a Wilford having built this amazing full-size train that was on a gimbal and moved and swayed. He had very beautiful detailed sketches and we talked a lot about the overall colour and tone of each car.

HT: Are there any little custuming details that you feel particularly proud of, that you'd want people to look out for on their second viewing?

CG: After all the dirt and destroying of clothes for the Tail Section, it was really fun working on the different  themes in the front cars. I was especially happy designing the costumes for the lounge-car, the set was opulent like something  from the Orient Express and I was inspired by one of my favorite periods in costume, the late Belle Epoque period. I was able to use very saturated colours and luxe fabrics, although unfortunately it is a very quick scene.

The other little fun moment that you already spotted is Tilda’s cameo in the club scene.

[A clip showing Tilda Swinton's hidden cameo in the club car scene can be watched here on YouTube. It includes some very fabulous eye makeup and an enormous wig.]

Previously: My thoughts on Snowpiercer.

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