Costuming within the BBC television drama series Killing Eve (2018–) functions as a spectacular dressing-up box to support the representation of Villanelle (Jodie Comer) as the glamorous globe-trotting assassin. This article will argue that Villanelle’s fashion-forward wardrobe offers a multifarious representation of contemporary queer styling. Her costuming is characterized by gender fluidity and a play with the dominant codes and signifiers of lesbian style and identity. Villanelle’s looks move beyond the stereotyped constraints of the butch-femme binary to construct a polymorphous representation of femininity with broad cross-over appeal. In offering a striking silhouette that draws attention away from the material body onto costuming, Villanelle’s representation highlights the fluidity of gendered and sexual identities. Her costuming may appear to reduce Villanelle to a series of surface appearances, yet these iterations result in a significant queer representation on mainstream contemporary television.
{"title":"Fashion-forward killer: Villanelle, costuming and queer style in Killing Eve","authors":"S. Gilligan, J. Collins","doi":"10.1386/ffc_00030_1","DOIUrl":"https://doi.org/10.1386/ffc_00030_1","url":null,"abstract":"Costuming within the BBC television drama series Killing Eve (2018–) functions as a spectacular dressing-up box to support the representation of Villanelle (Jodie Comer) as the glamorous globe-trotting assassin. This article will argue that Villanelle’s fashion-forward wardrobe offers a multifarious representation of contemporary queer styling. Her costuming is characterized by gender fluidity and a play with the dominant codes and signifiers of lesbian style and identity. Villanelle’s looks move beyond the stereotyped constraints of the butch-femme binary to construct a polymorphous representation of femininity with broad cross-over appeal. In offering a striking silhouette that draws attention away from the material body onto costuming, Villanelle’s representation highlights the fluidity of gendered and sexual identities. Her costuming may appear to reduce Villanelle to a series of surface appearances, yet these iterations result in a significant queer representation on mainstream contemporary television.","PeriodicalId":41071,"journal":{"name":"Film Fashion & Consumption","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49623553","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines the ways in which contemporary yogawear brands contribute to the perpetuation of patriarchal social constructs around the female body and new modes of moral distinction, discipline, surveillance and social control. They do so by promoting an internally and externally self-monitored body. The yoga uniform and its symbolic ‘invisible corset’ respond to the social need to create similarity and sense of belonging whilst simultaneously creating status and class division. Yogawear poses a paradox as it concurrently empowers and controls the female body, signalling both austere and hedonistic, individual and collective values with a postfeminist sensibility. This article evaluates the idealized bodies of Lululemon Athletica and Aloyoga – the two leading global yogawear brands in the sportswear and fashion industries. Specifically analysing the interplay of gender, social class and race on social media, it examines how yogawear and the yoga uniform reinforce traditional, regulating and standardizing female body ideals validating certain body types and silencing others.
{"title":"The invisible corset: Discipline, control and surveillance in contemporary yogawear","authors":"Juliana Luna Mora, J. Berry","doi":"10.1386/ffc_00032_1","DOIUrl":"https://doi.org/10.1386/ffc_00032_1","url":null,"abstract":"This article examines the ways in which contemporary yogawear brands contribute to the perpetuation of patriarchal social constructs around the female body and new modes of moral distinction, discipline, surveillance and social control. They do so by promoting an internally and externally self-monitored body. The yoga uniform and its symbolic ‘invisible corset’ respond to the social need to create similarity and sense of belonging whilst simultaneously creating status and class division. Yogawear poses a paradox as it concurrently empowers and controls the female body, signalling both austere and hedonistic, individual and collective values with a postfeminist sensibility. This article evaluates the idealized bodies of Lululemon Athletica and Aloyoga – the two leading global yogawear brands in the sportswear and fashion industries. Specifically analysing the interplay of gender, social class and race on social media, it examines how yogawear and the yoga uniform reinforce traditional, regulating and standardizing female body ideals validating certain body types and silencing others.","PeriodicalId":41071,"journal":{"name":"Film Fashion & Consumption","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42025724","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines the costumes of Claire Denis’s Chocolat. A highly aestheticized drama of pressed khaki uniforms and pith helmets in colonial Cameroon, clothing is, as this article argues, enfolded into a far broader topography of material power; it is an apparatus through which racialized and gendered difference is actively ‘fashioned’ for the screen. In Chocolat, it becomes clear that fashion and celluloid are intimately intertwined (‘sutured’ together, through Denis’s editing), with the bio-political containment of white femininity, historically underwritten by French society’s anxieties concerning racial miscegenation and sexual excesses in the colonies. Concurrently, however, dress also grants expression to transgressive currents of desire, which, in Denis’s provocative portrait of interracial attraction, intersect vividly with the sexual politics of fetishism. In the very fabrics of its material content – costumes, the pliable ‘skin’ of its images and the tissue of human relationships – Chocolat portrays colonial identity as deeply conflicted, and Denis affirms the material world as an agile and highly transgressive force in the theatre of colonial power.
{"title":"Surface tensions: Race, costume and the politics of texture in Claire Denis’s Chocolat (1988)","authors":"A. Grieve","doi":"10.1386/ffc_00029_1","DOIUrl":"https://doi.org/10.1386/ffc_00029_1","url":null,"abstract":"This article examines the costumes of Claire Denis’s Chocolat. A highly aestheticized drama of pressed khaki uniforms and pith helmets in colonial Cameroon, clothing is, as this article argues, enfolded into a far broader topography of material power; it is an apparatus through which racialized and gendered difference is actively ‘fashioned’ for the screen. In Chocolat, it becomes clear that fashion and celluloid are intimately intertwined (‘sutured’ together, through Denis’s editing), with the bio-political containment of white femininity, historically underwritten by French society’s anxieties concerning racial miscegenation and sexual excesses in the colonies. Concurrently, however, dress also grants expression to transgressive currents of desire, which, in Denis’s provocative portrait of interracial attraction, intersect vividly with the sexual politics of fetishism. In the very fabrics of its material content – costumes, the pliable ‘skin’ of its images and the tissue of human relationships – Chocolat portrays colonial identity as deeply conflicted, and Denis affirms the material world as an agile and highly transgressive force in the theatre of colonial power.","PeriodicalId":41071,"journal":{"name":"Film Fashion & Consumption","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48016286","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
As a costume, textile and surface adornment practitioner my research focuses on how skin contributes to the reading of a costume. Black Panther’s (2018) Oscar winning costume by Ruth E. Carter conformation to whilst also breaking traditional superhero costuming tropes feeds directly into my research on reading black skin as heroic. The visual disruption to the limited and negative narratives usually embedded within black skin are subtly challenged by Carter’s use of both black primordial and superhero skin-like costumes to signify the heroic. The costuming of a black superhero and nemesis frame the black body in action away from the negative stereotypes of Bogle’s hypersexual buck. The reading of black skin as heroic underpins the practice’s explorations away from the binary of black and white skin to the many shades of brown the moniker of black represents. It is the repetition of skin as metaphor where both superhero costumed skin and primordial skin demonstrate the multiplicity between superhero, his alter-ego and Bogle’s stereotypes that form the basis of this article. Black skin as costume explores how skin colour, according to Dyer has been used to other the black body and rank it below that of the white body within postcolonial readings. Traditionally systemic racism in action films has seamlessly placed the white body and skin as inherently heroic whilst reading the equivalent black body and skin negatively. My practice explores equity of black and brown skin as strong, precious and powerful so that any costumes, textiles or surface decoration I create would read the same when placed on a black body as they would on a white body.
{"title":"Black skin as costume in Black Panther","authors":"L. King","doi":"10.1386/ffc_00024_3","DOIUrl":"https://doi.org/10.1386/ffc_00024_3","url":null,"abstract":"As a costume, textile and surface adornment practitioner my research focuses on how skin contributes to the reading of a costume. Black Panther’s (2018) Oscar winning costume by Ruth E. Carter conformation to whilst also breaking traditional superhero costuming tropes feeds\u0000 directly into my research on reading black skin as heroic. The visual disruption to the limited and negative narratives usually embedded within black skin are subtly challenged by Carter’s use of both black primordial and superhero skin-like costumes to signify the heroic. The costuming\u0000 of a black superhero and nemesis frame the black body in action away from the negative stereotypes of Bogle’s hypersexual buck. The reading of black skin as heroic underpins the practice’s explorations away from the binary of black and white skin to the many shades of brown the\u0000 moniker of black represents. It is the repetition of skin as metaphor where both superhero costumed skin and primordial skin demonstrate the multiplicity between superhero, his alter-ego and Bogle’s stereotypes that form the basis of this article. Black skin as costume explores how skin\u0000 colour, according to Dyer has been used to other the black body and rank it below that of the white body within postcolonial readings. Traditionally systemic racism in action films has seamlessly placed the white body and skin as inherently heroic whilst reading the equivalent black body and\u0000 skin negatively. My practice explores equity of black and brown skin as strong, precious and powerful so that any costumes, textiles or surface decoration I create would read the same when placed on a black body as they would on a white body.","PeriodicalId":41071,"journal":{"name":"Film Fashion & Consumption","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45640955","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article analyses Ne Zha’s image evolution through different animated films in the PRC from 1961 to 2019. Three key Ne Zha films are Uproar in Heaven, Ne Zha Conquers the Dragon King and Ne Zha, representing the era of ‘classical Chinese animation’, ‘modern Chinese animation’ and ‘postmodern Chinese animation’, respectively. In 2019, Ne Zha became the summer hit and the highest-grossing Chinese original animation earning ¥5.035 billion at the Chinese box office. Explorations of how classical artistic traditions and legendary stories have been transposed into these films shows that Chinese animation has retreated from the peak of national style in the 1960s and undergone change with globalization’s cultural and ideological impacts. In sum, artistic techniques associated with fine arts film, traditional narrative methods and plot stylization have gradually weakened. Contemporary elements such as Hollywood classic three-act pattern and Japanese comic character relationships and images have significantly influenced Chinese animation in the twenty-first century.
{"title":"Ne Zha’s image transformation in Chinese animation cinema (1961‐2019)","authors":"Ni Fan","doi":"10.1386/ffc_00025_1","DOIUrl":"https://doi.org/10.1386/ffc_00025_1","url":null,"abstract":"This article analyses Ne Zha’s image evolution through different animated films in the PRC from 1961 to 2019. Three key Ne Zha films are Uproar in Heaven, Ne Zha Conquers the Dragon King and Ne Zha, representing the era of ‘classical Chinese animation’,\u0000 ‘modern Chinese animation’ and ‘postmodern Chinese animation’, respectively. In 2019, Ne Zha became the summer hit and the highest-grossing Chinese original animation earning ¥5.035 billion at the Chinese box office. Explorations of how classical artistic\u0000 traditions and legendary stories have been transposed into these films shows that Chinese animation has retreated from the peak of national style in the 1960s and undergone change with globalization’s cultural and ideological impacts. In sum, artistic techniques associated with fine\u0000 arts film, traditional narrative methods and plot stylization have gradually weakened. Contemporary elements such as Hollywood classic three-act pattern and Japanese comic character relationships and images have significantly influenced Chinese animation in the twenty-first century.","PeriodicalId":41071,"journal":{"name":"Film Fashion & Consumption","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46431438","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Superheroes have always been defined by their dual lives, but analysis of the ways dress has informed characterization is often limited to just their superhero costumes, despite qualitative evidence that comic book heroes are depicted in civilian clothes at least half as often. Contemporary depictions of superheroes on television spend an even greater percentage of time dressed in civilian garments. This article combines both adaptation studies and industry studies approaches to discuss the overlooked influence of civilian clothing in conceiving the television superhero ‐ examining both comic book source materials and the process of costume design through the intrinsic constraints of industry television production. Through case studies into the DC comics Arrowverse, a series of interconnected programmes aired on the CW Network, and Marvel’s Runaways, the Hulu adaptation about teenage superheroes without costumes, as well as interviews with costume designers and actors, this article recognizes strong visual similarities across programmes between pseudo-character archetypes, and presents a de facto formula for analysing civilian superhero costume design. The resulting narrative reveals a struggle within superhero civilian costume design: finding the balance between serving semiotics or characterization, and building a sense of realism and individual choice within costuming choices from within hegemonic structures.
{"title":"No tights, no flights: Constructing the wardrobe of television superheroes","authors":"Monica Geraffo","doi":"10.1386/ffc_00022_1","DOIUrl":"https://doi.org/10.1386/ffc_00022_1","url":null,"abstract":"Superheroes have always been defined by their dual lives, but analysis of the ways dress has informed characterization is often limited to just their superhero costumes, despite qualitative evidence that comic book heroes are depicted in civilian clothes at least half as often. Contemporary\u0000 depictions of superheroes on television spend an even greater percentage of time dressed in civilian garments. This article combines both adaptation studies and industry studies approaches to discuss the overlooked influence of civilian clothing in conceiving the television superhero ‐\u0000 examining both comic book source materials and the process of costume design through the intrinsic constraints of industry television production. Through case studies into the DC comics Arrowverse, a series of interconnected programmes aired on the CW Network, and Marvel’s Runaways,\u0000 the Hulu adaptation about teenage superheroes without costumes, as well as interviews with costume designers and actors, this article recognizes strong visual similarities across programmes between pseudo-character archetypes, and presents a de facto formula for analysing civilian superhero\u0000 costume design. The resulting narrative reveals a struggle within superhero civilian costume design: finding the balance between serving semiotics or characterization, and building a sense of realism and individual choice within costuming choices from within hegemonic structures.","PeriodicalId":41071,"journal":{"name":"Film Fashion & Consumption","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48368908","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Introduction to the Special Issue","authors":"Clare M. Wilkinson","doi":"10.1386/ffc_00021_2","DOIUrl":"https://doi.org/10.1386/ffc_00021_2","url":null,"abstract":"","PeriodicalId":41071,"journal":{"name":"Film Fashion & Consumption","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46925927","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Comics are an important form of Indian popular culture. Like other forms of popular culture which have engaged with superheroes, male superheroes have dominated the comic book industry in India. Costumes enable the social construction of these characters in comics, determine their characteristic traits and emphasize their gendered roles. Female characters have had to struggle against multiple patriarchal social processes which are integral to the global comics’ culture. Costumes play a critical role in how these characters engage with the overall narrative of the comics. The article analyses the costume of Shakti ‐ Indian comics’ first superheroine. It locates her costume within the broader literature available on graphic novels, comics and costumes. The article attempts to analyse the processes by which Shakti’s costume restricts her to a normative femininity where the power and authority of women become socially acceptable only when they are expressed or asserted without challenging patriarchal social norms.
{"title":"The Indian Superheroine costume: Analysing Indian comics’ first superheroine","authors":"Suddhabrata Deb Roy","doi":"10.1386/ffc_00027_7","DOIUrl":"https://doi.org/10.1386/ffc_00027_7","url":null,"abstract":"Comics are an important form of Indian popular culture. Like other forms of popular culture which have engaged with superheroes, male superheroes have dominated the comic book industry in India. Costumes enable the social construction of these characters in comics, determine their characteristic\u0000 traits and emphasize their gendered roles. Female characters have had to struggle against multiple patriarchal social processes which are integral to the global comics’ culture. Costumes play a critical role in how these characters engage with the overall narrative of the comics. The\u0000 article analyses the costume of Shakti ‐ Indian comics’ first superheroine. It locates her costume within the broader literature available on graphic novels, comics and costumes. The article attempts to analyse the processes by which Shakti’s costume restricts her to a normative\u0000 femininity where the power and authority of women become socially acceptable only when they are expressed or asserted without challenging patriarchal social norms.","PeriodicalId":41071,"journal":{"name":"Film Fashion & Consumption","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41949141","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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