In storytelling, the clothing worn by characters serves as a statement of its own. You can often tell who the character is just by what they are wearing. Colleen Atwood, an Oscar winning costume designer, once said “Costumes are the first impression that you have of the character before they open their mouth-it really does establish who they are.” The utilization of costume design in film and TV can make the media standout; often coming to define the film itself. Effective costume design is when it suits the character’s narrative while being consistent within the world they're a part of. There are multiple reasons why costume design is important in film and TV, like how it brings depth to not just the character but also the story and world they inhabit.
Costume design helps the viewer become immersed in worldbuilding. For example, in seasons 1 and 2 of Bridgerton, the costumes had a fairytale feeling to them. Although not entirely historically accurate, the wardrobe helped convey the inner turmoil and emotions the characters were going through while retaining the fairytale, regency aesthetic. The Bridgertons and Featheringtons had distinct color palettes, A light blue for the Bridgertons, which helped them stand-out as they were the only family in the show to wear the color.Whilst citrus colors such as yellows and oranges were relegated to the less-fortunate Featheringtons which was seen as an attempt to attract attention. The Sharma family in season 2 also had distinct jewel tones in their wardrobe, such as purples and pinks. The eldest Sharma, Kate, wore dark purples which lightened as the story unraveled, highlighting her emotional growth as time passed. The aesthetic choices in the earlier seasons helped viewers believe in the setting despite the historical inaccuracy such as using corsets instead of stays. You become immersed in the regency-esque setting because the characters were dressed with the intention of visualizing the aesthetic of the era. In Season 3 however, there was a drastic change in the show’s aesthetic choices. While outlandish costume choices are expected in Bridgerton, it seemed too outlandish for its own good. Many viewers complained that it felt too modern, with the heavy glam makeup as well as mismatched fabrics and textures; it took viewers out of the immersion. While the costumes did serve somewhat of a narrative purpose for the main character, Penelope, with her transition from citrus colors to darker, cooler tones to finally Bridgerton blue, other characters seemed to have costumes that dulled them down or made them stand out in a negative way. The new season simply did not have the consistency that the first and second season had. Consistency and continuity is important in costume design to ensure that the audience is immersed in the story and setting; without it, the production will feel like it lacks depth. The utilization of costume design makes a story more believable.
In pop culture, longevity of a character’s wardrobe is attributed to how iconic it is. When you think of certain styles and silhouettes, you often think of a specific character. When you think of a pink, bedazzled cowgirl outfit, you immediately think of Barbie from Barbie (2023), when you think of a yellow tracksuit, you think of The Bride from Kill Bill (2003), when you think of y2k, Mean Girls (2004) immediately comes to mind and so on. That’s why, in costume design, it’s important to style the characters in a way that won’t make them look dated while also making sure that it’s unique to them. There are movies that get this wrong by incorporating fast fashion into the wardrobe. Not Okay (2022) had outfits that looked reminiscent of Shein. Danni, the main character, was always dressed in microtrends. While the movie’s topic on influencer culture extended to its style choices, it did make it look dated. One look at it and you can immediately identify that the movie is a product of its time and you can’t seem to identify an outfit that stands out. However, this could be Sarah Laux, the film’s designer, commenting on social media’s effect on fashion. Danni merely imitates the microtrends of the time and falls kind of flat. Her wardrobe consists of disposable pieces, such as a Shein argyle two piece, white mushroom top paired with a funky, printed skirt and chunky rings. Although it was great commentary on how microtrends come and go, and so does her fame, it does feel cheugy when you rewatch it many years later. Another film that utilizes microtrends is Do Revenge, which came out the same year. The patterns and fabrics used in this satirical comedy elevated the entire film. It capitalizes on Gen Z and micro trendy style whilst also being fashionable. The deliberate costume design done by Alana Morshead was inspired by 90s teen movie looks, such as the 1995 film Clueless, mixed with the saturated closet of Gen Z. She said in an interview “It’s just trying to create those moments where you instantly know 10 or 20 years from now it would be amazing to add to these cult movies that we love.” Timeless designs capture the current influences on fashion and culture, and if done right, can endure the test of time.
Symbolism can further be expanded on through the character’s wardrobe. You can often pinpoint the evolution of a character through the way they dress. In Queen’s Gambit, costume designer, Gabriele Binder, explained that Beth Harmon’s style evolution was an imitation of the trends around her. She wore outfits that paid homage to the “Mod style” which was especially highlighted when she sported eye makeup that was reminiscent of Twiggy. This transition in style paralleled her transitioning from girl to woman. She was growing into a woman and, like any other woman, she played around with fashion. Her style choices were a way for her to take control of her life again because when she was at the orphanage she was stripped of any individuality. Her silhouette also changes as she grows, from the blunt bob Harmon had when she was a child that resembled a chess pawn, to her final look in the show where she resembled the white queen in chess. The clever use of check patterns were integrated in most of her looks, from her low cut checkered dress that was paired with a white collared shirt to her checkered skirt paired with a black top and of course, her checkered dress during the U.S. open. In Everything Everywhere All At Once, Jobu Tupaki has the most costume changes. Most of the outfits represent a subversion of Asian stereotypes. For example her pink, preppy golf look, when she confronts Evelyn is supposed to exemplify the perfect daughter trope. Shirley Kurata, the film’s costume designer, said in an interview that styling Jobu was like a “free for all”, she pulled many inspirations from K-pop to Japanese subcultures like Lolita fashion and Sci-fi films. At the end of the film, Jobu has a look called “Jumbled Jobu,” a mismatched outfit with multiple fabrics and picasso-esque makeup that represents the emotional turmoil and chaos she faces.
When you finish a movie or a show, not only does the story linger in your mind but the fashion as well. Sometimes, the media influences the current trends and vice versa. Carefully and skillfully crafted costume design can help contribute to the visuals of the film. It’s like a language that translates the story to the audience without uttering a word. That is why it’s an important part of film, it’s the fine brushstrokes on a canvas.
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