#Their costumes are on point?

[kitteningotham]

THEYRE SO PRETTYYYYY

core 4 magical girl set finally reunited

[crabrangoonluvr]

alright so during into the spider-verse's introduction to peter b. parker, we see his wedding, and he stomps on the wine glass right? this is a jewish wedding tradition, which makes this version of peter parker jewish (further confirmed in interviews -- however, i believe this is enough by itself). it's a nice nod to the jewish roots of the character.

we get to see a bunch of peter parkers throughout the spider-verse films, and none of them have any explicit religious associations like peter b. parker. except for one!

here we have gwen stacy's peter parker and aunt may, from earth-65, saying grace over a meal. from my understanding, this is generally a christian practice -- in judaism, we prefer to say short prayers before eating, and save the long, in-depth ones for afterwards. so to me, this was a clear example of the character being coded as christian. i was a little disappointed that they didn't make peter parker jewish here too, but since across the spider-verse discusses variants and the differences between instances of the same person between different universes, i interpreted this as a continued commentary on peter parker's ethnicity -- although he was initially jewish-coded and one of his two creators, stan lee, is jewish, this is often erased, especially in more modern interpretations of the character.

and then i remembered that this peter parker also literally turns into the lizard.

and y'know what? good call on that one guys.

[andstuffsketches]

vanity

[egophiliac]

crossing my fingers and wishing upon every star that chapter 10 finally brings us the tweel cards 🤞🤞

[sofiaruelle]

🌸The SDV gurlies in their Flower Dance outfits🌸

I wanted to keep it coquette/cotteage-core but i played around too much 😅😅. I still tried to keep it all cohesive to the theme of the event but with some my headcanons on their outfit choices lmao (like Abigail’s fit is mostly borrowed from someone or Haley fersure made Emily make her something new from scratch, etc.)

theres some other outfits under readmore that didnt make it to the final.

[mirandahamilton]

IWTV FASHION: claudia + season one

[bacchuschucklefuck]

class swap design masterpost for convenience (from top to bottom: bard!riz, cleric!gorgug, sorcerer!kristen, barbarian!fig, artificer!adaine, and rogue!fabian)

[dareduffie]

when will people learn that live-action remakes will never be good as their original animated counterparts because the glory of animation is the colour, movement, and fantasy that's just untranslateable to live-action

[hellotailor]

louis' final three costumes in S2 are so, so cleverly chosen. after the curated blandness of his interview wardrobe in dubai, this is our first glimpse of his personal taste in the present day. each outfit is full of meaning.

in the first half of S2, louis and armand’s coordinated interview outfits seemed like part of their performance as a happy couple. by the end, they have a more sinister subtext. louis has gone from having stylish, flashy fashion sense to wearing uniformly expressionless black and grey:

dubai-era louis exclusively wears the colors of depression and mourning, in a style stripped of personal expression, physically and spiritually separated from the outside world. i’ll write a separate post about armand’s costumes later, but you could interpret this as louis' taste being subsumed by armand’s nebulous 500-year-old absence of identity. at the very least, louis is blending into the chic minimalism of the apartment, presenting himself as part of the household unit.

with that in mind, his final three outfits signal a seismic change after leaving armand. his NOLA tour costume reflects the philosophy behind his 1940s wardrobe (ie. selected to blend into a human crowd) but he's also reconnecting with his home, wearing a New Orleans Saints hat with (in a potential piece of double symbolism!) a fleur-de-lis logo.

then we have the loustat reunion outfit, which is more enigmatic. he’s going for subdued colors (although not pure black and grey), with a silhouette echoing his mid-20th century wardrobe: high-waisted, wide-legged trousers and a bomber jacket - a cut he wears pretty often. IMO the reunion’s overall color palette is a major factor here, with lestat and louis' costumes and surroundings sharing a spectrum of dark brown, sepia and muted gold.

finally there's the last scene in dubai, arguably the most “pure” expression of louis' taste because he’s not wearing this outfit for an audience. coordinating with the apartment’s colorful makeover, he’s wearing a multicolored cardigan with yellow highlights, matching claudia’s dress, the yellow couches, and the gold background of his new painting. (i’ve identified this as a YMC cardigan retailing at £250; a mid-range english brand.)

this piece (paired with navy blue pants with a yellow stripe) is modern and distinctive; basically the opposite of his interview costumes, which displayed very little in the way of personality or cultural markers. you immediately understand that louis is expressing himself through fashion again, now in a more casual streetwear context than the tailored and accessorized suits of his youth.

[maria-tries]

Arcane + Polish folk costumes 💃🕺🇵🇱

[oopsallbangersart]

Ploppin’ a doodle

[shaylogic]

Okay, so we know that Charles' polo goes red>burgundy>black and back by the end of the season.

Because there's so much going on, I always missed the exact transitions. This time I specifically tracked them down. (Apologies if this has already been done.)

Charles shirt is bright red through the majority of the Devlin House, even in Hope's Diary scene, when he opens up to Crystal.

Even when he first swings at Mr. Devlin and gets knocked back, his shirt is red.

The very subtle shift to burgundy is after he disappears and first reappears in the loop.

It remains burgundy throughout the entire lighthouse leapers episode and beginning of the two dead dragons.

I finally realized the very last moment we see of Charles in the burgundy is with Crystal. She tells him after the confusing makeout night, "But I think we should be friends," and kind-hearted Charles, of course, respects that and puts on a friendly smile.

It's difficult to see in the next scene with him because of his jacket, the angle he sits at on the ladder, and the lighting, but it's immediately after that when we first see him in the black polo.

My brother in death, you are NOT doing well.

here's another song from Jayden Revri's official Charles playlist, that I think is about this conflict with Crystal:

His shirt is still black during the "I don't wanna be a bad guy" scene.

After Edwin's affirmation of Charles' inherent goodness, it is directly after this scene that the shirt goes back to burgundy!!!

He's still wearing the burgundy during the confession:

BUT IT GOES BACK TO BRIGHT RED LITERALLY RIGHT AFTER EDWIN'S CONFESSION AND THEY ESCAPE HELL TOGETHER!

Yo I equally love Cryland and Payneland but the show canonly said "Crystal hit him in the loneliness and Edwin hit him in the loved"

[mizgnomer]

David Tennant speaking to Esquire Magazine about his BAFTA 2024 red carpet look - during the promotion for Rivals

Video Source [ X ]

[cairafea]

they're matching costumes.

[galwednesday]

How Ruth E. Carter Resurrected 1930s Southern Style for Sinners

Stack’s suit had three little buttons down the front. It had a 1920s cut, and knowing they were coming from Chicago, we figured they likely had custom suits done. His character is very self-conscious and [plans] every little detail; on his pants, the pockets are slanted, he’s got the collar bar, the tie bar, the cuff links—he’s got everything. I remember flying back to L.A. to look for things because in New Orleans, some things you can find, some you can’t. I wanted to find Stack’s hat, and I walked into this hat shop on Melrose, and there was this red hat that ended up being perfect. I’ve worked with a lot of hat aficionados, and I know you can’t just throw your hat around or leave it anywhere, so we had these leather cases made just to hold his hat because it had to stay perfect the whole time. Smoke is less conscious. He doesn’t have a tie, he represents the everyman, and his suit was a little more boxy, a little bigger, and a little less tailored because he’s hiding all kinds of stuff; he’s got two guns, he’s got a knife. His look reminds me of Don Cheadle in Devil in a Blue Dress. He’ll take you down in a second. I loved his blue hat too because it was made of denim and was meant to represent workwear. We really did this movie so fast; there are little things that if I could just take a magic paintbrush and be at the theater and tell the projectionist [to change, I’d be like], “Hold on! Can you pause right here? I have to add a little bit of age to the hat!” But I love the juxtaposition of the red and blue [tones] with Smoke and Stack. That was Ryan’s idea.

And then in comes Mary! Mary had left her community; she married a wealthy man, [but now] she’s getting on the train to go back after her mother’s funeral, and she’s in her little knit dress. She doesn’t even look like she belongs. She’s like a ghost from another planet or another stratosphere, and that was the intention with her look. She’s not a part of the struggle and the strife that is the Mississippi Delta; like Smoke and Stack, she’s made another life for herself. We meet her in this pale, pale, pale color, and she’s wearing the same dress when she goes to the juke, and that was on purpose. I wanted for her to seem ghostly because of what happens to her later on and all of the blood that eventually gets onto the silk. It was very intentional.

It’s unexpected because we knew we were making a horror picture, but I never focused on the horror part. I focused on the Mississippi Delta and the blues and the sharecroppers and the migration and all of that. I had to remind myself, “Oh, they’re gonna bloody this one up!” When one of my team members said, “You know we’re gonna have to make 10 of these [pieces]?” I would say, “Oops! Sorry, guys. I was just focusing so much on the story of it all.” The response to it all is what I wanted it to be; I wanted people to see the Mississippi Delta, and I wanted them to see the story of the blues. Now that it’s rolling out and people are seeing this is more than just a horror film and that it has all of these layers—we made it with the intention of having those layers. There was a story within a story within a story.

How Ruth E. Carter Resurrected 1930s Southern Style for Sinners, Harpers Bazaar, April 24, 2025

[mirandahamilton]

IWTV FASHION: claudia's lilac dress + cape