#costume reviews

[morethanaloveinterest]

A Hopeful Look at Jyn Erso's Costumes in Rogue One

Jyn starts out the movie covered in layers and these are removed as the film progresses, so let's get into how else her costumes inform us about the character.

Jyn has had a hard life, essentially being on the run for years. And this is reflected in her costume. Everything is very practical and lived-in, with some wear and tear. It's functional for most situations in which she might find herself - plenty of pockets, outerwear to protect from the weather, holsters, boots.

There are certainly similarities to other female characters in Disney Star wars, but Jyn's costume sets her apart in silhouette and perhaps in age (seeing as this is set long before the sequel trilogy). Perhaps capris are common in the future but she has long pants. Her shirt has a detailed collar but otherwise has a more square shape than what ladies are wearing after the fall of the Empire.

The number of layers she is wearing at the start of the film emphasize how closed-off she is and hide her pretty thoroughly. As the movie progresses, and specifically after she says goodbye to her father, she starts to open up and she starts to lose layers. The end of the movie has her down to just pants, shirt, and vest without all the accessories. She is revealed as she opens up to the rest of the team.

Female representation: 10/10 As seems to always be the case with these films, it's perfect. She is wearing clothing as functional as any of the male characters. She loses layers but never in a salacious way; it makes sense for her as a character.

Practicality: 10/10 Probably more practical than anything I've worn, to be honest. She is prepared to go anywhere and deal with whatever happens to her.

Her disguise for when they sneak into the base is very good. She has the same long coat that the men wear and it is not tailored to look more like a skirt on her. Like Leia sneaking in Jabba the Hutt's palace, the disguise is thorough and not an excuse to change up what our leading lady is wearing. It matches what we know officers in the Empire wear and while I would enjoy if there were more touches of Jyn, it's an excellent disguise because of their lack.

Female representation: 10/10 Perfect, as usual. As mentioned, it is not an excuse to get her into something more form-fitting or skimpy. It's a fairly standard unisex uniform.

Practicality: 10/10 Perhaps not as practical as her own clothes, but obviously serves her purposes perfectly on the mission.

Want to read more costume reviews?

[555-number]

Welcome!

I've been watching the X Files and have loved reading wardrobe reviews from @danascullyslookbook and @muldertieindex, but now that I've gotten to season 4, I can't check their reviews while I'm watching anymore. Also, I happen to love costume design. Making a blog about costumes I love on a show I love just seemed natural!

I'll be filling out this blog mostly with Mulder and Scully looks, because they're the true fashion icons, but also with other costuming aspects I notice! See you then!

(run by @gloomth-and-wanderings; my similar star trek costume blog is @holodecks-and-hennins)

[oatmealcrisp-freak]

more phanart for more phanfic that ive recently read and enjoyed quq I Do Not Trust the World With You by @too-much-tma-stuff is a very interesting fun-to-me romp through action scenes and boundaries and ghost culture and this is one of my fave scenes from it

presenting your BF with the decapitated head of his killer is peak romance okay

author, tysm for sharing your work w/us!!!

halftone, gradient, blood spatter

Jason's flowery BG is from ibispaintx. City BG is also traced/referenced from ibispaintx bg stock :3

[lesbian-david-tennant]

I just watched Star Trek: The Motion Picture and wow that really is some gay shit

I'd seen the "this simple feeling" scene, I was prepared for that. but I wasn't prepared for the full extent of the conversion therapy allegory

and then Spock saying "it knows only that it needs but like so many of us, it does not know what" while gazing at Kirk

and then the whole fucking resolution being that V'ger needs to discover something more, "a human quality, our capacity to leap beyond logic," through union with a human

it clearly parallels Spock and Kirk with V'ger and Will and directly implies that 'this simple feeling' is love, romantic love

WHAT THE FUCK I can only begin to understand what my fandom ancestors felt seeing this in 1979

[mimicofmodes]

I saw a post going around about costube historians analyzing period film costumes for accuracy and it kind of got under my skin, so I'm sitting down and writing ... not exactly a response to it, but a discussion of the topic.

(It would be a direct response except that I don't actually watch costube, because quite frankly I can't watch/listen to people discuss things I already know. And I don't want to be like "they don't do X!" when maybe they really do X and I'm just not aware. But a lot of the complaints hit the same points that have been brought up against fashion historians for reviewing costumes for decades. I would also note that I have looked into specific videos where there were claims of terrible costuber behavior and watched them and found nothing.)

If you're going to analyze a period film's costuming in any way, you should still interact with the historical aspect to some degree. If you want to talk about the use of bold stripes in Tim Burton's Sleepy Hollow, for instance, and you don't mention that they were in style during the period the film appears to be set in, it's kind of weird.

Likewise, yes, if you're critiquing primarily from the angle of historical accuracy, you should also engage to at least some extent with the reasoning behind the inaccuracy. If a reviewer doesn't do so at all, then yes, their review is probably not as good as it could be.

People pointing out an inaccuracy (or many inaccuracies) are not inherently scolding the costume designer. Even if their tone is something other than sweet. Sometimes they are scolding other people involved in the production, like the director who mandated a particular costume, or just a general notion of TPTB. Usually they are divorcing the art from the artist, though, and just reviewing the costuming from their particular viewpoint and knowledge base for a likeminded audience.

Sometimes, yes, they are complaining directly about the costume designer. This is not a crime. Some costume designers (for instance, Sandy Powell) have an incredible grasp on fashion history and excellent taste when it comes to diverging from it. Others simply don't have as in-depth of an understanding and make design decisions sometimes based on stereotypes and myths. Some costume designers will explain their decisions in interviews or blog posts and make it clear that they didn't make a truly informed decision about accuracy because they didn't know enough about the period. It's important for both sides of the equation to stop painting the other with too broad of a brush ("ivory-tower elitists who have no idea of a production's needs or budget" vs. "costumers who know how to sew but not how to do historical research").

If you're allowed to complain about a writer or a director or an actor doing something you don't like in a movie, you're also allowed to complain about a costume designer. You're allowed to have aesthetic preferences, and even to talk about them without hedging every five seconds to make it clear that others can disagree, although some of this is beneficial with any critique. Why would it be otherwise?

This seems really obvious to me, but maybe it's not? But "they costumed that female actor in an anachronistically sexy way because sex sells" is a feminist issue. The assumption that women's bodies should be sites of less-clothed allure while men's should attract by being more covered (with more layers than in modern dress, with cravats, etc.) is sexist. Complaints about female characters being costumed inaccurately are often being made along these lines, and pointing out that the producers insisted on it or something does not mean it's suddenly unproblematic that every female character deemed fuckable has to have low necklines at all times and modern shiny hair.

It's true that fiction isn't non-fiction and shouldn't be taken that way, but it's also demonstrably true that viewers do take cliches in film aesthetics as accurate when they see them enough times. People cite Scarlett O'Hara's 18" waist. They believe there were no bright colors before the 1920s and that women couldn't have put their hair up unless they were wealthy. These beliefs have consequences when it comes to public perceptions of history, and if films perpetuate them it's perfectly reasonable to point out that they support ideas about e.g. gender roles that trads express today.

It's also simply funny when a film's hair or costuming or makeup is supposed to evoke a lack of artifice but actually requires quite a bit of artifice because people don't naturally have perfect hair and skin and so on.

If you don't like reviews of period films that focus on the accuracy of the costuming, maybe ... don't watch/read reviews by fashion historians and historical costumers? At least unless they're vetted for you by someone who doesn't mind that?

[stealingyourbones]

Just watched Deadpool/Wolverine. No spoiler review:

refreshingly good Marvel movie. Highly recommend

[bixels]

Very recent tag on my last post, but all credit goes to my partner again. They were sitting next to me while I cycled through Google image search "1920s flapper dress," going 'no. no. no. god no. no. absolutely not'.

[trishmishtree]

Another year, another recap: a list of things I sewed in 2024

So...I kicked off the year by not doing any sewing in January or February.

In my defense, I was starting a new job and doing paperwork and moving across the state at the time, and most of my sewing things were still in cardboard boxes in my parents' guest room. Figured I'd start small when I finally moved and unpacked all my worldly possessions, so I revisited the cape I made for Capetember 2022 and added slits so that I can still use my arms without letting cold air in. I also added pockets for my phone and keys. Photo not included because, well, it looks the same as it did in 2022, just with arm slits.

Then I made this hand-embroidered Regency reticule. It's based on the one in the Rijksmuseum. It's cute, it's functional, and I made it as true to the original as I could, thanks to video footage from Sewstine on Youtube, who actually got to study the extant reticule and see the hidden side panels.

Then I got sick of back-lacing myself into Regency stays that never seem to fit my scoliotic torso correctly, so I made the c0rset a la parasseuse. They take like 30 seconds to put on and actually give the correct shape, and now I finally have regency stays that work for me. I'm not including pictures of myself wearing them, but here they are laid flat:

Then in April, I finished my red and white floral 1780s Italian gown ensemble. Technically, I'd made the overdress in 2023, but at the time I hadn't added the hooks and eyes that would allow the skirt to be bustled up in the back, and I still needed to make the contrasting striped petticoat. It's not a true HA recreation because I put all the structure directly into the bodice lining, instead of making a separate pair of stays to wear underneath, but all the other under layers are period correct, including the split rump I made to go with it. I also made an attempt at the American Duchess 18th century cap, but I made it out of limp, flimsy cotton batiste instead of linen, and it doesn't look right, so I'm going to have to revisit that once I make a proper 18th century linen shift and see how much leftover fabric I have after that. Oh, and I hand-embroidered some garters for my 18th century stockings but never bothered to take pictures because I don't like how they turned out.

In May, I also made this generic 18th century petticoat to go under my Italian gown ensemble, because the visible striped petticoat kept grabbing to my stockings and the fabric of my shift.

Also in May, I made the blue Regency pelisse. Base pattern for the bodice part is Black Snail’s #0323 regency spencer c. 1810-1815. I just altered the sleeves and added the long skirt. The oak leaf rouleaux pattern on the front of the bodice is from this pelisse from the Cincinnati Art Museum, though I wasn't going for a direct reproduction.

Then came the Edwardian nightgown, based on an actual pattern from the era. I wish I had had more fabric to work with because the final hem is less full than I would prefer, and the sleeves could use maybe 2-3 inches of ruffle to length them.

I forget why I didn't sew anything in June or July. Maybe I had gone back to fix a fit issue with the regency pelisse? I don't know. But in August, I hammered out three more projects.

I've been working on creating a series of body blocks/slopers for myself so that I can then use them to draft whatever patterns I want. I currently have a basic modern princess seam bodice block, a sloper for a generic blouse (which I've used to adapt multiple Edwardian shirtwaists, because I really just need it to fit the neck and shoulder region), a basic regency bodice block, an 18th century conical bodice block, and a bunch of circle skirt templates. I've been meaning to make a new set of Edwardian combinations (because I totally used the wrong weight of fabric on my first attempt), but I wanted to test out my drawers pattern first, so I made a pair of basic drawstring shorts to wear under my skirts for work, just for a bit of extra coverage. They function okay, but they're going to need more fullness in the legs to work for Edwardian costuming, so I didn't take any pictures, and there will probably be several more rounds of wearable mockups in my future.

My second sewing project in August was to revisit my old gathered-front regency partially-bodiced petticoat. Now that I had a functional regency bodice block pattern, I basically installed an entirely new bodice, reduced the amount of fullness in the front gathering, and also added about an extra yard and a quarter of fabric to the back of the skirt, since the original skirt hem was a little too narrow for walking comfortably. Regency skirts may look slim, but they should have at least 2 yd (preferably more) in the hem circumference in order to look and function correctly. The new and improved petticoat could basically be a dress on its own, minus sleeves.

And finally in August, I made the historybounding princess skirt. I've already detailed my grievances with this skirt in my original post, but it was basically an attempt to have a warm skirt to wear to work in the winter, but it requires a c0rset (and undershirt and c0rset cover and petticoat) to look correct, so I basically only use it for casual cosplay/Halloween costumes now.

Moving on from that dud, in September, I went back to regency and altered my new and improve bodiced petticoat pattern into an actual evening gown pattern. This dress came out exactly how I wanted. It would probably be my favorite thing I've made this year, except that it has a 2-foot train that is very unwieldy.

I had quite a bit of large scraps leftover from the gown project. My friend from residency was expecting a baby around September, so I used some fabric scraps and made her a ruffly baby dress. Since baby was due in September and I wasn't sure whether the weather would still be warm enough for white frilly summer dresses, I decided to make the dress in a 6-9 month old size so that baby would be able to grow into it come spring/summer. (Spoiler: baby came in mid-September while it was still reasonably warm. Oh well. At least she'll get to wear it in the spring. And now I have a birthday twin.)

In October, I embarked on my most ambitious project of the year and made my first pair of 18th century stays. This fabric is 100% not HA, and I did a combination of hand-stitched and machine-stitched channels, but everything else about the stays is historically...adequate. It's boned with zip ties because I didn't want to waste a whole roll of $$$ynthetic baleen on my first pair of (fully boned) stays when there was a 95% chance I'd screw something up. Pattern is self-drafted, and my only gripe is that I made my mockup half-boned and it fit perfectly, but I switched to fully boned for the final stays, and that affected the fabric's bias stretch, and I had to add a stomacher to give myself more room.

Then Halloween was approaching, so I made a witch hat from scrap wool coating fabric from my cape and wool skirt projects. Wish I had made the brim wider and the crown taller (it's just a little too small proportionally all around), but I didn't have a stiff enough interlining material, and the whole thing was floppy enough as it was. I'm just going to have to get more fabric and proper millinery buckram for next year's Halloween project.

Speaking of Halloween, I ended up not using the witch hat at all. Instead, I made what I'm calling the Anne Shirley blouse. It's another Edwardian shirtwaist I self-drafted from my basic blouse pattern. It's not an exact match to the blouse she wears at the end of Anne of Green Gables (1985), but I couldn't find a narrow-striped black and gray cotton shirting-weight fabric. Trust me, I looked for months. The final blouse is pretty, but the ruffle needs to be redone because it makes my shoulders look too wide for the wool historybounding princess skirt I wore it with, and the collar needs to be taken in a couple inches because it's too loose right now. And I need to make a proper ankle-length Vicwardian walking skirt some time in the future before I can put this project to rest.

November was another slow month for me, between the results of the you-know-what and our impending doom and I just couldn't find the time or motivation to do stuff for fun. I did have a 2-yard length of deadstock burgundy polyester chiffon in my stash that I had been holding onto for about a year without a clear project in mind for it, so I used it to make a Greek chiton. No pictures included because I'm probably only going to wear it as an accessory with my regency gown (because those white regency gowns are basically OG historybounding).

December was another weird month. I had just seen the Wicked movie and was drooling over all the costumes (designed by THE Paul Tazewell), so instead of sewing clothing to wear for myself, I went back to my roots and made a modular origami doll of Glinda, then sewed her bubble dress from actual fabric. It was a lot like draping a dress, except with a miniature dress form.

Then, because the doll is like 6 inches tall and I had a bunch of fabric leftover (I only got a quarter yard of each and even that was too much for a 6" tall doll), I used as much of the scraps as I could to make another Glinda bubble skirt but big enough to fit my brother's cat. (Neither of our cats likes to dress up, but my cat is too big for the skirt to fit, and his cat is pure black so a black Elphaba dress wouldn't show up on her). I don't think I took a picture of the skirt when I finished it, and now I don't have it because I gave it to him for Christmas. We'll just have to see if his cat lets him put the skirt on her long enough to get photos.

It looks like I accomplished even less sewing this year than I did last year, and 2023 was a down year too, but I don't feel that unproductive. This list was something like 21 projects, so I'm still averaging about one project every 2-3 weeks, which is reasonable since I'm working a Big Girl Job now. I do have more days off per week since starting this job, but my free time is now clustered into 2-3 day periods (during which I also need to remember to cook, eat, clean my living space, do laundry, shower, sleep, prep for the work week, etc.), instead of being spread out more evenly throughout the week like when I was in residency, so that probably has something to do with my productivity level.

Or maybe it's because my projects in 2024 are more intricate and involved than, say, making a batch of small things like baby bibs and tailoring hams, or so I'm spending more time on each project. There were also several other projects I started in 2024 that are currently still in my Unfinished pile, and I'm slowly working my way through them in the hopes that they'll make it onto next year's list of things I sewed in 2025.

Oh, and in other news, my sewing machine broke on 01/01/2025, and it broke even more when I tried to fix it FML, so I'm either going to have to take the thing in for repairs (if anyone even still fixes this old crappy cheap model) or buy a new slightly less crappy one secondhand. So expect to see even more hand sewing from me. I might even take up Stephanie Canada's Butterick walkaway dress challenge 2025 but do it by hand just to see how long it takes.

[risingstarlets]

Dasha Komarova - showing off her outfit for Coachella 15/04/2024

[agentnico]

The Count of Monte-Cristo (2024) review

Je suis Batman!!

Plot: Edmond Dantes becomes the target of a sinister plot and is arrested on his wedding day for a crime he did not commit. After 14 years in the island prison of Château d'If, he manages a daring escape. Now rich beyond his dreams, he assumes the identity of the Count of Monte-Cristo and exacts his revenge on the three men who betrayed him.

I’ve been really enjoying this recent wave of French blockbuster cinema creating these lavish big-budget adaptions of their nation’s classic literature, with the recent highly enjoyable duology romp of The Three Musketeers (D’Artagnan and Milady respectively) and now taking on The Count of Monte-Cristo. I was a major admirer of Alexander Dumas’ novels when I was a kid, and by admirer I mean my father used to force me to read those books which at the time I hated him for, as I much rather would have spent hours on end on my GameCube, but now am forever grateful that I have the knowledge of storytelling which I gained from reading those pieces of literature. So I’m eagerly hoping that now with these expensive modern movie takes we will also get some of Dumas’ other great works get the contemporary cinematic treatment, such as La Dame de Monsoreau and The Black Tulip (though the latter may be difficult as there is already an older film version starring Alain Delon, and would be hard to recast Delon, let’s not kid ourselves!). As for Monte-Cristo, I’m not even going to sugar-coat it - this is a fantastic modern adaptation of a classic!

The sets are great and really invoke the post-Napoleon era of France; the costumes are gorgeous; the music score is grandiose and epic, really engrossing you in this decade spanning saga of revenge; the classic story is reinterpreted so well with the themes and the emotion, and the acting across the board is superb. Oh and the cinematography is to die for - wonderful long shot landscape sequences, great use of lighting, gorgeous shots of interior palaces - you can tell this film has been given all the money in the world, only unlike Amazon’s Rings of Power TV series that looks expensive but lacks any narrative depth, this film is both great to look at but also has a great story with awesome performance. Look, I really really liked this movie, let me rave about it!! Of course if you’re not French, you have to deal with subtitles, however don’t let that sway you, as this move manages to tell so much using its visuals and powerful music score that at times you don’t even need to read the subtitles to understand the emotion the characters on screen are going through.

Pierre Niney is honestly superb as the titular Count. From how he showcases him in his younger years as the excited young sailor wanting to prove himself to years later being this highly intelligent and driven yet calm presence, as well as taking on the various alter-ego’s of the Count using his different masks (very reminiscent of Fantomas) such as the dastardly Lord Halifax - Niney does such a stellar job here. What I also loved is how this adaptation takes the “superhero origin” approach to Dumas’ classic, with the Count being showcased as this cool dark vigilante like Batman/Bruce Wayne or Zorro, and even his dark menacing suit (which is dapper as f*** by the way!!) emphasising that. All the props to Niney, he adds so many layers and nuance to his performance, that even when he is super reserved as the Count, you can tell in his eyes the disdain and pure hatred he has for the ones that wronged him, but at the same time being able to showcase his guard dropping slightly when he is in the presence of his beloved lost love Mercédès (played gracefully by Anaïs Demoustier).

As for negatives, as even though I absolutely adored this movie, the inner critic within me still can’t help himself. This is a 3-hour long movie, and granted that is a result of the weight of the original book, however you do feel the length of this thing, but at the same time certain parts feel a tad rushed (due to the writers attempting to cram so much story and character development into the 3-hour frame) that certain side-plots and narrative build ups aren’t given their proper space to breath. One does wonder if this would have worked better as a mini-series, however on the other hand they probably would not have had the budget to make this thing look as good as it does. Secondly, certain details/plot-holes frustrated me which I won’t spoil, but one example is when Edmond and Abbé Faria are digging the escape hole from their prison chambers all those years, where the hell did they keep getting all those candles from to light their workspace?? I highly doubt in mid-1800s France prisons had little kiosk shops to offer inmates various groceries and household items. Happy to be corrected here, but honestly seeing those candles reminded me of Deadpool proclaiming “that’s just lazy writing”. And final complaint (before we can get back to raving about how awesome this movie is) is the ageing, or lack of it more. The tale of Monte-Cristo spans from 1815 and ends in 1844, yet the movie makes zero effort in making the actors look older the further down the timeline we go. The Count does look aged but that is due to the mask he wears, so when that’s off he looks like his younger 20-something self again. One of the main baddies Prosecutor de Villefort (played in true dick-fashion by Laurent Lafitte) looks exactly the same at the beginning of the movie and then right to the end. You’re telling me the make-up artists and hairstylists couldn’t give him a single grey hair or a wrinkle?

Again though, that was me with my critical thinking hat on. With that off, I want to reiterate how I truly enjoyed this new version of a classic tale that has been done so many times before, however this one may be one of my favourites. Truly engaging and epic in scale, with a ridiculously cool Pierre Niney in the titular role. He is… the French Batman!

Overall score: 8/10

[ygoartreviews]

Fun question for you all: If you could dress up as a Yugioh monster, which would you choose? I'm thinking for Halloween specifically, but that doesn't mean it has to be spooky.

[morethanaloveinterest]

A Far Out Look at Gaby Teller's Costumes in the Man from U.N.C.L.E.

The fashion in this movie is amazing, let's talk about specifically what Gaby is wearing and what it tells us about her character.

We meet Gaby working as a mechanic in East Berlin. So obviously the this the least put-together we ever see her. I couldn't get a good picture of her jumpsuit but it seems pretty standard. The scarf in her hair is rather fashionable, hinting at what is to come.

Female representation: 10/10 It looks mostly like what a real mechanic would wear, with nothing to emphasize that she is a female mechanic (other than her nice scarf).

Practicality: 10/10 Presumably the most practical thing we see anyone wear in this movie

This is one of the dresses she tries on while getting under cover. I wish we had gotten more of a montage of her different outfits but this one is pretty fun. It is a vast improvement over the one Solo had her wear first. The orange coordinates with what she wears in the climax, which is fun. And perhaps a nod to the fact that she is playing a part here as much as she will be then.

The dresses she wears going forward are all of the same style, chosen to be both 60s and modern. Watch this video by Cinema Cities for more on the choices made for the costuming. As is discussed there, the choices for Gaby are young and fresh, with bright colors. Geometric patterns, mod shape, an emphasis on legs instead of the hourglass. She stands out from the other leading lady, whose costuming is very complex - doing the most with her hair, make-up, accessories. Gaby, on the other hand, tends to wear earrings and a ring or a bracelet.

Female representation: 10/10 She looks fantastic, even for this short scene in the boutique, and is a spy being outfitted to go undercover. This scene establishes what her style is without deciding to ogle her at any point.

Practicality: 9/10 Compared to the jumpsuit, it's obviously less practical but it's pretty great in general.

Now undercover in Rome, Gaby wears a white dress with an overcoat that we also see worn with the other dresses. Both are very stylish and fit the silhouette that was popular in the 60s. As far as being fully white goes, that makes sense for a scene in which she is out for a walk with her assigned fiancé, making sure that their cover is convincing (even when they are mugged). White emphasizes her status as a pawn in the game right now (as does the shape of the outfit), as well as implying a woman in need of rescue. It is effective way to trick both their marks and her fellow spies into considering her to be helpless.

Female representation: 10/10 Still fantastic, gonna break my rating system. She looks good but is not eye-candy despite her role in the film.

Practicality: 9/10 The coat doesn't seem especially warm but the ensemble is certainly practical for what she is doing.

She wears this dress to the races, including a large hat, to meet with Uncle Rudi as well as Alexander Vinciguerra. It is her first job as a spy and this dress reflects that. Instead of pure white, most of it is green, a color generally associated with duplicity (like a snake). The scene includes Gaby doing quite a bit of angling to move the mission forward, which involves playing up what Solo and Kuryakin believe she is there to do as well as her own agenda, so while she isn't exactly a double agent, she is certainly deep in the plot.

Female representation: 10/10 These are all great, what can I say?

Practicality: 9/10 As above, perhaps not as useful as her jumpsuit, especially considering she does work on a car in this scene. But it certainly serves her purposes.

I couldn't find a photo, but I couldn't leave out her charming pajamas. She wears these in two scenes with Illya Kuryakin, when they are hanging out in their hotel room. The first night, she insists he dance with her and the second night she appears to betray him. So the outfit itself is mostly grey, since we can't be sure what her motivation is (until later in the movie). Plus they look like great pajamas, especially for being undercover and having to share a room with a stranger.

Female representation: 10/10 Some of the best pajamas I've seen a lady wear on film, especially for a spy movie.

Practicality: 10/10 They seem to be very practical, especially for wrestling.

And here is the showstopper. Gaby wears this for the climax of the film, through a lot of twists and turns. It is the same silhouette as the others, though the neckline is a bit more formal. Following the theme of the last dress, she started in white and now appears to have added a lot of cover on top of the white. The pattern is also reminiscent of camouflage. This makes sense because now is when her status as an agent all along is revealed, as she appears to betray first Kuryakin and Solo and then deceives the Vinciguerras along with her father. Again, she has minimal accessories in contrast to Victoria and she sets herself apart from everyone else in this outfit as she does so in the movie as well.

Female representation: 10/10 For a double-agent and/or damsel in distress, she is very well dressed indeed

Practicality: 9/10 It works well enough but I'm sure she wishes she had something else to wear when they are going off road through the rain.

The final shot, where the team is now put all together. The show features just the gentlemen and it's great to have her be at the center (the lack of a sequel is devastating). She is back to wearing a white dress, now that her true role in the story has been revealed and she made a significant contribution to the cause in the process.

Female representation: 10/10 Again, it is fantastic, especially for the female member of the spy team

Practicality: 9/10 Same as the others, I daresay

Want to hear more of my thoughts about female characters and fashion? Check out my other costume reviews or my YouTube channel (episode on Gaby out now!)

[ballinandcantgetup452]

Am I the only one who's noticed that Supergirl designs have been booty cheeks up until recently?

Here, just lemme show you.

Her Debut Suit:

This cover was recreated by somebody for those who can't tell. But it's the same cover and this is what I could pull up quickly. So this first suit is fine. Gets the job done. Doesn't feel gratitutious. It's a little safe, little unrefined. But that's what a first suit is for. The idea's out in the world. The cool part about comics is the fact that there's a revolving door of people with ideas to bounce off of yours. Let's have this be our baseline. 5/10

There's an interlude of suits here, but I can't find them all.

Crisis on Infinite Earths Costume

Apparently, Screenrant isn't fond of this suit, but I also trust Screenrant as much as I trust my local politician these days. So screw 'em. I think this design kind of rocks. I like how they clearly tried to evolve her look in a way that's different from Clark's while still having the baseline stay the same. I like how the cape goes into the crest. I'm even kind of a sucker for the stupid headband. My only complaint is the skirt feels a little too high which can cause a lesser artist to sexualize her, but, modern day comics have proven that you can prevent this problem by either making the skirt a litle longer, changing the skirt into those half skirt-half shorts thingies, or having Kara wear spandex beneath it. Overall, an admirable attempt at evolution. 7/10

Post Crisis Supergirl (and all adjacent designs)

I have these designs in order of "hate the most" to "hate the least". I absolutely DESPISE Kara's comic post-crisis look on literally every level. I hate how it feels like a cheerleader outfit. I hate how BLUE it all is. I hate how the outfit feels DESIGNED to be sexualized. It's just a bad look. Not just for her, but for feminist representation in comics as a whole. I have the same complaint for the other two. But Kara's first DCAU suit feels more homemade, which I'm fine with. Her second one has a fine enough color scheme. The skirt isn't frickin BLUE. But overall, it doesn't feel like a superhero design. It feels like the worst person you know in high school wanted to dress slutty to the Halloween party (which there's nothing wrong with that if you dressed up slutty in high school, nobody should've been perving on you anyways) and threw together a slapdash Supergirl outfit. 3/10. Uncreative for people literally PAID to be creative.

New 52 Supergirl:

A step in the right direction, but, not my personal favorite. I get that this suit is supposed to line up with the New 52 super costumes. HOWEVER, I just don't like the New 52 super designs. I just think it's too complicated. I admit this is a personal preference thing, but, I like my superhero designs simple. I believe that you've designed a superhero right when a child can draw one in class with relative ease. This costume is fine, I don't disparage its fans. It's just not for me. 5/10. Objectively not bad, just not for me.

Rebirth Suit:

A much BETTER step in the right direction. It takes all the notes I've given and streamlines it the best it can. It still feels like a CW suit, which is fine, but it's just a note. Can't really change or disparage it for that. I give it the "real solid" award. 7/10.

Woman of Tomorrow MK I:

Perfect. Perfection. No notes. I love the golden trimmings. I don't know if it's Bilquis Everly's design philosophy, but I love how her top is kinda baggy, I love the cape, I love everything about this suit. I love how her belt is kind of like a corset. It's helps to round out the colors well. Just absolutely perfect. 10/10. No notes. Do this.

Woman of Tomorrow MK II:

If you need to "modernize" the costume, then this gets the job done just fine. I'm not ecstatic about it, but I think y'all can tell that's just my preference when it comes to DC designs. I like them simple. I like my Superman to have trunks and look dorky. I like my Supergirl to follow suit. I am really fond of the cape collar. They did something like that in Superman Up in the Sky and I liked it there, too. Overall, solid, but not for me. 8.5/10.

Current Suit:

The epitome of fine. I'm still a believer that jackets are to the 2010's as pouches were to the 90's, but still fine. It's just missing something. Dan Mora typically has the sauce here (and he cooks with her design in World's Finest), but something here isn't clicking for me. 6/10.

Overall, Supergirl's designs didn't really begin to get good until recently. And that makes me sad.

[ectonurites]

a lil 👨‍❤️‍💋‍👨

[scarecrow03]

This was my Halloween costume this year and i want thoughts about my mask (btw im gonna make a new mask)

[tearlessrain]

so I watched little shop of horrors (which I'd never seen) with a friend last weekend and it's a fantastically done musical and it just got me thinking. does it seem to anyone else like every musical that's come out in the last five years or so is terrified of being a musical. just by comparison. because that movie fucking reveled in being a musical and it showed in the quality, but every recent one I've seen they keep refusing to hire singers instead of the same dozen or so big name actors, and the promotional stuff downplays that it's a musical so hard that half the time you wouldn't even know from the trailers. I was literally today years old when I found out that the Timothy Chalamet Charlie and the Chocolate Factory movie was apparently a musical this whole time which is an odd choice but fair enough there are plenty of non-musical adaptations so it's not the main draw I guess. but they don't even seem to want to admit that Wicked is a musical. WICKED. why are we doing this.