What's the easiest way to show characters in hazy states of reality? Dress them normally...then surround them with people wearing pajamas. That's the brilliant tactic costume designer Janie Bryant uses in this speed-fueled episode, where most events could be hallucinations, and even by the end, some did-they-or-didn't-they moments still hover. (Hey Ken, can you really tap dance?!)

The nightgown-and-day-clothes juxtaposition starts early: Don stands outside Sylvia's door, fully dressed. He even wears a hat and overcoat. Meanwhile, Sylvia's on the other side of the door wearing a pink quilted robe and a sleepy blue turban. Next, Young Dick Whitman and his Evil Stepmother are covered up and conservative, while surrounded by prostitutes in silk nighties and open kimonos. This motif gets even more dizzy when the scene is inverted so far that Young Dick is dressed -- and wearing suspenders -- in Aimee's bed, while she walks around in a slip. Later, Sally's wearing a pink nightie when her reality is totally tipped over by Fake Grandma Ida, who's fully dressed, also with an overcoat and hat. (Is the similarity to Don and Sylvia earlier just coincidence?) And after Don collapses, we see him in his undershirt -- undressed, but not exactly pajama-ed -- next to Megan's bright green negligee. Sitting up in bed, Don looks like he's in limbo. Is he dreaming? Is he dying? Is it daytime? Is it night? The T-shirt could be worn at any time...and just like Ginsberg's Cheshire Cat reference, Don's consciousness doesn't know if it's coming or going.

Continue reading "The Mad Men Fashion File - In Your Dreams" »

Ted asks Peggy, "First day of school. You nervous?" and, in a sea foam suit, she is clearly ready to conquer. But Ted is also dressed to impress, at least for astute Fashion File fans. We know characters often excel at SCDP when costume designer Janie Bryant dresses them in costumes that match the office. (Peggy was literally consumed by her work last season when her dress and the couch were almost identical.) Now check out Ted's ensemble in the conference room: He sports a sharp black suit and a shirt so crisp and white, it must be brand-new. Then there's his tie, which blends beautifully with the room's wood panels, a fact that's highlighted even more by his seat on the cabinet against the wall. Pete may have gotten Ted's chair, but Ted went and created his own throne. (Ted also gets the "Best Dressed" award from me for his flawless aviator jacket and sunglasses, both of which are still quite chic today.)

Other office observations: Peggy's aqua suit is a pastel version of Stan Rizzo's bluish-green work shirt; hopefully their color-coordination means they're friends again. Ginsberg's also got a deep green skinny tie, an accent in his costume that (literally) ties him to SCDP. Meanwhile, the two CGC creatives wear slashed ties and button-ups that coordinate with each other, but nobody else. Clearly, these two agencies aren't a unified team just yet. And check out Joan in her first scene: She's a beacon in a royal blue dress with matching pumps, in contrast to the people swirling around her wearing green. It's a cool visual effect, and also, it shows that blue and green motif again this season. The coat Joan later wears over her cobalt dress is also bright green. Most Mad Men couples break up, but at least blue and green have everlasting love.

Another color getting a workout in this episode is red. It's Sylvia's sexiest shade, and the hue tying her most directly to the prostitutes from Don's childhood. We first see Sylvia in a red-orange quilted robe and a red scarf turban. Her next red infusion, the Saks Fifth Avenue dress, is where things get really interesting. "You are for me. You exist in this room for my pleasure," says Don, and boom! Red becomes the official color of female objectification.

Continue reading "The Mad Men Fashion File - True Colors" »

Peggy and Ted's kiss. The Jaguar and Vicks disasters. The Merger. This episode was so crammed with plot points, you could almost get dizzy -- if it wasn't for costume designer Janie Bryant finding a way to keep us focused through visual cues. How? She doubled up, dressing characters with key connections in similar outfits to help emphasize important themes.

My favorite example is halfway through, when Joan confronts Don with, "Just once, I'd like to hear you use the word 'we!'" She's wearing a jade green dress with short sleeves, buttons down the front, and a slim belt at the waist. A few scenes later, Ted Chaough kisses Peggy, who's wearing a powder blue dress with short sleeves, buttons down the front, and a slim belt at the waist. It's a subtle way to tie them together. While Joan once used her sexuality to get ahead, Peggy did the opposite and relied solely on her intellect. Now, they're in opposite positions: Joan is running the office and even barking out orders to the other male partners, while Peggy's getting kissed by her boss and liking it. It doesn't help that Peggy's actual boyfriend, Abe, is wearing the ultimate blue-collar uniform -- denim overalls sans shirt -- while she's in buttoned-up dresses and super-girly nightgowns. The clash in their relationship continues, and it's reflected in their clothing.

Continue reading "The Mad Men Fashion File - Two for One" »