The Mad Men Fashion File - Forgive Me, Father, For I Have Shopped
This weekly look at the fashion of Mad Men is written by Faran Krentcil, the founder of Fashionista.com who currently works at Nylon and Page Six Magazine.
I just bought nail polish the color of Peggy's egg -- you know, the electric blue one she gets from the priest, who is really Colin Hanks, who is really due to appear on more episodes because he's discomfortingly adorable in this role. Anyway, I realize bright blue nail polish didn't exist in the early '60s, but still it's intriguing. Who knew the vivid colors seeping through the period's Technicolor entertainment, their "futuristic" Crayola kitchens, and their children's toys would wind up as mass trends in forty years?
But that's not really what this entry is about; It's just an observation. What we're really going to discuss -- and bitch and moan about in the comments section, I'm sure -- is a key battle happening with the costumes, and also the characters on this show. It's the fight between keeping it in and letting it out, and one you can map out in the clothes.
For the first scene, we've got church. That's sort of a no-brainer in the keep-it or free-it category. Church is where you button up, where you silence your doubts and plans as to whether you'd rather be home listening to a ballgame on the radio. And to go with the pent up feeling of "Why am I here?" -- especially Peggy's--we've got some very constricting clothes. OK, so Colin Hanks' collar is practically choking him; again, to be expected. But Peggy and her sisters have their heads practically smothered in the fake floral bonnets that continue to dot the episode.
Next it's Don and Betty in bed, and she's got messy hair and a loose cotton nightie that Jill Stuart now passes off as a designer dress; you can't get any more relaxed than this. They're alone. They're in bed. They're not hiding anything. It's basically the opposite of church in that everything's hanging out. Sorry, but yeah. So those are our two battling extremes for the episode -- keeping things shut up, or letting things all out. Church and Sex. Public and Private. And now for everything in between...
Dinner with the Sterling family, where Roger's daughter quietly explains she doesn't want a big wedding. She's wearing a double strand of pearls, and when the camera swings to the back, you can see how structured her pale blue overblouse is. It's almost like a breastplate of armor, huh? Mrs. Sterling counters with a very stiff stole around her shoulders. The restrained nature of their argument mirrors the way their clothes keep their figures concealed, though if I were a betting girl, I'd wager that Mademoiselle Sterling will have a big wedding after all.
And in comes Bobbie Barrett. When she crashes Don's office, you know things will combust because of Joan's smartly raised eyebrow. You'd know anyway by paying attention to her outfit -- Bobbie's practically falling out of her topcoat, as if to say, "Can't we cut the chatter and just disrobe already?" Of course this is what happens, but not before we get a little closer to the keep-it-in versus take-it-out theme. Bobbie's got to keep herself covered to maintain some propriety, and also, of course, some sex appeal. Don Draper does like to chase things, even if those "things" are just a coat rack away.
The next time we see Betty Draper, she's pissed with her little son and dressed to prove it -- a blouse with a very high neck recalls a Victorian school marm, and slacks that placket her waist reinforce the idea that Betty is about to explode.
Speaking of exploding, I have a note written down that just says "OMG Don busting out of that tee." I think you know what I mean--Don Draper in that white T-shirt is crazy sexy, to the point of total distraction. Whoa.
And finally, the office. It seemed a bit like "casual Friday," with everyone trying to look both relaxed and professional -- and, in Pete Campbell's case, totally silly with those tiny white shorts. I don't care if they were historically accurate; they were insane. It reminded me of the more outrageous stuff in Thom Browne's Spring collection -- the stuff that, rumor has it, sparked a certain major magazine editor in chief to start laughing during his catwalk preview. Yikes.
But something did snap me out of the shorts giggles, and it was this--when Don bellowed to the office, "Let's pretend we know what 1963 looks like." My mind flashed to the beginning scene in Peggy's family kitchen, with a framed photo of JFK looking down on Sunday dinner. And I though, "Oh Don, you really don't want to know what 1963 looks like. Trust me."
1965, however, is a different matter. That's when we'll finally see someone, hopefully Joan, squeeze into a miniskirt.
Yes, Pete legs ......But I think it was intended as a tennis outfit (see Jack Purcell). Not that this is what he wears out of the office. The only other outfit he's been in outside of a suit is the PJ's equally spiffy.
Wait, is this a summary of the episode or a blog about the fashion on the show? Because there is plenty of the former and almost none of the latter.
A valid question fashionism.org....
From Faran's very first blog here (where she mentioned the jumpers Peggy wore in the next episode), I've felt she didn't respect the viewers' intelligence enough. (She had probably watched the two-episode advance copy and sloppily commented on both in her first blog.)
I concluded she's not a MM fan, which is why she can't figure out how to approach the topic. She's tried humor and sarcasm, and lost the part of the audience that didn't share her humor. I'd bet money she didn't watch Season 1 (note: the Mrs. Cosgrove error), so she can't seem to integrate the story's nuances with the clothing and surroundings. Because the blog posted a day later than normal, I thought she gave up...only to read this painful observation on those that "bitch and moan" about her efforts.
Why don't we tell Ms K what we would like this blog to be?!
Through her words I'd like to feel her interest in the topic...falling somewhere between a keen interest and fascination with the fashion and the era in which it is set would be ideal. Why can't the blog desimminate information?...i.e., what affected the change in styles and an explanation of how these women had access to it? And, the blogger should know enough about the era to notice things others missed....like the ruffled socks Sally wore to the office (wrong, wrong wrong)... This blog should include exclusive information from the costumers, stylists and wardrobe staff (note: Emmy nominees) to discuss the challenges and aspirations relative to doing their jobs for the show.
It can't be that hard....if you're a fan, that is....
The producers have paid for blogs covering 13 episodes...Before the final broadcast, I hope to read something closer to one other Maddicts would be excited to read. Feel free to share your ideas, too!
I'm pretty sure Faran doesn't care what we, her readers, want this blog to be. She has disdain for us, you can tell by her bitch and moan comment. She's covering for her lack of knowledge of period fashion and this show with drivel and forced sarcasm.
I'm a fan of this column. I think it's fun and have no doubt that Faran knew Pete was wearing a tennis outfit. Keep up the good work Ms. K!
Thank you, greytone, for the constructive comments on what you think the blog should be. I just think Faran is not sophisticated enough to be doing this blog - she doesn't respect the intelligence of the readers because she isn't there yet herself. Oh well, I don't have to read it, do I? -- there are plenty of other places on this site with interesting commentary.
Anyway, I realize bright blue nail polish didn't exist in the early '60s, but still it's intriguing.
Actually, it could. According to my female parental unit, i.e. Mom, several teen magazines of the day discussed taking white nail polish and adding food coloring to tint it to match your outfit if you couldn't find the shade you needed. Many of her friends often had a lovely palette of Easter eggshell yellows, greens and blues to match their petticoated Sunday best.
So there's my bitch and moan for the week. Hmph.
See that's just the thing, Faran says with some authority that they didn't have that color nailpolish in the early 60's but they did. She doesn't know really anything about the fashions of the time period and is just sort of winging it for this blog hoping people won't notice.
The last paragraph of Faran's entry about 1965 and miniskirts seems a little inaccurate. As I recall, 1965 and '66 were transition years in America. Women transitioned from the fashion influence of Oleg Cassini to the much more youthful "little girl look" of the late sixties. Most women who were in their late 20's and up were still locked into the early 60's look- the Jackie look in 1965. But!...there was a new take on that look. Bright vivid colors, no hats as a rule and slightly higher hemlines. Doris Day best exemplifies that look in her mid 60's movie "The Glass Bottom Boat".
It was not until late 1966 that Jackie Kennedy first appeared in public in a miniskirt. "Women's Wear Daily", the famous fashion paper, gave her its' five star accolade for her outfit- the paper's highest honor. Long shoulder length hair (with ribbons)and skirts well above the knee exemplify the little girl look of the period. Pantyhose in colors and low heeled shoes with buckles were fashion must-haves.
By 1967, designers such as Courreges, Paco Rabon, Saint Laurent and the more mod Mary Quant really began influencing women's mainstream fashions in America. A great movie from the period is Audrey Hepburn's "Two For The Road". Audrey wears many "mod" fashions in her role as the wife of the successful architect played by Albert Finney.
It was around this time that miniskirts became more prevalent in the fashion world of America's women. And yes, Mad Men's Joan would probably wear a mini with go-go boots- ala Nancy Sinatra!
I haven't seen anything of the "sack" dress, or chemise, that was so the rage of the early sixties! It later morphed into the "shift".
I don't think Faran knows of what she writes. I was a teenager in the 60s and miniskirts weren't worn by anyone I knew until the late 60s. They weren't popular for long because they were just impractical - when you sat down your legs either sweated or froze to the furniture you were sitting on, depending on the season.
It seems most of us "Maddicts" concur: Faran is not a true fan of the show. This time she made the mistake of citing the clothes worn in church as belonging to Peggy and her sisters. Did she not realize that it was one sister and her mother sitting together in church? There's a lot to consider when it is two different generations of fashion on display. It may be that she TiVo's the show, races through it to get some fashion nuggets, but is really out of touch with the characters and the plot. I must say that I appreciate the references to contemporary fashion details, such as certain styles from the era showing up in today's designer's collections. I am not enough of a fashionista to know this on my own. I second greytone's request to have more from the show's own costumers, stylists, and wardrobe staff. How 'bout some media pieces direct from 1962 detailing what was hot in hair, dress, make-up and the like? (I LOVED the fact they put the original Jackie white house tour piece up for us to view. Invaluable to me for getting in touch of what was really going on in the character's lives from this era before I was born!)
And finally, the office. It seemed a bit like "casual Friday," with everyone trying to look both relaxed and professional -- and, in Pete Campbell's case, totally silly with those tiny white shorts.
Faran, dear, try paying attention to the plot (it won't give you wrinkles! I promise!). They were called into the office on a Sunday, so clearly Pete was called off the tennis court.
so did they finally put the fashion file out of its misery? it's wednesday and no new entry. maybe amc listened to us?
Re: Caprice previous fashion post 8/22:
A big spelling correction: Paco Rabanne (not Rabon)
Other big late 60s fashion designers:
Bill Blass
Pierre Cardin
Emanuel Ungaro
Emilio Pucci
Rudi Gernreich
On the more avant garde front:
Betsey Johnson- part of the late 60's "youthquake",
Betsey hired Andy Warhol's protege Edie Sedgwick as her house model. Betsey opened her successful boutique, Betsey Bunki Nini in 1969.
Betsey still designs today. Her designs have always been very very youthful, edgy and au courant.
I want to be the fashion commentator for MM.
Vote for me!!