Did you know that Betty reads Vogue? Or that Peggy's hemlines are on the rise? Or that Joan will never change her style? Costume designer Janie Bryant gives an inside look at how she expresses the story through the clothing.
When we last spoke with Janie Bryant, the costume designer for Mad Men, she explained the show's obsession with underwear, clued us in on Joan and Peggy's favorite accessories and why it's OK to ruin a vintage dress. Today, we've got a new slew of fashion photos, along with her explanations. Come behind the seams as we see how the clothes make the Mad Men...
Bright is the keyword for Season 2 fashions. Costume designer Janie Bryant works closely with Debbie Zoller (Makeup Department Head) and Gloria Ponce (Hair Department Head) to coordinate the perfect look for the cast members -- a look that's as essential to the series as the script.
Mad Men-inspired 'dos reigned the catwalk this year, from Jackie flips to mini-beehives. Gloria Ponce, the set's hairstylist, sat down with AMCtv.com to discuss the confection-like curls and coifs that have viewers at home whispering, "How did they get their hair to do that?"
Q: Two of the final episodes of Season 2 were set in California. Did the location change necessitate different styles?
A: My research showed that California women looked very different from women in New York. New York styles were bigger and more stylized. LA was softer and just a little behind the times, more towards the late '50s. They all had the same hairstyles -- the flips, the pageboys, the French twists and beautiful chignons. The men weren't so coiffed, and they'd stopped using all that slick gel. They were shaggier, longer, less side-parts. And Palms Springs was more European-influenced. The women were very high society, jet set people. The women had more elaborate chignons and French twists than New York women.
Q: How much did a person's rank affect his or her hairstyle?
Perhaps we can divide Man Men fans into two camps:
The ones who watched Sunday's season finale and thought, "Oh god, what happens next?!"
And the ones who watched Sunday's season finale and thought, "Oh god, what will they wear in Season 3?!"
Naturally, I'm part of the second camp, though I'd be lying if I didn't admit a surging curiosity for the next episode's circumstances: Will we be in a different ad agency altogether? Will Betty Draper hold a baby instead of a martini? And what year will it be? Which naturally circles back to, "What will they wear?!" A prediction, based on absolutely nothing except my gut: Next season will start in 1963, the morning before Kennedy gets shot.
OK, onto the clothes.
Obviously, Betty's opening silhouette was breathtaking, and also quite symbolic: Her giant skirt spread out so wide, it foreshadowed the expansion of her stomach and hips sometime in the future. It also looked a bit "Humpty Dumpty" to me, but Betty's already had several great falls, and really, how many more can she take?
It was a great costume, but I'm more interested in discussing the champagne-colored jacquard suit that Betty wears before and after (and briefly during) her transgression in the bar. The first thing that struck me about it is that it isn't that sexy -- at least, not compared to Betty Draper's Greatest Hits like the Valentine gown, the pink princess frock from dinner with Jimmy and Bobbie, and the ill-received bikini from a few episodes back. Even her riding costume has more sex in it than this proper jacket and skirt. So what gives? I think it's a signal (albeit an obvious one) that this affair has nothing to do with Betty's physical needs -- it's more about revenge. It's also interesting, and appreciated, that Betty's suit is a pale gold -- a good contrast to her platinum wedding and engagement rings, which she's still wearing. And maybe there's a bit of role play here, too: Don wears a suit; Don screws around. Betty has decided to screw around; Betty's damn well going to wear a suit, too. PREDICTION: Next season, Betty will wear a Marimekko shift as a maternity dress.
I was grateful for the mention of The Twilight Zone on last week's episode, because this latest show brought us into one. If Don Draper's continued odyssey through California wasn't enough, there was also -- surprise! -- another woman answering to the name of "Mrs. Draper" and tucked safe in a California bide-a-way. The costume department couldn't have played it any better. Both Mrs. Drapers are blonde, blue-eyed, and slim, but that's pretty much where it ends. Anna Draper wears her hair loose; Anna Draper wears her clothes loose. The chambray shirts, the aprons, and the faded prints point to a woman who hangs her wardrobe on a clothesline to dry. (The Mrs. Draper across the country prefers the electric dryer.)
Speaking of the the familiar made unfamiliar, how weird was it to see Don Draper #2 in clothes formerly worn by the first Mrs. Draper's ex? They fit, but he looked like he didn't belong in them; it was the plaid in those warm color tones that really threw it off. Don Draper does not wear plaid flannel floppy shirts. Don Draper does not wear orange. At least, not Don Draper version 2.0.
Continue reading "The Mad Men Fashion File - Casualwear for the Other Mr. and Mrs. Draper" »
Could you pay attention to this week's episode? I had a hard time looking at anything except Joy's ridiculous bikini body, but after I recovered from the gulp of "Oh my gosh, I want your stomach," there was a big theme to discuss: Shedding skin.
While most of you are resolute fans of Don Draper, some of you have mentioned he's a bit of a snake. I suspect by that you mean he's slippery, predatory, and quiet. But he's also got another serpentine quality, and that's the ability to drop his facade and reveal another layer. It's not that he's putting on an act, exactly; it's just that he's in total control of how much he's uncovering at any given moment. And what a cool and crazy thing that ten minutes after Don Draper takes off all his clothes, he makes a phone call and says -- for perhaps the second time since the series started -- his real name.
Continue reading "The Mad Men Fashion File - The Naked Truths About Don, Joy and Kurt" »
Betty's father is far from lucid, but when he screamed, "You can't trust a man who has no people!" it felt like a moment of chilling clarity, especially for those viewers like me, who think Mad Men is more like Lost than we ever expected. From a fashion standpoint, it's curious too, because not only are Don's people nowhere to be seen but his style is practically invisible.
Oh sure, Don Draper has a lot of finesse and a great Look -- a credit to the excellent actor Jon Hamm. But his hair? It's always the same length with the same comb-through crackle. His suit? It's always the same cut. His tie? It's always the same kind of skinny. And it's deliberately to ruffle and unsettle us, because everyone around Don is constantly changing their clothes:
Continue reading "The Mad Men Fashion File - Don Draper, Invisible Man of Menswear" »
Last time, we talked about Betty Draper and her meltdown: the two-day old dress, the crunchy hair, the crusted eye makeup, the perfect look ever. Today, we're going to talk about Mona Sterling: same meltdown, different style. White gloves, jewelry, embroidery, oh my gosh. Of course, when you're planning to confront your husband and his entire office at their place of business, you need a little bit of "wow." I think it's safe to say she brought it, especially in that incredible bustier. Now that's an outfit that demands alimony.
It was especially effective against Jane Siegel's virgin blue sweater, with almost no makeup and no accessories, hardly the garb you'd expect on the Other Woman (and certainly not the way Bobbie Barrett nails it with her corseted flash). In fact, Jane Siegel seemed to be overcompensating for her indiscretions with that outfit, and it's the only ensemble we get to see her in during the whole episode. Will she really remain a "Jackie," as opposed to a "Marilyn," as Roger pegged her during Episode 6, "Maidenform"? Guess we'll have to see what she wears to bed.
Continue reading "The Mad Men Fashion File - Mona Puts a Little Wow in Her Meltdown" »
Mad Men Lesson One: If you're going to have a meltdown, it may as well be in a polka-dotted spaghetti strap party dress. At least that's the case for Betty Draper, who manages to choose exactly the wrong thing to wear when saying what's exactly right. Actually, that dress was interesting for several reasons:
1. The silhouette was still very traditional, but the colors were a big push forward for Betty D.
2. The silhouette was very sexy but the colors were very innocent and childlike.
3. The fabric was very expensive, but the overall effect was cheap.
And that means something brilliant is going on here: The dress is completely ambivalent, pulling at both the past and the future, at luxury and misery, at reality and lies. In a way, the dress transcends the scene to represent Betty herself -- comfortable but uneasy, scared but bold, innocent but jaded. Really, the dress is saying "Should I stay or should I go?" Unfortunately, Betty herself won't be able to say that for another 20 years, since the Clash didn't write those lyrics until 1981. But I guess that's the way it goes.
Continue reading "The Mad Men Fashion File - Polka Dot Frocks and Priestly Lunchboxes" »
In Part I of AMCtv.com's exclusive interview, creator Matthew Weiner addresses the issue of sexual violence in Season 2 and explains Don's damaged psyche.
Jon Hamm talks about breaking down Don's façade and explains what women really want from a man of mystery in AMCtv.com's exclusive interview.
