The first few moments of Episode 12 immediately establish its big theme: Disorientation. America is about to be turned upside-down by the Kennedy assassination, but that's not where we are yet. Instead we're at the office with the Sterling Cooper crew. Thanks to a busted heater, they're bundled up in hand-knit mittens, large wool coats, and in the case of Lane Pryce, a very smart (and slightly dangerous looking) pair of black leather driving gloves. That the office -- the ultimate place of hold-it-together natty decorum -- is now as chill as the Rockefeller ice rink knocks our usual perception of Sterling Cooper sideways. And it's only the beginning.

Margaret Sterling has often resembled a child in grown-up clothing, but the electric blue suit she sports while crying about her impending wedding takes that image to new levels. Short and boxy, it fits the period silhouette, and because it reveals her arms, it also makes Margaret look like a girl who's outgrown her clothes but refuses to discard them -- a nifty metaphor for her spoiled attitude. The second flash of Margaret -- weeping in her wedding dress -- underscores the upside-down themes of that storyline. Plenty of brides probably break down in their gowns for various reasons, but they usually pull it together before anyone sees them. Here, we see everything.

Continue reading "The Mad Men Fashion File - Inside Out and Upside Down" »

Of course Don Draper reveals his "true self" in the Halloween episode. While kids are walking around in costume, Don finally drops his disguise and reveals his past to Betty. Dick Whitman was a different guy, and he wore different clothes: Checked shirts with room in the sides to show a young man who didn't always get enough to eat; pants worn through to the knee and a little bit too short. In the case of creating Don Draper, it seems clothes really did help make the man.

Accordingly, every character's outfit really stuck to their archetype this time around. Joan's deep blue dress offsets both her hourglass figure and her flaming red hair. In Episode 11, her hair reflects not just her sex appeal but also her rage when she deftly smashes a flower vase on Greg. Peggy's pussy bow is thinner and more wilted than ever, a sign of her withering will at work (of course, her affair with Duck Phillips contributes to that too, but this blog is limited to sartorial choices, so we'll leave that alone). And Betty Draper strips herself bare -- white cardigan, ponytail, no makeup -- and reveals, out loud to another person, that her husband is not who she wants him to be.

Continue reading "The Mad Men Fashion File - What Are You Supposed to Be?" »

Of course in the Mad Men world, it's the plain brown box that holds all the secrets. It's not fancy. It's not expensive. In fact, what makes it special -- besides its contents -- is that it's been locked up. But from the outside, it looks exactly as it should. Nothing special. Just a box.

The same idea could be applied to the characters and their clothes this episode -- Betty sporting not one, but three cashmere twin sets. Nothing special; just a housewife. Peggy in her muted pussy bow ensembles is equally unassuming. And even when the women dress up, it's something we've seen before... Oh look, there's Mrs. Draper looking like Grace Kelly. Beautiful, yes, but at this point, it's almost easy to gloss over. Even Suzanne Farrell's unique accessory (the foil star on her cheek) is really just an accident. Give it fifteen years and maybe Sally Draper will be wearing one on purpose in a disco.

Continue reading "The Mad Men Fashion File - Don't Be Fooled by Plain Packaging" »

Sometimes I think I can hear designer Janie Bryant laughing during the Mad Men episodes. Not because they're funny -- though yes, of course, they can be -- but because she has an uncanny knack for creating amazing irony with her outfits. It's almost as if she takes what the characters are doing, then figures out how to make them look like they'll do exactly the opposite. It's that juxtaposition that helps make the characters so rich -- and so sardonically hysterical.

A prime example this week is Sal, whose most recent plot line is definitely not funny. But still, his grand exit outfit was unconsciously amusing, wasn't it? For those who imagined Don's tagline of "Limit Your Exposure" as relating directly to Sterling Cooper's closeted art director, take heart: You can't get much more buttoned-up than a snug gray vest that literally holds in your heart and guts, plus a very wide tie to cover you more still -- so different from Pete Campbell's skinny signature. Poor Sal!

Continue reading "The Mad Men Fashion File - You Are Not What You Wear" »

Lucia Mace and Lana Horochowski are the two you should thank respectively for the hair and makeup on Mad Men. And now, these crew members are sharing how they styled Betty's Roman look and how you can model your own look on the show.

Q: How did you first meet? Was it like a professional blind date?

LH: We both worked on the first season of Mad Men, even though we were department heads. We met on-set.

LM: But then we fell in love!

LH: It's actually true. Now I can't stand it if I'm working without her. We did become best friends.

Q: Does that make it easier or harder to work together?

Continue reading "The Mad Men Fashion File - Lucia Mace and Lana Horochowski (Hair and Makeup) " »

It's always maddening to see characters you care about make decisions you hate. But it's even worse when they look so good while they make those bad choices. That's essentially the vibe for Episode 7, in which we watch our beloved Mad Men characters lie, cheat, flirt, dodge and suffer... all while inspiring us to wonder: "Wait, where can I get that dress?"

So let's get to it. Maybe the most arresting wardrobe image comes at the beginning, when Don wakes up rumpled (and in a pool of blood). Five seconds later in flashback, you see him putting on his armor -- the starched white shirt, the shined shoes, the tie that practically zips itself into place. We know soon enough, this perfect shellac will crack. For now, it's so coolly collected or to borrow a phrase from Rachel Zoe: "It's bananas."

Continue reading "The Mad Men Fashion File - Looking Good While Acting Bad" »

Costume designer Janie Bryant talks about making a dress for Oprah, Joan's "sexy asparagus" ensemble, and how she got the blood stains right.

Q: So the big news of the week. You dressed Oprah!

A: I was told Oprah was doing a show all about the '60s, and they asked if I wanted to style her. I was like, "No, I want to design a dress for her." It ended up being dresses for both Oprah and Gayle King. So I sat down, started drawing, and sent my sketches off to Oprah's people. Oprah's assistant wrote back, "Oprah said the dress was divine!" And then for Gayle, I designed a dress that was half Joan and half Peggy to have that "new office girl" kind of feeling. But Gayle said, "No. I just want to be Joan!" So we re-cut the skirt so it was really tight. She looked incredible; we had so much fun.

Q: Did you fit Oprah yourself?

Continue reading "The Mad Men Fashion File - Q&A With Costume Designer Janie Bryant" »

Maybe this entire episode draws its focus from Don Draper's tie, the one he wore in the hospital waiting room while Betty gave birth. It was skinny, expensive, and black-and-white striped. When he first sat down, it was the jewel on his corporate crown, the final statement piece that confirmed he was a rich, controlled career man. But after his conversation with Dennis, the prison guard, the striped tie looked like jailer stripes on a hard-labor uniform, a ball and chain.

Continue reading "The Mad Men Fashion File - Go to Jail; Do Not Pass Go " »

Here's a question: In the Mad Men universe what's louder -- the Olson family's voices, or their clashing clothes patterns? It was hard to tell at the beginning of Episode 4, when Peggy's mom and sister flaunt more mismatches than a blind guy in a sock store. In the middle of them, Peggy looks more somber than ever, and quelle surprise! She's wearing a pussy bow.

We take a break from the women to a jai alai meeting, where Horace Jr. sports a white linen blazer, a paisley silk scarf in place of a tie, and -- placed neatly on the table -- a Panama hat. In my notes, I scrawled down "the love child of Rudyard Kipling and Holly Golightly." Also: "Etro's Spring '08 Men's collection."

Continue reading "The Mad Men Fashion File - A Roommate With a View" »

So now we know the truth: Before Mad Men, half the cast performed in Broadway musicals. At least, that's what we can infer from not one, but three songs (Paul's college ode, Roger's embarrassing serenade, and Joan's surprisingly adept accordion show), plus a polished dance routine from Pete and Trudy Campbell.

And while the cast took their turns in the spotlight, the clothes performed too. Straight out of the gate, we get another Ann-Margret reference, this time in the form of Hilary, an actress (and expert Twister) whose ruffled top and insanely sexy jeans are the color of Bazooka gum. Sitting across from her is Peggy Olson, in stark contrast, wearing a sober jacket and high-necked blouse.

Continue reading "The Mad Men Fashion File - Clothes That Steal the Spotlight" »