Diego Passoni talks about the style of the TV series in Style # 06

The cast of the fifth season of Scandal. In the center, Kerry Washington in the signature role of Olivia Pope.

In the unattainable script of Paris or Vittorio Caprioli’s beloved in the distant and bright 1962, it was enough with two sentences of the protagonist Delia (Franca Valeri), addressed to the newborn brother Claudio (Fiorenzo Fiorentini), who rushed at the station to welcome. she with hair so thick that unexpected: “What are you dyed?”; “Yes”; “What were you …?”; “Yes”; “Oh, no, or I knew it.” He did nothing more than dramatically resolve what the world would have identified only decades later with the term “going out” of a young man and the relative acceptance on the part of his sister.

Since we are dealing with images, writing writing and television series knows how to use styling, make-up and hairdressing not only to outline the identity characteristics of the characters it tells, but also the narrative twists of their lives, especially the interiors.. Television series, which are experiencing faster gestation times, have been able to intercept ideas and desires and give them a face, a character and a style, which the public recognizes as their own, and imitates, buying the same clothes -or the its- more affordable. version – fitting in the same way, using the same expressive codes. The aesthetic style of the characters, in addition to generating emulation, and therefore often of the economic induced with many zeros, is a necessary element for the writing itself. A part of his acting construction. Meryl Streep argues that half the job of building a character is costume.

undo TV series

Hugh Grant and Nicole Kidman in a scene from The Undoing: His personality is explained by the style of his clothes.

In the early 10s of this century, America decides to speak for itself from the halls of power, with a new vision, and therefore a new style. In Scandal, Olivia Pope knows how to break all the closed doors of the bureaucracy, passing through it from within a privileged path. She, an Afro-descendant woman, is as much into the system as and more than any white man. And he explains it every time he, after having dined in the hallways of the rooms that matter, presents himself in front of his interlocutor in a Burberry raincoat, a Giorgio Armani suit, and large black or cream bags that he places on the table. as a statement of intent: “Look what I take out of my top hat (in fact, my Prada) to get you out of trouble.”

Of equal importance is the style of Claire Underwood, a House of Cards, for which costume designer Kemal Harris defined the powerful suit (dressed as scales and minimal haircut) of which represents first the hidden direction, the gray eminence – wearing it of this color – and then the only face of the command, by the forced exclusion of Kevin Spacey of the series, of which the need to attenuate rigor, with lighter colored dresses, between Jackie Kennedy and Lady D, to make it less scary, to look good.

Those who have sincerely given fair value to clothing by declaring it already in the title are the creators of Suits, where there is all the desire for belonging, social ambition and power that embodies a certain status. Series costume designer Jolie said all of this was made evident by the evolutions in Mike’s closets and Secretary Donna’s. Both change their look depending on their promotion, the bonuses received, the hypothetical overtime for which a heel or a dress hitherto economically unattainable can be afforded; and of course, putting on new clothes, they tell us who they think they are and especially who they want others to believe they have become. An interesting case is Grace Fraser, the character played by Nicole Kidman in La Desfer, for which Signe Sejlund sought clothing that specified rich social class and strong lunar personality. Kidman turns very red, as in his early days, and only wears long dresses and coats with shades of oils and oils that describe all the nuances of his disturbance.

euphoria television series

Hunter Schafer and Zendaya in a Euphoria scene: a story of teenagers no longer struggling with sex, drugs and violence.

In Sex Education the style perfectly represents the Generation Z, which deconstructs aesthetic standards and breaks stereotypes, patriarchy and toxic masculinity as well as in Euphoriawhose costume designer Heidi Bivens claims to have used a kind of color palette based on character development.

And then there’s the question Bridgerton and the exponential increase in online searches for corsets (123%) and empire-style dresses. Not to re-dress like in the Belle Époque, but perhaps to look in the codes of conduct of the past for the elements to build a kind of new courtship label in that FarWest that has now become the world of dating. , almost all through applications. , and full of ghosting, catfishing and many nasty high Anglo-Saxon gerunds.

Madmen television series

The full cast of Mad Men: The 2010 series on the world of advertising is characterized by the minimal elegance of the sixties.

On the subject of love and desire we can mention The Snake. What also arises thanks to the dresses in this series is that so wrapped in those volumes and with those colorful letters were all tremendously, irresistibly sexy. The image of pacifist and animated hippies is too hasty and watery. For those young people, love was also mostly a desire for free sex
without restrictions. Naked bodies, exchanges of moods. Carnality to explore. And when there is flesh there are their instincts, even violent ones. This series also offers us all the shadows of boys and girls in search of themselves, but at the same time eager for well-being and possibilities. We don’t really like just the characters, the clothes, the styles, but most of all what they can say about us and what we want to be, better than what we know we want. It is well understood in Crazy menin which the extreme elegance of the 1960s is the perfect setting to explain how advertisers have understood this mechanism: we put on what we hope to become and, meanwhile, the truth of who we are emerges from the details.

David Lynch had already proved it Twin Peaks. After the discovery of Laura Palmer’s body, her father wakes up with hair that has suddenly turned white. Then the investigation begins
and the reconstruction of the life of that village and its inhabitants by Detective Dale Cooper, but the solution is already all in that hair color. The incomprehensible leitmotif of this TV series was, “Owls are not what they seem.” And sometimes, unfortunately, it’s not even the parents. A white flake, the detail of his gaze, told us at once.


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