Film analysis and interpretation techniques

¶ … Victorian era Ireland, Miss Julie depends on effective costumes. Costume designer Consolata Boyle delivers, providing the titular protagonist with the requisite garb of the era. Issues of gender and social class are conveyed through clothing in Miss Julie, as the title character wears rich silks and other gleaming fabrics that denote her social status, Likewise, the colors of Miss Julie's dresses are deep jewel tones befitting her wealth and power. The preponderance of the color green also corresponds with the film's being set in the Emerald Isle. Thus, Boyle was give considerably more leeway in her selection of hues had she been constricted to working with the original script for the stage play, which was set in Sweden. Some of the defining features of Miss Julie's Victorian dresses include lace trims, particularly around collars and lapels, ruffled bottoms of dresses, long sleeves as well as long length dresses, stark waist lines, and full skirts. Necklines vary, but are generally high with the occasional scoop neck. If there is one flaw in Boyle's approach, it would be to allow Miss Julie's neckline to plunge just a big too much than what would have presumably been expected for an Irish woman prior to the turn of the century. Conservatism and gender roles would have meant the Miss Julie would have bore less of her flesh.

However, Boyle does a superb job in differentiating between the class statuses of different characters. Comparing Miss Julie to her servant offers the prime example of how costume conveys class. The servant, unlike Julie, continually covers her hair in an unflattering bonnet. Her necklines are much higher than those of Miss Julie, and her dress indicates her work as a maid given the apron and black and white color scheme. A person of her class and position in the society would certainly have worn this outfit. The man's clothing is less ostentatious than the women's. Darker colors prevail, with attractive long coats likely made of wool. The use of vests and ties was also common. Boyle was careful to make the clothes look genuinely tailored as opposed to ready to wear, as some elements have the naturalistic and unfinished look like the white collars of the men's shirts.

In The Imitation Game, the period shifts to the World War Two era. Sammy Sheldon Differ (Sammy Sheldon) provides the costumes that seem apropos. Colors are muted throughout, with a lot of sepia. Dress is formal for both men and women, whether the men's uniforms are militaristic with their characteristic double-breasted navy and gold buttons, or city coats with their rich tweeds, woolen sport coats, and loose-fitting slacks. Suits are sensible, and not far removed from the formalwear for men in the 21st century. The main distinguishing feature of the era, which Sheldon capitalizes on judiciously, is the frequency of hats. Felt and fedoras grace the heads of the main male characters. Likewise, Alan Turing (Benedict Cumberbatch) is often depicted with his leather satchel, a pleasantly utilitarian accessory. Women in The Imitation Game likewise don fashionable hats and bgs.

Female clothing depicted in The Imitation Game is a bit drab, but in keeping with the social setting and characterization. It also tends to fit the film's sepia aesthetic. Cardigan sweaters in greys and earth tones are commonly worn by female characters. However, a few more colorful pieces are thrown into the mix without being anachronistic. In fact, the costumes seem remarkably on point given the lack of exaggeration, and the continuity between the fashions shown on screen and ones that are evident in actual photographs from the era.

The Homespan is set in the middle of the nineteenth century and capitalizes on the pioneer aesthetic that has become unfortunately caricaturized in American media. Yet because of the preservation of some costumes from the era, it is not difficult to ascertain the accuracy of the costumes designed by Lahly Poore. Mary Bee Cuddy (Hilary Swank) wears clothes that are more practical than attractive. The object is to keep herself warm through the use of heavy fabrics and layering, but the conformity to gender roles is also an important theme because it would be inappropriate for a woman to show even her ankles.

At times she is swaddled in warm blankets while she undergoes the arduous journey through the Midwest during winter months. Her shawls are brilliantly mismatched, and yet they feel completely appropriate for a woman who cares little about the superficialities of fashion. Ironically, the clothes are actually not practical at all, given their excessive bulk.