Mad Men or How a Series Can Be a Continuous Fashion Editorial

by | July 14, 2017

Time passes at different speed in the series in which seemingly nothing happens. ‘Mad Men’ have you seen how eight years was listed under this futile tag, at the time that was creating its own stage. Life is slow, boring sometimes, and many others, despicable, but exciting if we see every detail of everything that surrounds us. Stay as a mere spectator in the series of Matthew Weiner is lost in the box of primary colors and not in the choice of the reason for these. Each chapter, each scene, ‘Mad Men’ has been recreating small fashion editorials that eventually lived together with the characters at the same level of importance that dialogues and actions.

A wardrobe that speaks

‘Mad Men’ is a series of side led by a blind protagonist. The most interesting thing occurs outside the aura of Don Draper. In the construction of these characters the wardrobe plays a fundamental role, turning the image into a trait more than they. Janye Bryant He has been commissioned to design costumes – three Emmy Nominee for this reason – and give each character a personality marked without comment a Word.

Women of the series have seen how differing among themselves in tight dresses that supported the proudest curves and ambitious Joan Harris – 90% of her looks have been created deliberate – the most beautiful models with its constant crises of identity, but always with a friendly face outwards in Betty Francis, the daughters of good family turned into loving wives of the style of Jackie Kennedy as Trudy Campbell or the overcoming of the professional talent that took Peggy Olson to forget by moments of his aesthetic taste and blend in with the environment, making their outfits in a man’s office more. The character of Peggy grows constantly and Janye Bryant sought that “her wardrobe develop along with its history”.

The series has suffered all kinds of accusations centered on so-called machismo and free of the context of those years representation – critical expected in all great work. Even so, the costumes of ‘Mad Men’ has portrayed a feminine universe interesting and rich, at the time that could differentiate the different types of male characters across a wide range of costumes. A costume that “mostly proceeds from rental stores, to be a big deal,” says Janye Bryant to AMC.

The women of Don

Don women are opposite poles. The perfection of Betty Francis, transmitted in more formal gowns, in pearls, in celebrity hairstyles – which has to adapt to their daily lives; “I know that love people to see me that way,” says January Jones – they age a young woman relegated to the table home and sitting on the Chair in the kitchen waiting for their husbands or to meet with friends (real snakes as Francine Hanson) at his idyllic home in the outskirts. The vicissitudes of Betty – who always have to love – are represented in a skinny malignant evil, as much as she could convince all a generation of the glamour of such habit only to see her holding the cigar.

Front of her Secretary, even younger, which just dancing the ‘Zou Bisou Bisou’ sexiest after conquering a husband (ashamed) that changes to it, with a style and self-confidence in the professional and personnel away from the Betty. The mini-dresses, the most excessive makeup, constantly changing hairstyle and winks to other icons like Sharon Tate were part of a locker room that want to get rid of stale aesthetic.

Two wives of Draper have been sharing the love for her husband with numerous lovers, all of them are well characterized (and Tumblr dedicated to not lose the account). Sally Draper It has been the third in discord and as such we have seen it grow, changing style fashions and trends, social and stylistic. The counterpoint that denies their parents but without which it cannot be. “Sally is in part as parents, but in general it is someone very personal. Individually only see Sally, and not a reflection of their parents”, according to Kiernan Shipka.

Details

Without the silences ‘Mad Men’ would have to be dedicated to another function. Time and the slow development favors the uptake of all the details, but at the end there is always many in limbo. The fashion editorial changes and photography gives way to scenes where there is movement but we could see them in static that they would still be the same richness.

The muted colors, the decadent office light, especially in the office of Don Draper or other cubicles as Peggy Olson, the contrast of New York with California… Chris Manley -four Emmy nominated by the series – is who could replace the Richard Avedon, David Bailey, Bert Stern and company that redefined fashion photography in the 1960s.

The scene of the action

All editorial has to reckon with its perfect location, one in which the characters grow and which is conveyed to the Viewer. ‘Mad Men’ has been able to convert different offices in attractive settings, preventing boredom without the need for large locations for multiple scenes. Behind this function are Dan Bishop, as production designer, four-time Emmy nominee and Christopher Brown, as art director, with other four Emmy nominations.

Both have been jumping between the decades of ‘Mad Men’, have dressed the houses of the protagonists, the foreign locations and transformed every complementary aspect of the editorial that turned the set into something perfect. His work is linked with the Janie Bryant, for costumes to marry the context, particularly in the use of colours so that the image will end up being “overwhelming”, as Bishop says.

Eight years later, Don Draper finally smiles at the time that it is time to say goodbye. “Mad Men’, as Joan Holloway said in his day”It is not a solution to your problem, it is another problem”.