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cuddlytogas · 1 month

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So I accidentally almost got into an argument on Twitter, and now I'm thinking about bad historical costuming tropes. Specifically, Action Hero Leather Pants.

See, I was light-heartedly pointing out the inaccuracies of the costumes in Black Sails, and someone came out of the woodwork to defend the show. The misunderstanding was that they thought I was dismissing the show just for its costumes, which I wasn't - I was simply pointing out that it can't entirely care about material history (meaning specifically physical objects/culture) if it treats its clothes like that.

But this person was slightly offended on behalf of their show - especially, quote, "And from a fan of OFMD, no less!" Which got me thinking - it's true! I can abide a lot more historical costuming inaccuracy from Our Flag than I can Black Sails or Vikings. And I don't think it's just because one has my blorbos in it. But really, when it comes down to it...

What is the difference between this and this?

Here's the thing. Leather pants in period dramas isn't new. You've got your Vikings, Tudors, Outlander, Pirates of the Caribbean, Once Upon a Time, Will, The Musketeers, even Shakespeare in Love - they love to shove people in leather and call it a day. But where does this come from?

Obviously we have the modern connotations. Modern leather clothes developed in a few subcultures: cowboys drew on Native American clothing. (Allegedly. This is a little beyond my purview, I haven't seen any solid evidence, and it sounds like the kind of fact that people repeat a lot but is based on an assumption. I wouldn't know, though.) Leather was used in some WWI and II uniforms.

But the big boom came in the mid-C20th in motorcycle, punk/goth, and gay subcultures, all intertwined with each other and the above. Motorcyclists wear leather as practical protective gear, and it gets picked up by rock and punk artists as a symbol of counterculture, and transferred to movie designs. It gets wrapped up in gay and kink communities, with even more countercultural and taboo meanings. By the late C20th, leather has entered mainstream fashion, but it still carries those references to goths, punks, BDSM, and motorbike gangs, to James Dean, Marlon Brando, and Mick Jagger. This is whence we get our Spikes and Dave Listers in 1980s/90s media, bad boys and working-class punks.

And some of the above "historical" design choices clearly build on these meanings. William Shakespeare is dressed in a black leather doublet to evoke the swaggering bad boy artist heartthrob, probably down on his luck. So is Kit Marlowe.

But the associations get a little fuzzier after that. Hook, with his eyeliner and jewellery, sure. King Henry, yeah, I see it. It's hideously ahistorical, but sure. But what about Jamie and Will and Ragnar, in their browns and shabby, battle-ready chic? Well, here we get the other strain of Bad Period Drama Leather.

See, designers like to point to history, but it's just not true. Leather armour, especially in the western/European world, is very, very rare, and not just because it decays faster than metal. (Yes, even in ancient Greece/Rome, despite many articles claiming that as the start of the leather armour trend!) It simply wasn't used a lot, because it's frankly useless at defending the body compared to metal. Leather was used as a backing for some splint armour pieces, and for belts, sheathes, and buckles, but it simply wasn't worn like the costumes above. It's heavy, uncomfortable, and hard to repair - it's simply not practical for a garment when you have perfectly comfortable, insulating, and widely available linen, wool, and cotton!

As far as I can see, the real influence on leather in period dramas is fantasy. Fantasy media has proliferated the idea of leather armour as the lightweight choice for rangers, elves, and rogues, a natural, quiet, flexible material, less flashy or restrictive than metal. And it is cheaper for a costume department to make, and easier for an actor to wear on set. It's in Dungeons and Dragons and Lord of the Rings, King Arthur, Runescape, and World of Warcraft.

And I think this is how we get to characters like Ragnar and Vane. This idea of leather as practical gear and light armour, it's fantasy, but it has this lineage, behind which sits cowboy chaps and bomber/flight jackets. It's usually brown compared to the punk bad boy's black, less shiny, and more often piecemeal or decorated. In fact, there's a great distinction between the two Period Leather Modes within the same piece of media: Robin Hood (2006)! Compare the brooding, fascist-coded villain Guy of Gisborne with the shabby, bow-wielding, forest-dwelling Robin:

So, back to the original question: What's the difference between Charles Vane in Black Sails, and Edward Teach in Our Flag Means Death?

Simply put, it's intention. There is nothing intentional about Vane's leather in Black Sails. It's not the only leather in the show, and it only says what all shabby period leather says, relying on the same tropes as fantasy armour: he's a bad boy and a fighter in workaday leather, poor, flexible, and practical. None of these connotations are based in reality or history, and they've been done countless times before. It's boring design, neither historically accurate nor particularly creative, but much the same as all the other shabby chic fighters on our screens. He has a broad lineage in Lord of the Rings and Pirates of the Caribbean and such, but that's it.

In Our Flag, however, the lineage is much, much more intentional. Ed is a direct homage to Mad Max, the costuming in which is both practical (Max is an ex-cop and road warrior), and draws on punk and kink designs to evoke a counterculture gone mad to the point of social breakdown, exploiting the thrill of the taboo to frighten and titillate the audience.

In particular, Ed is styled after Max in the second movie, having lost his family, been badly injured, and watched the world turn into an apocalypse. He's a broken man, withdrawn, violent, and deliberately cutting himself off from others to avoid getting hurt again. The plot of Mad Max 2 is him learning to open up and help others, making himself vulnerable to more loss, but more human in the process.

This ties directly into the themes of Our Flag - it's a deliberate intertext. Ed's emotional journey is also one from isolation and pain to vulnerability, community, and love. Mad Max (intentionally and unintentionally) explores themes of masculinity, violence, and power, while Max has become simplified in the popular imagination as a stoic, badass action hero rather than the more complex character he is, struggling with loss and humanity. Similarly, Our Flag explores masculinity, both textually (Stede is trying to build a less abusive pirate culture) and metatextually (the show champions complex, banal, and tender masculinities, especially when we're used to only seeing pirates in either gritty action movies or childish comedies).

Our Flag also draws on the specific countercultures of motorcycles, rockers, and gay/BDSM culture in its design and themes. Naturally, in such a queer show, one can't help but make the connection between leather pirates and leather daddies, and the design certainly nods at this, with its vests and studs. I always think about this guy, with his flat cap so reminiscient of gay leather fashions.

More overtly, though, Blackbeard and his crew are styled as both violent gangsters and countercultural rockstars. They rove the seas like a bikie gang, free and violent, and are seen as icons, bad boys and celebrities. Other pirates revere Blackbeard and wish they could be on his crew, while civilians are awed by his reputation, desperate for juicy, gory details.

This isn't all of why I like the costuming in Our Flag Means Death (especially season 1). Stede's outfits are by no means accurate, but they're a lot more accurate than most pirate media, and they're bright and colourful, with accurate and delightful silks, lace, velvets, and brocades, and lovely, puffy skirts on his jackets. Many of the Revenge crew wear recognisable sailor's trousers, and practical but bright, varied gear that easily conveys personality and flair. There is a surprising dedication to little details, like changing Ed's trousers to fall-fronts for a historical feel, Izzy's puffy sleeves, the handmade fringe on Lucius's red jacket, or the increasing absurdity of navy uniform cuffs between Nigel and Chauncey.

A really big one is the fact that they don't shy away from historical footwear! In almost every example above, we see the period drama's obsession with putting men in skinny jeans and bucket-top boots, but not only does Stede wear his little red-heeled shoes with stockings, but most of his crew, and the ordinary people of Barbados, wear low boots or pumps, and even rough, masculine characters like Pete wear knee breeches and bright colours. It's inaccurate, but at least it's a new kind of inaccuracy, that builds much more on actual historical fashions, and eschews the shortcuts of other, grittier period dramas in favour of colour and personality.

But also. At least it fucking says something with its leather.

#everyone say 'thank you togas' for not including a long tangent about evil rimmer in red dwarf 5x05 #Our Flag Means Death #Togas does meta #and yes these principles DO fall apart slightly in s2 and i DON'T like those costumes as much #don't get me wrong they're fun and gorgeous - but generally a bit less deep and more inaccurate. so. :(#I'm not sure this really says anything new about Our Flag but I just needed to get my thoughts out #i hate hate hate Gritty Period Drama costumes they're so boring and so ugly and so wrong #god bless OFMD for using more than 3 muted colours and actually putting men in heels (and not as a shorthand for rich/foppish villainy) <3 #looking at that Tudors still is insane like they really will go to any lengths to not make men feel like they've got bare legs XD #image descriptions in alt text #and yes i DID just sink about two hours into those so you'd better appreciate them

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beansprean · 6 months

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Breathing the same air…

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(ID in alt and under cut)

ID: 1a. Shot inside Stede's bed nook, from the foot of the bed, the entire scene washed in shades of blue. Bright moonlight from the windows slants across the bed and wall above.A line of decorative pillows divides the bed down the center. Stede is sitting up in bed on the side by the window, wearing a nightshirt with a frilly collar. Ed, wearing a plainer nightshirt with a low neckline, parts the curtains briefly to slide hesitantly under the covers on the other side. He glances over at Stede and asks, "We can do this, right? Sharing a bed." Stede smiles reassuringly and replies, "Of course! We even have this handy-dandy pillow barrier to keep us honest! I will keep hands to myself, I promise!" He holds his hands up above the covers as if to prove it. If it wasn't 1717 he'd be saying 'scout's honor'. 1b. Zoom in slightly as Ed lays down on his side facing the pillow barrier and closes his eyes, tucking the blankets up to his chin. He grins into the pillow and chuckles, "Alright, well. G'night." Stede lays down on his back, arms folded on his stomach over top of the shared blanket, and aims a besotted smile toward the pillow between them. "Goodnight, love." The light from the window slants over Stede's shoulders and the top of Ed's head, just above his eyes. 1c. Close up of Ed's face, head buried in the plush pillow and blanket pulled up to his nose. Eyes closed, he inhales deeply. 1d. Repeat. Ed exhales, an anxious crease forming between his brows, and opens his eyes to gaze in Stede's direction, eyes shining up beneath his lashes.

2a. Shot from Ed's POV: the barrier of pillows, Stede's hair just barely visible beyond, and the slanted curtainless windows with a gibbous moon shining brightly in a clear sky. Stede breathes in - the only sound in the room. 2ba. Small angled panel with a close up of Ed, eyes softening fondly as he exhales on cue. 2bb. Repeat, panel falling down the page as Ed closes his eyes and drifts away, the light from the window crawling up the wall. 2bc. Repeat, zoom in, the panel halting its descent as a shuffling sound alerts Ed and his eyes fly open. 2c. Wide shot of Ed from above, the blanket turning transparent so you can see his whole body, curled up on its side with hands tucked up by his chin and right knee hiked up, nightshirt rucked up to mid-thigh. There is nothing but shadow and continued audible movement on the other side of the pillow wall where Ed can't see. He freezes, wide-eyed in the darkness, face flushed as his heart pounds loudly in anticipation. 2da. Close up, beneath the covers, as Stede's bent knee crosses the barrier and presses against Ed's. 2db. Close up of Ed's face in profile, cheeks dark, mouth trembling, sweat beading on his forehead as he stares at the pillow in front of him. He thinks to himself, panicking, "I'm not gonna make it!" 2dc. Close up, beneath the covers, as Stede's left foot sneaks over to brush its toes against the top of Ed's right. Ed thinks again, "I'm not gonna make it!" 2dd. Close up, beneath the covers, as Stede's left hand slides over to tuck a pinkie over Ed's curled right hand. Ed thinks again, "I'm not gonna make it!" 2de. Repeat. Ed's right hand turns palm up, allowing Stede's pinky and ring finger to slide into its palm.

3a. Wide shot from Stede's direction, movement ceased. Ed's face appears, wide-eyed and flushed, as he lifts his head to peek slightly above the wall of pillows. Ed thinks, "...he settled?" 3b. Close up of their hands again beneath the covers, Stede's gone still. Ed curls up his fingers, linking his pointer and middle fingers between Stede's ring finger and pinkie. Ed inhales, and Stede exhales. 3c. Close up of Ed's face, tucked into the plush pillow with the blanket pulled up to his chin. He smiles, eyes warm and full of affection as he inhales deeply. 3d. Shot from above, blanket and pillow wall turned transparent so full bodies are visible. Ed is curled up on his side just as before, hair spilling over the pillow and eyes closed. Stede has sprawled onto his stomach, right leg out straight and left hiked up underneath the pillow wall to press against Ed's. His right arm is flopped above his head and his left has migrated over to Ed's side, fingers linked together. Stede is fully asleep, mouth wide open and drooling. Moonlight from the window slants up the wall, far above them now, and they exhale the same air together. /end ID

#ofmd #gentlebeard #blackbonnet #stedward #mlm #ofmd s2 spoilers #ofmd season 2 #our flag means death #my art #fanart #image described

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