In 1993, Danny John-Jules wore this iconic costume in the Red Dwarf episode 'Gunmen of the Apocalypse'
It's such a beautiful costume, I wanted to know where it came from. So I did some digging. This is what I found out... (long post)
To preface, this post is about Mexican cultural dress and design. I am not Mexican and I have no Mexican connections so my existing knowledge is very limited. So although this stuff is new to me, it might be really obvious in general. If you happen to have more insight, please share!
Firstly, there is no information about the Riviera Kid costume itself other than the fact it was thought to be too small for Danny (it was, but luckily he looks good in tight clothes), and was rented for the shoot, which means it was not the work of our beloved Howard Burden.
But whoever made it must have gotten the idea from somewhere, the costume is clearly Mexican-inspired. But do we get that sense because of Hollywood, or is it legitimate cultural dress appropriate for the time period the episode was trying to represent? WELL! Let's see!
To start with, the image below is a gorgeous mariachi suit designed by contemporary Los Angeles tailor Jorge Tello.
Note the four symmetrical faux pockets with embellishment surrounding them, and the same continuous pattern bordering the edges of the jacket as well as patches on the upper arms and going down the side of the pants. And of course the big floppy bow tie. Excepting the details in colour, fasteners, and the decoration, this is the same as the Riviera Kid in terms of shape and style. Okay so it's mariachi dress!
I also found out that this specific suit is called traje de charro and is the traditional dress for horsemen in Mexico, now worn mostly by mariachi performers but also anyone for heritage events like festivals. And its origins come from Salamanca in Spain, though the evolution has brought it a long way from the 16th century. More on that later.
To back this up there are also a lot of results for cheaper costumes that actually have similar designs to the Riviera Kid with the squiggle appliqué.
But these are recent designs, with Tello's from around 2013. Gunmen of the Apocalypse was supposed to represent the 1880s (or thereabouts), is there anything older? Where does the squiggle design actually come from? WELL! (again)
Tracing back the decades, I managed to find some strikingly similar pieces. Including this jacket made in Mexico and worn by Alice Cooper in the 1970s. Yes, the rockstar Alice Cooper.
This jacket is VERY similar to the Riviera kid, down to the four corner knot motif on the arms, the squiggles, and even the fasteners are done in the same braiding technique. Clearly this is the jacket that inspired the one worn in Red Dwarf. Or was it...?
This one was worn by the actor Guy Williams in 1958 and was likely designed by Hollywood costumer Chuck Keehne. It is exactly the same as the one from the 70s. Like, exactly the same. Which leads me to believe the Alice Cooper one was copied from this design.
However, we have to look at the context. The jacket above was made for an actor in a movie (The Sign of Zorro) in the 1950s, and if it was indeed Chuck Keehne behind it, that guy was born in Missouri. Not much there to legitimise the design as Mexican. Nor is there much to suggest historical accuracy since the movie is meant to take place in the 1820s and they looked like this in it.
(Guy Williams and Britt Lomond in The Sign of Zorro)
I can tell you right now that yes the military uniform is pretty 1820s. The details are off, but the silhouette is there, the cut of the jacket is there, the right buttons are there, the right pistol is there. We are in the 1820s. So I have reason to believe that the military uniform, for which I have many references for, is just as historically accurate as the flashy charro. Surely, right?
Eh, not quite. Because after digging some more I'm sorry to say I doubt the squiggle design and sharp cut of the jacket is as old as the 1820s. That just isn't realistic for how fashion changed over time, and I have also found things like this photograph.
Taken in the 1860s, the two men look fabulous, but the man on the left is wearing what appears to be a suit that will eventually evolve into what we see later on. The decorated legs, the length of the jacket and gap in the closure is about all the similarities I can find. So obviously 1820s is very optimistic for what we're talking about.
Which are suits like this!
These lovely ladies were photographed in Mexico c. 1918–29 and they're wearing the squiggles! The jacket of the lady on the right has vertical pockets which is so fascinating to me, but the lady on the left has exactly what I've been looking for all this time. She has the squiggles, the four pockets, the round decorated collar. It's stunning. And it's the earliest version of the design that I can confirm. All that's missing is the four cornered knots, but I'm assuming that comes in 1950s and may even be a celtic reference.
Unfortunately, that's the end of the 'I'm pretty sure this is accurate information' thread, but I've also found other vintage jackets that have been sold online.
The two on the left are listed as being from the 1940s, and the one of the right is listed as a women's matador jacket from the 1920s. How true those claims are I cannot know, their provenance is not given.
Though it would seem that the design that inspired the Riviera Kid is definitely more 20th century. And it's surprising to me how common it actually is! So although it may be a fabrication for the time period, it is very true to life for actual traditional dress and it's not completely made up!
TL;DR
The Riviera Kid costume took inspiration, along with other costume work, from actual Mexican fashion that originate no earlier than the 1910s, although those fashions can trace its roots to around the 1860s, which can trace its roots to Spain in the 1500s.
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From the Golden Age of Television
Little Washington - Syndicated - October 1, 1953
A presentation of "Death Valley Days" Season 2 Episode 2
Western
Running Time: 30 minutes
Produced by Dorrell McGowan
Directed by Stuart McGowan
Hosted by Stanley Andrews as The Old Ranger
Stars:
Jim Davis as Congressman Mark Tabor
Sally Mansfield as Dodie Trumbull
Louise Arthur as Mrs. Trumbull
John Eldredge as Ray Trumbull
Marian Mosick as Minnie
Louise Franklin
Bernice Simmons as Martha
Britt Lomond as Dodie's 2nd Dance Partner (as Glase Lohman)
Kenne Duncan as Nevada Secretary of State
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THE SIGN OF ZORRO (Dir: Norman Foster & Lewis R Foster, 1958)
Guy Williams stars as the vigilante hero who "makes the sign of a Z" in Walt Disney's feature film version of the hit Zorro TV series, broadcast on the ABC network from 1957-59.
Following a lengthy absence, Don Diego (Guy Williams) returns home to the Spanish Californian pueblo of Los Angeles. Finding his hometown under the rule of cruel Captain Monastario (Britt Lomand), he dons a black cape, assumes the new identity of Zorro and determines to overthrow Monastario and restore order to the pueblo. Cue lots of sword fights!
As with Disney's earlier feature Davy Crockett, King of the Wild Frontier (Norman Foster, 1955), The Sign of Zorro was edited together from episodes of a TV series. Screened in black and white but filmed in colour, Davy Crockett was a high quality production that transferred to the cinema with ease. Zorro was a more modestly budgeted production shot in black and white. Its static camera work and proliferation of close-ups did not hold up as well on the big screen. The cobbling together of various episodes results in a somewhat disjointed narrative with multiple climaxes and plot threads which are never properly resolved.
That said, the movie does have it compensations. Guy Williams makes for an appealing, athletic hero and is well supported by Gene Sheldon as mute man servant Bernardo and Henry Calvin as local law enforcer Sergeant Garcia; their deft comic performances nicely complementing the lighthearted heroics.
While the movie did not manage to repeat the success of the superior Davy Crockett, it did well enough to warrant a sequel. However, Zorro the Avenger (Charles Barton, 1959) was marketed solely to international audiences and was not released in the US.
Despite its shortcomings, this is an entertaining movie, thanks to its appealing cast and general good-natured ambience. If, like me, you enjoy a bit of swashbuckling you will find The Sign of Zorro has an easy going charm that is hard to resist. Slightly shabby but a lot of fun!
Check out my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of The Sign of Zorro. Link below.
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Vigilante Esteban AU Aesthetic
After establishing himself as chancellor and earning enough of Shuriki’s trust to have breathing room, Esteban devises a plan to help the people of Avalor in ways he cannot while carrying out his duties as chancellor. The steps he’s made - as chancellor to help Avalor’s economy flourish and run interference between Shuriki and others - don’t feel like enough, but he also knows he can’t jeopardize his position as chancellor. An accidental stumble upon a secret passage in the library reminds him that Shuriki is unaware of the palace’s complete layout, and his plan takes form.
Esteban creates a disguise to preserve his identity and begins training in one of the secret rooms. He increases his skills in evasion, sword fighting, close combat, setting traps, and stealth. When he deems himself ready, he plots a jail break to release Shuriki’s political prisoners. The execution is seamless, and he ensures their safe passage out of Avalor. He returns to the palace in high spirits and quickly establishes the pretense of having fallen asleep in the library while reading. Shuriki rages about the masked man undermining her authority, and he feigns disbelief.
In not too long, Shuriki selects a special legion of royal guard to deal with the masked man, and the locals refer to him as “El Gato.” Esteban quickly realizes how careful he needs to be in order to cover up his double life, and the effort it will take to perform both roles. He vows to shoulder the weight of the responsibility until he’s either found out, or Shuriki’s overthrown. The guilt doesn’t vanish, but, with every person he helps, managing it becomes easier.
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