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.
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Just recently discovered your tumbler and I love everything about it. Your art style, the time period you have chosen, the background you are building for the characters. Top notch.
Though I do have a question : going back through all the asks people are tending to focus on sunny boi Vasco supporting nerve wracked Machete but a relationship needs to be equal so, what's the turn around?
When/how does Machete say 'don't worry babe, I've got this'? He is after all a very accomplished and competent person inside his areas of expertise.
Because of his trusting and altruistic nature, Vasco has been burned in relationships before. Even though he's good at reading people and might sense that he's being treated unfairly, he endures it because he doesn't want to be the bad guy and upset the other person.
He's from a well known noble family, he's affluent and he's considered to be very good looking. Over the years he has met countless people who wanted to take advantage of him, his status and his assets in a way or another, and he has hard time tolerating that kind of greed and dishonesty. Machete has never been interested in his pedigree or wealth, and the way he's utterly devoted to him makes Vasco feel confident and secure.
He's been forced into various boxes and moulds all his life, his family had high expectations for him and did their hardest to whip him into a shape that satisfied them (now that I think about it, Vasco's parents probably would've been proud if their son turned out more like Machete, hard working high achiever). He tries to not let it bother him, but on some level he does feel guilty for letting them down. Machete is Vasco's biggest fan, he earnestly believes in him and loves him the way he is. He feels like he doesn't have to pretend to be something he's not around him, but at the same time Machete's influence makes him want to be a better person. Vasco admires his ambition, knowledge, diligence and perseverance. Machete tries very hard to be a good person and do a good job, but because he's so difficult to get close to and puts up such a cold facade, his efforts tend to go unnoticed. Vasco sees this side of him and finds it very charming.
Machete could use a lot of tlc and Vasco is happy to be there to provide it. The fact he's able to have such a profound positive effect on someone and their quality of life makes him feel needed, he feels like he's contributing something good to the world and that gives him strength. It's not like his only job is to pat Machete's head and tell it's going to be alright though, they enjoy each other's company and feel at ease together. In a way Machete also has a calming effect on Vasco. On his good days he can be very pleasant company, he's interesting to talk to, he's kind and gentle and even awkwardly funny at times, he has an eye for beauty and is able to appreciate small good things in their lives. He isn't an expert in expressing his affection physically, but when he does, Vasco can trust that his attempts are authentic.
Machete may not always know the correct words and gestures to comfort him, but he's a good listerer and does his best to be there for him. He never belittles or makes fun of him, he's patient and forgiving when Vasco makes mistakes, and will drop everything if he's ever in a need of help. He often makes Vasco feel seen and understood like no one else. Machete is good at solving dilemmas and coming up with working solutions (or preventing problems from ever arising, more often than not), and Vasco has the nerves of steel to keep him grounded and stable at a time of crisis. Together they make a very efficient and resourceful team.
Their jobs are very similar, Machete works for the church and Vasco is a secular politician, but they both deal with diplomacy and foreign relations. They end up working together often, and since Machete is very competent in what he's doing, he often ends up helping and advising Vasco.
I think despite their differences, they're just very well in tune with each other. In the ways that actually matter, they have common interests, tastes and worldviews. They enjoy similar things. And the parts that differ tend to augment them instead of driving them apart. A lot of their fondness stems from the fact they have a lot of shared history, they met at a young age and their friendship-turned-romantic was a very formative experience for both.
Should it be necessary, Machete would face God and walk backwards into hell to protect Vasco.
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Having a concerning amount of Bruharvey brainrot, but - can we talk about the fucking whiplash Harvey would experience at seeing his goons roughhouse a literal 10 year old kid.
" The hell are you pea brains doin' with him?"
" Boss! He's Batman's sidekick and he came to stop us all on his own. Had a fight with the winged bastard. If you want a hit in-"
Dick doesn't see what happens next. A huge hand shields his eyes from it, but he knows how guns sound like. A yelp bubbles out of him when Two-Face grabs his suit and lifts him to his impressive eye level.
" Alright, birdie. Start chirpin'. What the hell are you doin' on my streets without Bats? He know where you are?" Dick does his best at conveying confidence; Bruce does it all the time.
He says he's there to stop them, to prove he can fight all on his own, but his shaking doesn't stop. It's a tough job to be tough without Bruce behind him, without a protective force telling him he's doing good.
Two-Face pretends not to see it and its more gratifying than it should probably be. " Well, I'd like a sandwich before you take me in. Don't know about you, but I'm hungry as fuck," a pause , " I'll let ya curse if you don't tell your old man."
Dick giggles; He says way worse, but Bruce doesn't have to find out. So that's how Bruce finds them; Dick almost disappearing inside a huge suit jacket, getting it full of sauce and grease, and Two-Face snorting as he wipes his face with a handkerchief.
" Robin." His name a relief filled breath rolling off Bruce's tongue. Even as Batman, even wrapped in rasp and gruff, Bruce's concerned, fatherly tone doesn't vanish. " Batmobile. Not a sound."
" Bye, Mr. Two-Face!" Dick waves, an innocent shrug meeting Bruce's unamused glare. " What? That's multiple sounds."
Two-Face snorts a laugh, and Bruce glares. " It's not funny."
" Nothin' ever is to ya. Hey, if you need some mommy and me advice, my sister has a dumb blog full of that shit. Sure as hell don't envy anyone who uses it."
" Jessica's blog is very informative. "
Shit.
" So it is you under there, pendejo. Shit, Bruce. I know you had baby fever, but sidekick fever, -"
" He's not my sidekick. He's..." My son. My hope. " He's a hero in making. Bad things happened, and I'm trying to make sure he grows through them."
Harvey's face is blank like a sheet of paper and Bruce doesn't know what to do. He doesn't want to be judged. Not by him, never by him.
"Well. Can't think of anything worse than being named Dick. Least he doesn't have to go through that twice. "
And Bruce almost cracks a smile; All these years between them like an ocean of glass and Harvey still knows how to coax a smile from him. " Seriously, Bruce. They'll tear him apart at GA. Those little shits don't know mercy."
And if Bruce is asked why Two-Face picks his child up from school once a week, Bruce just smiles and shrugs. " It takes a village."
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