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cuddlytogas · 2 months

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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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steviesummer · 11 months

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inspired by and as a direct follow up to this post by @strangersteddierthings:

Eddie is horrified. He remembers the day Steve is referring to, though clearly not as well as Steve does. He calls out as Steve raced up the stairs and hears his door slam.

“Fuck.” He stares blankly at the wall in front of him. He can’t believe things went so bad so quickly. He’s been trying to get to know Steve better, get closer and damn if he didn’t just blow the hole thing. He’d shown up early, told Steve he needed to prepare as an excuse to spend some time with him. Despite everything that happened over spring break, Steve had remained guarded, standoffish no matter what Eddie tried. At least now he knew why. He’d fucked things up before he’d known there was something to fuck up.

He feels even worse about calling him a bully. Sure, Steve had looked the other way and even laughed at some of the mean jokes others had made, but he was far from the worst. That dubious award went to Billy Hargrove, but even without him, there was plenty of people who did far worse than Steve did. Especially because Steve is right. He did hit first, metaphorically at least. He can justify it all he wants as trying to protect himself, but that doesn’t make it right. Steve all but admitted that as he said the same thing. He feels nauseous at the realization that maybe he was just as bad as those he decried. That for all his talk about accepting outcasts and defying convention, he was just as prejudiced. Swallowing hard, he heads back to the dining room and looks at the clock. There is no way he is going to be able to run the campaign today. He’s not going to be able to focus or even play without thinking about how things might have been if he hadn’t driven Steve off all those years ago. He grabs the phone and dials Gareth’s number. “Emerson house, Sheryl speaking.” “Hi Mrs. Emerson, it’s Eddie.” Eddie is proud that he manages to keep his voice even. “Is Gareth there?” “Oh, yes! Let me go get him for you.” “Thanks Mrs. Emerson.” Eddie focuses on breathing while he waits. “Eddie? Hey man, what’s up?” Eddie breathes out. “Hey Gareth. Look, I know its last minute, but we’re gonna have to postpone Hellfire. Something came up.” He could hear Gareth’s frown through the phone. “Postpone? What happened, did Harrington do something?” As if he couldn’t feel worse. “Nah. I’ll explain later, but can you call Jeff and Frank, let them know? I gotta call the freshman, too.” “Alright, but I’m going to hold you to that.” “Fair enough. Talk to you tomorrow.” Eddie promises before hanging up. He weighs his options for how to tell the Party. Eventually, he decides on calling Mike, know that the younger teen won’t push too much. He’s dialing the Wheeler home before he can second guess his decision. “This is Mike.” Eddie feels a rush of gratitude that Mike is the one who answered, rather than Nancy or one of their parents. “Hey Mike, it’s Eddie. Listen, Steve’s not feeling great and having Hellfire here isn’t going to help. Can you call the rest of the Party, let them know we’re gonna move it to another day? I’ll keep an eye on Steve.” Eddie knows Mike is a confused, given how adamant he’s been in the past about not canceling or moving Hellfire, but as he expected, Mike accepts what he says at face value. “Sure. Need us to bring anything?” “Nah, I’ve got it. Pretty sure he just needs some peace and quiet so he can rest. But thanks.” They say their goodbyes and Eddie puts the phone back on the hook. With that done, he checks that the door is locked and faces the stairs. Now for the hard part. He’s not sure what he’s going to say, if there is anything he can say that will fix this, but he has to try. Even if doesn’t change things between him and Steve, Steve deserves at least that much. Every step feels like it takes effort, chest heavy with guilt, but it only takes him a few moments to get to Steve’s door. It’s closed, which doesn’t surprise him. He takes a moment to gather his thoughts before knocking. Nothing. “Steve?” If it wasn’t for the quiet sound of Steve’s breathing he could hear through the door, Eddie would think he had left. He glad that he at least didn’t drive Steve out of his own home. He rests his forehead on the door. “I’m sorry.” Eddie hopes Steve can hear how much he means it. “You’re right, I fucked up. I made an assumption and took out my anger at other people on you. And that wasn’t fair and it’s not okay. But I want you to know that I’m sorry. Even if it wasn’t you, I shouldn’t have done that.” He lets out a hysterical laugh as he realizes - “And despite that, you still humor the kids when they talk about D&D and agreed to let us play here and didn’t punch me in the face, which makes you a better man than I.” He falls silent, listens as Steve’s breathing slows. He isn’t sure how long he stands there. He wonders how many other people he hurt this way, without even realizing. Knows he wants to do better, be better. He sighs, feeling his shoulders slump. “Anyway, I canceled Hellfire for today. I told everyone something came up, don’t worry about that. I’ll make up some story, make sure they know its not your fault. And uh, let me know if you want to hang out again or something. I know I’ve been around a lot; didn’t realize that I was making you so uncomfortable, which is probably another thing I should apologize for. Anyway. Yeah. I’ll see you around, okay?” He waits a moment for an answer, but when none comes, he backs away from the door and walks downstairs to gather his stuff. It hurts, but he knows Steve deserves space and to be the one to initiate contact. He has some thinking to do, anyway.

#steddie #my writing #fic #legit read that fic like 6 times in a row and had to write a follow up #have a handful of extra pieces as well #or thoughts anyway #like steve telling eddie about christopher #and eddie helping steve make a character and play in the future #after lots of talking and eventually getting together #his character is a dwarf paladin named after christopher #i haven't written in forever this felt so good #barely proofread so apologies for any mistakes

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