A series of unfortunate events
fashion and relevancy. Pinstripe suits are traditionally a symbol of professionalism, originating in Britain in the early 19 th century (Unknown, 2022), associated with bankers and businessmen. Interestingly, the thickness of stripe was a way to differentiate employees of different banks – acting as a uniform. Cynthia Ann Summers’ costume design, from the beginning of the episode, differentiates Esme from the Baudelaire orphans. Their suits have a black fabric paired with thick white stripes, while she has a white fabric paired with thin black stripes. Just as bankers’ stripes set them apart from one another, Esme gives the orphans a different suit to hers to mark her superiority in status and wealth. Welch’s use of stripes in the sets and costume tells us that this world celebrates uniformity and normality. The pinstripe suits seem more like a uniform on these characters than actual clothing choices. Both Welch and Summers use a simple motif to accentuate character and theme. Uniformity is extended in the set using mirrored furniture, geometric railings and symmetrical architecture. As Welch directed the episode, I think a stylistic choice was made with cinematographer Nigel Bluck to keep many shots completely symmetrical. This is a nod to the Art Deco period, but also the restrictive world in which the Baudelaires are trapped. Throughout the show, they struggle to find freedom from the uncaring attitudes of their guardians and the sinister Count Olaf who pursues them: the design of the apartment and their suits reflect the repressive society they reside in. Count Olaf, the series’ central antagonist, embodies greed, cruelty and materialism, as he abuses the Baudelaire children physically and emotionally. In this episode he disguises himself as Günther, a fashion icon and auctioneer, who is a friend of Esme’s. His look was heavily inspired by Karl Lagerfeld (Tracz, 2018), one of the most renowned fashion designers in the world. He was the creative director of Chanel from 1983 to 2019 (Banks, 2019) and very influential throughout the fashion world. His era at Chanel was characterized by sleek silhouettes, monochrome tones, golden accents, echoing the Squalor apartment. Visually, one can see why the production team picked Lagerfeld’s look to be Olaf’s in this episode, as Lagerfeld thrived in the Art Deco world. Interestingly, as I was researching Lagerfeld, I found him to be a controversial figure. In the past he has made fatphobic and racist comments, as well as being named a ‘bully’ by models and colleagues (Alford, 2023). Perhaps, Barry Sonnenfeld’s directorial decision to transform Olaf into Lagerfeld, reflects Olaf’s cruelty and mean spirit, as well as critiquing the idea of ‘fashionableness’.
Esme Squalor from ‘A Series of Unfortunate Events: The Ersatz Elevator’ dir. Barry Sonnenfeld Continuing in the realm of costume design, Esme’s costume in Part One of ‘The Ersatz Elevator’ is the white suit discussed earlier, with black pinstripes. The shoulder pads are exaggerated, reflecting the power Mrs. Squalor holds, and a thick black belt cinches her waist in. The small details by Cynthia Ann
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