It’s been awhile since the bizarre Inauguration of the Usurper-in-Thief ;). I didn’t watch the show so I didn’t notice the optics until recently. The predictive programming of The Hunger Games and The Handmaid’s Tale was on full display.
“The so-called “Wives” would be in blue. The “Aunts” in brown. The “Marthas” in green. And the “Handmaids” at the center of her story, whose job is to bear children for the Wives, in a deep red-colored dress, like a nun’s habit, and white bonnets, called “wings,” around their heads.”https://www.pbs.org/newshour/arts/how-margaret-atwood-dreamed-up-the-costumes-in-the-handmaids-tale-premiere-hulu
“She had nothing, and slowly, slowly, she comes into strength again by her clothing changing tonality and brightness. The very last teal commander’s wife dress we see her in is the brightest she’s ever worn, and she misleads her husband by the way the clothes look. I took her from that sort of ’50s housewife shape, and brought her into things that were very tight to the body, almost like an armour…
Bronfman’s deeply historical approach to costume is fascinating because it gives a real artist’s insight into the symbiosis between life and art — how art is given context through our lived realities, and then the stories of our lives imitate art in return. “I was always looking to history because, even Margaret Atwood always said that, whatever happened in the book has already happened”, she says, and one could also consider that the masked reality we are currently living is following a very similar trajectory.”https://www.popsugar.co.uk/fashion/handmaids-tale-costumer-designer-season-3-interview-47631545
The Hunger Games:
My post last year about the Nazi symbology and propaganda of The Hunger Games https://seoulsister.blog/2020/11/03/the-hunger-games-propaganda-works-best-when-you-dont-notice-it/