Los Angeles Times: “Pose,” the groundbreaking FX drama that centers on the vibrant LGBTQ New York ball scene of the 1980s and early ’90s, showcases a diverse group of performers in over-the-top, often gender-fluid costumes as they take part in glam competitions.
Costume designers Lou Eyrich and Analucia McGorty bring to life every chartreuse gown, feather boa and top hat that audiences see on the Ryan Murphy-created series. And Emmy-nominated actor Billy Porter brings to life Pray Tell, the flashy, loud-and-proud master of ceremonies at the heart of the series.
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It’s always so interesting to get insight from designers on their processes! First off, the direction of TV and film towards less mainstream parts of history (such as the underground ball scene in 1980s New York) is absolutely wonderful, as is Lou Eyrich and Analucia McGorty’s commitment to the true style of the times. Pose is set in such a unique period in time - both creatively and culturally - that to not be authentic would be detrimental to the literal and visual story being told. The practice of piece-buying from the period - and also the technical alterations of the pieces as they might have done in the ball scene in the late 1980s lends itself to the aforementioned authenticity. That the director and, now, the actors are also so involved in the process is fantastic and seems to be working very well for all involved, which also helps to further the storytelling process.
Gender fluidity in costumes/clothing of this time period is also an interesting topic to tackle. It wasn’t just men cross-dressing as women (something that is still taboo in some places today), but women were starting to dress more “masculine” - especially in the workforce - when the power suit came into play. This is not to discount the gender-fluid people, crossdressers, and trans individuals on whom the show focuses, but illustrates the changing world of the 1980s for everyone and the acceptance of change.
--Emily Marshburn
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