Skip to main content

A look into Star Wars: Padme's Dresses. Annex B

Love her or hate her, Padme and her costumes can never far from our minds. They are too iconic, and probably one of the few memorable aspects of the prequels, so it's really fun to talk about them. And so, we've decided to continue what we started and focus on the costumes we left behind from Episode II. So let's dive back into it!

A BRIEF REMINDER

What are the Annexes? Well, the Annexes focus on all the costumes that were "left behind" in our selection of Padme Costumes for the A look into Star Wars: Padme's Dresses series. Here, we point out influences, likes, and dislikes, and anything that might feel relevant whilst digging into the gigantic wardrobe of this Galactic Queen. With this out of the way, let's go!

ANNEX B: THE ATTACK OF THE CLONES

Episode II: The Attack of the Clones brings the character and her designs to a completely different level; she is not a queen anymore, which unfortunately means that she no longer has amazingly weird and outlandish costumes. Instead, she is relegated to a mere love interest, which means that a lot of her outfits are designed for one single purpose: to make her look "sexy". Which is a shame, because it's just not as interesting. Still, let's look at all the costumes that we cast aside.

A1. The Flight Suit

This is the costume worn by Padmé on her way back to Coruscant at the very beginning of the movie. She wears this for a very brief scene, and quickly changes into her "senator-look". And there's our first reason to leave it out in the first place; it has such a brief appearance that you might miss it if you blinked.


Here, she has disguised herself as a Naboo pilot whilst her handmaiden, Cordé, plays her decoy. For this, she wears a tactical pilot suit, with tight red pants and a black undershirt with a high collar. A brown, long-sleeved shirt is worn over it with a vest and a utility belt with the gold Naboo Royal Space Fighter Corps emblem at its clasp. She wears simple tactical gloves and boots. Her hair is pulled back to keep it out of her face, done in several ponytails held in place by metal rings at various intervals.


It doesn't call attention to itself, being actually pretty bland, but I guess that was the idea; to pass unnoticed. Still, that was and is the main reason why it was ruled of from the main series: there isn't much to say about it.

The second reason, and also quite relevant, was that there weren't any interesting influences to talk about. So, in the end, it would make for a very boring article.

A2. A Ton Of Nightgowns

Precisely due to Padme's demotion to the love interest, we find a sickening proliferation of nightgowns in Episode II that will become even more ridiculous in Episode III. But not any kind of sleeping garments... the sexy kind.


During Episode II we find two of these. The first of them is the one she is wearing during the second assassination attempt (pictured left), which consists of a simple long-sleeved white, drawstring-necked nightdress.

The second makes it appearance once she is in Naboo with Anakin and she goes to talk to him to find out the source of his constant discomfort (pictured right). This consists of a V-necked white silk, embroidered nightdress and a blue-smocked robe with gold trim along the sleeves.


In both these cases, we choose to leave them out our main series because there was literally nothing to say about them. Nothing to talk about at all. They are boring and unremarkable, design-wise, and are only there because they needed a substitute for sexy lingerie, considering this was meant for a PG audience.

Nothing to see here. Next!

A3. The Lake Gown

This is the costume Padmé wears during one of her first walks with Anakin once they are already within the safety of her home planet. This is also one of the most memorable costumes of Episode II, although I'm not sure if it's because of the dress itself or the fact that it's what she's wearing during the 'I hate sand' infamous scene.


The gown is made of soft silk dyed in yellow and with a degradeé to lilac. The fabric is gathered up at the waist with clasps made of tassels and pearl. The fabric is draped over her arms, hemmed with a wide ribbon. The dress is held up by five layered pieces of metal resembling shells, with the top one reaching part way around her neck, tied off with a piece of ribbon.

As for her hairstyle, she has it styled in a rather extravagant fashion (what a shocker!). It is pulled up to recreate the shape of a seashell and is held in place by a set of headbands inset by pearls.



The dress is a rather odd mix of high fantasy cliches with some ancient Greek influences thrown in there to add to the dramatic flair.


These remnants of Greek influence are slightly less noticeable for the gown, but you can see them in the breeziness of the material and the heavy use of pleating.


That's because, the design takes much more from classical fantasy designs, such as the one for Princess Ozma from the Oz Series by Frank L. Baum.


In the end, though the result is an eye-catching design, it feels too pandering. The only reason this design exists as it is it to make her look sexy, which she does, but it makes no sense: at this point in the story, she is actively trying to convince Anakin that having a relationship is not a good idea. Would you ever wear a dress like this to dissuade somebody from having a relationship with you?

So that is basically why we left it out of the main series. It is a pretty dress with semi-interesting influences, but it is just so incredibly stupid when it comes to the narrative sense. And that pisses us off way more than it should.

A4. The Smouldering Corset Gown

The other main offender of the 'costumes overtly designed only to be sexy' category is the now infamous Corset Gown that she wears for a dinner with Anakin where she intends to dissuade him from pursuing her affections. Not a very logical choice then, to dress her in what is basically a costume that screams of sex.


This gown consists of a black, metallic printed skirt with a black leather corset and accessorized with a long, draped and beaded necklace that ends at her knees and long, black leather, fingerless gloves. She also wears a black feathery shawl on top of it for some scenes.

Her hair is styled in a twisted braid with a metallic headband.

This outfit is clearly and unabashedly inspired by 1930's figure-hugging party dresses. It is particularly reminiscent of the now iconic black dress worn by Rita Hayworth in Gilda, down to the long black gloves and the strapless look.


This makes the dress feel incredibly modern and incredibly normal. This is something a supermodel would wear. This gown doesn't feel like it belongs in a galaxy far, far away, and this makes it tremendously jarring.

This, more than probably, has a lot to do with the fact that the only directive for this gown was to make Natalie Portman sexy and nothing else. But, in turn, this creates a pretty big contradiction with the narrative of the scene itself.

By wearing this at that particular scene, the character ends up coming off as a really stupid person or a really mean one. You don't wear that if you want a person to stop being interested in you. Just no.

All in all, the gown was discarded for an intense combination of things: there is not much to talk about in regards to influences (I basically just reviewed them in hardly a paragraph), the gown makes no narrative sense, which bugs the life out of me, and, most importantly, I totally and deeply loathe it.

Irrational? Maybe, but I could hardly dedicate a week of writing about something I can't even see without my eyes seeing red. Next!

A5. The Tatooine Poncho

This could very easily have fallen into the 'sexy nightgown' category, but, thankfully, it wasn't bland enough to fit there, even if it's pretty unremarkable. The Tatooine Poncho is what she wears when she confronts Anakin after he has murdered an entire village of aliens in revenge for his mother's death. If this design doesn't seem fitting for the situation is because it isn't, let's be honest.


The design consists of a blue, pleated under-dress with an off-the-shoulder blue poncho over it. Said poncho is decorated with a bright and colorful embroidery both on her sleeves and at the bottom of the garment. Ribbons decorated with beads hung from the lower hem.

In this case, the designs main fault is sticking too close to its own influences, which are a wide array of South American cultures, particularly in the chosen coloration and fabric.


But, once again, sticking so close to this cultural reference creates a jarring effect that makes the outfit look too much like it belongs in our world and not in a Star Wars movie.

In the end, that was the main reason behind leaving this design out of the main series. That and the fact that there isn't much more to talk about influences-wise, which would make for a rather boring article.

A6. The Battle Outfit

This, for us, is the Padme costume that feels most like genuine Star Wars and yet the one that feels less like it belongs to this character. And that makes me loathe it (amongst other things).


The outfit consists of a simple white jumpsuit and a beige utility belt and boots with an off-white cape. Also, she sports a silver armband, which, according to some visual encyclopedia, signifies her political service. This is topped by an intricately looped bun which is aimed at keeping her hair out of the way.

The main problem for me, is the fact that the only reason this design exists, is to serve as a callback to Leia's iconic white outfit in Empire Strikes Back. That memorable design is the main (and probably only) influence for this, and it pretty much shows.


And I am aware that I get a lot of hate for hating on this outfit, but, honestly, how can I not hate a design that whilst being royally bored by this snoozefest of a movie, suddenly forces me to think of how much fun I would be having if I were watching Empire Strikes Back instead.

Also, that convenient tear in the outfit that ended up baring her midriff... The attempt at sexualizing her is so blatant and unabashed that it's almost sickening. And that's without even taking into account the flimsy narrative logic by which, when a gigantic cat attacks you, it only tears some clothing instead of tearing your whole guts out.


All in all, we left it out of the series because, influence-wise, there's barely anything to talk about, and because it infuriates us too much. And fury driven articles are not healthy for us.

A7.  The Homecoming Ensemble 

This design was in a scene that ended up being cut from the movie, which makes it, theoretically, not a 'canon' Padme outfit. Which, by our books, means we don't actually have to review it. Still, that wasn't the only reason behind the decision of leaving it out of the main series.
 

Originally meant to be worn during her arrival at her Naboo home, the outfit consists of two main pieces. The first is a turtleneck top of crimped light blue linen, which is decorated with silver trim, a decorative knot in the center and long sleeves. The second is a simple light blue skirt that is cut wide and it's clasped on her left side. 

To top it off, she covers it, sometimes, with a decorative white velvet cloak over the ensemble. This is clasped with a carved ivory medallion and decorated with blue floral motives. Her hair is styled in loose ringlets that are held back by a light blue headband decorated with a diamond pattern.

And, as far as design influences go, these are pretty clear. The crop top plus skirt combo is pretty straightforward lifted from late 90's, early 2000's fashion and their midriff obsession. And there is also some 1970's Cher flair thrown in there as well.


As for the cloak, it is pretty obvious that they took inspiration from the 19th century Art Noveau for the patterns and decorations.


Finally, for the hair, they mainly did their own alien version of the classical Brigitte Bardot look that got repurposed and appropriated by fashionistas during the 2000's.


So, seeing as there is actually stuff to talk about here, why did it get left out of the main series? The straightforward answer is that it's way too similar (influence wise) to the Tatooine Outfit, which we did cover (read here) and so it would have made for a rather repetitive and not very interesting article.

Which is a good thing for me, because I can't stand this look. It feels too close to our world and not alien enough. Something that is a common thing for Padme's outfits in Episode II and it's really annoying.

CONCLUSION

In the end, the core reason behind all of these designs being cast out is that they are either repetitive or uninteresting or simple too nonsensical. And, occasionally, as we've made the effort to point out because we loathe it.

For us, many of these designs were only created with the direct instruction of "making her look sexy" instead of actually reinforcing a character personality or arc. Of course, that she doesn't have either a personality or an arc, but still, it upsets us, and that's why we avoided them like the plague.

And just as was the case with Episode I, there is so much talent thrown behind these designs by the fantastic Trisha Biggar that it is really upsetting to see them go to waste just because the direction is so muddled and poor.

---------------------------------------------------------------------------------------------------------------

If you enjoyed this article, subscribe! or follow us on Facebook or Tumblr or Twitter and help us grow!

---------------------------------------------------------------------------------------------------------------

Join us next time with Annex C, where we'll be focusing on the discarded designs for Episode III, but, in the meantime, you can read our Annex A here.

Comments

  1. Kaliteli Kartal escort bayan ilan sitemizde çıtır kızların birbirinden güzel Maltepe escort ve Pendik escort ilanlarını alanya escort ta bulabilirsiniz.

    ReplyDelete
  2. Kaliteli istanbul escort bayan ilan sitemizde çıtır kızların birbirinden güzel Şişli escort ve Beylikdüzü escort ilanlarını ataköy escort ta bulabilirsiniz.

    ReplyDelete

Post a Comment

Popular posts from this blog

Burning Question: What's wrong with Belle's gown?

Since the first promotional pictures of Disney's new Live-Action remake of Beauty and the Beast hit the internet, there has been a lot of discussion around Belle's iconic ball gown. And, even months after its release in cinemas, there still continues to be a lot of buzz around it. Why? Mainly, because a lot of people feel that it is just doesn't look that good.
The thing is, Belle's animated yellow ball gown is, at this point, an iconic staple of animated cinema. Everybody knows it and everybody loves it. And, as a result, everybody can see the new one and say "this is not the costume I know". Therefore, everyone can compare it down to the smallest detail and see that it just doesn't quite look right.
Today, our goal will be to try and dissect the design in order to answer the burning question everyone has been asking themselves: what's so wrong with the "new" dress? Or, to put it bluntly, why is it so incredibly underwhelming?

This might n…

Marie Antoinette: Working with an historical basis

A couple of months ago, we talked extensively about the narrative aspect of the designs for the 2006's movie; Marie Antoinette (see here). But that's only one half of the story. This movie is, after all, a period piece, so let's have a look at how they translated that period into the costumes.

MARIE ANTOINETTE: WORKING WITH AN HISTORICAL BASIS Period accurate pieces are actually the hardest to get by; that is because clothing in past centuries was way more complex and expensive that our 21st century standards. Because of this, most costume designers end up being constricted by their allotted budgets and have to make compromises with the accuracy. This was not the case with this movie.
Sofia Coppola's Marie Anotinette had a rather large budget, which allowed renowned designer Milena Canonero the freedom to create period-accurate pieces (the inaccuracies were only added for narrative purposes not budget constrictions). Because of this, Canonero decided to work of actual …

Historic Accuracy in Costume Design: The 16th century

I've never been a purist with historical accuracy as long as the changes made have a real reasoning behind (generally a narrative or symbolic one). I will always think that La reine Margot (1994) costume design is one of the most gorgeous and smart designs ever, even if said designs main premise is to purposely bend the period in regards to costume.
But there are certain things that bother me in regards to historical accuracy in costume which I realized when I found myself constantly irritated while watching The other Boleyn Girl (2008). This led me to post a question: when is it right to bend history? why is it interesting sometimes? whilst other times it's simply horrendous?
To me, when these changes are made for the narrative's sake, I'm usually on board (like the 2012's "Anna Karenina" designs, which mixed 1870's fashion with 1950's fashion in order to enhance the sense of theatricality and falsehood in Imperial Russia). But when these change…

Disney's Cinderella(s) and the evolution of the "princess" aesthetics

Every girl, at some point in life, has wanted to be a princess. It has become undeniable that the concept of the "princess" is, for better or worst, inseparable from girlhood. We live in a "princesses" obsessed era, and we have for a long time now. And a lot has been said about it, with loud people yelling over the internet about the positive and negative aspects of it. So it was about time for us to join the yelling contest, I guess.
If we're going to talk about princesses, the logical place to go is to the Global Mogul Conglomerate that has led the trend and, in many ways, defined it: Disney. They have, undeniably, redefined the fairytale and have turned the term "princess" into a best selling Licensed Entertainment Character Merchandise.

The thing is, even though princesses have been part of the fairy tale canon for a very long time, they didn't become the central figure until Walt Disney placed them there.
In the tales that the Grimm Brothers…

Moulin Rouge and the art of Kitsch

The spring of 2001 saw the release of Moulin Rouge! unexpectedly shake the movie industry and the box office simultaneously. Despite the many awards, including 8 nominations at the Academy Awards, and the impressive box office numbers, the movie quickly became very polarizing for audiences. Love and hate seemed to be the only two possible reactions to the movie itself.

But that should not come as a surprise. The film was directed by Baz Luhrman, who has consistently been, throughout his career, one of the most polarizing filmmakers of his generation. I still have to meet anyone who simply doesn't mind his movies (which include Romeo+Juliet, Australia and TheGreatGatsby); it's either absolute love or absolute loathing. There is no middle ground with him. And that's mainly because he himself doesn't compromise when it comes to his style, which is so characteristic at this point (fast and frantic editing, a vivid use of flashy colors and sparkle and stories about true an…