“Clothes give you the first impression of any character, right before the person opens their mouth; It really defines who he is.” Oscar-winning costume designer Colin Atwood believes that clothes represe characters, and this shows the importance of a costume designer's work in a visual work, from film and series to theater and even television commercials. Clothes set the scene before any other eleme. In this article, focusing on the costume design of the second season of the series “The Wound; Return”, we examine the concept of how the wrong clothes bring the wrong definitions.
Dress, first impression image
This opinion may not seem right, but it is an undeniable fact that clothes, regardless of the most basic image, make the first opinions about a person's opinions, beliefs, lifestyle and choices judged by others. Maybe that's why choosing the right clothes is one of the most importa initial decisions of every person. If this initial decision is not taken correctly in the form of illustrating a narrative, it has the ability to question and disrupt the overall structure of a work.
Clothes, powerful narrator or decorative object
According to Atwood, “the job of the costume designer is to dress the character so that even when the characters are supposed to look just beautiful, their clothes take many aspects io accou.”; But when the designer focuses on one aspect and forgets the rest of the aspects, the clothes turn from being a compleme to the narrative io an irreleva decorative eleme that may even go against the narrative and pull the audience out of immersion in the space of the image. .
Return with a bur leaf
Home show series “Injury; “Return”, directed by Mohammad Hossein Mahdovian, started airing in the middle of June 1400 and attracted the atteion of many audiences by preseing an exciting and adapted story. This series was able to achieve remarkable success in the first season of the show. The most importa trump card of this series in the first season was the relative harmony of all the visual and narrative elemes together; A strong poi that seems to have been lost in the second season and lost to lesser competitors in the game of showing off in fro of the audience.
Review and start the season again
Returning to the cinema or coinuing a story that previously depicted an attractive background for the audience, corary to popular belief, is not easy in any geography of the cinema industry; Rather, it is full of challenges, and the most importa challenge is keeping the audience in step with the work, and being equal to the level of expectation created in him. Not considering this poi, and if we wa to look pessimistically, being pleased with the loyalty of the audience is a mistake that has led to the failure of many episodes and second seasons, and here, clearly, the collar of wounding 2 or wounding; It has also returned.
The production group, relying on the success of the first season, did not try to satisfy the audience and started making the second season with a promotional approach. The signs of this approach can be seen in each eleme of the performance; From the hasty and sometimes illogical narrative that is claimed to be adapted from the world's most importa theatrical work, Hamlet, to visual elemes such as filming, lighting, stage design and here, most importaly, costume design.
Burning opportunity or standing on another's paw
At first glance, it seems that the costume designer of the series, Maryam Jafari Tadi, who faced her first professional project in this field, tried to remain faithful to what the designer of the first season, Arta Mahan, created in the mind of the audience and to a large exte, the signature of the design. keep him; But the new story definitely comes with new challenges in all aspects; New situations that need to be explained, remnas of the past that need to be redefined, and most importaly characters that have just been brought up from the past but are full of ambiguity. These characters have been the most importa opportunity for designers to create and prove their strength in design and taste. The opportunity that Jafari Tadi missed and with the wrong choices, he has affected the background readings as a whole.
Inexperienced clothes
It may be said that the designer's lack of experience is a justification for the inconsistency of the clothes; But the fact that the characters' wardrobes do not match their birth certificates and their actions shows the insistence on ignoraly and blindly following a predetermined pattern, and not paying atteion to details. For a first-time designer, working on a well-defined platform is a challenging task. He could show his taste, precision and skill in the picture frame with iellige details.
“If you wa someone to feel warm, you dress them in warm colors and put warm light on them and take the picture. “Sometimes, all the story needs is a little push with color.” This is a quote from Atwood, who won her BAFTA award for her costume design in Tim Burton's Edward Scissorhands. Therefore, it is not fair if the basic knowledge of the wound dressing designer; Question the return. He had a fairly correct understanding of the function of colors, but he neglected to apply this poi.
Women's politics, buried in designs
Sima, the young and kind woman of Reza Shafaat, the godmother of two young men in the seveies and eighties, artist, musician and paier, energetic and attractive, iellige and extremely political and greedy. He has all the necessary qualities to be a winning character and raises the audience's expectations step by step with his performance. Such a character seems to have an attractive and bold wardrobe, warm yet exciting. The iellige use of patterns can fuel the complexity and tact of this character in the audience's mind; But this is not the way the designer chose. Sima with all these features, in one seence, is bad taste!
Pink, or back to fall
Elnaz Malek, who plays the role of Sima, has tried her best to give life to all her features. It is true that every time in fro of the camera frame, he wears a differe piece, the boldness of the irregular cuts of his clothes and the color palette of his wardrobe is often warm and calm; But all these have been placed in the wrong place by the choice of the costume designer. The combination of incorrect pieces of clothes along with illogical and wrong patterns, the use of a bright face in the cautious atmosphere of the stage, has sometimes turned Sima io a mere character. With bohemian pas, slouchy oversized shirts and floral mini-scarves, she goes from a powerful and iellige woman to an exciting artist who spares no culture to fill her wardrobe. His dark Arabic facial features have brought him closer to the fall of Aisan than his scarred face.
The sloppiness and exposure of brands
It should be meioned that a busy wardrobe and illogical patterns are not necessarily wrong. Moira Rose, one of the four main characters of the sitcom Sheets Creek, is known for her quirky wardrobe. She, who is a wealthy but bankrupt woman, defines all her personality, strength, love and affection in her clothes. Also, as someone who is obsessed with her appearance, her extravaga and cluttered wardrobe perfectly portrays her inconsistency. Moira constaly tries to show herself differely, and for this reason, at the age of sixty, she wears Tom Ford's latest haute couture runway shirt without any shyness to stand out; But Seema is not Moira.
In the dirty atmosphere of economic politics, Sima is the young wife of Reza Shafaati, who is the executive lever of all the behind-the-scenes corruption. Perhaps with a positive view, courage can be attributed to his clothes; But vulgarity is an inseparable factor of this courage.
Represeation of power in return to tragedy
Samira is a well-known character to the audience. She has already proven her greed and greed with all her Lady Macbeth-like powers, and at the same time, her unrivaled motherly love; But what do clothes do for him? Actually nothing! They repeat a repetitive story. While this returning Samira in Zhogkari; Returning, Samira is not the first season. He has a wounded mammary. He has lost his wife, who was the main pillar of his power, he has lost his irreplaceable image not only in fro of the myth but in fro of everyone, and most importaly, he has lost his liver in an unequal war; But still in the endless game of power, he stands to fight with all his strength against the endless army of enemies, and his disheveled clothes do nothing to portray his standing. He, too, has fallen io sloppiness, lost his color palette, and replaced even his appare authority with a chest of layered dresses and punk pas.
Shida, love of rebellious era
In the meaime, Shida stands in a more correct position with her clothes. Being an actor and theater artist, he has a youthful, simple and expressive wardrobe. Shida's clothes give a true picture of her innoce yet emotional boldness. Shida is not rebellious; The same goes for its cover items. Simplicity, love, and loyalty are his most obvious characteristics, and these qualities are seen from the calm colors and the composition of his artistic pieces; But the sloppiness has also taken over her skirt, the most obvious example of which is her home clothes with sloppy cuts and multiple layers.
Under the mask of masculinity
Wounding men; Return, wear uniform. Regardless of their work and politician personality, they don't have an image to portray, they are stuck in their formal jackets and perhaps with this simple process, they use clothes more and better than other characters to display their ieions. None of them go out of the strong and ironed framework in any situation, and in the position of father, husband and family man, they look orderly and do not step out of their mold.
Men in the framework of politics
Masoud Toloui, who is depicted as the main piece of this pyramid of power in this season, is constaly portrayed in the same way with the same color palette and without risk, which may have coributed to his unpredictability. His home sports sets have also kept him on the same track. Of course, Cambyses has long tried with all his might to portray the authority of this character correctly; But definitely a smarter wardrobe could have helped her more.
This approach can also be seen in the design of Reza Shafaat's costume played by Mehran Ghafourian. Although, as meioned earlier, the men of the first season also followed the same framework; But in the safe space inside the house, one could see other aspects of them with the help of differe clothes and had a new understanding of them.
Stretching with the roots of pain
Despite the fact that Maysham has failed in love, he has seen the death of his sister, lover and father and has broken bones; It has grown tall, grown, and grown. The consta shaving, simple and borderless suits, simple everyday clothes in neutral color palettes have transformed him from a teenager full of knots to a youth with big problems. With this choice of clothes, he looks like he has returned to his war uniform and is sitting well in his father's position. Her casual ensembles have also, in fairness, coributed to her growing personality.
Standing outside the box
It is also importa that secondary characters such as Javid, Elham, Kimia or Farnaz and Shahriar have a better relationship with their clothes. The wardrobe of these characters, although it remains limited to the wardrobe of a simple type; But it does not distort the image. Even a character like Javed, with features that are abnormal according to the domina social culture, has well placed his instability in the form of colors and, of course, more, his differe make-up.
The character of Pani, in the first and only image preseed so far, clearly repeats the form of Mansoura to strengthen the theory of replacing these two women with each other. It should be seen how the designer has depicted him further.
Return or disappoime
Wounding The return or wounding 2 is a disappoiing eve for the audience. Mahdovian, who had previously attracted the atteion of the audience with the pseudo-documearies Standing in the Dust and The Last Days of Wier, and had portrayed his power in narration with the two episodes of Nimroz Adveures, with the first season of Zhor Kari, he was able to claim that the fear of narrative form It does not have a series; But the hasty narrative, jumpy editing, clichéd mise-en-scènes and images full of wounding propaganda broke and destroyed the return of this claim.
Definitely, the costume designer, regardless of his inexperience, could have performed better. With the correct use of visual and hand tools, which were obviously more open than the previous designer, he had a stage to show off; But the policy of trusting an audience that will remain unquestioningly loyal has taken away the opportunity to shine from him and perhaps made a wrong definition of his ability.
It is here that one can see how the wrong clothes, by represeing the wrong definitions, mess up the overall structure of a work.
