fashion illustration of claire on outlander

claire from outlander illustration

Much of Outlander’s attention right now is because of its super hot sex scenes with the main couple, Claire and Jamie. But there is just as much to talk about when the characters have their clothes on.

Terry Dresbach, the shows costume designer, talks here about eight of her favorite looks on the show. Not surprisingly, Claire is on that list four times. I drew her in one of my favorite looks of hers, a gorgeous deep teal bodice and plaid skirt.

Claire has so many different looks on the show, but they are only made up of a few different items mixed and matched. The idea is that Claire has limited clothing given to her, and she wears those items over and over in different combinations.

I could learn a lesson or two from Claire on how to mix it up with a smaller wardrobe, and on how to wear a bodice like a boss.

Here’s a video on some of my coloring process.

outlander s1e14: the search

Claire

Jamie is missing. For a girl who turns in mostly to see Claire and Jamie be in love, I wouldn’t have bet an episode with only one half of this couple would be this entertaining. But on her search for her husband, Claire tries on many different identities, and the show flirts with many different genres, to do whatever it takes to get what she needs.

With Jamie missing, and Ian missing his leg, Claire and Jenny are the only two who can feasibly go look for their missing laird. So the pair sets off on horseback, Jenny with a pistol on her back.

Just as I was wondering what women back then did when they were lactating, and just as I was about to roll my eyes at a new mother going on a trip (on horseback!) without any discomfort with her body, Jenny addressed the issue in the most straightforward way possible.

In an 18th century version of pumping, Jenny squeezed her breastmilk into a cup to relieve herself. And just like that, a normal occurrence for so many women was portrayed matter of factly on TV. Huzzah!

I would SO WATCH a show of just Claire and Jenny being outlaws. (Or maybe a reality show, Survivor: The Scottish Highlands–they aren’t here to make friends.) They are both headstrong and fiery, and they both have deep hearts and survivalist instincts. They push each other, and their skills and personalities complement each other so well that it’s a blast to watch. I pity the person who gets in their way–they both made it very clear they would do whatever it takes to get Jamie home.

After they take a courier at gunpoint and torture him for information, Claire first decides to bandage him up when they are done with him. But Jenny knows that if the soldier returns to his men, he will tell them about Jamie, putting them all at risk. As Claire struggles with the idea of killing this man, Murtagh, sent by Ian, arrives and does the deed for them, before calmly walking off to find them something to cook for dinner. Problem solved, I guess?

One of the standout moments on this episode full of so many is when Murtagh returns to Claire and Jenny after hunting for dinner. Murtagh offers the animal to each of them to prepare it to cook, but he should have known Claire and Jenny cook no man’s dinner they don’t want to. The side eye they give him is UNREAL.

Murtagh is such a delight, which was a lovely surprise since I couldn’t remember his name until this very episode. When Jenny heads back to Lallybroch to care for her newborn daughter, Murtagh comes up with a plan for he and Claire to lure Jamie out of hiding in the countryside.

Which is when we get to the Dr. Quinn Medicine Woman portion of the show. Murtagh and Claire travel from town to town calling as much attention to themselves as possible so word of mouth will spread that an English healer and a Fraser clansman dancer (just go with it) are in the area. When Jamie hears of the beautiful English healer, he will know it’s Claire and he will come to them.

Claire is no stranger to trying on different identities to make herself useful and to keep herself alive. Becoming a healer is what saved her when she first went back in time, and she returns to this tactic now, searching for Jamie.

But they abandon the healing part of the plan pretty quickly when Claire comes up with a catchy song for Murtagh to use in his dancing act. Only Murtagh wants Claire to sing it instead. And they have to change the words, he says, because what Scot in the 1700s would know what a Boogie Woogie Bugle Boy is, anyway.

So Claire changes her identity again and dons a sort of gypsy pantsuit (they’ll get more attention if a lass dresses up like a lad, according to Murtagh), and she sings on every stage she can. The song become so popular, in fact, that a group of gypsies steal the act for themselves. (And here we are all of a sudden in a show about a broadway musical with rival singers trying to upstage each other.)

This reminds me of how my friends and I have often talked about how we would know if someone polyjuice potions us–what’s the one fact that only you and your friend could know?–but now I’m thinking we also need a plan for how to covertly get each other’s attention if we were on enemy grounds. Murtagh uses the lyrics of a song that he knows Jamie will recognize. I can’t think of any situation where I would know my loved ones were calling out to me in code.

But this song works so well that not only Jamie knows it’s a signal, so does Dougal MacKenzie. (I mean really, did the MacKenzies decide on this song being a code in a clan meeting?)

When Claire gets a message to meet at Glenrowan Cross, she rushes off hoping to find Jamie. Imagine her disappointment when she sees it’s Dougal instead.

Dougal is a worm, but his scene with Claire is wonderful because she drops (almost) all her acts in her last-ditch desperate plan to get Jamie back. Dougal tells Claire that Jamie has been captured, and he’s due for hanging any day now. In a super sleazeball move, Dougal then proposes to Claire under the pretense of keeping her safe after Jamie is gone. Claire sees his marriage proposal for what it is, a play to get the Fraser’s land. Her sharp wit and disgust at Dougal’s tactics come through loud and clear, as does her love for Jamie. This is Claire’s true heart. She is not only a healer or a wanderer, she is a tough, smart woman who does what she needs to survive and help those she loves. Claire is not acting or pretending with Dougal; she is her fiercest self.

After she comes up with a plan to help Jamie, Claire plays one more role as the Laird’s Lady begging for the MacKenzies to help her break Jamie out of prison. They agree, and set off, outlaws once more.

taylor swift’s bad blood music video poster

taylor swift
This morning Taylor introduced us to Catastrophe, the main character in her new video for Bad Blood, premiering May 17, the day of the Billboard Music Awards.

Her makeup is on point in an exaggerated cat eye and a deep part I wish she’d wear more often. I assume she is wearing a red lip because of course she is.

Although Tay plays the good girl/victim in many of her songs (she is the leading lady in her own life, after all), a smokey eye + black leather does not seem like it portrays the innocent friend wronged by the doublecrosser in Bad Blood. For that matter, the name Catastrophe isn’t exactly sweet and docile either.

So what if Tay is going to be the bad guy in this video??? I’d love to see her play with a little more edge in her storytelling and her looks (more leather, Taylor!), so I hope that’s what we see in a few weeks.(Let’s also hope this video is more exciting than the boring, if somewhat dreamy, Style, am I right?)

We all know Taylor is a good girl, her sweet style and numerous documented kindnesses tell us so. Going edgier could be risky for her image, but surely telling wider stories would also stretch her skills. Plus her reputation is so cemented and her fans so loyal, I don’t know that anything would knock her off her pedestal. So experiment away, Taylor!

met gala 2015 aka the year of rihanna

rihanna

RIHANNA. We have to start here and end here and return to here because this is jaw-dropping, icon-making fashion. THIS is what the Met Ball is for. Celebs can wear the pretty, safe boring things they always wear the rest of the year. The Met Gala is for turning fashion up to 11, it’s for celebrating and honoring the beauty and craftsmanship and risk taking that puts dresses in a museum, right next to the Michelangelos and Picassos.

The gala raises money for the Metropolitan Museum of Art’s Costume Institute–the fashion exhibit is always my favorite part of any museum–and the theme was China: Through the Looking Glass.

The Met Gala, more than any other red carpet event, is solely about the fashion. For the Oscars, the fashion is a treat, but it exists because of movies, and the stars of the show are the humans in the dresses. The stars of the Met Gala are the dresses themselves.

If I ran the world, anyone who played it safe at the Met Gala wouldn’t be invited back. (Simple is different than boring, don’t forget.) For those of us sitting at home who may never see art like this close up, much less wear it ourselves, this night every year is a gift. If you are able to go and have one of these incredible designers dress you, you should feel responsible for bringing fashion to the public and for showcasing this art.

Rihanna did that, with her queenly Guo Pei. One of the few who actually wore a Chinese designer, she not only elevated fashion, she looked like she was having a blast taking up the entire red carpet. Who else could put that on and not be swallowed up by that train or overwhelmed by that embroidery? It’s a perfect gown (coat? dress? dream?), and it was worn by the perfect person to pull it off.

rihanna met gala

There were other risk-takers last night, but also a few too many celebs who stuck to their usual. Kim, Bey, and J Lo met afterwards to found the Bejeweled Banging Body Club, I assume. (J Lo is president, obvs.) Reese Witherspoon stuck to the simple sheath she wore all awards season, and Sophia Vergara wore another sweetheart strapless gown. They looked great, but I’ve seen it all before.

keri russell

Keri Russell (one of my personal style icons for her chic, edgy simplicity) was able to wear a gown that fits her style while upping the intensity in a stunning greenish black (or blackish green) Altuzarra. She kept her look simple (not boring) with limited accessories. I bet this dress was incredible close up, with the changing colors and feather details. I love feathers on clothes but I can’t imagine they would ever be practical in real life–which is perfect for the Met Gala. I might also be partial to this because it reminds me of my favorite McQueen.

fan bingbing

Fan BingBing wore another Chinese designer, Christopher Bu, and she nailed it in a gold dress and emerald cape. She is on theme and on point, from the larger sequins on her dress to her perfect lipstick and earrings, to a cape that is anything but cliche.

I am happy to say that it’s been a wild ride. Until next year, you crazy kids.

outlander s1e13: the watch

jamie from outlander the watch

Jamie, Claire, and their in-laws face one near miss after another in this episode, spinning their wheels and ending up almost exactly where they started–plus or minus one baby.

Jamie is introduced to the Watch–a Scottish highlands version of the mob–in the most Jamie way possible: being held at gunpoint. He escapes death after some quick thinking from Jenny, when she lies and says he is her cousin who dropped in for an unannounced visit.

When Jamie’s not facing the barrel of a gun in this episode, he and his family are narrowly escaping death, imprisonment, and blowing Jamie’s cover. (Which should be a lot more exciting than it was.)

Jenny and Jamie almost get away with their lie, but the leader of the Watch Taran MacQuarrie knows their story doesn’t add up, and his suspicions are confirmed when Horrocks arrives and recognizes Jamie.

Horrocks demands a bribe to keep Jamie’s identity a secret and not turn him over to the Redcoats, and he alllllmost gets his money, until Ian stabs his sword straight through him.

Ian and Jamie almost get away with killing Horrocks, until the Watch notices he’s missing, but his horse isn’t. As Ian is just about to confess, Jamie jumps in to take the blame himself, gambling by telling the almost truth to Taran, who ends up impressed with his killer instinct.

While the men are figuring out who killed who and how to go on a raid, Jenny and Claire are also dealing with life-and-death matters as Jenny goes into labor.

Claire tells Jenny the baby is breech, and they almost get help–until they find out the midwife has been called away to tend to a sick family member.

Jenny is in labor for hours and is worried she will die in childbirth. Claire almost tells Jamie and Ian that Jenny is in trouble against Jenny’s wishes, but she doesn’t. She does, however, tell Jamie that she thinks she is infertile and may not be able to give him the son or daughter he is planning on.

Jamie reacts shockingly well to this news, assuring her that maybe it’s for the best and he couldn’t bear to see her during the pain of pregnancy and childbirth. (But the emotional pain of not being able to have kids if you want them is ok or something? On that note, does Claire even want kids? About two episodes ago she was ready to go back to the 1940s.)

Jamie and Ian are invited (well, forced mostly) to go on a raid with the Watch while Jenny is still in labor. Ian almost stays with Jenny–but then he doesn’t. And because men have nothing to do whatsoever with getting pregnant or giving birth or raising kids, Jenny tells the men to leave them alone to deal with this nasty business of bringing new life into the world, but to come back safe.

Which they almost do. Jamie realizes the raid is a trap a little too late, and only Ian makes it home to the women. In some of the only action that sticks this week, Jamie has been captured by the British, yet again.

I’m pumped for next week, when it looks like Claire and Jenny turn into a crime fighting outlaw duo. Hopefully that will have more action and more fun.

vanessa on daredevil

vanessa from daredevil

Vanessa on Daredevil went on a date with the devil himself. When Wilson Fisk, the evil mastermind rebuilding Hell’s Kitchen in his vision, takes her to a dinner that gets interrupted by a haggard-looking criminal yelling at Fisk, Vanessa realizes this might not be your average businessman. So on their next date, Vanessa brings a gun. Later that night, they watch the city burn, together.

Vanessa on Daredevil is the baddest B on TV right now.

Vanessa is choosing to get into bed with evil–she doesn’t have to be tricked into it or lied to about it or caught by a trap. She really sees Fisk, and she can tell he isn’t on the level. She chooses to be with him not in spite of this, but because of it. This is a huge contrast with other superhero shows where men hide their misdeeds with tiny bandanas over their eyes, or where everyone is making decisions on women’s behalf while they have no say in the matter.

Another superhero show, Arrow, spent a verrrrrry long time with whip smart Thea not realizing her brother was missing all the same nights the Arrow was crime fighting. And that they kind of looked alike under that hood. And that a vigilante’s team was operating *in the basement of a business she owned*.

Oliver claimed he was hiding his identity as the Arrow to protect Thea, but Thea has faced plenty of tragedy and has fought back, learning how to fight and be a warrior herself. She is self-sufficient, and she runs her own business and she’s good at it. She is the opposite of an incapable person who can’t be in charge of her own life.

What Oliver is really protecting is himself, so he won’t have to have an awkward conversation where he shows his real self to someone he loves. It’s true that it’s hard to be vulnerable, but it’s also true that watching a man lie to a woman so he can stay comfortable doing whatever he wants is a snooze and a half.

The Flash is another show that has been tons of fun, except when a certain woman is involved. It seems like everyone in Central City–and Starling City!–knows that Barry Allen is the Flash, but Iris, who has grown up with Barry and is a professional reporter covering the Flash, can’t figure it out? I mean, the Flash is the exact size and shape of the guy you are secretly in love with and you never once daydreamed that ~maybe~ they were the same person?

It doesn’t make sense! And worse than that, every man in Iris’ life has an opinion on what Iris should know and when, and none of them have included Iris in the conversation. Keeping women out of the loop comes from a misguided, sexist sense of protection (from what, exactly?), but all it does is keep women on the fringe of the story, outside and powerless. And on the Flash, it’s keeping Iris stuck in one place while everyone else speeds ahead and leaves her behind.

But Iris won’t be in the dark forever, just like Oliver couldn’t keep lying to Thea. And hopefully these weak plots to maintain the status quo and hold off the inevitable will give way to richer stories for all of the characters.

Vanessa is exciting because she makes her own choices, and she creates her own power. Sure, Fisk runs Hell’s Kitchen, but Vanessa runs Fisk. When Fisk wants to protect Vanessa and send her out of the country, she says no thank you. She has power and agency in their relationship, and it comes from being on the inside, seeing Fisk when he’s vulnerable, and then using that information to make her own decisions.

vanessa and fisk

It’s so much more interesting to watch a woman choose to stay when things get hard, and know she’s getting involved with a man who does bad things, rather than yet again see a woman who happens to fall into a situation based on everyone else’s choices but her own.

And if it’s all the good guys who are lying? I’d rather be a bad bitch, too.