Essay: "Vulturism," Interfictions
Article: Ten Episodes of Vampire TV that Show Us You Only Live Twice, AV Club
The Penguin Book of Witches, NPR.org
"And Was Obliged to Go On Dancing": The Red Shoes and the Chastised Woman, Strange Horizons, September 2014
Catwoman: The Closet, Part 1 - Selina
One of the first things I did after we’d sketched the bare bones of this Catwoman arc was to sit down and decide how everybody was going to dress.
Comics are cinematic in their use of clothing to indicate character; it’s a great psychological and expository shortcut. The shift from Catwoman into Selina Kyle, Mob Boss would mean a lot of changes in her wardrobe, and everything she wore would necessarily reflect that change. It was also important to me just on a vaguely-fashion-aware level, because I will never forget being a kid and reading the issue of X-Men where Gambit shows up to take Rogue on a date and Rogue is wearing a full-body lace bodysuit underneath what I swear was a handkerchief skirt and tight peasant top with matching headband. That was a lot. Nobody wants any more of that.
What did I want for Selina? This.
The “hero” tux was exactly the mood we wanted for her out-of-uniform uniform; it’s a graphic statement, it connotes both power and privilege, and it’s sexy without being too revealing, at a time when Selina’s very much in a masculine sphere. In fact, we were careful to make sure there are variations on her signature suit specifically so that when she deviates from it, it’s significant. Bottom right corner is her “off duty” suit, which we see her in at times when she thinks she’ll only be dealing with family concerns. Top right corner is the suit we see her in at the open of #36, when she’s making the rounds to have the families kiss her ring, so to speak; it’s deliberately more feminine, but it also has the broad lapels that feel ever so slightly like a mark of state.
But one of the things we knew was going to happen was that the tenor of the clothes would shift over the course of the arc. She starts out on top, and as things become increasingly murky, the more her clothing looks like armor. The ballgown she wears in 35 is an amalgamation of Charles James and Zac Posen gowns, and represents a deliberate opulence and vaguely frigate-y comfort that we don’t necessarily see from her at any other time. This is her coronation, and she’s dressed for it. By the time she’s wearing the cocoon coat at the top center, in which she looks slightly like a beetle, it’s because she feels the need to protect herself; it’s a coat you can disappear inside of.
Overall, though, this is a Selina that’s not messing around. Clean lines, black everywhere, tailored but rarely tight. She’s too skilled an opportunist to let this chance go to waste; at a time when she doesn’t have any weapons close to hand, she’ll dress like she is one.