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b-side
Thursday, February 13, 2020 — 4B
The seven deadly sins...but make them fashionable
B-SIDE: STYLE
I set Greed in the 1910s, because this era
seemed to be obsessed with gaining wealth
and social standing. A confining dress of
gold with flaps modeled after Faberge Eggs,
paired with an extensive amount of heavy
jewelry are the featured parts of this outfit.
LUST
Lust is set in the 2010 #MeToo era. I envisioned
a Harvey Weinstein-esque male authority figure,
using his power to sexually assault women. I
wanted to make this man as disgusting and
sleazy as possible, uncaring of who he exposes
himself to. The animal paired with Lust is a
cow, so assless chaps were a must, especially
with a cow udder protruding from the front.
GLUTTONY
I
decided
to
focus
on
the
idea
of
overindulgence
in the form of alcohol instead of food for
Gluttony. This 1920s flapper has spilled
alcohol down her dress, and dons a cape made
of various alcohol labels and a pig face fan.
SLOTH
I took inspiration for Sloth from the
1970s, since that era is often associated
with pot-smoking hippies. I pictured
this androgynous look as something
they rolled out of bed in. I heavily
featured the goat in the horn shoulder
pads and go-go (or goat-goat) boots.
PRIDE
I thought Pride could be embodied
perfectly through the 1940s, during the
height of war. I imagined a veteran still
full of pride for his country, despite having
suffered immensely. His leg is replaced
with a rifle, and his uniform made of
Tiffany glass is shattered from bullet holes.
I set Envy in the 1950s because of the cultural
tendency to try to portray everything as
perfect, from clothes to home life. The lack
of artistry on my part really comes out in this
piece, especially with the dog pelt around
her neck, but I tried. Her headband is a nod
to Roy Lichtenstein.
WRATH
Wrath is a classic 1990s grunge girl for
obvious reasons. The makeup is smeared,
the clothes are ripped and the hood of the
flannel tutu dress is a bear to bite all of her
enemies.
GREED
DANA PIERANGELI
Daily Community Culture Editor
ENVY
The “Seven Deadly Sins” is such an iconic image that even my theatrical scenic design class incorporated it into
our lesson plan. The final project of Introduction to Scenic Design (THTREMUS 240) taught by Rob Murphy
asked us to create costume designs for each sin, incorporating the animal and color related to the sin in mythology,
as well as an artist of our choosing. I’m no artist, as you will see from the frequent eraser marks and poorly drawn
features, but the project was a fascinating way to explore these classic vices and what impact they have on society.