
The Moor of Socal – Southern Renaissance Pleasure Faire – April 19, 2008
Costume designer Judianna Makovsky takes us through her process of creating Chris Evans’ stealth suit costume for “Captain America: The Winter Soldier”
That is so cool…
the most implausible thing about superhero movies is that these guys make their own suits, like seriously those toxic chemicals did NOT give you the ability to sew stretch knits, do you even own a serger
I feel like there’s this little secret place in the middle of some seedy New York business neighborhood, back room, doesn’t even have a sign on the door, but within three days of using their powers in public or starting a pattern of vigilanteism, every budding superhero or supervillain gets discreetly handed a scrap of paper with that address written on it.
Inside there’s this little tea table with three chairs, woodstove, minifridge, work table, sewing machines, bolts and bolts of stretch fabrics and maybe some kevlar, and two middle-aged women with matching wedding rings and sketchbooks.
And they invite you to sit down, and give you tea and cookies, and start making sketches of what you want your costume to look like, and you get measured, and told to come back in a week, and there’s your costume, waiting for you.
The first one is free. They tell you the price of subsequent ones, and it’s based on what you can afford. You have no idea how they found out about your financial situation. You try it on, and it fits perfectly, and you have no idea how they managed that without measuring you a whole lot more thoroughly than they did.
They ask you to pose for a picture with them. For their album, they say. The camera is old, big, the sort film camera artists hunt down at antique stores and pay thousands for, and they come pose on either side of you and one of them clicks the camera remotely by way of one of those squeeze-things on a cable that you’ve seen depicted from olden times. That one (the tall one, you think, though she isn’t really, thin and reminiscent of a Greek marble statue) pulls the glass plate from the camera and scurries off to the basement, while the other one (shorter, round, all smiles, her shiny black hair pulled up into a bun) brings out a photo album to show you their work.
Inside it is … everyone. Superheroes. Supervillains. Household names and people you don’t recognize. She flips through pages at random, telling you little bits about the guy in the purple spangly costume, the lady in red and black, the mysterious cloaked figure whose mask reveals one eye. As she pages back, the costumes start looking really convincingly retro, and her descriptions start having references to the Space Race, the Depression, the Great War.
The other lady comes up, holding your picture. You’re sort of surprised to find it’s in color, and then you realize all the others were, too, even the earliest ones. There you are, and you look like a superhero. You look down at yourself, and feel like a superhero. You stand up straighter, and the costume suddenly fits a tiny bit better, and they both smile proudly.
*
The next time you come in, it’s because the person who’s probably going to be your nemesis has shredded your costume. You bring the agreed-upon price, and you bake cupcakes to share with them. There’s a third woman there, and you don’t recognize her, but the way she moves is familiar somehow, and the air seems to sparkle around her, on the edge of frost or the edge of flame. She’s carrying a wrapped brown paper package in her arms, and she smiles at you and moves to depart. You offer her a cupcake for the road.
The two seamstresses go into transports of delight over the cupcakes. You drink tea, and eat cookies and a piece of a pie someone brought around yesterday. They examine your costume and suggest a layer of kevlar around the shoulders and torso, since you’re facing off with someone who uses claws.
They ask you how the costume has worked, contemplate small design changes, make sketches. They tell you a story about their second wedding that has you falling off the chair in tears, laughing so hard your stomach hurts. They were married in 1906, they say, twice. They took turns being the man. They joke about how two one-ring ceremonies make one two-ring ceremony, and figure that they each had one wedding because it only counted when they were the bride.
They point you at three pictures on the wall. A short round man with an impressive beard grins next to a taller, white-gowned goddess; a thin man in top hat and tails looks adoringly down at a round and beaming bride; two women, in their wedding dresses, clasp each other close and smile dazzlingly at the camera. The other two pictures show the sanctuaries of different churches; this one was clearly taken in this room.
There’s a card next to what’s left of the pie. Elaborate silver curlicues on white, and it originally said “Happy 10th Anniversary,” only someone has taken a Sharpie and shoehorned in an extra 1, so it says “Happy 110th.” The tall one follows your gaze, tells you, morning wedding and evening wedding, same day. She picks up the card and sets it upright; you can see the name signed inside: Magneto.
You notice that scattered on their paperwork desk are many more envelopes and cards, and are glad you decided to bring the cupcakes.
*
When you pick up your costume the next time, it’s wrapped up in paper and string. You don’t need to try it on; there’s no way it won’t be perfect. You drink tea, eat candies like your grandmother used to make when you were small, talk about your nights out superheroing and your nemesis and your calculus homework and how today’s economy compares with the later years of the Depression.
When you leave, you meet a man in the alleyway. He’s big, and he radiates danger, but his eyes shift from you to the package in your arms, and he nods slightly and moves past you. You’re not the slightest bit surprised when he goes into the same door you came out of.
*
The next time you visit, there’s nothing wrong with your costume but you think it might be wise to have a spare. And also, you want to thank them for the kevlar. You bring artisan sodas, the kind you buy in glass bottles, and they give you stir fry, cooked on the wood-burning stove in a wok that looks a century old.
There’s no way they could possibly know that your day job cut your hours, but they give you a discount that suits you perfectly. Halfway through dinner, a cinderblock of a man comes in the door, and the shorter lady brings up an antique-looking bottle of liquor to pour into his tea. You catch a whiff and it makes your eyes water. The tall one sees your face, and grins, and says, Prohibition.
You’re not sure whether the liquor is that old, or whether they’ve got a still down in the basement with their photography darkroom. Either seems completely plausible. The four of you have a rousing conversation about the merits of various beverages over dinner, and then you leave him to do business with the seamstresses.
*
It’s almost a year later, and you’re on your fifth costume, when you see the gangly teenager chase off a trio of would-be purse-snatchers with a grace of movement that can only be called superhuman.
You take pen and paper from one of your multitude of convenient hidden pockets, and scribble down an address. With your own power and the advantage of practice, it’s easy to catch up with her, and the work of an instant to slip the paper into her hand.
*
A week or so later, you’re drinking tea and comparing Supreme Court Justices past and present when she comes into the shop, and her brow furrows a bit, like she remembers you but can’t figure out from where. The ladies welcome her, and you push the tray of cookies towards her and head out the door.
In the alleyway you meet that same giant menacing man you’ve seen once before. He’s got a bouquet of flowers in one hand, the banner saying Happy Anniversary, and a brown paper bag in the other.
You nod to him, and he offers you a cupcake.
WARNING: there is a shitton of math in this post.
So this response to the post I did on the physical issues that Bucky Barnes probably has as a result from his time with HYDRA (strictly from a massage therapist’s POV) got me wondering: how much WOULD the metal arm weigh?
If we take his height and weight from the comic books, he’s 5’9" and 260lbs…which is a lot for a 5’9" dude to weigh! The logical answer is that a lot of the weight comes from his arm. Much as Wolverine is listed as being 300lbs with the adamantium skeleton and 200lbs without, I think we can safely say that from the POV of comic book canon, the metal arm must weigh about 50lbs, and that’s assuming Bucky weighs a super-jacked 210lbs. (Though the ideal weight for a man of 5’9" stature tops out at 174lbs.)
But that’s comic books. What about in the movie perspective? Well, let’s look at it.
- In CA: TWS, the arm is shown to deflect bullets from a handgun fired at close range with no apparent damage and when Bucky punches Steve’s shield neither is damaged. From this I think it’s safe to say that at least the outer surface of Bucky’s arm is made of vibranium.
- From that we can also extrapolate that the outer vibranium plates, which were shown shifting around a lot in TWS, must be about the same thickness as Steve’s shield.
- I can’t find any resources as to how thick Steve’s shield is, but it’s 12lbs and 2.5’ (or 30") in diameter.
- There aren’t any measurements or calculators for the weight of imaginary vibranium, but in CA: TFA, Howard Stark mentions that vibranium is one-third the weight of steel. That means that, if the shield were made out of carbon steel, it’d be 36lbs (12 x 3 = 36).
- Fortunately there ARE calculators for the weight of steel!
- A circle of steel that’s 30" across and 36lbs would be about .18" in thickness.
- Thus, Steve’s shield is .18" in thickness.
- And so are the outer vibranium plates of Bucky’s arm.
- That steel weight calculator doesn’t have a cylindrical option, but this one does.
- Circumference of a human arm is a little difficult to figure–obviously personal fitness causes the size of one’s arm muscles to vary quite a bit. Various sites that I’ve looked at indicate that a highly-fit man could expect his biceps to be 17" in circumference at their widest and his forearms to be about 13" at their widest. (For reference, I’m a not-fit woman and my biceps are 13.5" and my forearms are 11".) Obviously that’s at their widest points, so I’m going to knock 2" off both of these measurements to make it more equal across the length of the limb.
- Various sites helped me figure out that for a 5’11" man, a normal forearm length would be about 10" and upper-arm length would be about 15". (My forearm is 9" and my upper arm is 12".)
- Thus: assuming that Bucky’s forearm is 11" around (which is a conservative estimate) and 10" long, the metal plating covering that area, at a .18" thickness, would weigh in steel about 9lbs. Divide by 3 and in vibranium that’d be 3lbs.
- Assuming that Bucky’s upper arm is 15" around (again, conservative) and 15" long, the metal plating covering that area, at a .18" thickness, would weigh in steel about 18lbs. Divide by 3 and in vibranium that’d be 6 lbs.
- 6 + 3 = 9lbs. The outer vibranium plating on Bucky’s forearm and upper arm weighs about 9lbs. (Based on conservative estimates of arm circumference.)
- That’s just the outer plating on his forearm and upper arm. That doesn’t count his hand.
- Looking at body segment percentage weights, we see that in terms of typical body percentages, a hand usually weighs .65% of the total body weight compared to 1.87% for the forearm. Thus, the hand usually weighs about 1/3rd of the forearm.
- Assuming that holds true for the metal hand, then the vibranium plating on the hand would be about 1lb.
- 6 + 3 + 1 = 10lbs. The outer vibranium plating on Bucky’s whole arm weighs 10lbs.
- If we bump Bucky’s height up to 5’11" (actor Sebastian Stan’s height), the ideal body weight for a 5’11" man with a large build tops out at 184lbs. Looking at the body percentage index again, we see that typically, a whole human arm is about 5.7% of a person’s bodyweight. So for a 5’11" guy with a large build at 184lbs, that’s about 10.5lbs.
- The outer plating on Bucky’s whole arm already weighs about as much as his regular flesh-and-bone arm, assuming that a) it’s made of vibranium, a very light metal, b) the plating is the narrowest possible width that can deflect bullets, and c) the circumference of the arm isn’t very big. All of which would make the plating a lot heavier than what I’ve calculated.
- That is just the outer plating.
tl;dr Bucky Barnes’ arm is heavy.
Mens Fashion – www.GoGetGlam.com
I just came a little
Yeah Bc some of y’all walking around looking like Steve Harvey and Cedric the entertainer back in the day.
I love this post
This is important.
This is good.
#steve’s wardrobe is the very first evidence of bad characterisation vs good characterisation (x)
ok but no. steve in the first gif is trying to feel comfortable in a strange world., still wearing things that are familiar. pleated pants and plaid shirts tucked in and belts.
steve in the second gif has had time in the world. he has learned to be comfortable in tshirts and blue jeans. These are two different characters, for all that they’re both steve rogers, and both of them are accurate and correct.
I both agree and disagree with everything said above. I disagree that it’s as simple as bad characterization vs good characterization – first of all, in the first gif, those are clothes Steve picked out for himself, presumably. In the second? He’s incognito. He’s on the run. Given his druthers, he’d much rather be in a white t-shirt, jeans, and a leather jacket. His taste in clothes between the two movies hasn’t changed one bit. You see him on his bike during his Sadness Errands, or at the end in the graveyard?
Simple, durable, utilitarian. Everything that a button-up shirt and pleated pants would have been in the 40s. His “style”, such as it exists, is exactly the same. The only time he wears something different is when he’s on the run with Natasha and trying not to look like himself.
In Avengers I do agree he’s trying to hold on to something with his clothing choices, where and how he works out, and the way his apartment is furnished. The look of his apartment, in fact, doesn’t change all that much between films – even though it’s been two years and they’re in two different cities. He still prefers a turntable, still keeps his furnishings modest and his colors muted. But honestly? How much of that was Joss Whedon’s characterization and how much was the stylist and set designer, I don’t know.
I hate 80% of the way Whedon writes Steve. He doesn’t get him. I hate that Whedon doesn’t have him engaging far more personally with Bruce Banner, the one person who probably could reach Steve himself other than Natasha. Banner is in his situation in part because of Steve, or at least that’s how it’s presented, and that would be something that Captain America takes personally. He of all people would see Bruce as human first, risk factor second. He would see Tony as a bully, not as as someone “putting the ship at risk.”
And for god’s sake, when has Steve ever been one to follow orders? When has he ever counseled others to do so? When has he ever been satisfied with just knowing and doing what he’s being told? Oh, I’m not supposed to try and enlist in the army multiple times or falsify my enlistment papers? Too bad, I’m gonna anyway. Oh, you say the prisoners are behind the lines and that Bucky is probably dead? Well, let’s prove it. Let’s see. He’s a commander. A good man. Not a good soldier. Winter Soldier gets that about him. Never for a moment does he go in not questioning authority. Never for a moment does he look at his superior officers and say “Okay, we’re good, I trust you.”
There’s also the fact that he has two different “faces”. His institutional persona and his personal one. When he’s Captain America, he’s solid, he’s implacable, he doesn’t share his feelings and he doesn’t voluntarily leave himself open to ridicule or derision. Whedon writes Steve as broadcasting his insecurities in an institutionalized space (“I understood that reference”) as though he would joke when he’s representing the shield and the people who helped him obtain it. He might ask what a reference means, but to interrupt with the fact that oh hey for a moment he actually understands what’s going on? No. (Can you tell I hate that line I really hate that line.)
He’s an icon in those moments. He’s not just Steve Rogers. He can’t be. He needs to be better than he is, and Joss Whedon never writes him as though he understands the distinction. He doesn’t get the division between the selves that Steve has – his institutional persona and his personal internal life.
It’s different when Steve’s in one-on-one emergency battle mode with Tony (“It seems to run on some kind of electricity.”) There, it fits. There, it’s Steve being Steve. When he jokes with Erskine during project rebirth, or tells Peggy that girls don’t want to dance with someone they might step on – it’s all one-on-one, with people he respects and to some degree trusts or admires. Erskine is a friend and a person who gave him the chance of a lifetime. Peggy is someone who is never shown looking down on him before that point, only reacting positively when Steve is… well, himself.
Steve as Captain America does not show weakness in the face of the institution. If he makes a joke, it’s to mock power, not expose himself to critique from it. He’s never insecure, always ready. It’s only in his personal life where his shyness, his self-depreciation, his social anxiety come out. The spaces where he’s not sure of the rules, of whether there’s an absolute Right or Wrong placed there by his moral code and his belief in what a soldier and a hero should be.
Steve is not as simple as clothing choices, no, but he’s also not the man that Whedon writes, and I really really dislike that about Avengers.