The moment each Birds of Prey heroines pops up on screen, looking like she rummaged through her own closet that morning to pick out an outfit, her personality immediately shines through. But the way these sexualized costumes became the default look of every superheroine, regardless of her character or profession, had the net effect of partially erasing their personalities. There’s nothing wrong with looking sexy, of course-on film or in real life. When Catwoman first appeared on the TV show Batman in 1966, she wore a glittery unitard and a campy cat-ear headband when she reappeared in 1992’s Batman Returns, she wore a slashed-up, patent leather jumpsuit, influenced by the popularity of dominatrix-like looks popular in high fashion at the time, as well as new ideas about how a “powerful” woman might present herself. In 1968, Wonder Woman traded her classic bustier and boots for the era’s fashionable leggings and tunic dresses during a period when she worked as a private eye-a look that was trendy, but not terribly effective for crime-fighting. Superheroines, however, tend to be subject to fashion trends in ways their male counterparts aren’t. This is why superheroes-even ones we associate with a single iconic look, like Batman-periodically get new costumes. “Film will always reflect the anxieties, the fears, the cultural belief systems of the time,” Bretaña tells. Though male and female superheroes alike have worn body-hugging costumes since the earliest days of film, a hero’s look changes constantly due to fashion trends and social change, according to fashion historian Raissa Bretaña. The film’s creators wanted “to infuse with a really unique style,” says Benach, who drew from influences ranging from '70s retro fashion to DIY crafts when creating each character’s looks. But getting Benach on board was part of the film’s strategy for approaching female superhero costumes in a new way. Prior to Birds of Prey, Benach was best-known for dressing Lady Gaga and Bradley Cooper in A Star is Born her background is in designing for real-world dramas, like 2011’s Drive and 2016’s Loving, rather than working in the world of spandex and capes. “When they first called me, I sort of was like, ‘Are you sure you guys have the right Erin?’” Benach tells. It’s not a stretch to think that these costumes were conceived as a way to connect with female viewers as director Cathy Yun told Entertainment Weekly, the costumes are “a really interesting way to speak to women without being overt.” Part of that plan involved working with costume designer Erin Benach. This should complete the jacket process.Related: Charlize Theron on Why You Won't See Women Bonding in Bombshell: 'We're More Interesting Than That' Finding the Right Designer Once you have done this, sew the sleeves onto the taped part of the sleeve holes. This will help reinforce it and keep the sleeves in place. To avoid the plastic tearing with the weight of the sleeves, you should also add tape around the sleeve holes of the vest. Lastly, you need to attach the sleeves to the vest. Once you've done these, you should have the vest completed. You should also add black tape to the neck and front edges of the plastic. Sew the sides c and d of the back and front pieces together, and then go over them with the black tape to secure them and add the black details. Once the sleeves are ready, you should assemble the vest. Once you feel you have attached sufficient tassels to completely hide the fabric, you should sew the two opposing sides of the sleeve piece (sides a&b) together, as shown in the drawing, to create each sleeve. To assemble the sleeves, take the sleeve pieces, and start sewing on the tassels, beginning on the lower part of the sleeve, and working your way up.
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