Costume Design in the Soylent Green Film

Introduction

One of the most outstanding examples of an American ecological dystopia is the 1973 film Soylent Green, produced, directed, and edited by Richard Fleischer, Walter Seltzer, and Russell Thacher. It is based on the plot of a 1996 book by Harry Harrison. To craft this exciting tale, the director, producer, and author all carefully researched the book Make Room! Make Room.¹ Director Fleischer put together a brilliant team of designers and artists to bring his vision for the movie’s central New York location to reality. The film provides a retrospective on the fashion and color of the 1970s, while also highlighting the designers of the period’s vision of futuristic imagery.

Fleischer ordered his actors to remain in plain attire to capture the raw and complete mood in his era’s picture. This was done to break away from the commonly observed erotica period outfit designs in movies. Sherry Wilson worked on the characters’ hair, while Bud Westmore worked on their features for aesthetic purposes. Bud Westmore, who belonged to the Westmore cosmetics family, worked as a makeup artist in Hollywood. The well-coordinated work of a team of professionals with a common vision made it possible not only to accurately capture the fashion of that time, but also to reflect the ideas of the creators of futuristic dress. Most notably, the film highlights the significant influence of culture and society on how people dress, which is the main value of considering this work.

Stanley R. Greenberg extensively studies and examines tangible evidence for correct portrayals, such as illustrations, prints, and paintings from the following eras. In Soylent Green, Stanley R. Greenberg adhered to Fleischer’s concept and depicted characters as though they were taken directly from a 19th-century piece of art. Pat Barto was selected for the Fleischer concept assignment as the costume designer.² She was hired for this project because of her prior experience creating costumes for historical movies. The costume designer used the techniques she had learned while working on films like Mr. Sardonicus in 1963 and Bye Birdie in 1961 to create authentic vintage clothing. Pat Barto connected with the history and combed through several European markets in search of natural, historical textiles. As a consequence, her art perfectly captured the spirit of the movie.

Fleischer and Walter selected a casting crew that matched their vision to bring all the traits together. As a future-set American ecological narrative, the movie chose Charlton Heston to portray investigator Thorn due to his imposing and unique appearance. Edward G. Robison, a guy who recalls the marvels of civilization before it perished, is funny, educated, and infinitely charming, and he plays Sol Roth in the film. The story revolves around a murder investigation in a dystopian future with dying oceans, perpetual humidity caused by greenhouse influence, and the subsequent degradation, resource deprivation, poverty, and congestion.³ This film demonstrates how New Yorkers make do with very little food and resources while living in any accessible place.

Period Setting

Harry Harrison’s novel, with its topic of resource overpopulation and overuse causing rising poverty, food shortages, and social unrest, served as the basis for the movie Soylent Green. The late 19th or early 19th century, when the artwork was painted, served as the backdrop for the film’s period. Fleischer was born and brought up in New York City, where the story takes place. Both pollution and congestion are pervasive there. Natural resources were extensively utilized during this time, particularly in the West. Many fashion styles were significantly affected by military attire and Spanish court fashion after the conclusion of the war and the restoration of kingdoms.⁴ The film displays the adaptation of these trends alongside the ongoing technological issues. However, Richard Fleischer’s 1973 film depicted the most horrific picture of the human suffering that may result from rampant overcrowding, climate change, and energy and food shortages. None was as immediate, vivid, realistic, or current. Instead, on the MGM backlot, Fleischer created a world that was real.

Detailed Costume Analysis

Pat Barto was born in Seattle, Washington, on March 17, 1917. She was a well-known Soylent Green costume designer and a contemporary and postwar American artist. The costume designer created the sets for movies like Mr. Sardonicus in 1963 and Bye Birdie in 1961.⁵ He adhered to the materials and aesthetics of the time while designing the costumes for Soylent green, which is why the movie now feels utterly antiquated; the film has a distinctly 1970s vibe. The culture that existed before the 1970s may have served as the costume designer’s influence. Since it is an essential element of society that significantly impacts its people.⁶ Therefore, culture has a significant effect on how people dress.

Most scenarios were performed in private, such as housework or relaxing. Except for when he is shown waking up in the attic studio, Charlton Heston’s primary character was featured in practically every shot wearing his detective uniform. His mode of dressing correlates to that of Sherlock Holmes. The fabrics are synthetic fibers like lycra and spandex, and the sleeves are nonexistent. At the time, these fabrics were seen as fashion ahead. Along with cotton and transparent textiles, satin was also used. Remarkably, one costume distinguishes it from the others. Brock Peters, who played Chief Hatcher, wore this. It was made from a piece of fabric that covered the actor’s front and back while concealing his sides; the item of clothing completely encloses his body.

Historical Accuracy

The achievement of demonstrating historical authenticity within a fictitious plot was made possible by the precise site setting and realistic environmental description. Costumes still had a historical relevance even though Friedrich did not want them to receive too much attention since it would take away from the setting and emotional core of the play. The design team intended to convey accuracy based on facts and thorough history because the film is based on historical artwork. Pat Barto wanted to create the most realistic representation of the figures possible, so she researched the origins of cloth history and looked at several pieces of art. Pat Barto was an expert at using materials to make a whole old-timey costume since she was well-versed in her past. Old drapes and slipcovers were transformed into coats and costumes and aged with sandpaper, writes Richard Fischer for Variety. Each character has a different outfit, from modest to lavish, describing the changes Pat made to produce her works. There were few to no flaws in the film’s clothing design regarding accuracy.

Relationship to Contemporary Fashion

In the early 1900s, business casual clothing was trendy. Early in the 20th century, when the Great Recession was at its worst, work wear and neutral hues were popular. People were swiftly adjusting to the changing economy and the rise of fast fashion with the introduction of Soylent Green. Because of this unexpected moment, there was a strong connection between the movie and its viewers. A professional detective is clad in a brown stretched coat and virtually constantly visible in his costume—a representation of an inquiry in a crisis.

The designer Pat Barto comes to mind when watching this movie because of his admiration for the environmental challenges the movie highlights. Overall, Solar Green (1973) is a movie that touched on a significant movement and influenced many people. Furthermore, the film is essential for studying the history of fashion because Soylent Green, from a historical viewpoint, emphasizes the rising prominence of mass media, including television and other media, and the cult of celebrity. Therefore, the outfits frequently feature the well-known shirtwaist dresses from the 1950s and some loosely mod elements.

Conclusion

Soylent Green has a profound impact on culture. The majority of the outfits for the film were adapted from garments purchased at retail establishments, such as tunic shirts and wrap dresses. Costume makers would add patches of geometrically shaped brilliantly colored cloth to the chosen basic suit to give it a futuristic appearance.⁷ All required to make the outfits pop was a small spray of glue and a sprinkle of glitter or sequins. The final product also benefited greatly from the addition of accessories. Belts and jewelry provided the ideal finishing off for the outfits: the better, the more prominent, and the more elaborate. The costumes from the movie are pretty similar to the wild attire that was popular in early 1980s fashion, including wide belts and off-the-shoulder tops worn at disco clubs at the time. In addition to these elements, the film portrays the creators’ vision of the futuristic fashion that existed at the time, as well as highlighting the relationship between the socio-cultural environment and fashion in everyday life.

References

Beene, La. “Digital Costume Design and Collaboration: Applications in Academia, Theatre, and Film by Rafael Jaen.” Theatre Topics 28, no. 1 (2018): 84–85. Web.

Coco, Anne. “Giant: A Study of Costume Design in Transition.” Film, Fashion & Consumption 8, no. 1 (2019): 35–47. Web.

Colpaert, Lisa. “Costume on Film: How the Femme Fatale’s Wardrobe Scripted the Pictorial Style of 1940s Film Noir.” Studies in Costume & Performance 4, no. 1 (2019): 65–84. Web.

Kim, Seo Young, and Hwang Oak Soh. “On the Value Propositioning of Royal Costume Design Management: A Case Study of the Korean Film Sanguiwon (the Royal Tailor).” International Journal of Costume and Fashion 20, no. 1 (2020): 1–9. Web.

Soylent Green. Metro-Goldwyn-Mayer.1973

Footnotes

1. La Beene, “Digital Costume Design and Collaboration: Applications in Academia, Theatre, and Film by Rafael Jaen,” Theatre Topics 28, no. 1 (2018): 84–85.
2. Anne Coco, “Giant: A Study of Costume Design in Transition,” Film, Fashion & Consumption 8, no. 1 (2019): 35–47.
3. Soylent Green (Metro-Goldwyn-Mayer., 1973).
4. Lisa Colpaert, “Costume on Film: How the Femme Fatale’s Wardrobe Scripted the Pictorial Style of 1940s Film Noir,” Studies in Costume & Performance 4, no. 1 (2019): 65–84.
5. Seo Young Kim and Hwang Oak Soh, “On the Value Propositioning of Royal Costume Design Management: A Case Study of the Korean Film Sanguiwon (the Royal Tailor),” International Journal of Costume and Fashion 20, no. 1 (2020): 1–9.
6. Seo Young Kim and Hwang Oak Soh, “On the Value Propositioning of Royal Costume Design Management: A Case Study of the Korean Film Sanguiwon (the Royal Tailor),” International Journal of Costume and Fashion 20, no. 1 (2020): 1–9.
7. Seo Young Kim and Hwang Oak Soh, “On the Value Propositioning of Royal Costume Design Management: A Case Study of the Korean Film Sanguiwon (the Royal Tailor),” International Journal of Costume and Fashion 20, no. 1 (2020): 1–9.