Doors
I suppose freshman year was challenging, though it wasnt until sophomore year that i really began to experience its repercussions.
My sophomore year, i found myself physically unable to shut doors--cabinet doors, drawer doors, etc. , though regular doors did not pose as much of a challenge to me. It was not that the pressures of the fashion industry had stripped me of my body mass and muscle, rendering me incapable of accomplishing the most menial of physical tasks. I simply would not remember to do so. Repeatedly. As an incredibly tidy--albeit occasionally forgetful--individual, i was surprised at how careless i was becoming. Why not close the cabinet door after removing utensils from it? I had already procured what i needed--perhaps even returned it to its rightful place--and yet the door remained unclosed. And regardless of whether it was just a crack--a hairline fracture--or gaping divide--the door left flagrantly open, exposing its wares to the world--the unclosed door broke up the solidarity of the room and interfered with my fragile mentality. I made a mental note of this recurring...lapse in attentiveness...and would make note of whenever i repeated the error again.
My inability to close doors persisted into the end of my first semester, serving to bother me far more than my roommates, who in all honesty, probably wouldnt notice if all the doors in the dorm were stripped bare from the hinges. I concluded that the source of my newfound laziness had to be the result of some recently developed ailment, and decided to engage in some good old self-diagnosing. I quickly found “experts” who diagnosed this inability with OCD, which I almost instantaneously rejected--this was simply not what i was searching for.
I then stumbled upon a forum in which one of the repliers suggested that this lapse was slightly more pathological, symbolic even. He claimed that this inability to close drawer or cabinet doors revealed a paralleled inability to close doors on the past. Essentially, the lack of closure in my life was surfacing in the present quite literally.
I was rather satisfied with this interpretation and left it with that.
Though, to be honest, this revelation wasnt particularly groundbreaking. Of course I've made mistakes that i never was able to remedy. Of course i have regrets that will probably never cease to make their way into my consciousness every now and then to plague my thoughts with guilt and worry. (Hasnt everyone?)
It was just calming to thrust all of my responsibility for my actions--or this solitary action at the least--into the welcoming arms of an affliction. This made me blameless, unable to control what i was doing, a victim if you will, of the unwavering, impenetrable persuasion of the mind.
I added this ailment to the quickly growing list of pathological disorders that i decided i had developed since freshman year.
Feb 12 10:37 am
Dreams are so strange.
I dreamt of him again; he actually made an effort.
We were at Bourbon Coffee, or some other dimly lit location that had the calm ambience and mahogany wood feel of a Barnes & Noble.
There was also waiting in a line, perhaps under a plastic awning, as it rained heavily.
I’m pretty sure I hid him from my parents.
Sabrina: A Response
In a film, all elements—from the arrangement of the set, to the chemistry of the actors and the flow of the dialogue—must collaborate in such a way as to successfully convey the overall mood and themes. Costume design plays an integral part in doing this, as clothing adds another dimension of realism to the characters and their personalities. In Billy Wilder’s Sabrina, the costumes by Edith Head and Givenchy operate seamlessly within the film, helping to create believably complex individuals. The clothes manage to draw distinctions and comparisons between characters, while simultaneously revealing their unique emotional and ideological qualities and transformations.
The most distinct transformation in character is that of Sabrina, who leaves for Paris as a silly idealistic girl, and returns a sophisticated, worldly woman. This is evident, not only through her changes in mannerisms and general demeanor, but her costume as well. In the beginning of the film, before she leaves for Paris, she is clothed rather plainly, in a patterned dress that opens to a calf-length skirt of moderate fullness. Other than the superb fit, which showcases Audrey Hepburn’s svelte figure, the dress is utterly unremarkable—especially in comparison to the lavish confections donned by the ostentatious partygoers next door—clearly conveying Sabrina’s lower class role as daughter of the chauffeur. The pattern on the dress is small and abstract, rendered in alternating colors that reflect the abundance of texture in Sabrina’s world. From the interplay of shadows and tree leaves to the rugged surface of the wicker chair, the pattern helps to camouflage, as well as contain, Sabrina within her environment, hopelessly hidden and invisible to David.
However, upon her return from Paris, Sabrina has grown a great deal, as reflected by her updated clothing and appearance. Her patterned country smock, further dulled by white stockings and cream ballet flats, have been replaced by chic ensembles, perfectly accentuated by gold hoop earrings and delicate kitten heels. The suit and skirt she dons upon her arrival, complimented by a light colored turban, scream of her newly acquired maturity and worldliness. This change is only further exemplified through the dress she wears to the Larrabee’s party, a stunning white dress, tight fit to the body and mid-calf length, decorated with highly contrasting black embroidery, exploding from the back with a large almost bustle-like addition. Topped with arm-length white gloves, heels, and earrings, the effect is absolutely radiant. While the purity of the white conveys innocence and youth, the silhouette and dark embroidery suggest otherwise.
In her transformed state, Sabrina’s clothes come to take on the visual representation of her emotions, regardless of whether she is willing to convey them or not. At the party, the glowing white gown exudes spirit and individuality, paralleling Sabrina’s general comportment and expression. Similarly, the sleek black dress that she wears when Linus takes her to town mirrors her newfound confidence. However, it also reveals something deeper—while the considerably conservative front reveals no décolletage, the back dips into a low V followed by minute cutouts trailing down her spine. The overall effect is sophisticated, yet incredibly seductive, as glimpses of Sabrina’s lower back are visible through the tiny cutouts. Though Sabrina has not admitted it to herself, Linus, or even the audience outright, her affections for David are being tested by her growing interest in Linus. Though she has not revealed these feelings yet, her clothing makes it evident that the thought has at least crossed her mind. In contrast with these dresses, which reveal not only skin, but also emotional sincerity, Sabrina’s coats, which she dons in times of internal conflict, serve as psychological protection. The black coat she wears when she attempts to cancel on Linus, covers her from her neck to the middle of her calves, almost entirely obliterating her female form. The thick felt-like fabric seems soft, yet structured, creating a sort of personal sanctuary about her body. Similarly, the grey coat Sabrina wears as she departs for the boat shows her efforts to desexualize, as well as isolate, herself. In both instances, she is tormented by both her feelings for Linus, as well as his refusal to accept them. In an effort to deflect advances, or attention of any kind, she wraps herself in these shapely sheaths.
While the costuming of Sabrina sets her apart from the rest of the characters, decrying her status as an individual, as well as the protagonist, the clothing of the Larrabee brothers define the two as a set, with their costumes playing off of each other, eliciting comparisons in regard to both appearance and personality. David’s clothing—white suit jackets contrasted against dark pants and patterned ties, topped off with a jaunty straw hat—suggest his desire for attention, his thirst for life, and his general disregard for staid tradition. Even his attempts at reservation—he dons dark tweed suits when he makes appearances at the offices—are offset by boldly patterned bowties and handkerchiefs. While David’s loud clothing parallels his bold personality, Linus’ choices are more reserved, reflecting his business-centric mindset and generally serious composure. His dark double-breasted suits are accessorized with a somber hat, umbrella, and briefcase, all black, all solemnly preparing for the worst. His attempts at dressing casually for the sailing outing are pained, exemplified by the poorly fitted and horribly outdated Yale cap and cardigan, which he thankfully discards. However, as Sabrina slowly chips away at his cold exterior, his cold and calculating manner begins to relax, evidenced by his additions of sprightly plaid bowties to his normally staid suits. Though his transition is less dramatic than the one made by Sabrina, the subtle alterations made to his dress clearly reflect his newfound willingness to love again.
Overall, the costumes in Sabrina lend their assistance in crafting truly multi-dimensional characters. Aesthetically pleasing, remarkably flattering, while still age- and era-appropriate, the clothes provide insight into the characters as well as the world that they live in. The costumes, aided by accessories and makeup, assist the audience in deciphering the complex inner workings of the characters, providing clues about their relationship with not only others but themselves, in addition to the emotional and ideological transformations that they make throughout the film.