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Vampires are the perfect monsters for metaphor. Their

unique attributes as humans turned monster can serve as a

stand-ins for the ills of society. The vampire’s versatility

of depiction, particularly on screen, allows it to exist

within the discourse of various historical and societal

matters. In Joan Gordon and Veronica Hollinger’s collection

of essays, titled Blood Read: The Vampire as Metaphor in Contemporary

Culture, they observe that the vampire is an “ambiguously cold

figure, a source of both erotic anxiety and corrupt

desire,”1while Nina Auerbach agrees, adding that “every age

embraces the vampire it needs.”2 Both of these scholars

agree that vampires have immense metaphorical usefulness. In

using the vampire as a stand-in for real life issues, and

shifting its depiction from one film to another, it aids in

creating a distance between the real life problem from

society, and therefore “the impact of the shift from human

to ‘other’ perspective works to invite sympathy for the

1 Gordon, Joan, and Veronica Hollinger. Blood Read: The Vampire as Metaphor in Contemporary Culture. Philadelphia: U of Pennsylvania, 1997. 1. Print.

2 Ibid.

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monstrous outsider at the same time as it serves to diminish

the terror generated by what remains outside our frame of

the familiar and the knowable.3”In each of these chosen

films, the depiction of vampires is specific to the time

period and issues at hand, and as the films attempt to wield

the vampire as a tool in which to illuminate these problems

and arrive at a suitable ‘solution,’ costume design becomes

an integral component in this exercise. Through the

analysis of two vampire films, The Hunger (1983) and Bram

Stoker’s Dracula (1992), I seek to discuss how the changing

image of the vampire on screen, primarily through costume

design helps to define the vampire for a specific time, and

how the vampire operates, more specifically as a metaphor

for unabashed female sexuality in Victorian England in Bram

Stoker’s Dracula, and as a symbol of illness and decay of

HIV/AIDS in The Hunger.

I want to begin with Bram Stoker’s Dracula, a film that is

sumptuous on every level. Drawing from the original source

material by Stoker, it attempts to tackle the ever-present

3 Ibid., 2.

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fear of burgeoning female sexuality in Victorian England.

Bram Stoker’s Dracula, as reimagined by Francis Ford Coppola, on

the surface, is a love story between Count Dracula and his

long lost love Elisabeta, who is reincarnated in the form of

Mina Harker. Yet a more in depth reading finds that it is a

retelling of the tropes of the whore and the saint. In this

scenario, Dracula operates as raw female sexuality and his

presence aids in the transformation, shown visually through

the costume designs of Eiko Ishioka, of Mina and Lucy,

creating the dichotomy of saint/ whore thorough the style of

dress, embellishments and finally the use of the color red

to signify partial and then complete vampiric transformation

of both women.

When Mina is introduced to the audience, she appears in

a pale green gown with a high neckline and long sleeves

(figure 1). There is no exposed flesh, all of the scandalous

parts, as deemed by Victorian English standards are covered—

décolletage, wrists, ankles, and knees. The embroidered leaf

motif, which coupled with the pale sea foam green, will

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become her theme color according to Ishioka, and will be

repeated in all of her gowns prior to her descent into

whoredom. Ishioka takes Mina’s role in the film and weaves

it into her gowns, “Mina is sensible, strong-willed,

intelligent, stoical, and naïve about sex. I felt that green

was the perfect color to symbolize this kind of woman and

used a different shade of green in each scene for her…The

high collars of the dresses reflect her chastity”4Ishioka’s

choice of color and details visually code Mina’s sexuality

prior to and after her encounter with Dracula. In a scene at

Lucy’s, her wealthy childhood friend, estate, Mina sits at

her typewriter while wearing the same sea foam green dress,

yet here we get a slight foreshadowing of her transformation

by the presence of the erotic and exotic Arabian Nights by

Richard F. Burton at her side as she types. Opening it to an

illustration of a sex act, Mina remarks “How disgusting

awful;”5 she is curious about the image but naïve to its

4 Coppola, Francis Ford, and Eiko Ishioka. Coppola and Eiko on Bram Stoker's Dracula. San Francisco: Collins San Francisco, 1992. 61. Print.5 Bram Stoker's Dracula. American Zoetrope, 1992. Film.

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function. She is interrupted by the arrival of her spoiled,

wealthy and hyper sexualized friend, Lucy who runs into the

conservatory, red hair loose, red lips and in a pale pink

gown with two roses embroidered on her breasts. Her

sexuality is front and center, the rosebuds deliberately

placed over her breasts as to denote her as a blossoming

flower. Ishioka outfits her in an off shoulder gown

presenting her neck and décolletage for ravishing. Even its

design, with its slipping off ability, drives home the

availability of her sexuality. The dialogue between Lucy and

Mina in this scene bolsters the visual dichotomy between

chastity and sexuality as is illustrated in their dresses.

Lucy, upset that her friend is being forced by her fiancé to

learn the typewriter, offers instead “he could be forcing

you to perform unspeakable acts of desperate passion on the

parlor floor,”6 to which Mina replies, “There is more to

marriage than carnal pleasure.”7They both investigate the

sexually graphic images found in Arabian Nights, Lucy is

6 Ibid7 Ibid.

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naturally drawn to them, and while on the other hand, Mina

cannot understand what she is looking at, she wonders, “Can

a man and woman really do that?”8

The next scene that sets up the visual dichotomy

between these two characters occurs at the party Lucy throws

at Hillingham where her three suitors are present. Ishioka

keeps the two women linked by the color green, but their

gowns become more telling as it pertains to their sexuality.

Lucy’s dress repeats the off the shoulder style and is

cleverly embroidered with intertwining snakes (figure 2),

harkening to an Eve reference, another woman who seduced a

man ending in disastrous results. Mina’s dress, on the other

hand, has a neckline has that dropped, no longer denying the

viewer of her neck and décolletage, and her sleeves have

become sheer, a clear indication of Lucy’s influence on her,

and a reiteration of Jonathan’s fears about Mina staying at

such a lavish estate. This also marks the moment when she

begins to feel the pull of Dracula, though at this point,

she does not know it is he.

8 Ibid.

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Now, I will depart from the film analysis just briefly

to discuss the correlation of Ishioka’s choices in costume

design for Mina and Lucy, and the ramifications of these

choices on their Victorian identities as sexualized females

in the presence of the vampire. John Allen Stevenson

identifies the problem that arises from the presence of the

vampire and the masculine fear that grows from such a

relationship. He notes that with Mina, the quintessential

symbol of ideal Victorian chastity, the interaction between

her and Dracula brings forth not only questions of her

loyalty, in terms of fidelity towards her intended, Jonathan

Harker, but as I will explain further, loyalty to her race

as an English woman. He writes, “Here then is the real

horror of Dracula, for he is the ultimate social adulterer,

whose purpose is nothing if to turn good Englishwomen like

Lucy and Mina away from their own kind and customs.”9Not

only are Lucy and Mina’s places as upstanding Englishwomen

in danger, but also if they engage in an unsanctioned

9 Stevenson, John Allen. "A Vampire in the Mirror: The Sexuality of Dracula." PMLA 103.2 (1988): 140. Jstor. Web. <http://www.jstor.org/stable/462430>.

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relationship with the vampire, the fear of transformation

into an “other” become a viable reality and a betrayal to

their race. Here Stevenson is borrowing terminology from

Edward Westermarck, a pioneer on studies of the anthropology

of marriage, and so the implication of an unholy marriage

between Dracula and Mina distinguishes her as “other,”

labeling her as foreign, both in her new sexual identity as

well as an undead being, thus holding no allegiance to any

place and time. Both Coppola and Ishioka recognize the

importance of this fear and permeate the gowns they wear

with it.

Color is an important element that Ishioka and Coppola

take into consideration in depicting the visual

transformation of Mina into “other”. Stoker, in his desire

to create a real fleshed out monster includes red as

necessity to the story of Dracula for obvious reasons; it is

the color of blood, his main life source. Coppola takes this

association directly from the pages of Stoker’s novel and

from the following excerpt; the literary translation to

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screen is quite fitting and sets the relationship with the

color red, Dracula and Mina right from the start: “I knew

him at once from the description of others. The waxen face:

the aquiline nose, on which the light fell in a thin, white

line, the parted red lips, with sharp white teeth showing

between; and the red eyes that I had seemed to see in the

sunset on the windows of St. Mary’s Church in

Whitby.”10Already, we see that Stoker has associated red to

indicate partial or complete vampiric transformation. In her

notes about the costume design, Ishioka notes, “Throughout

the film, red is significant as a color that symbolizes

blood. I decided to use red only for Dracula. The only other

time I used red was for the dress Mina wears when she dances

with Dracula on their first date…It suggests that Mina will

soon turn into a vampire.”11This is indicated earlier when

Dracula transforms Lucy into a vampire. Ishioka outfits Lucy

is a bright orange-red nightgown, with a corseted top and

10 Stoker, Bram. Dracula. Dover Publications, 2000. 292-3. Print.

11 Bram Stoker's Dracula.

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sheer bottom (figure 3). As she sleepwalks into the garden,

lured by Dracula, the camera zooms into Lucy’s lower half,

as the wind kicks up her gown, revealing a sliver of milky

white thigh. Lucy and Dracula engage in the blood exchange

and her transformation begins. The visual coding, the red as

signifier for vampire, as established by Ishioka’s costumes,

continues in the date between Dracula and Mina set in the

absinthe bar. Mina’s gown, rich crimson taffeta, with

shortened sleeves and a low v-shaped neckline (figure 4)

gives access to her wrists and neck, favorable biting spots

for the vampire. Her hair, loose and in waves around her

shoulders mimics not only Dracula’s hairstyle but also the

hairstyle of his long lost love, Elisabeta. Mina’s look here

is utterly foreign; there are no longer markings of her

English sensibilities coded in her dress. She has fully

aligned herself with her dark prince and she is primed to

cross the line from saint to whore. As they dance, her long

train sweeping the floor, it harkens back to the dressing

gown worn by Dracula in his first encounter with the

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audience and Harker (figure 5). His long train, embellished

with the markings of his nobility, sweeps the floor in a

similar fashion. This particular scene illustrates

Stevenson’s observation that, “The danger is not that she

will be captured but that she will go willingly.”12 Mina, as

the movie progresses, willingly makes the transformation

from saint to whore, and it culminates in the scene where he

finally concedes to gift her with everlasting life. Mina

dressed in white, like a bride, consents to giving her

“virginity” to Dracula, allowing him to penetrate her.

Ishioka’s choice of a sheer white nightgown is no accident;

the blood that drips down her face and on her gown further

bolsters the act as her deflowering. Dracula even beckons

her to “be his loving wife forever.”13 Interestingly enough,

Dracula experiences a moment of hesitation, as he

reconsiders the consequences of his actions, but Mina is

determined and willing, and she begs him to “take her away

12 Stevenson, John Allen. "A Vampire in the Mirror: The Sexuality of Dracula." 139.13 Bram Stoker's Dracula.

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from all this death”14and so he does. The fears of all

Victorian men have come true as Van Helsing and his men

burst in to stop Dracula, but it is too late. Mina is on her

way to becoming “other.”

Now, I will address the ramifications of this

transformation as it pertains to Victorian society. The

seduction of Mina poses a threat to the vampire killers in

the novel and in the film. Once the exchange of blood has

occurred between Dracula and Mina, she is set out on the

path of whoredom, just like her friend Lucy, who had been

quickly dispatched by Van Helsing and his band of vampire

hunters in a previous scene. The price the good Englishwoman

pays for abandoning her chastity is death. The blood

exchange transforms Mina’s sexual nature and she becomes a

sexual being with agency, and as Stevenson notes, “when her

transformation from ‘good’ Englishwoman to vampire is

complete, she will become a daughterly ‘companion and

helper’”15 Dracula liberates Mina from the sexual economy of

14 Ibid.15 Stevenson, John Allen. "A Vampire in the Mirror:" 143.

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Victorian England, allowing her sexual freedom, a freedom

only prostitutes and men enjoyed during this time. Dracula

renegotiates Mina’s gender, turning her into an assertive

male, thus freeing her from the prevailing societal

construct, which Freud examines in Totem and Taboo,

underscoring the notion that females remain under the sexual

sway of their fathers, then with their fathers’ permission,

move from daughters to wives, falling under the sexual sway

of their husbands. Mina is an affront to this construct and

it is seen in her seduction attempt of Van Helsing. In the

midst of her vampiric transformation, she rips her dress

open to reveal her milky breasts, adding, “I, too, know what

men desire.”16 Ishioka outfits Mina to fit into her new

home, branding her as “other” with the exoticness, both of

location and time, of her green velvet dress and cape.

Ishioka’s goal is to remind the audience that she is, at

least in Dracula’s eyes, from another time and place, “Mina

is the reincarnation of Dracula’s lost love, Elisabeta, a

fifteen-century princess. I designed her cape in the last

16 Bram Stoker's Dracula.

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scene with a strong Renaissance flavor, a Pre-Raphaelite

look.”17Her drive to seduce Van Helsing also stems from

Mina’s new role as Dracula’s helper, giving her sexual

license to “seek other men.”18She now enjoys an equal status

with her dark prince; a companion rather than a subordinate

in her former culture. As Mina sheds her Victorian identity,

she enters a new system where she is foreign, “other,”

forever. Van Helsing and his men want to desperately

dispatch of Dracula primarily because “he does not simply

kidnap or alter cultural allegiances, his sexual union with

women like Lucy and Mina physically deracinates them and

recreates them as members of his own kind.”19As the band of

men repeatedly stab Dracula, Mina runs to his defense and

shields him from further harm. Harker, realizing that she

can no longer be saved; she is of his kind now, prompts the

rest of the group to “Leave them alone. Our work is finished

here, her work has just begun.”20Mina is left to dispatch

17 Coppola, Francis Ford, and Eiko Ishioka. Coppola and Eiko on Bram Stoker's Dracula. 91.18 Stevenson, John Allen. "A Vampire in the Mirror:" 143.19 Ibid., 144.20 Bram Stoker's Dracula.

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him and as the film ends, although she is released from the

vampire curse, it is unclear if she ever returns to Harker

or England. The last scene of the film pans from Mina’s

green velvet dress to the fresco on the ceiling depicting

Elisabeta in a similar gown, tying both of the women to that

time and place (figure 6). This differs from the novel in

that Mina is allowed to reenter into Victorian society, “Van

Helsing summed it all up as he said, with our boy on his

knee. We want no proofs. We ask none to believe us! This boy

will some day know what a brave and gallant woman his mother

is. Already he knows her sweetness and loving care. Later on

he will understand how some men so loved her, that they did

dare much for her sake.” Mina is reverted back to her

virtuous self and she falls right back into the social

construct of wife and mother, skirting the terrible fate

that befell her friend Lucy.

Now we move to the 1980s, where the vampire is rebooted

and becomes a chic and stylish entity in Tony Scott’s 1983

film, The Hunger, embodied in the characters of Miriam and

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John Blaylock, portrayed by Catherine Deneuve and David

Bowie, respectively. Yet another metaphor can be applied to

the vampire of the 1980s, this time as a lens to discuss the

emerging HIV/AIDS epidemic centered in New York City, and as

noted by Nicola Nixon in When Hollywood Sucks, recognizable

tropes associated with the HIV/AIDS scene, particularly in

New York City are evident in Scott’s film. Although there

are no embedded references to AIDS, this film provides an

adequate space in which to discuss this emerging societal

issue, using Miriam and John Blaylock as stand-ins for the

physical nature of the disease, and more importantly, how

costume designer Milena Canonero combats the physicality of

the disease with fashion.

The Hunger opens with some of the recognizable tropes

associated with AIDS that Nixon identifies in her essay— the

nightclub filled with leather clad men and women waiting and

available for anonymous sex. The camera cuts between

Bauhaus, the band playing in the club, ironically singing

Bela Lugosi is Dead (perhaps a reference to the old and dated

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depiction of Dracula on screen) and isolated shots of

Miriam’s face, with close attention to her red lips, a page

perhaps taken out of Stoker’s association with vampires and

red, and John’s sun glassed face as they scour the club for

their next ‘companions.’ Sharply dressed in black and

leather, as to fit in with their surroundings, yet they are

so elegant, they don’t really ever fit in with the regulars.

Canonero portrays John and Miriam as mirror images of each

other at the onset of the film, and creates what I will

label as the beautiful corpse, essentially a well-dressed

dead body, as vampires are. To track the trajectory of this

term and how it applies to the character of John Blaylock, I

will call upon terminology coined by vampire novelist

Octavia Butler in her novel, The Fledgling. John and Miriam are

engaged in, what Butler calls, a symbiont relationship. This

type of relationship functions as “the mutuality between

humans and vampires” and while John is not human, but

vampire, his longevity is dependent on Miriam’s blood, and

so this type of relationship is applicable here. Their

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mutuality is echoed visually in the film through their

mirroring fashion. This will change as John becomes ill and

begins his disintegration into corpse. In the introduction

of John and Miriam, one can see the effect of the mirroring

of fashion. Even in the darkness of the club, they exude

elegance. They both wear sunglasses, hers a cat-eye shape

and his round. They both wear dark clothing, hers lined with

a leather lapel and his with broad shoulder pads. Even their

hairstyles are in sync; John’s pompadour is matched by

Miriam’s leather flight attendant hat (figure 7). They

operate through fashion as a single entity, and do not seek

out victims; the victims come to them, drawn in part to

their elegance. There is a clear contrast between the

crassness of the leather clothing worn by the anonymous

couple John and Miriam take home from the club and the

refinedness of their own wardrobe. Their actions, seducing

each member of this couple is also mirrored, and is spliced

with images of a monkey attacking its companion in the lab.

Now, as Nixon mentions, “in 1983, there were only about 800

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AIDS- type cases documented in the U.S and fewer than 400 in

England; the acronym was not even coined until around

1982,”21so Scott is not consciously planting associations

with HIV/AIDS in his film, but it is clear to apply these

associations, retrospectively. Miriam’s leather flight

attendant hat (figure 8) can be seen as a reference to

“patient zero” Gaetan Dugas, who worked as a flight

attendant and infected hundreds of men that he had sex with.

He was considered to be “the quintessential amoral,

solitary, and infected predator, who Shilts [Dugas’s own Van

Helsing] insists, had sex with me simply in order to kill

them, using the cloak of darkness in nightclubs and

bathhouses to conceal his telltale KS lesions.”22 If one was

to insert the word vampire into Shilts’ description of

Dugas, the assumptions made remain the same; AIDS is the

disease of predators, just as vampires prey on humans.

21 Nixon, Nicola. "When Hollywood Sucks, or Hungry Girls, Lost Boys and Vampirism in the Age of Reagan." Blood Read: The Vampire as Metaphor in Contemporary Culture. Ed. Joan Gordon and Veronica Hollinger. Philadelphia: U of Pennsylvania, 1997. 118. Print.22 Ibid., 119.

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The shift in their mirroring occurs when John begins to

show signs of his illness. It is brought on by his inability

to sleep, rendering Miriam’s blood ineffectively in keeping

him young. As he begins to decay, and as his illness shows,

John becomes hyper stylized and his fashion serves to combat

and mask his rapid aging and eventual decay. Scott mirrors

this with scenes from Dr. Sarah Robert’s study on progeria

and sleep depravation as they observe a monkey that has been

awake for fifty six days, with John, as he lies awake,

surrounded by the trapping of luxury and decked in silk

pajamas. When their young music protégé Alice comes to

visit, Canonero begins to divide Miriam and John through

fashion, as John relinquishes his beautiful corpse persona.

He is dressed in a light suit with a light blue shirt, while

both Alice and Miriam are wearing dark blue, linking Miriam

to youthfulness and excluding John. Her hair is pushed back,

emphasizing her rosy cheeks and red lips, while John’s hair

falls in his face to cover the “effects” of his disease.

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John’s visit to Dr. Roberts’ office provides an

arresting image of his transition from beautiful corpse to

simply corpse. He sits in her waiting room, outfitted in an

elegant dark trench coat, classic aviator-style glasses and

a wide brimmed fedora, all elements to distract from his

aging visage (figure 9). As he is brushed off by Dr. Roberts

and sits in the waiting room, literally wasting away as he

waits, the viewer watches his transformation to a skeleton

housed in pretty clothes. He rakes his hair, gathering tufts

of it in his hands as Scott employs the same technique,

replacing Miriam’s place as John’s mirror with the monkey.

The monkey ages and disintegrates before our eyes, just as

John ages before our eyes in the waiting room. Finally,

frustrating with being ignored by the doctor, he leaves,

gathering what little semblance of glamour left to him as he

puts his hat back on, his outfit remains the last important

thing to him.

As John becomes more and more corpse-like, the

materials that Canonero uses for his outfits change. While

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Miriam maintains her high level of glamour, wearing silks,

leather and suits made by Yves Saint Laurent, John’s clothes

become more shroud-like, with materials such as linen and

muslin are used. John also begins to be replaced by Sarah

visually as Miriam’s mirror. When Sarah visits to inquire

about John’s status, who has been put to rest in a coffin,

she is dressed in a very similar outfit to Miriam, a dark

suit dress with wide shoulder pads and a cinched waist.

Sarah’s hairstyle, however, mimics John’s, signifying that

Sarah is on her way to becoming a beautiful corpse. Sarah

removes her jacket and reveals a white t-shirt underneath.

In the course of their meeting, Sarah spills wine on her

shirt. This accident initiates their sexual encounter, in

which Miriam transforms Sarah into her new beautiful corpse,

creating a new symbiont relationship. Butler, in her story

posits the idea of the “benefits” of the symbiont

relationship, citing that “the overwhelming positive and

pleasurable nature of these relationships raises further

concerns about whether humans would indeed choose to partake

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in an improved, more pleasurable existence if that existence

were in fact a form of enslavement.” Fink adds, “Butler

raises a complex ethical question of power and need

suggesting that consent might not be plausible because of

the factors informing such decisions”23 This can be applied

to how fashion functions in The Hunger to mask the effects of

HIV/AIDS. John and Miriam’s relationship can be seen as a

form of enslavement; John is tied to Miriam as his source of

youth. When that relationship fails, he enters another form

of enslavement with fashion, using it as a means to hide his

affliction, similarly to Dugas, who used the darkness of

clubs and bathhouses to cloak his AIDS symptoms. There is

the power of fashion, the elegance and style of Miriam and

John at the beginning that helped in procuring their

victims, and then the need of fashion arises for John when

he must wield it to remain decent and alluring to his

partner. Fashion fails him in the end, however.

23 Fink, Marty. "AIDS Vampires: Reimagining Illness in Octavia Butler's "Fledgling"" Science Fiction Studies 37.3 (2010):418. Jstor. Web. 27 Apr. 2015. <http://www.jstor.org/stable/25746442>.

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In conclusion, costume design in both Bram Stoker’s Dracula

and The Hunger function in bolstering the metaphorical

usefulness of vampires in contemporary culture. The ability

of vampires to adapt visually to the time and place in which

they are envisioned, allow them to enter any discourse.

Frederic Jameson, in his book Political Unconscious sees the

value of using vampires for this purpose, “the production of

aesthetic or narrative form is to be seen as an ideological

act in its own right, with the function of inventing

imaginary or formal ‘solutions’ to unresolvable social

contradictions.”24In this understanding, vampires as

metaphor for discussing female sexuality in Victorian

England and as metaphor for making sense of an unknown

disease and its effects on the body allow for a detached

examination using vampires, who remain as outsiders of

normative society. They allow the freedom to investigate and

posit the effects of such issues without altering our own

reality.

24 Gordon, Joan, and Veronica Hollinger. Blood Read: The Vampire as Metaphor. 2.

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Bibliography

Bram Stoker's Dracula. American Zoetrope, 1992. Film.

Coppola, Francis Ford, and Eiko Ishioka. Coppola and Eiko on

Bram Stoker's Dracula. Glasgow: HarperCollins, 1992.

Print.

Fink, Marty. "AIDS Vampires: Reimagining Illness in Octavia

Butler's "Fledgling"" Science Fiction Studies (2010): 416-

32. Print.

Nixon, Nicola. "When Hollywood Sucks, or Hungry Girls, Lost

Boys and Vampirism in the Age of Reagan." Blood Read: The

Vampire as Metaphor for Contemporary Culture. Ed. Joan Gordon

and Veronica Hollinger. Philadelphia: U of

Pennsylvania, 1997. Print.

The Hunger. Metro-Goldwyn-Mayer, 1983. Film.

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Stevenson, John Allen. "A Vampire in the Mirror: The

Sexuality of Dracula." PMLA 103.2 (1988): 139-49. Jstor.

Web. 28 Apr. 2015.

<http://www.jstor.org/stable/462430>.

Stoker, Bram. Dracula. Dover Publications, 2000. Print.

Figures

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(figure 1) Mina’s sea foam dress

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Figure 2 Lucy’s party dress

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Figure 3 Lucy’s orange-red nightgown

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Figure 4 Mina’s red taffeta gown

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Figure 5 Dracula’s red dressing gown

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Figure 6 Elisabeta’s 15th century gown (top) Mina’s 19th

century gown (bottom)

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Figure 7 Miriam and John Blaylock

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Figure 8 Miriam’s hat

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Figure 9 John’s hyper stylized look as he ages

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