Maggie’s World 075: Dressing Up

In October, variety stores fill with a wide assortment of fantastic get-ups, both for kids and for adults. But throughout the year, comics events feature a vast array of costumes on display, worn by both kids and adults.

That year-round pop culture feature is relatively recent, mind you. Though science fiction conventions included costume competitions over the decades, “hall costumes” were not the norm. Might it have been comics and similar pop culture conventions that introduced the tradition of cosplay throughout a show’s duration? (The portmanteau word “cosplay” has become the accepted term for “costume play.”)

In any case, as Batman, Spider-Man, and Wonder Woman outfits hang on store racks before Halloween, their presence sparks thoughts of comics character garb in general—including whys and hows.

Ibis and Jack of Hearts

The extremes: Ibis and Taia made cosplay easy; he carried an Ibistick and wore a suit, tie, turban, and an occasional cape; she wore a red dress with yellow collar and belt. Whiz Comics #138 (October 1951) © 2019 DC Comics The Jack of Hearts outfit was so complicated that Marvel provided Dave Cockrum’s designs for front, back, and side so that artists could handle such pages as this. Marvel Premiere #44 (October 1978) © 2019 MARVEL

Simple to Complex

In the Golden Age, crime-fighting characters didn’t have to get super-fancy. Even Denny Colt didn’t need to wear a domino mask and live in a cemetery (though that certainly set him apart); he could have just worn a business suit and snap-brim fedora most of the time.

But he was part of the whole “identity” aspect of comics adventures—a feature shared by good guys and bad—that caught the eye. It was a tradition that had existed long before comics: the idea that ordinary folks could interact with fantastic characters who were often in disguise. Such pop-culture figures as the Count of Monte Cristo (1844, Alexandre Dumas), Scarlet Pimpernel (1903, Baroness Orczy), and Zorro (1919, Johnston McCulley) expanded on the tradition, some in costume, some not.

But the whole hanging-around-in-costume gambit to beat the baddies, solve the mysteries, help the helpless, and/or save the endangered? In fact, today, we have many protectors whose clothing identifies such roles to the public: police, soldiers, and firefighters among them. What they wear lets us know the ways in which they help us.

But in some fiction (see Pimpernel and Zorro), there’s an added aspect of hiding identity: High-schooler Peter Parker can fit in; crime-fighting Spider-Man stands (and swings) out.

Doctor Solar and Flash

Doctor Solar wore sunglasses and a lab coat until his fifth adventure—when he gained a costume and a reason to wear it. Doctor Solar, Man of the Atom #5 (September 1963) © 2019 Random House, Inc. Sure, sure, costumes may not be a necessity, but super-villains sometimes need a tailor, too. The Flash #141 (December 1963) © 2019 DC Comics


But Also …

In addition to hiding identity, the costume can be an identity in itself.

Whether in the Golden Age, the Silver Age, or these days, when a bunch of characters are shown together (whether chatting or fighting), readers can tell, for example, Hulk from Thing and Superman from Batman.

When a story is told in pictures, costumes clarify that sort of identification. The Lone Ranger was created in 1933 for audio storytelling; when artists began to picture him, he soon donned a domino mask, but exactly what he wore varied. In the 1938 Republic serial, his mask wasn’t the simple domino known to later fans, but—what with pulps, comic strips, and comic books—his familiar mask and costume soon evolved. And then we knew who he was, whether or not he was calling his horse Silver.

Readers can spot such characters in whatever comics panels they inhabit. Heck, readers can even identify the same character as he or she exists in different eras. You know the heroes’ time period from what they wear. I have a set of three “Unemployed Philosophers Guild” licensed cups from 2015 decorated with costume evolution through the years: one each for Wonder Woman, Superman, and Batman.

Those cups reveal another aspect of costumes: Whatever the necessities of storytelling may be, costumes—and changes thereof—can also bring in licensing cash.

Again, look around stores in October. And look at the kids at your front door, as they celebrate Halloween by wearing what they’ve bought in those stores. You validate the success of their choices when you identify their super-identities because they’re wearing licensed outfits.

Wonder Woman and Harley Quinn

Skin-tight costuming, whether for men or women, can be more than drawing lines at neck, wrist, and ankle. Following Wonder Woman’s introduction in 1941, her outfit evolved. This was what she wore in Sensation Comics #65 (May 1947). © 2019 DC Comics Harley Quinn was introduced in “Joker’s Favor” in 1992 in the TV show Batman: The Animated Series and gained an origin story in The Batman Adventures: Mad Love. © 2019 DC Comics


As superheroes increasingly took up comic book territory, some artists went for the look of circus acrobats. When those artists approached the complexities of original designs, many found that tights were easier to draw. Artists could draw the character, then establish lines at neck, wrists, and ankles, pick distinguishing colors, and they were almost done. Of course, other artists opted for more fantastic appearances. And there were capes. (But that was the topic for four years ago. Check out Maggie’s World #045.)

In any case, Savage Dragon writer-artist Erik Larsen Tweeted an evaluation recently: “The beauty of the Spider-Man costume is that it looks pretty good when drawn by almost everybody. Too often costumes only look good when drawn by the person who designed that costume. The stripped down original Batman costume is the best Batman costume because it can be dressed up with meticulous rendering or left simple and it still looks good. Most Batman redesigns fail in that regard. Some simply can’t be drawn well at smaller sizes.”

Fantasy vs. Reality

A few years ago, I chatted with a couple of professional models who appeared as superheroes in such sponsored events as parades. One who had sometimes been hired to appear as Wonder Woman commented that, when she was asked to do more acrobatic stunts as part of the performance, she’d had to point out that the metallic belt then part of the costume meant that she’d have punctured her abdomen to do the acrobatics that she could have done easily in a different outfit.

In filler cartoons for our Comic Art fanzine #3 in 1962, Bhob Stewart drew the Lev Gleason Daredevil of the 1940s, who wore a spike-studded belt. Bhob’s caption: “It’s a great belt. I don’t get kissed very much … but it’s a great belt.” Inspired by that, I drew a cartoon in #7 (1968), showing Aquaman saying, “Every time I bend over, I get this stabbing pain in the solar plexus …” His costume at the time featured a belt buckle with a capital “A”—with the possibility I suggested.

These days, you can buy your own costume in a number of venues—or make your very own. Some involved in cosplay devote time, money, and (what with reality intruding) occasional actual pain to share the results of their efforts with audiences.

Consider ...

This point was made decades ago: It may not be so important that Superman disguises himself as Clark Kent. It is equally true that Clark Kent is hiding a Superman.

In fact, here’s a tip: Costumes in real life can sometimes serve the purpose that they do in comics: At conventions, celebrities have been known to dress up as characters so as to keep their own identity secret. As a result, they can share the fun of the show anonymously with the rest of us.

Take a good look.

Maggie’s World by Maggie Thompson appears the first week of every month here on Toucan!