“Baze is like a combination of all your favorite elements of Star Wars
characters. The partial armor, the boiler suit, the cool gun, the
backpack,” said David Crossman. “It was really driven by what we thought
audiences would like — what you’d want to see in a mercenary character
like this. [Director] Gareth [Edwards] really responded well to the red,
so we put some red in Chirrut as well.”
This post will discuss events of Rogue One; beware spoilers.
Lyra Erso, the wife of scientist Galen and mother to daughter Jyn in Rogue One, appears on screen for only a few minutes. Very little is known about her beyond roughly sketched out roles: mother, wife, geologist and cartographer (known only through ancillary media), rebel-sympathiser, believer. Jyn’s journey is driven by her relationship with her father - then later the adoptive father substitute of Saw Gerrera - with little acknowledgement of her mother despite Lyra’s desperate self-sacrifice in a vain attempt to protect her family. As a result, Lyra’s most lasting impression is of her faith and trust in the Force. This aspect of her character, and its influence, is expressed primarily through (surprise!) costume.
L: Lyra Erso from Rogue One: The Ultimate Visual Guide, this unseen costume is slightly different from the costume seen on Lah’mu. Her more severe hair paired with the coat of her overrobe and overskirt both suggest that this was a scene set earlier - possibly shortly after the Ersos fled the Empire - that was cut. C: Lyra Erso on Lah’mu as seen in Rogue One. (Unfortunately I have not been able to find a clear full-length shot.) R:Erso Family version 2a detail, Glyn Dillon. Here Lyra is shown with a red headscarf to match her sash and overskirt.
When we meet Lyra she is living with her family on Lah’mu, eking out a farm life as they hide from the Empire. Lyra’s clothes are rough and well-worn and generally unremarkable, except for their explicit mirroring of Jedi robes. The layering, though practical in this environment, evokes the layers of the typical Jedi robes, most obviously in the crossover of her tunic and skirts. The high-necked underskirt calls back to Ben Kenobi in A New Hope - a man surrendered to an alien environment, hiding from his history and true identity. Not entirely unlike Lyra and her family. With a kyber crystal necklace that she passes on to Jyn, it is unmistakeable that Lyra believes in the Force and follows some tradition akin to the Jedi Order even if she is not a Jedi herself. (In early drafts of the script, Lyra was a one-time Jedi which would have pushed the precise implication of this costume in a slightly different, more heartbreaking direction.)
In a wider level, there must be loads of people who just believe in the Jedi and believe in the Force and have been affected by it. If it’s a really ancient religion, as Obi-Wan Kenobi said, it’s got to exist in thousands or millions of people in the galaxy. - Gareth Edwards [x]
Lyra’s colours are soft and earthy, not unlike those favoured by the Rebel Alliance, blending with the dark landscape. Except for the bright slash of red in her overskirt. The Ultimate Visual Guide describes this as a ‘red sash of enlightenment’. Worn over a heavy padded underskirt and trousers, this overskirt and sash are a statement rather than practical, and given that at one point it was layered under a darker overskirt it is a loud and emphatic statement. Given Lyra’s actions when Krennic comes to abduct her family, she is a woman tired of hiding.
This over skirt is similar to the hakama worn by Japanese Shinto miko or shrine maidens: a pleated skirt overlapped and tied at the waist. Today miko perform typical temple duties, but at one point they performed shamanistic roles not unlike the Ancient Greek Sybils: entering trances to communicate with spirits of the dead, elements or land in order to learn, purify and share divine revelation. In a less literal sense, this could translate to Lyra as a geologist, a scientist that has learned to understand rocks and the land; to let the world speak to her, even if it is not directly through the Force. Faith and science combined to allow a greater understanding and an open mind. A similar garment is worn by Chirrut Imwe, a Guardian of the Whills, though his overall costume appears to be more inspired by a fusion Chinese hanfu and Buddhist robes.
L: A modern miko or shrine maiden wearing the red hakama. C: Chirrut & Baze concept art, Glyn Dillon. ‘Baze is like a combination of all your favourite elements of star wars characters. the partial armour, the boiler suit, the cool gun, the backpack. Gareth really responded well to the red, so we put some red in Chirrut as well.’- Dave Crossman. As principal heroes, Baze and Chirrut’s looks will have been in development long before Lyra’s. The presence of this red and its importance is something that may have been seeded through the production’s costumes from this starting point. R: Chirrut Imwe in Rogue One. Note the layered skirts and sash akin to Lyra’s.
Although it is not stated if Lyra is in anyway connected to the Whills, or if she follows some other related faith, the similarity in these garments implies that either she has had some association or it is a widely adopted colour. On Jedha we see a very great many pilgrims, priests and guardians wearing this same shade of red in a number of different garments.
Red is a colour that typically holds Dark Side connotations in Star Wars, though has also appeared in association with ambiguous but self-serving Night Sisters. Here, however, it appears to be a positive expression of connection. In China and India red is a colour of good fortune. In Buddhism, a real world influence on the Jedi Order, red is considered to have been a colour that emanated from Buddha when he achieved enlightenment, and a colour of protection against evil, a belief shared by Shinto. Red being used by these faith-based Force religions shows a difference in approach - a multitude of approaches - to the Force, to understanding and engaging with the Force and the wider galaxy.
Top: Nightsister concept art from The Clone Wars Bottom: Silvannie Phest, ‘Part of a colony of Anomids that have recently converted to become disciples of the Whills,’ Star Wars Ultimate Visual Guide. One of many disciples and pilgrims of the Whills seen on Jedha.
We see Lyra Erso once more in Rogue One - briefly, fleetingly in Jyn’s dreams, shrouded in shadow when she doesn’t have her back to the camera (and Jyn, as this sequence is shot from Jyn’s perspective.) A clearer image of this costume appears in the Ultimate Visual Guide (above.) This costume appears to be a fascinating intersection of Republic and fledgling Imperial fashions, a blending of styles and regimes. This short scene - a memory, really - took place roughly two years after the fall of the Republic. In that time Palpatine, a terrifyingly savvy and aware politician and Sith, would have implemented changes and redirection in fashion and textiles industries with effects rippling out from Coruscant and the core planets. Just like all other industries, fashion is a tool to be utilised and maximised to ultimate efficiency and reward, but in this case to control and manipulate the populace.
Lyra Erso on Coruscant, approximately 2 years after the fall of the Republic. In an early concept painting of this sequence, Lyra was depicted wearing a sari.
In 1930 Mussolini stated, “Any power… is destined to fall before fashion. If fashion says skirts are short, you will not succeed in lengthening them, even with the guillotine.“ In both fascist Italy and Nazi Germany, boards were formed to promote and enforce national fashions, to propagate conformity to their respective ideals: fashion was recognised as a key lynchpin for rapid social and cultural change. In Germany this led to a promotion of traditional and subdued wear, a push for modesty away from the extravagance and vanities of the French, idealising history. In Italy, however, it was the avant garde and modern that was hailed in fashionable circles, architecture and fashion shifting hand in hand. There was a search to control, measure and literally shape the body to achieve the Italian ideal future by fusing science and fashion. Imports and influences from other countries were banned in order to elevate purely Italian lifestyles.
“At first, we were going for a look that someone with actual cataracts might have–pure whiteness–but it’s Star Wars, and you also want your character to look cool. Different. Star Wars can’t be a reality show! There were debates and discussions, but I said that seeing a Chinese character with blue eyes would be so spectacuar. A Caucasian or a European–not a big deal. But for a Chinese character, that is so fresh.” Actor Donnie Yen (Chirrut Imwe)
CHIRRUT VERSION 1A Dillon
CHIRRUT COSTUME VERSION 34A Dillon
BAZE WITH BEARD 23 Dillon
“Baze is like a combination of all your favorite elements of Star Wars characters. The partial armor, the boiler suit, the cool gun, the backpack. It was really driven by what we thought audiences would like–what you’d want to see in a mercenary character like this. Gareth really responded well to the red, so we put some red in Chirrut as well.” David Crossman
The Art of Rogue One: A Star Wars Story, Josh Kushins
from what little I can see of her costume (basically a boiler suit?), it is not dissimilar to the famous ‘rosie the riveter’ getup
she is a maintenance worker, i.e. one of the people doing all the work necessary to keeping the resistance effort actually going, just like rosie the riveter, a symbol of woman’s contribution to the war effort
Back, but not for long: Peter Capaldi returns to work
on Doctor Who set in Cardiff… after announcing he’s quitting the
He announced on Monday that he was putting down his sonic screwdriver for good. But
before he’s set to regenerate at the end of the series 10, Peter
Capaldi’s Doctor still has some work to do, so it was back to work as
usual for the actor on Sunday.
Some lovely ones of Peter and Pearl from Daily Mail.
Law turned his head to stare at the woman by his side, her brunette locks whipping behind her like a flag as the Polar Tang drew closer to port. Large white flakes of snow swirled between them, catching on the wool fabric of her sweater and dampening her bangs. She had a hand upraised, her eyes watching intently as the snow melted on her bare palm.
Some time ago I had a thought that what if Pyro stuffs soft toys in their boiler suit for whatever reason, maybe to hide their lines, to “feel safe” or something. And—because I love Texas Toast—at some point Engie and Pyro are going to do the do for the first time but being so excited and nervous Pyro forgets to put the toys away.
There is no sass like Hardison’s sass in the middle of the convoluted conning of a con-man, involving chocolate, THE Nature, moonwalking bears, the front end of a horse, haikus and oh, yes, a cyber heist.
;; open to females ;; connection: (step)sister, cousin, best friend, friend with benefits, booty call.
“Look, I worked my ass off today at the shop — I didn’t even shower yet, still smell of oil and gasoline and I’m really tired. So whatever it is you want, bother me with it later, yeah?”he told to the other as he laid down on the couch in the middle of the living room in his dark blue boiler suit which was stained, the top part of it hanging loose around his waist and revealing his upper body in the sleeveless white t-shirt.
John, Paul, and Jim McCartney: “—and in the end he chose me.” (a supplemental timeline)
[Paul] liked it with daddy and the brother… and obviously missed his mother. And his dad was the whole thing. Just simple things: he wouldn’t go against his dad and wear drainpipe trousers. And his dad was always trying to get me out of the group behind me back, I found out later. He’d say to George: “Why don’t you get rid of John, he’s just a lot of trouble. Cut your hair nice and wear baggy trousers,” like I was the bad influence because I was the eldest, so I had all the gear first usually.
So Paul was always like that. And I was always saying, “Face up to your dad, tell him to fuck off. He can’t hit you. You can kill him [laughs], he’s an old man.” I used to say, “Don’t take that shit off him.” Because I was always brought up by a woman, so maybe it was different. But I wouldn’t let the old man treat me like that. He treated Paul like a child all the time, cut his hair and telling him what to wear, at seventeen, eighteen.
But Paul would always give in to his dad. His dad told him to get a job, he fucking dropped the group and started working on the fucking lorries, saying, “I need a steady career.” We couldn’t believe it. So I said to him—my Aunt Mimi reminded me of this the other night—he rang up and said he’d got this job and couldn’t come to the group. So I told him on the phone, “Either come or you’re out.” So he had to make a decision between me and his dad then, and in the end he chose me. But it was a long trip.
— John Lennon, interview w/ Peter McCabe and Robert Schonfeld. (September, 1971)
(Note: I originally posted this on Livejournal some months ago, and figured it would be of reasonable interest and relevance here. The circumstances leading up to John’s implicit “Jim or me” ultimatum are as they have been presented in Mark Lewisohn’s The Beatles: All These Years – Tune In (2013), and I have included supplemental quotes from the same. The arguably fannish editorial focus and general contextual embroidery is mine.)