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I'm going to talk about
political protest and papier mache.

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(Laughter)

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But for any of this to make sense,
I first need to confess something to you,

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something that might not be obvious
just by looking at me.

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My name's Lucy,
and I'm a sensible grown-up.

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I work hard.

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I'm a decent mother

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and a responsible member of my community.

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But I much prefer dressing up
as someone else.

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You see, I have always loved fancy dress.

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And since this picture -

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(Laughter)

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But since this picture was taken,
I've ramped things up a bit.

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I've commissioned made-to-measure armor
from a workshop in the Ukraine,

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imported professional Hollywood blood.

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I've nurtured a collection of 36 tiaras.

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I've had a fake wedding,
complete with fake bridesmaids,

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fake vicar, fake husband.

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I hospitalized myself once

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after an incident with a Roman toga
and some very hot glue.

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(Laughter)

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And I once sent my son to school
looking like this.

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(Laughter)

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Now, the kind of fancy dress
that I love is not the same as cosplay

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with its discipline
and immersiveness and accuracy.

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They're the real deal.

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But what I adore
is the peculiar eccentricity

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of cardboard cut-outs,
dodgy sewing, stapled seams.

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It's kitchen-table couture.

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The for-one-night-only aspect,
falling into bed drunk

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and danced out and still
wearing the face paint.

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And there's nothing
disciplined about that.

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So in order to have
more fancy dress in my life -

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because, honestly, it's awful -

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you can't do it in supermarkets
or on average Wednesdays.

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So I created a podcast about it.

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The only podcast about fashion,
fantasy, and fancy dress.

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Or costumes, as they prefer
to call it in the US.

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It's a place to explore
the elaborate themes,

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intricacies, and influence
of costume in real life.

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Because I'm interested

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in the distinction between
the performative and the personal.

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Ordinary people in extraordinary outfits.

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And what struck me
more than any other subject

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we've encountered on the show

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is the way people use costume
as a tool for protest.

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Now, you might be thinking,

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"What does dressing up have to do
with the important business of politics?"

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(Laughter)

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And it does seem counterintuitive.

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Why dress silly in order
to be taken seriously?

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But from caped crusaders
to modern suffragettes,

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people are getting creative with costume
to express their outrage

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and garner global attention.

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And it's working.

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It's worth saying here that fashion
is often treated as a flimsy,

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generally female distraction
from the real issues of the day,

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and despite being
a three-trillion-dollar industry,

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it's often marginalized or dismissed
in commentary about current affairs.

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And yet, every day each one of us

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uses what we wear as a tool
for constructing our sense of self,

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for literally fashioning our identities.

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If fashion is considered frivolous,
then fancy dress is really frivolous.

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Right?

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But actually, it allows us to express
the most extreme version of ourselves.

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It allows us to be something other.

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Something in-between,
something in development.

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And historically, it's always
had a relationship with hot topics.

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Here's a gown by Worth worn
by Mrs. Vanderbilt in 1883,

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representing the spirit of electricity.

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More recently, there's been
a decidedly less beautiful trend

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for dressing as the Millennial's
favorite, the avocado.

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(Laughter)

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Sorry.

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(Laughter)

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Over the years, fancy dress has
playfully depicted controversial moments,

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from this matchgirl factory-strike dress

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to Urban Outfitter's
Halloween "Influencer" costume.

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It's satire and disruption
and provocation.

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So I'm going to take us
beyond slogan T-shirts

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to look at the ways
bonkers subversive garments

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are being used to take on
the establishment.

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Here, we can see an anarchic continuity

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from gunpowder plot
through to Occupy Wall Street.

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These masks taken from
the comic book "V for Vandetta,"

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are used as a public face
of the anonymous movement.

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They're a variation on a Guy Folks theme,

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and they hark back
to ancient carnivals and masquerades

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where the usual societal
rules don't apply,

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and everything is temporarily topsy-turvy.

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Here, "Handmaid's Tale" costumes
are appropriated for demonstrations

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against the Trump administration,

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and we saw a lot
at the Kavanaugh hearings -

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taking a moment in fiction
from Margaret Atwood's 1985 dystopia,

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and applying it
to a very current conflict,

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lines of silent, highly visible women
outside courtrooms and the Capitol.

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Hilariously, later, in a complete
misjudgment of the cultural mood,

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the retailer Yandy prompted
wide-spread disgust

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when they launched
a sexy version of the Handmaid.

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(Laughter)

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I don't think they'd read the novel.

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(Laughter)

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Elsewhere, the visual language
of the suffragettes

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is borrowed from new battle,

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purple for dignity,
white for purity, green for hope.

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Powerful Pantones and a pre-hashtag way
of building momentum.

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Sentiments like
"Same shit, different century"

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are rendered ever so lady-like.

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(Laughter)

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The campaign group Fathers for Justice
uses a range of costumes in their stunts

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from Batman to Santa.

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Clear statements in a contentious debate.

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By using classic icons of good,

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by hijacking the visual grammar
of superheroism,

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they're trying to invoke
an almost an instinctive, nostalgic,

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sympathetic response in the viewer.

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The Pink Pussyhat Project
took a traditional domestic skill

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and rendered it the opposite
of calm or comforting.

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This open-source knitting pattern,
this moment of craftivism -

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originally conceived the people
who wanted to march but couldn't -

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was quickly embraced
by women's activists all over the world.

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Sarah Mower called it

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a global cheerful symbol
of feminist defiance in British Vogue,

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and it's considered so important
a moment in fashion history

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that the V&A's brilliantly titled
Rapid Response Collection

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have already acquired one.

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Now, imagine if you took
the costumes away in all these examples.

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If they were just standing there
in jeans and anoraks.

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What does that do the occasion,

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the atmosphere, the news cycle?

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Each of these examples
uses cultural referencing

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to make a statement without saying a word.

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It's free speech without speech,

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the messages writ large on the body.

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And how do you express
your feelings about issues

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that are so complex,

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so shifting, so delicate, so divisive

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that sometimes language eludes

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even the very best of us?

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I just love her face in that picture.

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(Laughter)

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At a time when the words of experts
are ridiculed and critics are trolled,

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when fake news rebrands truth as fiction,

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perhaps we need tools
that are beyond language

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to securely assert our values.

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I think there's a link
between fancy dress and ambition.

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It's why we love it growing up.

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You can be a ballet dancer
and a firefighter,

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all in the same afternoon.

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But for the game to work,

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you have to do more
than just put the clothes on.

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You need to aspire into those costumes.

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Fancy dress isn't just a tool
to passively join in,

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but an opportunity
to project our future selves,

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our hopes.

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And I believe there's a relationship

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between the way we dress
and how brave we feel.

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I know that because it took me weeks
to decide what to wear today.

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(Laughter)

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Perhaps, dressing up gives us courage
to behave in ways we wouldn't otherwise.

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Here are some extreme
illustrations of that.

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During the American Civil War,
Frances Clayton dressed as a male soldier,

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becoming Jack Williams.

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She fought with the Missouri
Regiment in 17 battles

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before her identity was revealed.

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She used uniform
first to disguise her gender,

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second as armor, a layering
of costume that allowed her

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to elude the male gaze

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and instead train her eye
to fight alongside them.

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Which, I wonder, was the more dangerous?

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By wearing her warrior status,

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Frances was dressing up
in order to be allowed in.

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A whole life born out of those clothes.

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The women of the 18th century
often used the masquerades

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as an opportunity to elope or escape.

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Being masked and unchaperoned
gave them an unusual freedom,

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a socially sanctioned moment of disguise

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to pursue a life beyond
the one ascribed to them.

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The mask made them dangerous and daring.

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We know how extreme
the psychology of this can be

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because the worst imaginable atrocities
have been committed masked

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and in a kind of costume.

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A corrupt courage.

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Cloaked and criminal.

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A group united
as a chilling icon of hatred.

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Costume isn't intrinsically innocent.

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And a disguise can free
an innermost evil, too.

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Costume for unity can be seen
in a completely different way here:

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where it says,

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"She is getting married, so we're having
organized compulsory fun."

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(Laughter)

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We've all been there.

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Or here, at the State of the Union,

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where it says we are part
of an empowered tradition

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honoring the suffragettes' legacy.

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Simply put, when an activist
puts their identity alongside a placard,

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they show that they,
as an individual, express a view.

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If they want to connect it with a wider
movement, they can use a signifier,

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like the suffragette colors

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00:11:10,944 --> 00:11:13,404
or the "hi-viz" vests
of the French "Gilets jaunes."

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It's tribal.

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Whereas in fancy dress, the costume
subsumes the individual entirely

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into the view they're expressing.

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It's as if, bizarrely,
when someone is concealed,

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their true values
become completely visible.

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00:11:31,764 --> 00:11:34,104
The arresting protest images
I've shown you today,

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and of course there are many more,

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all, unequivocally,
communicate collective hopes.

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00:11:39,624 --> 00:11:43,014
By protesting in costume,
these people are giving voice

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to their democratic right
to imagine a potential future,

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to identify with each other,

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00:11:48,944 --> 00:11:50,694
and to express their freedom.

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So costume has real potential
to challenge and confront,

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for disruption and dissent.

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By dressing outside ourselves,
we trick the eye,

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00:12:00,495 --> 00:12:03,943
attract the focus, demand recognition.

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00:12:03,943 --> 00:12:08,874
We creatively tell the people in power
that we're not comfortable conforming,

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that the collective issue is bigger
than our personal perspective.

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Fancy dress is not bound
by who you are or how you identify

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but by the message you want to embody.

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00:12:23,583 --> 00:12:28,453
And those messages aren't constrained
by the limits of your experience

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or your environment.

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Only by your imagination.

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And we have to imagine our utopias
before we can build them.

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It is imagination that sells

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thousands of cheap and cheerful
Marilyn Monroe dresses every year.

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Imagination that sends kids to school
clutching Harry Potter wands,

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00:12:48,282 --> 00:12:52,882
and sales figures for grotesque rubber
presidential candidate masks

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00:12:52,882 --> 00:12:57,353
have correctly predicted
U.S. election outcomes since Nixon.

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Isn't he handsome there?

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00:13:00,882 --> 00:13:02,425
(Laughter)

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00:13:03,343 --> 00:13:06,083
Unlike any other kind of getting dressed,

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fancy dress is fundamentally
about infinite possibility.

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00:13:10,087 --> 00:13:12,132
That's why we keep it alive,

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00:13:12,332 --> 00:13:15,464
even when technology offers up
far more sophisticated vehicles

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00:13:15,464 --> 00:13:18,055
for experimenting or escapism.

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We still throw another party,

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00:13:20,675 --> 00:13:25,955
hand down our treasured dressing-up boxes,
those time capsules of ideas

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00:13:25,955 --> 00:13:27,805
and interpretations.

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00:13:28,444 --> 00:13:33,294
So if dressing together
as one brilliant rainbow crew

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00:13:33,294 --> 00:13:36,274
gives you a sense
of strength and belonging,

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00:13:36,274 --> 00:13:39,696
a palette just about big enough
to celebrate your pride,

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00:13:40,194 --> 00:13:42,054
then use all the colors.

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00:13:42,334 --> 00:13:47,664
Or if you wake up one morning thinking
Brexit is a job for Wonderwoman ...

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00:13:48,034 --> 00:13:49,671
(Laughter)

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00:13:49,951 --> 00:13:51,490
you might be right.

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00:13:52,150 --> 00:13:57,270
Or if you're moved to rise up
in solidarity in a crowd of pink hats

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that say in glorious, loving shorthand
how your body is equal,

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how it is not there for grabbing,

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how it belongs fiercely to yourself,

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then get knitting.

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Just as children dressing as astronauts
aren't trying out a future career,

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they're playing
with an alternative reality.

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So we can use the freedom of fancy dress
to communicate an imagined,

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better version of our lives.

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Because fancy dress says, "This tawdry
reality isn't good enough for me."

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Think of it as dressing up for the job
you want, not the job you have.

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Or for turning one night only

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into a blueprint
for a magical tomorrow, too.

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Lets remember,

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fancy dress has a grown-up role to play
beyond stag parties and Halloweens.

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Its principles even have a place
at the State Opening of Parliament

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and the State of the Union.

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From full get-up to subtle signifiers,
this is about being emboldened.

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Massive movements
are born of micro demonstrations.

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Things that seem trivial or frivolous
can be potent symbols

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of what you stand for,
or what you won't stand for.

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There's real power in putting
on those knitted ears,

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in choosing to wear a cape
for good versus evil.

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Fancy dress has a unifying quality
that we can use to fight for change,

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armed only with glue guns and gumption.

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And if costume makes up braver,

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it gives us the courage
to explore imaginative alternatives.

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The courage not just to turn up
but to be noticed.

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So I hope we never grow out of it.

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Thank you.

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(Applause) (Cheers) (Whistles)