That Iconic Green Suit from "The Birds"

by Cláudio Alves

After last year's paltry offerings, Horror Costuming is back in full force. Throughout October, the series will address the fantastic fashions of the undead and his bride, a monstrous metaphor born from Second-Wave Feminism, vampire chic, and more. Yet, before we get to the main courses, why not enjoy an aperitif? After all, though my writing can be protracted, even I would have trouble justifying the analysis of an entire movie's wardrobe when all that matters is one suit. I'm referring to Tippi Hedren's lovebird green dress and matching jacket from Hitchcock's The Birds, a striking look devised by the Master of Suspense's favorite designer – Edith Head…

There's an old-fashioned elegance to Hedren's Melanie, her presentation curated to shellacked perfection. One wouldn't expect anything else from a woman so devoted to pursuing a handsome lawyer, she drives from San Francisco to his hometown of Bodega Bay with an avian present in tow. Indeed, the fabulous wool suit seems to have been selected to tie her to the gift, coordinating shoes, gloves and handbag adding a touch of class, furs and gold jewelry signals of the socialite's aspirational wealth. A woman on a mission, she stands out while preserving airs of reserve. More importantly, she stands out in the frame. Hitchcock wanted to keep Hedren in cool tones for The Birds, and Edith Head obliged, adapting an old design for Grace Kelly into a versatile verdant twist on Chanel's now-classic-then-trendy two-piece suit.

To enhance its impact, the sets and people of Bodega Bay are styled in faded tones, browns and greys against which Melanie's green sleekness almost glows. She looks wrong, and, along with that feeling, a perversion manifests in the audience's hearts. It's that darkness lurking when you regard something too beautiful, too perfect, too much, so covetable it awakens a violent impulse for destruction. Or maybe it’s the childish cum animal impulse to mess up what’s tidy. In any case, as we observe this immaculate tailoring, the viewer starts to anticipate its degradation. When that comes, it's like an itch being scratched, complementary blood red finally smearing the 'rich girl' green, claw marks galore.

Hedren's Melanie is our guide into The Birds' terrifying tale, and, as such, one presumes she would also be a point of identification. But, in making the blonde so impossibly chic that she looks more like an editorial than an actual person, Hitchcock and Head beckon our vicious instinct - motivated by envy or something deeper still - to bring her down – to earth, to reality, a peg perhaps. It's the intersection of morbidity and bloodlust, fear and viciousness that makes horror so entertaining in the form of a wool suit. That's what I call sickening lewk!

Comments

[Finbar McBride]

I have always been intrigued by how The Birds flirts with a parody of socio-economic class.

The elegance of Melanie Daniels garbed in San Francisco chic clearly isolates her from the town folk of Bodega Bay. However, her attire is equally important to her refined hair style. Hitchcock intends for us to see the elegance that crowns the head of Melanie Daniels. As she crosses the bay to the large, stately Brenner waterfront home, the camera gives a long, full look at the back of Melanie’s head so the audience has an opportunity to admire the intricate arrangement.

Later in the film Melanie has rented a room from local schoolmarm Annie Hayworth. We learn of how Lydia Brenner long ago sabotaged the romance of Annie and Mitch. When a noise is heard on the front porch, the two women investigate. The camera shows a full shot of the back of the heads of Annie and Melanie. Annie nondescript full head of hair directly contrasts with Melanie’s coiffure. We subconsciously note the class distinction.

Hair becomes a hint of Lydia’s acceptance of Melanie. They have a similar salon parlor do. Both women reek money. Annie never had a chance of breaking into the upper class.

Melanie’s blonde tresses stay securely in place till the birds rend her fine suit to tatters. Her stylish locks are pulled free of their complex design and hang in wisps.

I think the film’s hint that is most on the nose for illuminating this argument comes from Bodega Bay’s resident bird expert, Mrs. Bundy. She states, “I have never known birds of different species to flock together. The very concept is unimaginable.”

[ScottC]

It's a splendid costume that serves the story well.

[thevoid99]

Great fucking film and that dress. Beautiful. Poor Tippi Hendren though as the shit she had to endure from Hitchcock.

[Mike in Canada]

I love this movie so much! I've never zoned in onthe dress, but I love how Melanie sticks out in Bodega Bay.

[Michael R]

Rod Taylor...swoon.