Memories of Murder (2003)
A neo-noir crime thriller that has me setting search alerts for greige vintage track jackets.
After an (extended) extended break, I’m back on the keys, and diving into the clothes found in one of the best films I watched this past summer—Bong Joon-ho's Memories of Murder. Watching this chilling film in my third-story-hot-box-of-an apartment felt like a glass of iced water after a sweaty sauna. Piercing yet welcome. And, after a weekend trip across town to the just-opened Ven. Space, I am feeling especially inspired by masculine silhouettes embedded with a nostalgic tweedom.
This film has lots of this—utility jackets, camp suits, 80s sportswear, zips, collars, and cuffs. Fellow Blackbird Spyplane-pilled compatriots/East Coast aesthetes will LOVE these looks.
Oh, and it goes without saying but said all the same—that this is a grisly film and portrays vivid, misogynistic violence. It’s also not a typical fashion film, so these outfits may not pose as a cozy, expected round-up. Perhaps Emily Sundberg (who I deeply admire) is in the room with us? Anyway, with that in mind—pls take care.
In this very haunting 2003 masterpiece, the unsolved serial killings that plague a rural South Korean town are not the only mystery that lingers. It’s (again!) a masterclass in visual storytelling, where every sartorial choice serves as a silent witness, communicating secrets about the characters, their social standing, and the unraveling enigma at the heart of the narrative. The film’s meticulous attention to wardrobe offers a fascinating glimpse into the complex fashion landscape of 1980s South Korea, a time of rapid change and cultural flux.
Notes:
The following collection of outfits is non-exhaustive—just those that had the most visceral effect on me and my understanding of the story.
If you see a style you love but in a size you don’t, please message me! I will help you find it.
There may be some light plot spoilers.
The real-life mystery behind this film is WILDY interesting, but that’s not what I’m here to discuss. Read this and follow your nose if it piques.
Tepid Contradictions
The film unfolds against a backdrop of political unrest and societal transformation. It’s a time when traditional values clash with the encroaching modernity, mirroring the internal conflict within the community as they grapple with fear, suspicion, and the unsettling realization that the killer could be anyone. The 1980s in South Korea was a period of significant economic growth and social change, and this is reflected in the film's wardrobe choices.
Western fashion trends were making inroads, particularly among the younger generation, as seen in the prevalence of jeans and t-shirts. At the same time, traditional gender norms still held sway, with women's attire remaining relatively conservative. In the film’s world of uncertainty, clothing transcends its functional purpose. It becomes a mask, a shield, and a subtle clue. Bong Joon-ho employs wardrobe not merely as an aesthetic choice but as a tool to delve into the characters' psyches and the socio-political landscape of the era.
Era Clash
The film’s protagonists, Detectives Park, and Seo, are a study in contrasts—their outfits mirroring their divergent approaches to the investigation and their backgrounds.
Park, the local cop with a penchant for gut instincts, is clad in ill-fitting suits, crumpled jackets, and mismatched socks. His lite dishevelment reflects his unorthodox methods and his connection to the rural community he serves, where a more relaxed and casual style prevailed in the 1980s.
Seo, the city-bred detective armed with forensic science, is the antithesis of Park. His crisper fits and polished shoes project an air of sophistication and detachment, reflecting the more formal and Westernized fashion trends prevalent in urban areas like Seoul. He is the embodiment of progress and rationality, a stark contrast to the more traditional methods of his rural counterparts.
The sartorial clash between the two detectives underscores the tension between tradition and modernity, a tension that reverberates throughout the film and is further highlighted by the urban-rural divide in fashion choices.
Shrouded in Ambiguity
As the investigation progresses, a cast of potential suspects emerges, each with their own sartorial signature. Their clothing choices, like their personalities, are layered with ambiguity, inviting the audience to participate in the unraveling mystery.
Baek Kwang-ho, clad in simple clothes, becomes a poignant symbol of vulnerability and innocence. His attire raises unsettling questions about the true nature of guilt and prejudice, prompting us to examine our own assumptions.
There's the enigmatic factory worker, whose nondescript attire mirrors his inscrutable nature. His wardrobe, devoid of any distinguishing features, becomes a blank canvas onto which we project our own fears and suspicions.
Kwok Seol-yung, Detective Park's girlfriend who narrowly escapes becoming a victim, is a striking figure in her red dress against the film's often bleak backdrop. This vibrant color symbolizes both the potential victims who managed to evade the killer and the subtle rebellion against conservative norms that some young women were expressing through their fashion choices during this period.
To wrap—Memories of Murder provides a compelling study of working-class fashion, showcasing garments that prioritize functionality and durability over fleeting trends. Rugged suits and the prevalence of chore coats and utility jackets reflect the practical needs of individuals engaged in physical labor. This emphasis on utility, combined with the subtle incorporation of military-inspired elements, creates a visual language that speaks to the socio-political context of the film's setting, where the working class often found themselves at the mercy of larger forces. The film's wardrobe choices offer a nuanced commentary on social class and the realities of life in 1980s South Korea, where clothing served as both a reflection of one's occupation and a subtle form of resistance against the prevailing power structures.
Thank you so much for reading. Let me know in the comments what look you loved most and what film I should feature next.
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