Editor’s note: This week, we present the latest, and possibly last, image in the gender-bent Jazz Age superhero costume series from designer Erin Gallagher, which has included Black Panther, Captain America, Quicksilver, Thor, and now Loki, whose makeup was done by the marvelous Rose Nobs.
As the series concludes, we feature a guest editorial from Erin speaking about her inspiration for the Loki of the Jazz Age costume she designed and modeled, with a tidbit about the image from Distant Era at the end.
Why Loki?
by Erin Gallagher
The very first storybook that I ever received as a gift was Bulfinch’s Mythology. My dad gave it to me when I was in the second grade. I read it from cover to cover. I was enthralled with the classics. That book was the catalyst for my adulthood of theatre, costume design, and two degrees in classics civilization.
I’ve always liked Loki. I think it’s too simple to say I identified with him at a young age. He’s the villain of the [Norse] lore, technically, though some would argue he isn’t. Subsequently, I’ve always had a soft spot for the villain because I always felt so alone and misunderstood myself when I was a younger human. I always felt like I didn’t belong and that I was meant for something bigger than myself but had zero idea what that was.
Loki is everything I am not.
Usually depicted as a sylvan, angular, shadowy figure, he was and is the king of mischief. He misbehaved. I was always a dutiful rule follower. And I’m the antithesis of sylvan, and my skin is so pale I glow in the dark. No shadows for me‑you can totally see me.
He is slick and wily and smart. And he always escapes by the skin of his hind. I loved that. Still do. He is the perfect metaphor for life not being “fair.” But he’s also the advocate for frivolity. That latter part never came easy to me because I was always so self-conscious and a little weird. So I chose to cosplay him.
I wanted that confidence.
There were endless periods of body image issues and serious self-critique. Long were the years that I felt belittled for being a super curvy Loki. As a result, I became a full-time activist for body positivity. I made costumes for friends of all shapes and sizes, proclaiming cosplay is for everyone, and I loved it. I made a lot of cool friends and did a lot of awesome art… But I no longer costumed myself. I was still embarrassed about my own shape. So in a decided effort to practice what it is that I preach, at forty-seven I reframed and reclaimed Loki.
If Loki were to take the shape of a woman, it’d be my shape. If he were to pick just one era to wreak the most havoc, it’d be the 1920s height of Egyptian Revival: bobbed hair, prohibition, and a lot of rules to be broken with style. Independence for women bursting at the seams. He’d have been there stoking the voting fires, I have no doubt.
Simultaneously, I started a health journey over a year ago, and that has really helped a ton with my own self-consciousness and mental wellbeing. But there was still that nagging fear. At this point in my career, I’m taken seriously as an artist and an activist. Would all go to hell if I showed a little cleavage?
Well. Shit. I almost lost both breasts to a cancer scare a few years ago. After years of not being taken seriously, I decided I don’t care what people think of my physical form. I just needed to get right with one person—me. I forgave myself for my inherited embellishments. I am a healthier person as a result.
And, honestly, it was Loki who not only held open the door but also waited till I was ready to ROCK MY LOOK. He was the original concept that said, “What am I? What does it matter?”
So.
Here she is in all her bombast.
Sheer silk gauze chevron gown made from three modern dresses and a lot (a lot) of hand-sewn sequin trim. Loki’s signature horned helm is actually a Brazilian Carnival headdress that I modified; the horns were higher, and I wanted them to be less curved and a lot more Art Deco, which is more angular. Much like Thor’s winged helm these came in different shapes, but I wanted to conform them to the canon enough for people to recognize the nod, so I heated them up and carefully hand-manipulated them until they were the shape I wanted. Then I let them cool for twenty-four hours before I added the broken jewelry.
I feel good because I look good, and I look good because I feel good.
And believe me, it was not an easy journey—especially when you know your collaboration partner [Steve], friend, and kindred, is an absolute epic level wizard with Photoshop and editing in post: It took a lot for me to say, “Leave me as I am.” I’m proud of this work I did—this is a personal victory composed of Muay Thai and Hot Yoga sweat and personal growth work: inside-out bones to skin—silk to sin.
Confidence looks good on me.
—Erin Gallagher, designer
About the Image
by Distant Era
It was a pleasure to photograph these costumes and make their images into portraits.
Erin was one of our first clients. Over the years, we have done several projects together, and in the course of those projects, I have learned how to better photograph and edit the images, and we’ve shifted from archival photography to portraiture. Erin was one of the first to value the work and pay fairly for it, and I have tried to repay that in quality. In time, we’ll revisit some of the earlier work we did, such as the Elizabethan Borg Queen. But for now, some brief notes about the Loki image and a gallery of the series.
Camera: The image was shot at 85 mm, ISO 100, with an aperture of f/8 and shutter speed 1/200.
Light: The light was flash, modified by a small, round beauty dish with an attached grid to focus the light (and a little bit of light from a larger source to fill in some shadows).
Post-processing: Most of the work was done in Photoshop, adding layer upon layer. First, we cleaned up skin blemishes, then we added effects, one of which was an Art Deco pattern stamped on the background and modified with a snakeskin texture. The golden magic textures complemented the costume and background, so we added those in as well.
Subject: At the time, I didn’t know that Erin felt anxious about presenting herself on camera in the costume. I sensed it eventually, but my default assumption was confidence from the start. I’ll name drop a famous teacher I once had, Del Close, who said to our class, “No one goes to a jazz concert worried about whether the band will be able to play.” He said our performance anxieties and fears of judgment were all in our heads. Even so, I do my best to make sure sessions stay casual and relaxed. We aren’t changing the world here, we’re making pictures, and with digital cameras, if we don’t like one, we can always make another. There’s never anything to worry about.
Check out Erin’s brand new site right here.
—Steven Townshend, Distant Era
Follow Me