The Assassin That Started It All

Hannah Smith
Aug 12, 2020
5 min read

Updated: Aug 15, 2020

“Thank you for making such an effort Villanelle!” the therapist exclaims whilst the smug Villanelle is sat in the infamous pink Molly Goddard dress that was picked up by fluke one day in Dover Street Market. This image has begun the cult following that the show has, not just for its characters and storylines, but also, and more importantly, for the remarkable clothing seen on the protagonist.

Image. Pinterest. 2020.

Everything that the character is seen in is so gut wrenchingly inspiring that the audience can’t help but admire the unique costuming. However, the styling is much more than costumes, “The best thing is that all of the outfits are the real McCoy, rather than replicas cobbled together by a costume department” [LEAPER.2020][1]. The traditional costume department has been shaken up and been given a new purpose: to “reflect the individual quirkiness and styling that you see on the street” [JENNINGS. 2020].[2] I personally am in awe of what is showcased on the show, so much so that not only did it spark the creation of Devastatingly Obvious, but it also encouraged me to reach out to the writer of the original ‘Killing Eve’ novella series, Luke Jennings. I was eager to gain his insight into why the styling on TV is so important and what influenced him to include high fashion in his original writings.

“Fashion is part of life, and should be reflected as such in contemporary literature. TV is particularly poorly served, most of the time, by unimaginative and clichéd costuming which does nothing to reflect the individual quirkiness and styling that you see on the street. Most TV drama female leads, for example, are got out in an endless succession of bland, mumsy (and always brand new) high-street knitwear items. Men are dressed like football pundits. Do the designers all go to the same shop? It's all so lazy and depressing” [JENNINGS. 2020].[3]

So just as the imaginative street style should be represented on typical TV, the consumer should feel comfortable admiring the creative costuming seen on screen and dissolve the thought that they are not achievable stylings. For example, nearly every outfit seen on Jodie Comber in ‘Killing Eve’ belongs to a high fashion, luxury brand and the consumer, (if they are lucky to be able to), can purchase any of those items; like I keep screaming: the consumers just aren’t aware of this, yet. Just imagine being the owner of that stunning blue Burberry dress in series 1, or the Charlotte Knowles fur trimmed jacket and Gucci trousers ensemble in the golf scene of Series 3; I’d look a real treat going to Sainsbury’s in that!

Below are my favourite looks from the show.

Image. Author. 2020.

Although the series is gorgeous simply to look at, as a young female gradually learning about this weird world, the characterisation and storyline paired with the styling, is also extremely empowering for its predominantly female audience. Put plainly, the series is riddled with powerful ladies; it’s a shift in the genre that “has got stale” [JENNINGS.2018][4] that is “created by, and for women” [ELLMAN.2018][5] and personally, I am here for it!

But that is exactly what the clothes represent, its more than just a pretty pink dress (although it is utterly gorgeous), it encourages its audience to feel powerful and fierce and less so like the victim as, unlike other programs dominating television screens, the series does not utilise violence against women to shock its audience into paying attention. In Killing Eve there is no “dead girl,” but two grown, accomplished women” [ELLMAN.2018][6].

Image. Pinterest. 2020.

Killer females aside, the styling perfectly captures the complex character of Villanelle and seduces its audience into an obsessive state continuously wonderstruck with what the costume designers conjure up next.

Phoebe De Gaye, the series one stylist of the show, describes her styling process as “a character based approach” [DE GAYE. 2019][7] and likes to define every different character. However Villanelle is a “chameleon”[DE GAYE. 2019][7] so this becomes challenging. This only enhances the impact of the stylisation of the show as the character, although frequently assumes false identities, remains true to her individuality despite bordering insanity. All of which is perfectly captured in the costume.

When series 2 hit, the costume department had large boots to fill but Charlotte Mitchell pulled through with in the form of statement Lacroix earrings and a vintage McQueen dress.

However, Mitchell enhanced the key outfit turning points by introducing some contrast, and therefore complexity, to the character and her wardrobe. The character “is attention-seeking and she is a bit of a child. But those popping moments will have more strength if she has quieter moments too” [MITCHELL. 2019][8].

Image. GIF. WIX. 2020.

Finally, with series 3, audiences everywhere were eager to worship the show’s wardrobe once again and Sam Perry graced fans everywhere with the phenomenal key looks for the character: the final look in the Lowe and the enviously green golf attire. Perry explained: “it was exactly what I was looking for… it was unhinged and crazy” [PERRY.2020][9]. Which is the epitome of the assassin’s nature and defines her character magnificently, Villanelle and her wardrobe to match is “an unbalanced, obsessive and extravagant monster” [PERRY.2020][10].

Image. Pinterest. 2020.

The character reflects so much more than a typical protagonist of the 21st century drama genre and in fact symbolises a change in modern television and fashion. The character and show have united both cultural platforms and encourages others to do the same. The styling seen on the show acts as a crucial expression on how these industries are changing for the consumers personal style. Which ultimately describes the sole purpose of Devastatingly Obvious and for that I say: “Thank you for making such an effort Villanelle!”.

Image. GIF. WIX. 2020.

BIBLIOGRAPHY [1] Leaper, Caroline. 2020. Viva. Online. ‘’Killing Eve’ Returns and Villanelle’s outfits still pack a punch’. Available at: https://www.viva.co.nz/article/fashion/killing-eve-tv-show-season-three-villanelle-fashion/ Accessed on: 13/06/2020 [2] Jennings, Luke. 2020. Interview with Hannah Smith. Consent attached. [3] Jennings, Luke. 2020. Interview with Hannah Smith. Consent attached. [4] Jennings, Luke. 2018. The Guardian. Online. ‘Killing Eve: how my psycho killer was brought to life’. Available at: https://www.theguardian.com/tv-and-radio/2018/aug/05/killing-eve-how-my-psycho-killer-was-brought-to-life-luke-jennings Accessed on: 04/06/2020 [5] Ellman, Lucy. 2018. Medium.com. Online. ‘”Killing eve” and women who love murder’. Available at: https://paleymatters.org/killing-eve-and-women-who-love-murder-fc03dd8db394 Accessed on: 12/06/2020 [6] Ellman, Lucy. 2018. Medium.com. Online. ‘”Killing eve” and women who love murder’. Available at: https://paleymatters.org/killing-eve-and-women-who-love-murder-fc03dd8db394 Accessed on: 12/06/2020 [7] De Gaye, Phoebe. 2019. BAFTA interview. YouTube. Online. ‘BAFTA Guru: Killing Eve Costume Designer Phoebe de Gaye on Dressing Villanelle and Eve’. Available at: https://www.youtube.com/watch?v=CqOegZj2ltQ Accessed on: 06/06/2020 [8] Mitchell, Charlotte. 2019. British Vogue. Online. ‘ Dressing Villanelle: Killing Eve Season 2’s Costume Designer on Shopping For Fashion’s Favourite Assassin’. Available at: https://www.vogue.co.uk/article/killing-eve-costume-designer-charlotte-mitchell-interview Accessed on: 06/06/2020 [9] Perry, Sam. 2020. British Vogue. Online. ‘Villanelle’s Season 3 Wardrobe Will Feature Comme des Garçons, Simone Rocha & Lots Of Vintage’. Available at: https://www.vogue.co.uk/arts-and-lifestyle/article/killing-eve-series-3-costumes Accessed on: 06/06/2020 [10] Perry, Sam. 2020. British Vogue. Online. ‘Villanelle’s Season 3 Wardrobe Will Feature Comme des Garçons, Simone Rocha & Lots Of Vintage’. Available at: https://www.vogue.co.uk/arts-and-lifestyle/article/killing-eve-series-3-costumes Accessed on: 06/06/2020