Fashion as a formative visual language in the film adaptations of Agatha Christie


There are numerous ways in which verbal language can be used as a persuasive tool. For example, a gesture of control that commands “listen to me.” When it comes to identifying and positioning people in the real world, fashion has the same assertiveness where a multitude of platform heels and plunging necklines can declare to viewers, “Look at me.”

Of course, through the clothes you wear, you can express that you want to merge with your surroundings. The urge to disappear is expressed in many ways in fashion, from all-black uniforms to oversized sunglasses, because everyone has to wear the clothes. The term “fashion” encompasses more than just clothes, accessories, and designers; it also serves as the basis for a language used to describe garments, movements, and figures. In fact, these descriptions are critical to the success and cultural diversity of the industry.

It’s no secret that Agatha Christie is considered one of the best mystery writers of all time, and she is undoubtedly responsible for a number of enduring representations of the genre. Even some of the most popular crime novels published outside of her own work (such as “Knives Out”) are inextricably linked to the characters she used in her books.

“The Passing of Mr. Quinn,” a short story from “The Mysterious Mr. Quin” series, served as the inspiration for the first Christie film adaptation, which was officially released in 1928. Since then, numerous motion pictures, graphic novels, television shows and even computer games have been made based on Christie’s works. A new film adaptation of Christie’s timeless “Death on the Nile” is nearing release, despite numerous delays due to the COVID-19 pandemic.

Christie’s work has found particular favor with foreign filmmakers. Fourteen of the more than 30 film adaptations are foreign productions. Her works have been adapted in a wide variety of ways, and the best have come from other countries. Hercule Poirot, her first major success, serves as the inspiration for the first Agatha Christie costume. The Belgian detective with a sharp mind and a big ego is the main character of more than a dozen novels and a popular television series.

Supposedly, Christie was not a big fan of Poirot later on, but she wrote his adventures anyway to please her readers. Hercule Poirot makes a buttoned-up impression and has some unusual mannerisms. A cut-out shirt and patterned trousers are two stylish options for a look that suits a specialist and scholar.

Poirot is constantly concerned about the condition of his patent leather shoes, but with sturdy “Mary Janes,” readers need not worry. Two more references to this most famous creative investigator in the world can be made with a top hat and a set of mustache ornaments that will prove Christie’s point in defense of fashion. Miss Jane Marple is the exact opposite of Hercule Poirot’s haughtiness and sophistication.

Miss Marple is just a nice old spinster who works in secret as a cunning detective. Miss Marple is often underestimated because she is thought of as an ordinary elderly woman, rather than the most intelligent detective one has ever seen. Of course, for the reader, this makes her stories much more fascinating. Combine vintage accessories like a polka dotted shirt with modern touches like an elegant “clutch” to create a sleek outfit that is also inspired by the most popular female detective in English literature.

Christie recognized the importance of clothing as it expresses our feelings to others and can serve as a mask or advertisement. In her writings, Christie was indeed a master at concealing information either properly and elegantly or overtly and distractingly. It is an example of how skillfully Christie could use clothing to add depth to characters and provide insight.

Christie uses clothing to make observations about the new generations and to give clues about the personalities of some of her characters. There are a number of other situations where the story is affected by what a person wears and how they are made to wear it. The fact that Christie uses her descriptions of clothing to move the plot forward makes her unique. Clothing serves Christie more than just for placing additional information.

Not everyone will appreciate fashion or the idea that social norms are based on visual cues and therefore can elicit community support or rejection depending on the wearer. In times of prejudice and conflict, the wearer consciously uses fashion as a visual language to support an initiative of their choice. Undoubtedly, however, fashion cannot serve as the most honest method of communication in these situations due to its covert nature.

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