The Love Witch, directed by Anna Biller, is a visually stunning film that pays homage to 1960s and 1970s exploitation and supernatural horror genres. One of the standout elements of the movie is its costume design, which perfectly captures the aesthetic of the era and contributes to the overall atmosphere of the film. The protagonist, Elaine, is a modern-day witch who uses her beauty and magical powers to seduce men. Her wardrobe plays a crucial role in her persona and the way she presents herself to the world. Throughout the film, she is seen wearing a variety of glamorous and alluring outfits that showcase her femininity and sexual allure. These costumes include figure-hugging dresses, plunging necklines, and dramatic makeup.
In Kenaz Wyland (or a smith anyways) is working on making something from a long round piece of metal. Here is the idea of controlled fire (Fehu was primal uncontrolled fire; potential energies that are not channeled into any form). Here these energies are being channeled into form. In this case it is the smith that is using fire to shape metal into form. This rune has to do with creative energies of a person (which are expressed as fire energies). Also one’s sexual desire nature is connected to this as well. It is this energy which reforms things.
In Gebo a couple is naked sitting on a rock intertwined together so as to form the rune Gebo with there bodies intensely having sex you even see their sweat. Of course Thor is friendly to the will of the Gods and Goddesses which is of the ordering principle even though he is connected to the more primitive energies of pure instinct just as the Thursor are.
These costumes include figure-hugging dresses, plunging necklines, and dramatic makeup. The Love Witch features a vibrant color palette that is reflected in the costume design. Bright reds, deep purples, and electric blues dominate the wardrobe choices, adding to the overall visual appeal of the film.
The Helm of Awe
The Helm of Awe (Old Norse Ægishjálmr, pronounced “EYE-gis-hiowlm-er”) is one of the most mysterious and powerful symbols in Norse mythology. Just looking at its form, without any prior knowledge of what that form symbolizes, is enough to inspire awe and fear: eight arms that look like spiked tridents radiate out from a central point, as if defending that central point by going on the offensive against any and all hostile forces that surround it.
Such overpowering might was apparently what this magical symbol was intended to produce. In the Fáfnismál, one of the poems in the Poetic Edda, the havoc-wreaking dragon Fafnir attributes much of his apparent invincibility to his use of the Helm of Awe:
One of the representations of the Ægishjálmr in the GaldrabókThe Helm of Awe
I wore before the sons of men
In defense of my treasure;
Amongst all, I alone was strong,
I thought to myself,
For I found no power a match for my own. [1]
This interpretation is confirmed by a spell called “There is a Simple Helm of Awe Working” in the collection of Icelandic folktales collected by the great Jón Árnason in the nineteenth century. The spell reads:
Make a helm of awe in lead, press the lead sign between the eyebrows, and speak the formula:
Ægishjálm er ég ber
milli brúna mér!I bear the helm of awe
between my brows!Thus a man could meet his enemies and be sure of victory. [2]
Like most ancient Germanic symbols, the form of its visual representation was far from strictly fixed. For example, the 41st spell in the Galdrabók, a seventeenth-century Icelandic grimoire, includes a drawing of the Helm of Awe with only four arms and without the sets of lines that run perpendicular to the arms. [3]
Linguist and runologist Stephen Flowers notes that even though the references to the Helm of Awe in the Poetic Edda describe it as a physical thing charged with magical properties, the original meaning of the Old Norse hjálmr was “covering.” He goes on to theorize that:
This helm of awe was originally a kind of sphere of magical power to strike fear into the enemy. It was associated with the power of serpents to paralyze their prey before striking (hence, the connection with Fáfnir). … The helm of awe as described in the manuscript [the Galdrabók] is a power, centered in the pineal gland and emanating from it and the eyes. [In Aristotle and Neoplatonism, sources for much medieval magic, the spirit connects to the body via the pineal gland, and the eyes emit rays of spiritual power.] It is symbolized by a crosslike configuration, which in its simplest form is made up of what appear to be either four younger M-runes or older Z-runes. These figures can, however, become very complex. [4]
The connection with the runes is particularly apt, because a number of the shapes that comprise the Helm of Awe have the same forms as certain runes. Given the centrality of the runes in Germanic magic as a whole, this correspondence is highly unlikely to have been coincidental.
The “arms” of the Helm appear to be Z-runes. The original name of this rune is unknown, but nowadays it’s often called “Algiz.” The meaning of this rune had much to do with protection and prevailing over one’s enemies, which makes it a fitting choice for inclusion in a symbol like the Helm of Awe.
The “spikes” that run perpendicular to the “arms” could be Isa runes. While the meaning of this rune is more or less unknown due to the confusing and contradictory information supplied by the primary sources, it seems reasonable to speculate that, since “Isa” means “ice,” its inclusion in the Helm of Awe could have imparted to the symbol a sense of concentration and hardening, as well as a connection to the animating spirits of wintry cold and darkness, the fearsome giants. This connection is made more likely by the fact that the dragon Fafnir occupies a role in the tales of the human hero Sigurd analogous to that occupied by the giants in the tales of the gods. Such connections are necessarily speculations, especially since the markings that may or may not be Isa runes are, graphically speaking, nothing more than straight lines, which makes them that much harder to positively identify. Nevertheless, the tenacity of the connections here is quite striking. [5]
Looking for more great information on Norse mythology and religion? While this site provides the ultimate online introduction to the topic, my book The Viking Spirit provides the ultimate introduction to Norse mythology and religion period. I’ve also written a popular list of The 10 Best Norse Mythology Books, which you’ll probably find helpful in your pursuit.
References:
[1] The Poetic Edda. Fáfnismál, stanza 16. My translation. The original Old Norse reads:
Ægishjalm
bar ek of alda sonum,
meðan ek of menjum lák;
einn rammari
hugðumk öllum vera,
fannk-a ek svá marga mögu.
[2] Flowers, Stephen, editor and translator. 1989. The Galdrabók: An Icelandic Grimoire. p. 100.
[4] Ibid. p. 121-122.
[5] These interpretations of the Algiz and Isa runes are based on the Rune Poems, which can be found in English translation at Ragweed Forge. See also my page on The Meanings of the Runes.
[4] Ibid. p. 121-122.
The costumes are often embellished with sequins, feathers, and other decorative details that enhance their allure and make them visually stunning. In addition to the protagonist's costumes, the film also features an array of supporting characters with their own distinctive styles. The Love Witch successfully captures the fashion trends of the 1960s and 1970s, with characters sporting bell-bottoms, mini skirts, and wide-brimmed hats. Each character's costume is carefully designed to reflect their personality and role within the story. Overall, the costume design in The Love Witch is a standout element that adds depth and visual interest to the film. The attention to detail and dedication to capturing the spirit of the era make each costume a work of art in itself. Whether it is the protagonist's seductive and enchanting outfits or the supporting characters' stylish attire, the costumes in this film contribute to the overall aesthetic and immerse the audience in the world of The Love Witch..
Reviews for "The Love Witch: How the Costumes Enhance the Film's Visual Aesthetic"
1. Jane - 2 stars - I was really disappointed with "The Love Witch" costumes. I had heard so many great things about the movie's visual style, but I found the costumes to be lacking. They were repetitive and uninspired, with many of the characters wearing the same outfit in different colors. There was also a lack of variety in the styles, with most of the characters wearing retro-inspired clothing that felt forced and overdone. Overall, I was underwhelmed by the costume design in this film.
2. John - 1 star - "The Love Witch" had some of the most poorly designed costumes I have ever seen in a movie. The outfits felt cheap and poorly constructed, with hems that were clearly unraveling and fabric that looked like it was straight out of a discount store. The overall aesthetic of the costumes was also confusing, as it tried to mix different time periods and styles in a way that just didn't work. I found myself constantly distracted by the lack of attention to detail and overall lackluster costume design throughout the film.
3. Sarah - 2 stars - I found "The Love Witch" costumes to be completely unoriginal and unmemorable. They lacked any sort of creativity or unique touch that would make them stand out. It felt like the costume designer just took a bunch of generic retro-inspired clothing and threw it on the characters without giving much thought to their individual styles or personalities. The result was a forgettable mishmash of outfits that did nothing to enhance the characters or the story. I was left feeling disappointed and uninspired by the costume choices in this film.