Wonder Woman's Costume As a Site for Feminist Debate

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Imaginations Journal of Cross-Cultural Image Studies Revue d’études interculturelles de l’image

Wonder Woman’s Costume as a Site for Feminist Debate Jaclyn Marcus

Fashion Cultures and Media – Canadian Perspectives Article abstract Cultures et médias de la mode – Perspectives canadiennes In this article, I examine how much of the fierce debate and discourse around Volume 9, Number 2, 2018 Wonder Woman has centred around her costume. While several academics have addressed the relationship between Wonder Woman and feminism, my URI: https://id.erudit.org/iderudit/1059166ar article engages with these works to examine the arguments surrounding DOI: https://doi.org/10.17742/IMAGE.FCM.9.2.6 Wonder Woman’s dress, particularly in the context of comic books and graphic novels that feature the character. The article argues that it is Wonder Woman’s apparel, and not her status as a superhero, that is the site of the controversy See table of contents surrounding her persona and role as a feminist figure.

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Cite this article Marcus, J. (2018). Wonder Woman’s Costume as a Site for Feminist Debate. Imaginations, 9(2), 55–65. https://doi.org/10.17742/IMAGE.FCM.9.2.6

All Rights Reserved ©, 2018 Jaclyn Marcus This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/

This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ WONDER WOMAN’S COSTUME AS A SITE FOR FEMINIST DEBATE

JACLYN MARCUS

Abstract | In this article, I examine how much of the ferce s the frst female superhero to ever re- debate and discourse around Wonder Woman has centred ceive her own comic book, Wonder around her costume. While several academics have addressed Woman has existed in popular culture the relationship between Wonder Woman and feminism, my Afor 75 years. She is typically depicted wearing a article engages with these works to examine the arguments golden tiara, blue star-covered shorts, and a red surrounding Wonder Woman’s dress, particularly in the con- bustier with a golden eagle on the front. She car- text of comic books and graphic novels that feature the charac- ries a golden lasso that, when wrapped around ter. Te article argues that it is Wonder Woman’s apparel, and its victim, has the ability to make them tell the not her status as a superhero, that is the site of the controversy truth, and her golden bracelets can defect bul- surrounding her persona and role as a feminist fgure. lets. According to DC Comics Wonder Woman has “been a feminist icon since her star-span- Résumé | Dans cet article j’examine comment les âpres débats gled intro in 1941” (“Wonder Woman”). Wonder et dialogues suscités par Wonder Woman sont en réalité cen- Woman has superhero strength and speed, but it trés sur son costume. Alors que plusieurs chercheurs se sont is her costume that allows her to be recognizable penchés sur la relation entre Wonder Woman et le féminisme, as an icon in society, the press, and scholarship. mon article utilise leur travaux pour examiner les arguments By the same token, her clothing—its design, concernant le costume de Wonder Woman, en particulier dans ft, length, colouring, and even accessories— le contexte des bandes dessinées et des romans graphiques qui has also been leveraged in these same arenas to mettent en scène ce personnage. L’article défend l’idée que c’est prove why she is or is not a feminist icon (fg- en fait l’habit de Wonder Woman, et non pas son statut de ure 1). Yet why is it that the character can only super héros, qui est au centre de la controverse qui entoure sa be reinvented through her clothing? Moreover, personnalité et son rôle d’image féministe. why have male superheroes not historically undergone the same relentless scrutiny of their clothing and its changes? I will understand the history of Wonder Woman as aligned within the tradition of women, both real and fctional, who have been defned and even restricted through their dress within patriarchal structures, due to the multiple, nuanced meanings ascribed to their appearances. For Wonder Woman, costume is one of the most signifcant aspects of her persona. It is tied not only to recognition of her character, but to questions of morality surrounding her worth as a role model for girls and women. WONDER WOMAN’S COSTUME

Wonder Woman’s relationship with feminism the gunshots aimed at her (273). Wonder Wom- has sparked debates on a number of topics: an’s accessories literally defne whether or not these include whether or not Wonder Wom- she may stand as a representative and protec- an should be seen as a feminist role model, tor of other women. Jill Lepore also cites fash- whether she was created for male or female ion’s importance for feminist interpretations enjoyment, and, most recently, wheth- of Wonder Woman’s character in the intro- er she should serve as the United Na- duction of her book, Te Secret History of tion’s Ambassador of the Empower- Wonder Woman: “Wonder Woman isn’t ment of Women and Girls. To com- only an Amazonian princess with ba- bat these controversies, Wonder dass boots. She’s the missing link in Woman has undergone multiple a chain of events that begins with changes, for example, her loss the woman sufrage campaigns of of costume and superpowers the 1910s and ends with the trou- in the late 1960s and her recent bled place of feminism fully a makeover in 2010, which had her century later” (xiii). While a num- wearing long pants and a leather ber of academics have addressed the jacket as opposed to a strapless top relationship between Wonder Wom- and shorts. Julie D. O’Reilly writes an and feminism, in this article I review that, “Central to Wonder Woman’s works by Edward Avery-Natale, Ann legend is the questioning of her sta- Matsuuchi, and Jill Lepore, among others, tus as a hero because she is subject to illustrate how much of this controversy to the approval or disapproval of her and change have been addressed through Amazon mother and sisters” (275). Wonder Woman’s costume. To do so, I Even in her own fctional world, Won- have divided the controversies surround- der Woman has inspired debate and had to ing Wonder Woman’s apparel into sub- prove her worth as a superhero. In the real sections: the creation of Wonder Woman, world, however, Wonder Woman’s worth hypersexual representations of Wonder has been inextricably tied to her costume Woman, her depiction as a consumer, her and its refection of her feminist values. frst rebirth, her second rebirth, and de- pictions of Wonder Woman in the twen- Wonder Woman’s cloth- ty-frst century. As we will Figure 1. Wonder Woman in one variation ing is an inescapable part of her costume. JJ_Dread, Wonder see, it is Wonder Woman’s of her character; her cos- Woman, 11 December 2015, Flickr, www. costume and not her power flickr.com/, accessed 24 October 2018. tume helps to defne who and agency as a superhero she is. Tis is illustrated in that is the site of the debate her frst-ever story arc, “Introducing Wonder surrounding her character and role as a feminist Woman.” As O’Reilly explains, Wonder Wom- fgure. Fashion plays a pivotal role in the recep- an’s fnal trial to prove whether or not she is tion of the Wonder Woman character, partic- “worthy” of “fght[ing] for liberty and freedom ularly regarding her position as a feminist role and all womankind” is a game of “‘bullets and model. bracelets,’” where her gold accessories defect

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The Creation of Wonder Woman also wear very little” (Lepore 196). Regardless of her feminist origins in Marston’s ideals, Won- ince her “birth,” Wonder Woman’s costume der Woman had parts of her costume modelled has been central to her character. Tough afer what male superheroes at the time were clothing has long been understood as a wearing. We can also see that her bracelets were Skey infuencer of social identity (see Barry; En- initially one of the least censored aspects of her twistle; and Wilson), for women fashion takes costume, despite Wonder Woman’s later links to on even greater importance. In discussing the bondage leading to criticism of her accessories. impact of fashion on plot and character, Bruzzi Tis account highlights how much detail and and Church Gibson write that “traditionally [it discussion went into each piece of her outft, il- has] been women whose character, identity and lustrating its importance. femininity have been understood through their mode of dress and self-presentation” (116). In Wonder Woman’s connection to fashion can also the case of Wonder Woman and her inventors, be found in her familial history. Lepore explains her costume was one of the frst aspects of her that Wonder Woman’s mother, Hippolyte, “re- character to be developed; nuances of her per- counts for her daughter, Diana [Wonder Wom- sonality and superpowers were defned through an’s alter-ego], the history of the female race,” her clothing. citing her magic girdle as the reason she was able to beat her nemesis in one-on-one combat Wonder Woman was created in 1941 by Dr. Wil- and secure the Amazon women’s freedom (Lep- liam Moulton Marston, an academic who also ore 199). However, her girdle is then stolen, and invented the lie-detector test. Marston hired art- the Amazon women are captured by men (Lep- ist Harry G. Peter to illustrate the frst drafs of ore 199). When they are fnally freed, it is decid- the superhero. Lepore explains how, in 1941, Pe- ed that they “must always wear these bracelets ter sent sketches to Marston that included Won- fashioned by our captors, as a reminder that we der Woman’s red shirt, tiara, gold bracelets, and must always keep aloof from men” (qtd. in Lep- skirt, instead of the shorts that became a part of ore 199). In this account, the very history of fem- her more classic outft. Lepore notes that “Mar- ininity and Wonder Woman is tied to material- ston liked everything but the shoes.” One of the ity; it is from clothing—a girdle—that all their frst critiques of Wonder Woman’s dress was power is sourced, and their future depends on thus made by the creator himself. Marston also jewelry, which serves as a symbol of their values. pointed out in a subsequent illustration “that the It is also Wonder Woman’s mother who “stitches collar on [Wonder Woman’s] halter top would for her a red, white, and blue costume,” linking look dated quickly” (Lepore). Strict instruc- Wonder Woman’s matriarchal past with cloth- tions regarding how Wonder Woman should ing (Lepore 200). Entwistle argues that “Wom- be dressed continued to accompany her cre- en have long been associated with the making of ation: “Everyone agreed about the bracelets […] clothes,” in part as a means of gaining fnancial she’d wear a tiara […] she had to be super pa- independence from men (146). Tat Wonder triotic. Captain America wore an American fag Woman’s mother, a ruler over a land of women […] Like Captain America—because of Cap- exclusively, crafed Wonder Woman’s costume tain America—Wonder Woman would have to illustrates materiality’s importance in the super- wear red, white, and blue, too. But ideally, she’d hero’s legend and aligns her with this real-life

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history. Here, clothing is depicted as responsible “marked by a large amount of fowing hair” and for maintaining women’s freedom, feeding into “large breasts and a costume that barely covers both positive and negative readings of fashion’s her body” (975-6). Emad is not the frst to point impact and its relationship with feminism. out the relationship between Wonder Wom- an’s clothing and her sexuality. A female editor Once she was created, representations of Won- of Wonder Woman commented that “Tere has der Woman as a feminist fgure can be seen been a tendency in the past to play up WW as a through the frst press release surrounding her rather sexy creature […] Her costume may be character. Lepore’s description of the release one of the reasons why she creates this impres- again cites fashion as an important aspect of sion,” followed by the suggestion that she wear a her character and values: “‘Wonder Woman’ has skirt as opposed to shorts (qtd. in Lepore 239). bracelets welded on her wrists; with these she Here, Wonder Woman’s costume is specifcal- can repulse bullets. But if she lets any man weld ly mentioned as a reason she may be viewed as chains on these bracelets, she loses her power” hypersexual. Similarly, according to Edward Av- (220). Here, Wonder Woman’s accessories re- ery-Natale, a female writer for Wonder Wom- veal her status as independent from men, as per an “requested that the character’s breasts be re- her familial history. Although the press release duced in size to make her more realistic, but her seems to imply that Wonder Woman was creat- request was denied” (75). Tese instances indi- ed as a positive fgure, in March 1942, one year cate that Wonder Woman was created as a pur- afer her creation, Wonder Woman was placed posefully hypersexual character. As Michael R. on the National Organization for Decent Lit- Lavin explains in “Women in Comic Books,” the erature’s list of “Publications Disapproved for “contradiction is that between women as role Youth” because “‘Wonder Woman is not suf- models and as sex objects […] they are invari- fciently dressed’” (Lepore). Te organization ably depicted as alluring objects of desire, wear- does not specify the meaning of the word “suf- ing the scantiest of costumes” (94).While Mar- ciently;” her clothing is defned as indecent for ston intended Wonder Woman to be a feminist youth without further explanation. As we shall fgure, her character ended up as an object cre- see, accusations eventually took on additional ated for heterosexual male pleasure because the force, particularly surrounding what was under- male writers of Wonder Woman rejected the stood as her character’s sexual nature. suggestions of their female co-creators.

Hypersexual Representations of Wonder Woman Another aspect of Wonder Woman’s character that helped to create her hypersexual repu- escriptions of Wonder Woman’s charac- tation was her connection to bondage. As Av- ter ofen include her clothing, which in ery-Natale explains, “female characters, partic- turn is ofen tied to her sexuality: “She ularly Wonder Woman, are ofen portrayed in Dwore a golden tiara, a red bustier, blue under- bondage, frequently, though not exclusively, to pants, and knee-high, red leather boots. She was other women, promoting a kind of heterosexu- a little slinky; she was very kinky” (Lepore xi). al male, lesbian fantasy” (76). Marston himself For Wonder Woman scholar Mitra C. Emad, the was criticized for ofen including panels where superhero can be read as hypersexual based on Wonder Woman was tied up or restrained us- representations of her clothed, physical fgure, ing links, chains, and ropes (Lepore 236). Along

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with her golden bracelets, other accessories such playing on Wonder Woman’s status as a feminist as her lasso link Wonder Woman to themes of fgure and its potential negative consequences tying, restraining, and binding. However, in us- (130). For Wonder Woman, consumerism di- ing and controlling her lasso Wonder Woman lutes the strength of her feminist message. can also be understood as an active participant in bondage, implying that it is not just for male pleasure, but for her own as well. Additionally, Wonder Woman can be read as a dominatrix fgure (Brown 65). Wonder Woman’s costume and accessories are evidence of her construc- tion as both a hypersexual character created for heterosexual male pleasure and as a fgure who uses her sexuality for her own pleasure and in her own right (fgure 2). Because of the many representations of Wonder Woman available, the reader’s interpretation of these iterations and their overall motivation and meaning may vary in response to visual and textual construc- tions of her persona.

Wonder Woman as Consumer

iven the tendency in patriarchal capital- ism to stereotype women as naturally in- clined towards shopping, particularly in Gthe realm of fashion, it is unsurprising that there are allusions in Wonder Woman’s history to her character as a consumer. As Joanne Entwistle explains in Te Fashioned Body, “For centuries Figure 2. Wonder Woman restrained with chains in the woman has been associated with ‘fckle’ fashion, Wonder Woman: Earth One series. Grant Morrison (w) and Yanick Paquette (a), Wonder Woman: Earth vain display and indulgent narcissism”; wom- One (April 2016), DC Comics; Richard Guion, “Wonder en are both encouraged and discouraged from Woman- Yanick Paquette,” Flickr, 1 April 2016, www.flickr. com/, accessed 31 July 2018. spending time and resources on how they look, despite being read through the lens of appearance (145). In the 1950s comics, alter-ego Diana In attempting to escape moralistic judgements Prince is employed as a fashion model (Lepore). of the character’s appearance and dress, Won- Moreover, in Wonder Woman #203, Diana is ap- der Woman’s writers have created changes to proached to endorse a department store as her her costume. However, Avery-Natale argues celebrity alter-ego, Wonder Woman. According that for many female superheroes, these cos- to Ann Matsuuchi, the store-owner’s plan is to tume changes “[display] their supposed love of “appropriate the image of Wonder Woman and fashion and frequent changing of their minds of women’s liberation for commercial purposes,” with regard to clothing” (89). Wonder Woman’s

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fctional character’s position as a feminist fgure Released in 1968, Wonder Woman #178 was is compromised each time her dress is modi- the beginning of the “Diana Prince Era,” when fed, regardless of the style or functionalism of Wonder Woman lost both her costume and su- these changes, as I will demonstrate in the next perpowers (Lepore). With the change in cloth- two sections of this article. Tese moments of ing, Wonder Woman transforms into a mod Di- extreme change can be categorized as “rebirths,” ana Prince, stripped of any references to her past and though they have sparked controversy, they self (Lepore). Interestingly, this phase in Won- also ofer key insights into the ways in which der Woman history has been cited as not being Wonder Woman’s costume has shaped feminist feminist, in particular because Wonder Woman interpretations of her character and the pivotal is perceived as not being true to herself (Mat- role her dress plays in these interpretations. suuchi 129). Te biggest contention surrounding her role as a feminist icon appears to have been Wonder Woman’s First Rebirth, the loss of her costume. Despite these criticisms, or, the “Diana Prince Era” it was during this time that an attempt at a feminist plotline was launched (Lepore). Te f rst lothing changes in both reality and fc- cover of this story arc, released in December tion were ofen prompted by all-too-re- 1972, depicted Wonder Woman in a white uni- al political and social events. Wonder tard and long sleeves and long pants (Lepore). CWoman’s frst rebirth began to take shape during Tis was a shif from her short shorts and strap- the afermath of World War II. Americans be- less top, though the tight ft remained. Lavin gan to worry about the efects that comic books writes, “Some feminists applauded the change, were having on society, particularly on youth, especially now that Diana had lost the provoc- and Wonder Woman’s costume was once again ative costume […] others complained she had heavily analyzed and criticized. Lavin explains been stripped of her strength” (97). Tis reac- that a 1948 symposium on the “Psychopatholo- tion prompted DC Comics to abandon the new gy of Comic Books” resulted in the creation of storyline, returning her to her former character “the Comics Code Authority, a voluntary in- powers, and costume. dustry group which established a written code of acceptable comics publishing guidelines” Wonder Woman’s Second Rebirth (96). T is major event in comic book history occurred only seven years afer Wonder Wom- he credit for Wonder Woman’s second an’s creation (Lavin 96). One year later, Won- rebirth and return to her most iconic der Woman was depicted being carried over a costume goes to the readers who iden- stream by a man, as opposed to previous cov- Ttifed as feminists and were angry about the ers that displayed battle scenes. Tis moment re- changes made to the beloved superhero they fects the beginning of a slow, subtle shif in her had grown up idolizing (Matsuuchi 134). To persona: “Instead of her badass, kinky red boots, these women, including icon Gloria Steinem, [Wonder Woman] wears dainty yellow balleri- Wonder Woman’s costume was an essential part na slippers” (Lepore 271). A change in Wonder of what defned her as a feminist fgure, and they Woman’s character mirrors changes in both cos- employed several strategies to encourage its re- tume and society. turn: “In 1972, the founding editors of Ms. put Wonder Woman on the cover of the magazine’s

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frst regular issue. Tey hoped to bridge the dis- Wonder Woman Today tance between the feminism of the 1910s and the feminism of the 1970s with the Wonder Wom- he chapter “Wonder Woman & Black an of the 1940s, the feminism of their child- Canary Fight the Gender War” from the hood” (Lepore). Co-founded by Steinem, “Ms. 2008 graphic novel Justice League: Te was meant to be an organ for a revived feminist TNew Frontier includes Wonder Woman’s breast- movement,” making Wonder Woman’s return to plate catching on fre, prompting her to pummel her original costume on its cover particularly her male opponents with her burning bra (Mat- relevant (Lepore 283). Wonder Woman’s cloth- suuchi 138). Tis image of Wonder Woman as a ing was seen as key symbol of the second-wave “bra burner” is an overt reference to her fem- feminist movement. inist ties, represented through an engagement with fashion and her costume. Gloria Steinem is Tanks to these women’s eforts, in 1973 Won- referenced in the comic as well, linking her both der Woman reappeared with her superpowers, to the icon and the character’s feminist back- accessories, and costume restored in Wonder ground. In this interpretation, Wonder Woman Woman #204 (Matsuuchi 134). T is time peri- is understood as a part of feminist history, sig- od is popularly known as the feminist rebirth naled to readers through her dress. of Wonder Woman’s character (Matsuuchi 134). However, it is important to note that her frst re- Despite this, Wonder Woman remains a polar- birth had originally been intended to be feminist izing fgure in relation to feminism; her cloth- as well; both of these stages are open to readers’ ing continues to be reinterpreted, as do the un- own interpretations and opinions of her appar- dertones and debates surrounding her costume. el, informed through the context of the comics In 2010, for the 600th issue of Wonder Woman, themselves. Nevertheless, “Tis chapter in Won- artists chose to revamp her apparel. Tis time, der Woman’s history […] provides a revealing they placed her in tight black pants, a red tank insight into the relationship between American top, a navy jacket, and fat black boots. Her ac- comic books and second-wave feminism” (Mat- cessories—the bracelets, tiara, and lasso—re- suuchi 120). Wonder Woman was a lens through mained. According to Deb Waterhouse-Watson which to view the feminist debates occurring and Evie Kendall, the purpose of this makeover at the time. Referring to these conficts, Lepore was to “celebrat[e] the Amazonian superhero’s writes, “In that battle Wonder Woman wasn’t longevity in print media”; however, they also caught in the crossfre; Wonder Woman was the mention that the new costume was “less reveal- ammunition” (290). Tis sentiment summarizes ing” (114). As they explain, the character’s “shif the idea that Wonder Woman, and her costume, to more practical, less sexualised wear arguably were used to refect feminist values and de- refects changing attitudes about gender and the bates. Tese conficts continued through twen- growing female presence in the comics industry. ty-frst-century representations of her character, Nevertheless, the change prompted some con- shaped by contemporary conficts, debates, and troversy online amongst fan communities, again forms of representation in new media. highlighting the problematic history of the representation of women as powerful fgures” (Wa- terhouse-Watson and Kendall 114). Despite the fact that costume choice was meant to refect

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contemporary, female-positive sentiments, been inspiring girls and women for decades […] once again analysis, debate, and controversy now that she’s got the option to wear trousers, followed. Tis may be the reason that Wonder she’s even more feminist than ever.” Statements Woman is still most ofen shown dressed in her such as this one within popular media illustrate iconic apparel. the signifcance of Wonder Woman’s clothing in constructing her position as a feminist fgure. An additional reboot followed in 2011, resulting in the reappearance of the 1970s Diana Prince Te 2017 Wonder Woman flm brought on fur- comics. In this version, Wonder Woman ap- ther discussion of Wonder Woman’s iconic appears dressed again in her all-white costume, parel and how it should be represented today which she describes as “‘(o)ne of the outfts I (fgure 4). In “Te ‘Wonder Woman’ Costumes wore afer I renounced my powers […] before I Are A Celebration of Female Empowerment” by realized who I really am’” (Matsuuchi 138). Here, Fawnia Soo Hoo, costume designer Lindy Hem- she is once more without superpowers or her ming relayed the extensive research and efort original costume. In this representation, a “con- that went into creating a costume that would fusing fnal panel points to [the idea that] de- harken back to Wonder Woman’s original outft spite the intentions of the men and women who while avoiding hypersexualizing the character; created her, Wonder Woman remains an uncer- as the designer, Hemming was thoughtful, even tain, complicated icon, claimed by a legion of cautious, when creating Wonder Woman’s cos- fans with widely disparate needs and expecta- tume. Hemming outlined the careful balance she tions” (Matsuuchi 138). In Adorned in Dreams, aimed to strike between historically maintaining Elizabeth Wilson argues that “we may view Wonder Woman’s iconic dress and allowing her- the fashionable dress of the western world as self to be infuenced by current fashion trends one means whereby an always fragmentary self such as athleisure and modern interpretations of is glued together into the semblance of a uni- the character (Soo Hoo). Much like the debates fed identity” (11). Wonder Woman’s identity is which took place between various comic book constantly being recreated with each costume artists as they created Wonder Woman’s original change, preventing a coherent, stable perception characterization, Hemming touched upon the of the character. changes she made to the Wonder Woman costume, which she had “tweaked since its debut” Media interest in Wonder Woman continues to- in the Batman v Superman: Dawn of Justice flm day, even outside of the realm of comic books in 2016 (Soo Hoo). Given that Wonder Woman and graphic novels. Twenty-frst-century rep- is an action movie, her apparel had to be func- resentations largely interpret Wonder Woman’s tional on screen, prompting Hemming and her character as feminist, though debate surround- team to remake the costume in lighter materi- ing her clothing persists. Te character contin- als and to “re-[design] Wonder Woman’s over- ues to be referenced across multiple forms of the-knee boots into a sportier sandal-boot hy- media, from the popular television series Gilm- brid” (Soo Hoo). Even today, it is not just Won- ore Girls: A Year in the Life to fashion catwalks der Woman’s character that is subject to change, (fgure 3). In another example, Lux Alptraum’s but her dress as well. Adjustments to Wonder article “30 Halloween Costumes for Badass Woman’s clothing are in part what allow her to Feminists” (2016) claims that “Wonder Woman’s

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remain an icon for the modern-day consumers who engage with her.

Figure 3. Students adorn superhero symbols and costumes. Elena Siemens, Student Models at “Superhero Fashion Catwalk,” University of Alberta, September 2016.

In 2016, Wonder Woman was assigned both her Figure 4. Gal Gadot in the Wonder Woman costume created for the 2017 Wonder Woman film. Brenda biggest and potentially most controversial role Rochelle, Wonder Woman Featured, 5 June 2017, Flickr, yet: as United Nation’s Ambassador of the Em- www.flickr.com/ accessed 24 October 2018. powerment of Women and Girls. As Veronica Arreola writes, this appointment sparked in- with them, are superheroes in their own right” tense debate: “While many are fans of Wonder (“Stand Up”). It is interesting to note that the Woman, they would rather see the UN fnally photo that accompanied Wonder Woman’s web- select a real-life woman to lead the global enti- page was cut of at the neck, potentially attempt- ty.” Importantly, Wonder Woman’s costume was ing to negate any criticism about her clothing cited as one of the concerns with the appoint- and costume, along with criticism of her body ment. Again, Wonder Woman is described as itself (Aizenman). Only her tiara and the top of being “‘scantily clad,’” making her “not suitable a cape and top can be seen. Te United Nations’ for an ambassador” (Arreola). Te United Na- hashtags #RealLifeWonderWoman and #With- tion’s Wonder Woman campaign had been ac- WonderWoman further moved the controversy companied by slogans, such as “Tink of all the surrounding the superhero as a feminist fgure wonders we can do: stand up for the empower- forward into the twenty-frst century. Despite ment of women and girls everywhere” and “Te eforts to maintain the success of the campaign, women and girls who rise up for a better world, Nurith Aizenman explains that Wonder Wom- and the men and boys who support and stand an was unceremoniously removed from her role

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“less than two months later” due to the above fgure have centered on her dress, and each cos- criticisms. Tis fnal, most recent example en- tume change allows a new perspective on fem- capsulates the confict that has dogged Won- inism, female role models, and representations der Woman’s character since frst inception, of of women within popular culture to unravel and which clothing is a part. be recreated.

Wonder Woman’s costume is an essential part of Whether readers choose to understand Wonder her superhero character. Even without it, as Di- Woman as a feminist fgure or not, interpreta- ana Prince, a new costume is created in the old tions of her character are difcult to separate one’s stead. Te treatment of the clothing of this from her dress. As the superhero Hawkman says fctional female superhero illustrates the im- upon frst meeting Wonder Woman in All-Star portant role fashion plays in the realm of fem- Comics #11: inism and more widely in popular culture as well. Clothing is the lens through which these “‘Diana Prince—why, you must be Wonder characters are created, designed, and redesigned Woman!’ as values and motives shif. In reframing the academic works that have studied Wonder Wom- ‘Why, how did you know?’ an, feminism, and fashion, it is clear that her costume has been the key focus of the debates ‘The Justice Society manages to learn surrounding her character and her validity as a many things!’ feminist icon. With the recent United Nations controversy and flm release, these discussions Diana changes into her Wonder Woman continue. costume and joins the fght” (Lepore 204).

Conclusion It is only once she has changed into her costume that Wonder Woman is ready for battle. onder Woman remains caught up in a confict that women have faced for centuries. As I have illustrat- Works Cited Wed throughout this article, Wonder Woman is judged based on her appearance and clothing, Aizenman, Nurith. “Remember Tat Time When forcing her to consistently shif and change Wonder Woman Was A U.N. Ambassador?” Goats based on the perceptions and criticisms of oth- and Soda: Stories of Life in A Changing World, 1 June 2017, http://www.npr.org/sections/goatsand- ers. Dress, it seems, is more infuential even than soda/2017/06/01/531106299/remember-that-time- Wonder Woman’s bracelets or lasso, and has the when-wonder-woman-was-a-u-n-ambassador. Ac- power to reduce her from a woman to be ad- cessed 30 Aug. 2017. mired to a woman scorned. Because of her controversial apparel—too sexual, too traditional, Alptraum, Lux. “30 Halloween Costumes For Badass too modern, too unrealistic—Wonder Woman’s Feminists.” Refnery29, 20 October 2016, http://www. position as a role model is contested. Te con- refinery29.com/2016/10/126276/feminist-halloween-costumes-for-women-empowerment#slide. Ac- ficts surrounding Wonder Woman as a feminist cessed 3 December 2016.

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Arreola, Veronica. “Wonder Woman in the Time Soo Hoo, Fawnia. “Te ‘Wonder Woman’ Costumes of Hillary Clinton.” Bitch Media, 2 November Are A Celebration of Female Empowerment.” Fash- 2016, https://bitchmedia.org/article/wonder-wom- ionista, 5 June 2017, https://fashionista.com/2017/06/ an-time-hillary-clinton. Accessed 3 December 2016. wonder-woman-flm-costumes. Accessed 7 Septem- ber 2017.

Avery-Natale, Edward. “An Analysis of Embodi- “Stand Up for the Empowerment of Women and Girls ment Among Six Superheroes in DC Comics.” Social Everywhere.” un.org, http://www.un.org/sustain- Tought and Research, vol. 32, 2013, pp. 71-106. abledevelopment/wonderwoman/. Accessed 3 De- cember 2016.

Barry, Ben. “Enclothed Knowledge: Te Fashion Show as a Method of Dissemination in Arts-Informed Waterhouse-Watson, Deb and Evie Kendal. “Tights Research.” Fashion Studies, vol. 1, no. 1, 2018, pp. and Tiaras: Female Superheroes and Media Cultures.” 1-43, www.fashionstudies.ca/enclothed-knowledge/. Colloquy text theory critique, vol. 24, 2012, pp. 114-117.

Brown, Jefrey A. “Gender, Sexuality, and Toughness: Wilson, Elizabeth. Adorned in Dreams: Fashion and Te Bad Girls of Action Film and Comic Books.” Ac- Modernity. I.B. Tauris, 2003. tion Chicks: New Images of Tough Women in Popular Culture. Edited by Sherrie A. Inness, Palgrave Mac- millian, 2004, pp. 47-74. “Wonder Woman.” dccomics.com, http://www.dccomics.com/characters/wonder-woman. Accessed Emad, Mitra C. “Reading Wonder Woman’s Body: 4 December 2016. Mythologies of Gender and Nation.” Te Journal of Popular Culture, vol. 39, no. 6, 2006, pp. 954-984. Image Notes

Entwistle, Joanne. Te Fashioned Body. I.B. Tauris, Figure 1. Wonder Woman in one variation of her cos- 2015. tume. JJ_Dread, Wonder Woman, 11 December 2015, Flickr, www.fickr.com/, accessed 24 October 2018. Lavin, Michael R. “Women in Comic Books.” Serials Review, vol. 24, no. 2, 1998, pp. 93-100. Figure 2. Wonder Woman restrained with chains in the Wonder Woman: Earth One series. Grant Mor- Lepore, Jill. Te Secret History of Wonder Woman. Al- rison (w) and Yanick Paquette (a), Wonder Woman: fred A. Knopf, 2014. Earth One (April 2016), DC Comics; Richard Guion, “Wonder Woman- Yanick Paquette,” Flickr, 1 April 2016, www.fickr.com/, accessed 31 July 2018. Matsuuchi, Ann. “Wonder Woman Wears Pants: Wonder Woman, Feminism and the 1972 ‘Women’s Figure 3. Students adorn superhero symbols and cos- Lib’ Issue.” Colloquy text theory critique, vol. 24, 2012, tumes. Elena Siemens, student models at “Superhero pp. 118-142. Fashion Catwalk,” University of Alberta, September 2016.

O’Reilly, Julie D. “Te Wonder Woman Precedent: Female (Super)Heroism on Trial.” Te Journal of Figure 4. Gal Gadot in the Wonder Woman costume American Culture, vol. 28, no. 3, 2005, pp. 273-284. created for the 2017 Wonder Woman flm. Brenda Ro- chelle, Wonder Woman Featured, 5 June 2017, Flickr, www.fickr.com/, accessed 24 October 2018.

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