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Looking at it through the costuming (as one does), we were a bit surprised to find out how strangely off balance this episode was in retrospect. There were some powerful color motifs playing out this week, establishing roles, drawing connections, and revealing emotional states. Now take a step back, blur your eyes, and recalibrate your style settings, making Shirley the most stylish and trendy person in the room (which she is).
We should note, as we have before, that Shirley essentially wears the same dress in different fabrics, over and over again. So Joan’s costume has both an executive quality to it, as well as some references to her romantic life.
We keep hearing fan theories about Richard being some sort of psycho or con artist or sleazeball and it tends to remind us of all the old theories of Bob Benson being roughly the same, before we found out who he was. Both his marriage and his last affair have recently ended and for the most part, he’s functioning and presenting a competent front to the world.
Oh, we could SO have fun with this theme and say that Stan represents grounded reality and lowered expectations while Peggy represents moving ever-onward and upward. Pete is wallowing (in mostly brown) and turned to the skyward-facing (blue and white) Peggy for comfort due to their longstanding and mostly private relationship (matching blues and stripes).
This is a perfectly stylish look for her, but it’s definitely conservative in a Cos Cob kind of way. Take a moment to take in all the details of Joan here, from the competing scarves to the giant brooch to the large rings. We just wanted to include this shot because it’s been a long time coming and because both actors played it extremely well. Roger goes home to Marie, Joan goes home to wait for Richard’s arrival, Ted has plans with his girlfriend and Pete announces his intention to call Trudy because she had a bad day. At any rate, Tom and Lorenzo here represent what life was like for a certain class of gay man in New York City in 1970.
They’re gay men of limited means who chose to live as a couple, which makes where and how they can live somewhat limited.
In the end, Peggy needed to sit on that office couch alone, with no man beside her, and let the truth come out. Not gonna lie; I was hoping Don would just crash with the gay guys for a while and hang out.
Also Peggy is wearing a white A-line dress with blue bands on neck and hip — which is also what Trudy is wearing when with Pete.
Both occasions when Pete is being uncharacteristically helpful and sympathetic to the mothers of his children. Every character (including those who spoke only a line or two) got several eye-popping costume changes, but the bulk of the action took place over two business days, which means the bulk of the costuming remained unchanged from scene to scene. While color absolutely exploded in all the background players, for the movers and shakers of the soon-to-be-shuttered SC&P, it was all browns and blues this week, reminding them that nothing lasts forever but the earth and sky.

Roger and Joan, who were more openly affectionate and made more references to their history than we’ve seen in some time, are in matching outfits, with black, gold and red touches to them, depicting that bond and history. There’s a very clear line separating the roles of the administrative people and the roles of the partners in this scene.
Part of this is likely due to Costume Designer Janie Bryant finding a silhouette and style for a character and working it like a motif, but since she tends to do this sort of thing mainly with secretaries (Joan herself had a lot of nearly identical office dresses), we think there’s a class issue as well. In the case of Bob, we surmised that a lot of those theories arose out of an unfamiliarity with the lives of pre-Stonewall gay men, which made a lot of his odder behavior look fairly sinister to modern audiences. There are countless scenes in Mad Men‘s history where one can be astounded by his seeming ability to age ten years in a scene and then drop those ten years for the next one.
In fact, we’re starting to think that self-acceptance is one of the themes tying the various stories together as the series reaches its end.
These shades can range from tans and taupes to chocolates and clays with hints of red and orange. We understand the comfort and convenience factors, but the shape is horrible and they always seemed to be rendered in the most depressingly cheap fabrics.
She’s on the outside of it, in an unbusinesslike pink (as opposed to all those secretarial blues). Her costuming has become more adult than it ever was before while still retaining a lot of its typically Meredith-like affectations, like the bow in her hair.
This episode (this whole season, really) has been exploding with color and print, so dresses like Trudy’s very simple one here really tend to stand out to us. And yes, this final shot calls back to the one of the partners standing on the newly purchased second floor of SCDP back when things were looking much rosier. We also want to point out that her style got more conservative immediately following that humiliating meeting with those McCann guys. Darker colors, looser silhouettes, and much more demure necklines have been worked into her rotation. Suddenly, Meredith has become militaristic (she all but led a revolt) and assertive on a Joan Harris executive level. In other words, roughly 80% of the episode was spent on the main characters as they went from scene to scene interacting with each other and wearing the same costumes. There have been countless scenes in the run of the show depicting Joan with a gaggle of secretaries and there’s almost always something shown to connect her to the women or to show how much she influences them.
In 2015, her look may seem the most stylish and classic, but in this time and place, compared to women younger than her, she looks mature and not particularly up on the times.
When you need a good working wardrobe, a smart person finds what works for her and sticks to it. In the case of Richard, we think people are being blinded by his costuming, which reads as slimy and gross in the modern day but would have simply been looked at as another middle-aged California divorced man’s style.
First, when he unloaded all his fears and frustrations on her and they wound up having early-morning sex on it, but more importantly, when he once again unloaded all his fears and frustrations on her (not to mention declaring his love for her) and she responded by telling him about their child. Note that their color scheme is a conservative and patriotic red, white and blue while they try to portray as normal and united a front as possible.

Even if she is dating mysterious men in mustaches, the fact remains that a Connecticut housewife of means is going to dress like the wilder parts of the sixties never happened.
He’s also the only one who will turn out to be somewhat happy about what happens this episode. Not affectionate so much as conciliatory – and a recognition from each person that the other one still means something to them. Pete reached out to her to let her know about the dissolution because she means something to him on some level. Then here comes Mom, with her tight red pants, low-cut top, huge hair, and showy jewelry to pick up her acid-colored daughter and spit in Peggy’s face.
We could say this is in reference to her Catholic roots, but we think it’s more along the lines of Peggy thinking her career is her religion. There’s no earth and sky motif anymore, no connections being made by any of the characters, no sense of uniformity. As TLO point out above, there was shift afterJoan’s harassment at McCann in the way she dressed. Roger (who spent his youth partying in Paris before the War) stopped chasing after women half his age and is making a go of it with Marie Calvet. The costumes here render them in as distracting and invasive a tone as possible while drawing a bright line between Peggy and the other woman. But we changed our minds on this question because it seems clear after this scene that Peggy’s going to need a partner who knows about and understands why she made that choice. We’re not trying to derive meaning out of that, but it did make for a particularly challenging Mad Style entry. And in 1970, a 39-year-old woman -especially if she had a child – was considered middle-aged. From Marilyn Monroe to Pam Grier in the space of ten years, the secretaries of Sterling Cooper serve as an illustration of the changing definition of female beauty during this period, not to mention the increased visibility of African-Americans – from the perspective of upper middle-class white Americans, that is.
These are things that Jon Hamm and the production not only have control over, but they’ve always used as indicators of his emotional state.
Additionally, there was an undertone of judgmentalism on Peggy’s part, made all the much easier for her if she could convince herself this woman was a shallow and attention-seeking bad mother. There has never been a problem for the audience when it comes to seeing how Don’s doing based on how Don looks.
This is the ultimate Guy with Mommy Issues and yet he’s relaxed, smiling, and most important of all, non-contemplative. And the way Stan reacted to the news made us realize this is the only man she’s ever known who would react to her story in the kind, affectionate, non-judgmental way he did.

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