A penchant for purple: part 2 (Series 2)
Part 1 explored how in Goethe’s theory of colour, purple has the complex effect of being both unsettling and thrilling, disturbing and beguiling, and this colour manifested these traits when worn, principally by Phryne, in the themes of the various episodes. But there were also parallels in the relationship between Phryne and Jack.
Part 2 examines whether this theory can be further substantiated as we move into Series 2.
Look no further than an opening scene of Episode 1 of Series 2, with Phryne’s arrival on the crime scene. Her blue outfit and the blue straw ‘Hello Jack’ hat (name according to the MFMM Costume exhibition catalogue) with ash-brown and deep lilac feathers, announces her presence. If there were a need to question the ability of this colour to provide discomposure while fascinating, then this is the scene to prove it.
Jack is on another policeman’s patch, brought into the investigation at ex-wife Rosie’s request, so he is already compromised professionally. Phryne’s presence adds the personal to an already delicate situation.
Collins: Hang on, what about Hawthorn, sir? I thought they were in charge of this investigation.
Jack: Not anymore, Collins. We're taking over.
(Car horn sounds)
Phryne: Hello, Jack... Oh, come on. You'd be disappointed if I didn't show.
True to purple’s proposition of polarity, discomfort at the outset leads to intimacy, as only this pair know how. A sniff at the decanter ...
While Jack must contend with Hawthorn’s investigation team on site, and then Phryne’s appearance, he is ill-prepared for Rosie’s entrance to her father’s home at this point. The necessary introductions are made:
Collins: Excuse me, sir. Your... The Deputy Commissioner's daughter has just arrived.
Jack: Miss... Miss Phryne Fisher, Miss Rosie...
Rosie: Sanderson will do now, Jack.
Jack: Rosie is my wife. Well, ah, former... former wife.
It isn’t just Jack feeling discomfort, it is there between the two women too. The meeting and their interaction provide an interesting visual play as there is a tonal link in their dress, the ash-brown and lilac of the feathers of Phryne’s hat reflected in Rosie’s more sombre palette. However, the lilac feathers accentuate the difference in character between the two as well - they reflect glamour and charisma as opposed to Rosie’s more sedate demenour.
Perhaps too the feathers are a foretaste of the feature feathers of the fan dance later in the ep.
Still in the drawing room of the Sanderson home, the photo of the former happy couple, Jack and Rosie, perturbs the usually unperturbable Phryne, with the couple, present, reflected in the mirror in the background:
Phryne, not to leave her discovery and disquiet to herself, presents the framed evidence to Jack - after all a problem shared...
And finally some sharing of the Phrack clothing palette also emerges (hat, coat and feathers, tie and coat lining).
Beachside scenes in Dead Man’s Chest (Episode 3) have a palette more in keeping with sea and sand, but there are purple patches too. With its preponderance of blue, Goethe describes purple and its range from blue to red as ‘always bearing something dark’ and red-blue and blue-red colours making one feel ‘restless, soft and longing’.
With a murder and coin conundrum to resolve, Phryne calls in Jack to ensure his numismatist expertise can be consulted.
The sheer chiffon blouse over deep purple camisole with red piping and covered buttons is a gorgeous blue-red combination. There is certainly softness in the clothing, and perhaps some restless longing involved in the phone call to the coin-collecting inspector.
And speaking of longing, we see the same colour combination of purple with flashes of red in Phryne’s bathers as she watches, beachside, the dive for the deadly dagger.
Jack’s emerging, dripping, from the water is enough to make her ice cream start to melt.
Murder a la Mode (Episode 5) features a feast of purple in aubergine tones - in look and lustre.
Goethe the poet influenced Goethe the scientist, evident in his expounding of his colour theory lyrically, in terms of colour harmony and aesthetics. He proposed that ‘the character of colours in clothing is applied to the character of the person. Hence, the relationship of the individual colours and combinations to the colour of the face, age and status can be observed.’
The relationships among character, colour and couture can be observed, at times very closely, in this episode with a pearl and its aubergine lustre as an early focus.
Phryne: And a single pearl. Only one side bloodstained. Dropped after the murder. Look at the colour. Aubergine. Probably highly valuable. Treasure of an oyster.
In Shakespeare’s time pearls were not only worn as jewels, but were extensively used in embroidering rich garments. The culprit takes a leaf from the Bard’s book in her manner of secreting stolen jewels. So Shakespeare, who also used the pearl as a metaphor for great and transcendent value, and the plot go hand in hand:
She is a pearl Whose price hath launch'd above a thousand ships (Troilus and Cressida, Act 2, scene ii)
Wealthy women who frequent a leading couturier are preyed upon for their jewellery, so who better to infiltrate than the glamorous Miss Fisher.
The lustre of the aubergine pearl and mention of its treasure leads the normally taciturn inspector to speak lyrically, calling on the Bard, to confirm the further function of the pearl in declaring undying (or in Antony’s case, dying!) love:
Jack: He kissed—the last of many doubled kisses—This orient pearl.
(Antony and Cleopatra, Act 1, scene v)
Cold water is poured on Jack’s declaration in Phryne’s response:
Not even Mark Antony would want to kiss this one.
No.
True to purple’s ability to be both delight and unnerve, the moment is lost and the investigation moves on...
... with ‘Genevieve’ providing some aubergine lustre of her own both at the salon and at City South.
There’s reference too to the palette in the day spa where a link is made between clients, missing jewellery and the House of Fleuri.
Meanwhile an assignation back in the scene of the crime sees Phryne in deep aubergine velvet coat and fur collar, teamed with felt hat and a sheer chiffon silk blouse patterned with aubergine and lilac pearl-shaped discs. The sheen of velvet and silk reference the pearl’s lustre.
There are visual reminders of the colour theme of pearls and their lustre throughout.
Phryne’s aubergine outfit here highlights the on-going contrast with Dot’s daywear, a subject of some tension between Dot and Hugh, and even a source of difference with Mme Fleuri’s views on the appropriateness of style and status to wearer.
It is Phryne who delivers the ‘pearls of wisdom’ to Dot:
Dot... a woman should dress first and foremost for her own pleasure. Having grown up in second-hand flannels, there is nothing quite so divine as the feel of silk underwear... The touch of soft fox, the slither of a satin skirt. If these things happen to appeal to men, well, that really is a side issue.
A similar ode to aubergine appears in Episode 8, The Blood of Juana the Mad.
Here purple’s device has all the trappings of Goethe’s interpretation that ‘its exciting power ... may be said to disturb’. These are disturbing times for Phryne and Jack. Phryne is as determined to engage as Jack is to disengage:
Phryne: Sorry, Inspector, your constable gave you away.
Jack: We're in the middle of an interview, Miss Fisher. ...
Phryne: Don't mind me.
Jack: But I do.
The tensions between Jack and Phryne are echoed in other uncomfortable alliances - murder by those who are meant to heal; cheating in the hallowed varsity halls; mistreatment of women and those of a different social class; war heroes found to be double agents.
What’s to be done with this emotional strain keeping our two at arm’s length?
In medieval and renaissance poetry, the handkerchief is a powerful symbol of a woman’s romantic favour. The cultural practice was for a lady to deliberately drop it for a knight to retrieve and keep as a token of her affection.
In Othello, the kerchief is central to the play’s tragic denouement. A metaphor for love and fidelity, Desdemona keeps it with her at all times, “to kiss and talk to” (Act 3, scene iii). By Iago framing its whereabouts, the resulting chain of events leads to her brutal murder at the hands of her enraged husband.
So Phryne uses this metaphor of love and affection to wave beneath Jack’s nose, literally!
And we see a final touch of lilac feathers in Phryne’s take on tweed. It’s interesting to see Phryne’s, and Mac’s outfits so in keeping with the milieu (eg Prof Spall) but Phryne’s so defiantly glamorous.
And what with the influence of the kerchief and feathered finery, there’s a truce, a suspension of hostilities, leading to some collegial contact:
Jack: What are you doing, Miss Fisher?
Phryne: What we do best, Jack. And I'm afraid I'm going to have to touch you.
Luscious plum is the signature shade of Episode 9, Framed for Murder.
Phryne: Would you call that purple?
Dot: Luscious Plum. That's Miss Lily Luscombe's favourite shade of lipstick.
Dot, having identified the shade, wears a deep plum felt hat with matching trim in acknowledgement.
Phryne wears the shade de jour to stunning effect in this gorgeous outfit of luscious plum and gold (or pink and chartreuse really but who’s being picky?)
worn over a sheer silk chemise patterned with plum-coloured cherries. Delicious.
Despite their different takes on the value of cinema, there is a most definite melting of caps of ice-covered resistance between our two.Thank goodness for that. This may well be the power of purple “in a very attenuated and light state” displaying its characteristics in a “peculiarly attractive manner.” (Goethe)
There are hints of luscious plum at Phryne’s Hollywood dinner party, not only on lips but in Luscious Lily Luscombe’s dress.
If only a certain DI had been invited ...
And finally... (you’ll all be relieved to hear) to Episode 11 and Dead Air. There’s just a teensy bit of deep purple in the feathers of Phryne’s Radio Station hat, drawing her to ...
Phryne: That voice!
Jimmy Creswick: Mr Archibald Jones, he of the dulcet tones.
Phryne: Wherever did you find him?
Phryne: Before you say anything, Archibald...
Jack: Thank goodness you're here. I need you to move in on this case. Collins can't handle this alone.
Phryne: Is this Jack Robinson speaking, or are you still incognito? You want me to ride shotgun over Hugh?
Jack: I wish you wouldn't put it quite like that.
Phryne: You could ask nicely.
Jack: Want me to beg?
Phryne: This may never happen again.
Jack: Please.
Ah the power of purple to bring people together:
Phryne: I'm quite cosy enough, thank you.
Jack: Remind me to bring you on my next break-in. You're useful.
Phryne: Thank you.
Jack: Sorry. I was just trying to steady you.
Phryne: Steady me anytime, Inspector.
Part 3, Series 3 to follow ...