It's been pretty hard to focus today--not because it's Monday, but because OH MY GOD MAD MEN. Seriously. This season finale was manipulating our emotions from the get-go. Was Stan moving to California? Was Don moving to California? Was Ted moving to California? I'm getting sweaty just thinking about it. Also, it's really hot outside.
But rather than getting all tied up in the various twisting plotlines and symbolism, let's talk fashion! For the last time this year, let's take a look at the awesome styles (and many turtlenecks) had by the guys and girls of Sterling Cooper and Partners (and their various significant others and exes) in 1968. Especially Bob Benson. What a sly fox.
Don totally lost it (whatever left of "it" he had) in this episode. Hijacking Stan's California ambitions, punching out a minister, breaking down during the Hershey's pitch, and then being let go at SC&P. It was painful to watch.
Though sharply dressed in a dark suit and diagonal striped tie (which seems to be part of the uniform at SC&P), Don looks dark, stiff, and old fashioned next to Stan when the creative first pitches Don his idea of going out to California for the Sunkist account. But as put together as he looks at first, he can't even seem to muster up the energy to push his hair back into place when he returns home to Megan after his night in prison.
For the Hershey's meeting, Don unbuttons his gray suit jacket--perhaps a sign that he's coming undone entirely. He doesn't even get the chance to remove his coat the next morning before he's put on a forced (and indefinite) leave of absence from the agency.
But the most priceless sartorial visual comes when Don spends the night in jail. Tossed in amongst the rest of NYC's ne'er-do-wells, his suit somehow stays intact.
This was a confusing episode for Megan--she's never seemed more out of synch with Don, both in terms of character and clothing. She doesn't even ask for details when Don gets the call about Sally's suspension in the middle of the night. It was weird.
When Don arrives home from prison, Megan is wearing probably the most virginal thing a person could have on: A frothy, oversized, white nightgown without the least hint of sexiness. She looks like an angry mommy. Later in bed with Don, she wears a blue space-dyed tank that contrasts with Betty's fluffy pink nighttime look.
Megan channels Alexa Chung (and Sally, in a way) in a black shirt with attached white collar and checked ankle cigarette pants when she leaves Don--really, who knows how long that'll last? The styling seems to suggest Megan is a child--now both of Don's little girls have abandoned him.
After a long, fairly Joan-less season, one of our SC&P favs returned with many a fabulous outfit for the finale. In this episode, Joan wears mostly bright, solid colors which definitely signifies the return of her confidence. Whether she knows Bob is gay or not, she sees Roger trying to compete with him for her attention--and Joan loves the chase. There's also a moment when Joan tries out cheetah, which we whole-heartedly support.
To fire Don, Joan wears an almost Elizabethan look--blue velvet and a high lacy collar. This is Joan at her most serious.
Though her hair is up in a stiff French twist for the entirety of the episode, Joan finally lets it down--and wears a stunning forest green frock with gold accents--to celebrate Thanksgiving with Kevin, Roger, and Bob. What a happy, dysfunctional (but loving) family.
Bob, I love you. I don't care who you are, where you're from, what you did, or that you'll never love me back. I loved your blue suit when you went to Chevy. I love that you understand layering. And I love that you wore an apron skirt at Thanksgiving. Yours forever, Nora
Pete (like Roger) seems a bit stuck in the past as far as styling goes--but at least he's trying, right? His three-piece suits look a bit tired, especially considering many of the men at the agency aren't even wearing ties to work anymore. But with his mother finally out of his life, Pete's safe to move on, as demonstrated by his questionable choice of stripy cardigan, turtleneck, and mustard pants combo when he goes to see his daughter. Oh, Pete.
Ted's a confused guy, and it shows in the way he dresses. Once the king of the mustard suit, Ted seems to be trying to find his way in as many outfit options as possible. One day he's in a full suit, the next day, a turtleneck and sportcoat, and the next, a no-nonsense shirt and tie.
One of the most telling moments for Ted comes after his tryst with Peggy. After lying in bed with her shirtless, Ted returns home to his wife, where he gets in bed in an undershirt. And let's just say, there's more than a thin piece of fabric that's come between the spouses.
Oh Peggy--she just can't get what she wants, like, EVER. After wearing a dowdy brown checkered coat when Ted and family visit the office, she decides to get back at her crush by donning that dress: A super-short black mini with pink satin sash, girls and gams on full display. Oh, and Chanel No. 5--which, sorry Peg, we don't believe to be the only thing she wears.
It works. The next day, Peggy returns to the office wearing a low-cut flight-attendant looking double breasted suit dress with a scarf tied around her neck (which we like to think is covering a hickey). But the following day, after getting dissed by Ted (again), Peggy puts on some major wardrobe armor: A matchy-matchy vest-and-flares ensemble, with a turtleneck underneath. She couldn't be more covered up.
We can totally understand why Kiernan Shipka wants to steal Sally's wardrobe this season. For her call with Don about the burglary, Sally wears a layered look consisting of a purple fair isle cardigan, blue collared shirt, a plaid A-line skirt, and her hair back in a clip. She looks like a little girl--in spite of the hell she raises later on in the episode.
When Don gets her from school and brings her (and her little brothers) to see his old (whore) house, she wears a plaid, Peter Pan collared swingcoat, penny loafers, and white knee socks--a little girl outfit if ever there was. She may have a fake ID, but Sally's nowhere near as grown up as she thinks she is.
Betty's fluffy pink nightgown is a lot like the one Megan wears when Don gets home from jail--which could mean that this time, Megan is actually leaving Don for good (just as Betty did before her).
Stan turned out to be a total style star this episode. He makes Don look like an old man when he tries to convince him to let him go to California when the episode starts--his blue checked suit, brown shirt, and swirly orange tie couldn't be brighter and more "hep" to the times. He again goes for the brights when he disses Don's dirty career tactics, wearing a red shirt and forgoing a tie entirely. His flashy wardrobe and lofty ambitions in the agency gives us the feeling we could be seeing a lot more of Stan and his incredible beard next season.
Last but far from least, we see the return of Stan's fabulous fringe jacket just as the episode comes to a close--the same one he wore while trying to go incognito about Heinz. Condiments for thought...
Keep working that eye patch, bebe.
We don't know a whole lot about Clara, Pete's secretary, but we do know one thing: Her outfits are impeccable '60s amazingness.