I prefer to think that if my Gen X mother was an adult reasonably than a child in the course of the ‘70s she’d dress like Tina from the Starz series Minx. Played by Idara Victor, Tina has a mode that is usually related to the Black working women of the ‘70s: vivid pantsuits, gorgeous gowns for outings, and patterned wrap dresses à la Diane Von Furstenberg. Minx, which is costumed by Beth Morgan centers across the Vassar-educated Joyce (Ophelia Lovibond) who creates a radical pleasure publication for ladies through meeting Doug (Jake Johnson) of Bottom Dollar, a porn magazine conglomerate. Tina, who has been in each seasons of the show, was at one point the pinnacle of the international division of the spin-offs of the glossy—this necessary position got here after Constance Papadopoulos’ (Elizabeth Perkins) take-over. 

I first began being attentive to Tina’s style when she was still running Bottom Dollar alongside Doug and he or she wore a golden mesh dress. This piece was a part of the outfit she wore to a rustic club pitch meeting attended by all of the principal characters-–her hair was coiffed perfectly too. This was a character-defining moment because she was previously introduced as a very stylish and essential a part of the show’s storyline. As Doug’s go-to fixer in the primary season, Victor’s Tina character wears a wrap dress in white and red that screams ‘70s; she wears this with a vivid orange hard hat for a walk-through of a constructing Doug is manifesting they’ll own. In one other moment, for a watch party at her home, she wears a floral jumpsuit in baby blue, white, and other hues. Each of those looks speak to how Tina’s character is usually related to vivid hues reasonably than muted ones: this points to her charisma, her wit, and the way outspoken she is.

Joyce’s outfits in season one could largely be described as stuffy, as that’s all she knows—and Tina is the polar opposite. Notions of power, as they pertain to womenswear, have exerted a big influence on white women over the course of many many years. Joyce contributes to this influence through her incorporation of unshapely blouses and well-fitted suits. By season two, Joyce has done a 180 and is kind of stylish. 

Nonetheless, it’s necessary to notice that Tina’s costuming was at all times eclectic and wide-ranging from the introduction of Minx. Tina’s style cues, spanning from elegant floor-length gowns at film premieres to figure-hugging sweater dresses and every part in between, exude a way of private and original flair. For a Black woman in a show that rarely features Black characters, it’s noteworthy that Morgan intently used style as a option to showcase how Tina’s clothing gives her a lift of confidence within the workplace. This idea stays relevant for varied women of color who operate in environments lacking diversity. I can personally attest to the boost in confidence I’ve experienced when well-dressed in spaces where Black and brown individuals are underrepresented.

What’s most interesting about Tina’s wardrobing also speaks to the upward mobility of her profession at Minx. In season two, her looks pivoted from mainly suiting to chic, “quiet luxury” looks. In a single scene from the second season, she dons a brown blazer, a red top, and a midi skirt while embarking on a wilderness retreat with Joyce and Constance. Even while walking for miles, Tina is trendy and her hair is pulled back reasonably than wispy and swirling round her face (she saves this for special occasions). 

Furthermore, Tina consistently exudes professionalism in her office attire, often seen in collared shirts and coordinated sets that include a dress paired with a short-sleeve jacket. In W, Morgan noted that every one of her outfits have a “spin of individuality.” She added that she “can’t help but have her essence come through in all these beautiful patterns she picks and the amazing necklaces she wears.”

In the course of the concluding episode of the most recent season, on the Minx international party, shortly after assuming her recent role overseeing all magazines, she graces the event in a resplendent golden gown. To me, gold undeniably suits Tina best. Having climbed the company ladder, she, together with Joyce and her colleagues, makes the resolute decision to part ways with Constance and resign from their positions. It feels perfect that in a moment where she was imagined to be at a glitzy party celebrating world domination as a substitute, Tina chooses to go against the grain, all while looking absolutely stunning in her elegant floor-length gown, long lashes, a curly wig in comparison with her previous selections, and glamorous makeup. This concluding moment is pivotal, offering a chance to contemplate the sheer creative brilliance of Morgan’s costume selections for Tina.