Style & Substance: The Sartorial Missteps of ‘Kinda Pregnant’
In what could only be described as a sartorial symphony gone delightfully askew, Amy Schumer’s latest cinematic venture “Kinda Pregnant” serves up a wardrobe of emotional complexity that rivals any New York Fashion Week collection. Just as hemlines rise and fall with the seasons, so too does our protagonist’s grasp on reality in this peculiar tale of faux motherhood.
The narrative unfolds like a vintage Chanel suit – classic in structure yet somehow missing its signature polish. Schumer, channeling her character Lainy with the subtlety of a neon Balenciaga bag at a funeral, trades her usual comedic finesse for something more akin to last season’s trends – trying hard but missing the mark.
In one particularly memorable scene, reminiscent of Isabella Blow’s most theatrical moments, Lainy transforms a refined dining experience into performance art, complete with chocolate cake war paint and a destroyed evening dress that would make Alexander McQueen wince. The sparkly number in question – a victim of emotional collateral damage – deserved a better fate.
The film’s costume design takes an interesting turn when Lainy discovers the transformative power of a prosthetic baby bump – fashion’s ultimate accessory in her deceptive world. Like Demna’s oversized silhouettes at Balenciaga, the fake bump becomes both armor and statement piece, earning her entry into an exclusive social circle that includes the luminous Megan (Brianne Howey, serving effortless cool-girl energy in what must be The Row’s maternity collection).
Will Forte enters the scene like a perfectly tailored Tom Ford suit – reliable, attractive, but perhaps too good to be true. His character Josh represents the classic menswear approach to comedy: understated yet effective, unlike the supporting cast who seem dressed in fast fashion when the script called for haute couture.
The film’s attempt to balance comedy with commentary falls like a model in six-inch heels on a slippery runway. Despite moments of genuine connection (Howey’s bathroom confession scene feels as authentic as a vintage Hermès Birkin), the overall production suggests a collection that needed another fitting before hitting the catwalk.
