Power Dressing: How ‘Thunderbolts*’ Redefines Superhero Fashion Statements
In the ever-evolving landscape of superhero cinema, Marvel’s latest offering “Thunderbolts*” (yes, that enigmatic asterisk is intentionally part of the title) presents itself as the equivalent of a daring mixed-pattern ensemble on fashion week’s runway—unexpected combinations that somehow create a captivating whole. Like a Demna Gvasalia collection for Balenciaga, this film throws disparate elements together with abandon: a guinea pig, comic villains, existential crises, industry veterans, and an ensemble cast that reads like the front row at Met Gala.
Florence Pugh emerges as the undisputed centerpiece of this cinematic collection, channeling Tom Cruise-level commitment with her own death-defying stunts while wrapped in the complex character of Yelena Belova. Her Russian-accented delivery and nuanced expressions evoke the same captivating presence that made her a standout at last season’s award ceremonies. Just as a perfectly tailored Valentino commands attention on a crowded red carpet, Pugh dominates every frame she inhabits.
Sebastian Stan, fresh from his transformative portrayal of young Donald Trump in “The Apprentice,” slips back into his Winter Soldier persona with the same effortless grace with which he transitions between Thom Browne suits and casual streetwear at press events. His Bucky Barnes provides the weathered leather jacket backbone to this narrative—classic, reliable, and essential to tying the entire aesthetic together.
David Harbour’s boisterous Red Guardian serves as the collection’s statement piece—the equivalent of an embellished Alessandro Michele-era Gucci ensemble that shouldn’t work but absolutely does. His theatrical Russian bombast provides texture and dimension against Pugh’s more restrained performance, creating a dynamic visual tension that propels their scenes forward.
The narrative itself weaves between genres with the experimental fearlessness of a Rei Kawakubo runway show. One moment we’re in sleek espionage territory with Julia Louis-Dreyfus’s deliciously villainous C.I.A. director Valentina (operating from a mountain lair that would make Karl Lagerfeld’s Chanel sets seem understated), the next we’re exploring existential angst as Yelena contemplates the void from a skyscraper’s edge with all the philosophical weight of a Prada intellectual.
Industry veterans of “The Wire” fame make appearances like unexpected vintage Galliano pieces in a contemporary collection—Chris Bauer plays security professional Holt with the same assured confidence he brought to the HBO classic. Meanwhile, Lewis Pullman’s Bob feels like an unnecessary accessory that distracts rather than enhances, despite the actor’s Hollywood pedigree (he’s the son of Bill Pullman, in case the invitation to this nepo baby party wasn’t clear enough).
The film’s violence comes stylized and sanitized—think Helmut Newton’s provocative imagery without the controversial edge—as bodies fall but blood never stains our heroes’ impeccably designed tactical wear. The Thunderbolts themselves, a group first sketched in comic form in 1997, have been reimagined as fashion’s favorite archetype: the redeemable rogue with a troubled past and a heart of gold beneath their battle-scarred exterior.
What ultimately elevates this film beyond mere superhero spectacle is Pugh’s fearless commitment, particularly in a breathtaking stunt sequence where she steps off the world’s second-tallest building. Unlike Cruise’s carefully framed death-defiance in “Mission: Impossible,” Pugh’s moment of bravery passes almost unnoticed—a couture detail visible only to those who appreciate behind-the-scenes craftsmanship.
“Thunderbolts*” may not revolutionize the superhero genre the way Alexander McQueen transformed fashion, but it offers enough carefully curated moments of brilliance to satisfy devotees and casual viewers alike. In the crowded landscape of caped crusaders, this ensemble piece stands out like a well-styled editorial spread—not perfect in every detail, but impossible to ignore and oddly compelling in its bold choices.
