Killing. Eve. Arguably the greatest British cultural phenomenon to hit our screens this decade. Magnetic, bold, and subversive at its core, the first episode introduces us to Eve Polsatri, a dynamic but clearly bored MI5 security officer (brought to life by the untiring Sandra Oh) who yearns for a more exciting life. When a Russian politician is found murdered halfway across the world, Eve is tasked to protect the only witness, and within the first ten minutes finds herself on a collision course with one of the most electrifying characters in the history of television – Villanelle (immortalised by the dazzling Jodie Comer). An equally charismatic and capricious killer for hire, Villanelle topples the classic interpretation of a muted hitman and replaces it with a vision for a fierce and impulsive hitwoman. Over the next three seasons, these two leading ladies become increasingly obsessed with one another in a truly epic game of cat and mouse, reinventing the spy thriller genre in the process.
But there’s also another reason the show has gained so much popularity – Villanelle and her relationship with fashion. Not only are her ensembles worthy of praise in their own right, but they reinforce fashion’s central tenet – a constant renegotiation of identity. And who better to shed a light on this truth than a shapeshifting assassin, only this time instead of trying to blend in to the surroundings, Villanelle announces to the world around her that she is here, proud and fearless.
It’s taken a little while, but here is why anyone even remotely interested in fashion should watch Killing Eve. The best looks from the show after three seasons, and how they fit into the tapestry of Killing Eve with flair and purpose.
Season 1 – “I’ll Deal with Him Later”
It’s pink. It’s puffy. It’s Villanelle’s most iconic fashion moment to date. On top of that, it’s a thinly veiled retaliation against her enigmatic employers, who force her to undergo psychiatric assessment as a result of her increasing brazenness on contracts. She doesn’t bat an eyelid, and asserts herself in this tulle Molly Goddard dress. By this point in the series, we know she’s aggressive and combustible, but this is a clear reminder to her masters of her identity as a stand-alone and undeniable force.
Season 1 – “Don’t I Know You?”
Season 3 – “Are You Leading or Am I?”
Season 3 – “Meetings Have Biscuits”
Let’s take a moment to take in these three looks. Although all three are different, the common thread is the suit. This typically male concept is synonymous with professional killers, from the men at Murder Inc in the 40s to Agent 47 in the Hitman franchise. And yet, Jodie Comer’s character repossesses it and subverts the idea of a strictly male assassin with her choice of wardrobe. She ties herself to the traditional image and makes it her own. It could be said too that on a practical level a suit might be better than a Molly Goddard masterpiece for the kind of wetwork she performs, but then again why not just wear a boiler suit?
The piece in “Don’t I Know You?” is a Dries Van Noten printed power suit, and the ensemble in “Meetings Have Biscuits” is a charcoal pinstripe three-piece by Chalayan. However, the Halpern double-breasted marble-print satin-faille suit in “Are You Leading or Am I?” deserves special attention.
Firstly, this just another example of Villanelle’s penchant for the absurd with a mesmerising, unbroken pattern across the whole suit. The epitome of the vibrant and exaggerated style of the 1970s, in stark contrast to the attire worn by the woman standing next to her (who so happens to be a contract killer too). The other assassin here is wearing a rugged, fit-to-purpose black kit; a practical killer, and not a walking exhibit like her charismatic counterpart. In that further context, we’re no longer just comparing her to the ‘archetypal’ hitman, but we get to contrast her to another contemporary female assassin. And the conclusion is clear – she not only differentiates herself from the men in her profession, but also from the women, becoming unique beyond reproach and dissociating from any expectations of conformity.
Season 2 – “Smell Ya Later”
Season 3 – “End of Game”
Season 3 -”Are You Leading or Am I?”
Whereas the previous looks aimed to cut against the grain of expectation, these next three show a, albeit slightly, more muted side to Villanelle as she attempts to match the professionalism of certain occasions.
In “Smell Ya Later”, our anti-heroine visits Carolyn, a senior MI6 operative, and matches the serious environment with a Loewe striped tuxedo jacket and matching trousers. In “Are You Leading or Am I?” she visits Carolyn once more and tries to complement that same gravity with a relatively pared-down look. But I hope by now you aren’t surprised that pared-down carries another meaning with Villanelle. Comer is wearing an embellished Prince of Wales check coat by Y/PROJECT, paired with a creme frayed jumper by Uma Wang and wide-leg trousers by Chloe. Her stark individualism continues to shine through, even when she is looking for low-key.
That same spirit extends even to what essentially amounts to a job interview. In “End of Game”, Villanelle is attempting to make career strides and meets with highly placed members of her organisation, all while the rest of her life is tumultuous to say the least. And yet, she wears an almost shining Dice Kayek pantsuit, with accentuated shoulders. She projects maturity, having developed significantly as a character over three seasons, and attempts to match the professionalism of the occasion with her look.
Season 3 – “Beautiful Monster”
Season 2 – “Smell Ya Later”
Season 3 – “Slowly Slowly Catchy Monkey”
The next three are simply classic Villanelle— doing what she damn well feels like. In “Smell Ya Later”, she visits Oxford, and pokes fun at the studious, preppy nature of her surroundings with a vintage men’s shirt, high-waisted beige trousers by Raey, and a similarly fitting tie and cream cable-knit jumper.
In “Beautiful Monster”, Villanelle hits the golf course. A Charlotte Knowles coat and Gucci trousers certainly reveal a beautiful monster, as Villanelle begins to refocus her priorities and navigate her changing identity. The striking outfit foreshadows equally striking upcoming changes, looks fantastic, and allows Villanelle to have fun by overplaying golf attire stereotypes.
And perhaps my favourite, the black ensemble our assassin wears to her own wedding at the start of season 3 in “Slowly Slowly Catchy Monkey”—nd don’t worry, this is no spoiler — the ceremony doesn’t contribute anything to the story but merely serves as a fresh start to the third season. Wearing only black to your own wedding is unusual at the least, and with Villanelle merely another exercise in sociopathy and self-aggrandisement. In a Comme des Garçons tailcoat and Simone Rocha blouse she doesn’t want to answer to anyone, and reminds us once again that she does what she wants, both in fashion and in life.
Fashion is perhaps Villanelle’s only real pleasure when we meet her, and as far as we know the only thing on which she spends her money. But she has mastered that art, and wields it with such finesse to cement herself in the world around her and do everything on her own terms. Fashion can be a weapon, an instrument of subversion, and an all-empowering part of life. And in Killing Eve, all three are deployed by a prodigious team, both in front of and behind the camera. I hope reading this will awaken a desire to explore this series, whether for the story, the brilliant characters, the iconic looks, or the empowering arcs throughout. But one thing remains clear regardless, our wardrobes would thank us to take on Villanelle’s ferocity and confidence.