The film American Psycho, directed by Mary Harron, can be categorized as a satirical psychological thriller. It is an adaptation of the 1991 novel with the same title, written by Bret Easton Ellis. The narrative of the film revolves around Patrick Bateman, a young urban professional employed in the field of investment banking within the bustling metropolis of New York City. Throughout the course of the film, Bateman constructs an alternate reality wherein he can freely indulge in his most extreme and pleasure-seeking desires, often characterized by acts of violence. The film exhibits cultural elements, visual aesthetics, and fashion choices that evoke strong associations with the opulent era of the 1980s.
It was Mark Twain who famously said, “Clothes make the man. Naked people have little or no influence on society.” The presence of naked people has little to no effect on the functioning of society. The way people dress can be seen as having an effect on their thoughts and the formation of their opinions. A person’s self-perception and, by extension, their actions, may be influenced by the clothes they choose to wear. The theory of clothed cognition is consistent with this idea.
In the early 1980s, the term “yuppie” was coined to characterize a subset of young people living in urban areas who held well-paying jobs and followed the latest fashions. Bateman’s outlook is more nuanced than it otherwise would be due to his focus on visuals.
The importance of fashion and beauty in modern society persists because they serve as barometers of societal norms and aspirations while simultaneously reflecting individuals’ actual, desired, or imposed selves. Bateman’s obsession with material signs of wealth is extremely illuminating, as his tastes in art and design, especially in the realm of fashion, and the reasons behind his purchases reveal a great deal about him.
The level of detail in the portrayal of violence in the novels is commensurate with that of other aspects such as the characters’ wardrobes, music collections, stereo systems, and personal care products. The cinematography by Andrzej Sekula effectively portrays the contrast between different elements in the film, thereby enhancing the viewer’s engagement and understanding. Through visually captivating techniques, Sekula brings this contrast to life on screen, contributing to the establishment of the film’s atmosphere and offering valuable insights into the psyche of the character Bateman. The aforementioned methodologies illustrate Patrick’s existence as a sequence of habitual, visually-oriented activities distinguished by an intense fixation on visually striking particulars that elicit a sense of shallowness and a dark inner state. To illustrate this point, let us consider a comparison between his apartment and Paul Allen’s subsequent residence, wherein the latter exhibits a significantly higher degree of warmth, comfort, saturation, and inclusiveness.
Patrick’s sole source of pleasure lies in engaging in hedonistic pursuits and amassing material possessions that afford him a commensurate degree of gratification.
This discussion pertains to personal possessions, particularly clothing, as portrayed in the novel American Psycho, where numerous prestigious brands are referenced and subsequently depicted audibly and visually in its film adaptation.
PATRICK BATEMAN: HE ALSO HAS A PENCHANT FOR VALENTINO SUITS AND OLIVER PEOPLE GLASSES. MARCUS AND I EVEN GO TO THE SAME BARBER, ALTHOUGH I HAVE A SLIGHTLY BETTER HAIRCUT.
The top three most mentioned brands are Armani followed by Ralph Lauren and Rolex. Bateman’s style is very revealing despite being so similar to the men around him. For instance, in both the novel and the film, Bateman sports a Rolex Datejust 16013 with a two-tone 18k Gold and stainless steel case and Jubilee Bracelet.
PATRICK BATEMAN: DON’T TOUCH THE WATCH.
It’s interesting to think back on the 1980s and remember that these watches were extremely popular among businessmen. Choosing Patrick as the best option is easily discernible because it will allow him to portray the ideal self while also meshing with Patrick’s way of thinking and worldview. His home has a similarly spare and uncluttered aesthetic.
When a customer makes a purchase from a high fashion label, they aren’t just getting a shirt or a watch; they’re also getting a piece of history, a philosophy, some core beliefs, and a certain aesthetic. When it comes to purchasing decisions, even in the context of dress codes, consumers are often motivated by a desire to express their unique identities. Bateman adopts and modifies the tenets of the luxury fashion houses he purchases in order to make them consistent with his own taste.
Enhanced brand image and the assurance it provides regarding personal and product identity are the reasons for the existence of concepts and relationships like brand loyalty. The brand’s dedication to making products that appeal to the tastes of its target demographic while showing respect for its customers is reflected in these features.
When considering the many brands available, Armani stands out as particularly noteworthy due to the designer’s seminal role in reshaping menswear in the 1980s. Armani’s clothes, like those of countless other people, expressed his sensitivity to beauty and his penchant for finery. The Armani name has always been synonymous with sophistication, high quality, and limited availability, so it makes sense that this combination would attract affluent consumers. These three pillars are the essence of Armani fashion, and they not only affect Bateman’s external environment but also his very being. The person follows strict guidelines for their appearance, including a strict skincare routine, regular exercise, a healthy diet, and a smart wardrobe.
To put things in perspective, in the 1980s, these watches were extremely popular among businessmen. It’s easy to see why Patrick would go this route; not only does it help him present the image he wants, but it also reflects his own thought process and worldview. His home has the same kind of streamlined cleanliness we see elsewhere.
High fashion brands have a long and storied past, and when a customer makes a purchase from them, they are investing in more than just a shirt or watch. Most people shop for what “speaks” to them on a personal level, even when it comes to rules of dress. Bateman adopts and refines the ethos of the high fashion labels he shops for.
Enhanced image perception and this reassurance about who we are as people, along with products to help visually communicate this, comfort in being oneself, and that the brand will continue to produce in a manner that caters to its target demographic in regards to clients, are what give rise to concepts and relationships like brand loyalty.
Given how the designer Armani revolutionized menswear in the 1980s, it is fitting that he receives the most mentions among the many brands mentioned. Armani’s clothes, like those of many other designers, were an expression of his own taste in fashion, style, and luxury. Armani as a brand is founded on three pillars: class, quality, and exclusivity, and these factors together traditionally appeal more to elite society. As the story progresses, we see how these three pillars not only shape Bateman’s world, but also his body. This is the essence of Armani fashion. He has very regimented beauty, fitness, and wardrobe routines.
PATRICK: NOW, JOHN, YOU’VE GOT TO WEAR CLOTHES IN PROPORTION TO YOUR PHYSIQUE. THERE ARE DEFINITE DO AND DON’TS, GOOD BUDDY OF WEARING A BOLD STRIPED SHIRT. A BOLD STRIPE SHIRT CALLS FOR SOLID COLORED OR DISCREETLY PATTERNED SUITS AND TIES.
In the absence of a robust self-identity, he constructs his sense of self by relying on cultural norms. The narrative contains numerous references to Ralph Lauren’s mission statement, which articulates the aspiration to evoke aspirations for an improved existence through the embodiment of genuineness and enduring elegance. The costume designer employs visual storytelling techniques to emphasize the disparity between Bateman’s authentic self and the idealized image of himself.
For the film the characters are modeled after fashion editorials such as the ones that can be found in GQ and Esquire along with inspiration from real men on Wall Street to ground these looks into reality. Bruce Pask, men’s fashion director at Bergdorf Goodman states, “[In the late ’80s] there was a rapid expansion of the availability of men’s high fashion, a heightened awareness of designer labels and a vast array of grooming and beauty products entering the market for the first time that were targeted specifically to men.”
Bateman is the byproduct of his culture and a reflection of the men around him who all on the surface equal counterparts with similar careers, income, relationships, and lifestyles, but Patrick differs considerably within as we constantly have insight into as viewers.
PATRICK: THERE IS AN IDEA OF A PATRICK BATEMAN, SOME KIND OF ABSTRACTION, BUT THERE IS NO REAL ME, ONLY AN ENTITY, SOMETHING ILLUSORY, AND THOUGH I CAN HIDE MY COLD GAZE AND YOU CAN SHAKE MY HAND AND FEEL FLESH GRIPPING YOURS AND MAYBE YOU CAN EVEN SENSE OUR LIFESTYLES ARE PROBABLY COMPARABLE: I SIMPLY AM NOT THERE.
We get to see his true thoughts, feelings, and desires. This desire to upkeep images is very compulsive, with psychological perspective we can see that these habits highlight the controlling nature and impulsive thoughts in relation to one having “an object of desire.” On the surface though, he is very much like the men around him, but never fully present in a moment. Part of his mind is always attentive to this longing desire of upholding his image.This dictates Bateman’s whole life.
JEAN: HAVE YOU EVER WANTED TO MAKE SOMEONE HAPPY?
PATRICK: WHAT? NO! PUT IT IN THE CARTON.
JEAN: SORRY.
PATRICK: I’M NOT GOING ANYWHERE UNLESS WE HAVE A RESERVATION.
PATRICK: THERE IS A MOMENT OF SHEER PANIC, WHEN I REALIZE PAUL’S APARTMENT OVERLOOKS THE PARK.
Within the individual, a profound internal conflict arises between the id, ego, and superego, although this struggle is concealed by the social identity. In the specific case of Patrick, his social identity is constructed from various elements borrowed from others. He consistently demonstrates attentiveness to these details, not only pertaining to himself but also to others.
PATRICK: I SAID, DO NOT WEAR THAT OUTFIT AGAIN WEAR A DRESS OR SKIRT OR SOMETHING.
PAUL: NICE TIE.
PATRICK: PAUL ALLEN HAS MISTAKEN ME FOR THIS DICKHEAD MARCUS HALBERSTRAM. IT SEEMS LOGICAL BECAUSE MARCUS ALSO WORKS AT P&P AND IN FACT DOES THE SAME EXACT THING I DO AND HE ALSO HAS A PENCHANT FOR VALENTINO SUITS.
Evelyn: YOU HATE THAT JOB ANYWAY, I DON’T SEE WHY YOU JUST DON’T QUIT.
PATRICK: BECAUSE I WANT TO FIT IN.
Bateman is able to portray an outwardly appealing persona through the use of elaborate imagery, but the meticulous art direction shows his inner decline. Bateman puts in a lot of effort to present a good image to others and himself, but he has no idea who he really is.
The film makes heavy use of reflections, a technique frequently used in cinematic storytelling, as a symbolic device. The film’s version of the technique, however, stands out. In the film Black Swan, Nina’s heightened awareness of herself as a result of her ego and her profound fear of her inner conflicts are revealed through the use of mirrors. Her ego, despite the inherent power asymmetry, continues to advocate and rationalize regardless of the gravity of the situation. Patrick’s welcoming attitude toward the reflection is indicative of his lack of ego. His primary preoccupation is with the superficial aspects of himself, rather than with gaining a deep understanding of who he is.
The person is desensitized because they can’t tell the difference between real events and the blending of fictional events in their perception. The purpose of this investigation is to differentiate a thought, a person, and an item based on their outward appearances.
The inability to do so is the root cause of this blind spot.
PATRICK: I FEEL LETHAL, ON THE VERGE OF FRENZY. I THINK MY MASK OF SANITY IS ABOUT TO SLIP.
Because of the friction between his superego and his id, killing his self-described enemy Paul Allen seems as natural to him as getting ready for work in the morning. He takes extra precautions to safeguard his suit, which he places above all else.
His superego, the critical and moralizing part of his mind, is out of whack with his id, the primitive and instinctual part of his mind that possesses aggression and sexual drives. Without an ego, it is impossible to find a middle ground between the two extremes. This clarifies Patrick’s apathy and the distortions in his perspective. The labels and information are very helpful.
A poster for the film Les Misérables serves as Patrick’s first reflection; throughout the film, he uses it as a symbol of his social status, despite the irony of the story’s themes of class struggle, inequality, and inhumanity. This is transformed from a conceptual, artistic, intellectual experience into an object that Bateman decides to use to impress others in relation to his intelligence and wealth, just as Patrick never reflects on himself or these themes.
PATRICK: NEXT SATURDAY?
SURE.
PATRICK: CAN’T, I’M AFRAID. I HAVE A MATINÉE OF LES MIS.
The moment he looks at this poster and sees himself in it is not one of object observation but of self-observation. It’s important for his sense of self-worth. This is a time for introspection, during which one can gain insight into one’s behavior and sense of self, but Patrick, once again, seems focused more on outward appearance than on character growth. To him, reflections, like life itself, are meaningless.
For instance, many people learn and grow as they progress in their careers. Despite his high status and yuppie identity, he rarely puts in a full day’s work and, if caught not working, will instead pretend to be talking about clothes over the phone.
PATRICK: …DISCREETLY PATTERNED SUITS AND TIES. YES, ALWAYS TIP THE STYLIST 15%.
Producing a total display of knowledge of fashion and wealth to create a display of the man he considers acceptable and the world around him in this film reassures this internal state is not actually that important.
PATRICK: INSIDE DOESN’T MATTER.
Constantly identity is disregarded throughout the film, and what is within tends to not be valued. This is depicted through the constant misidentifications within their social circle. The name of a label is a min identifier. Whether positive or negative, this has a great influence on our self-concept and dictates many directions of our thoughts and actions.
Bateman does not consider himself to be a person of sorts, he has many feelings of absence and vacancy, the clothing, apartment, career, relationships, etc. animate him to a degree, but this is to some extent an illusion despite being physically there. The film touches on this and the novel gives further insight into these thoughts, and I quote, “It is hard for me to make sense on any given level. Myself has fabricated an aberration. I am a noncontingent human being. My personality is sketchy and unformed”
This is tangible and manifested outwardly through Patrick’s relationship to his image. Despite his colleagues and friends dressing very similarly, Bateman is playing a role constantly and creates further competition in his mind. Even when wanting to admit to what he has done and genuinely displaying emotions- the fleeting moment of ego, this is met with the same disdain he showed to others. While other men in their suits may feel their best, suit their personal taste, and interact with clothing for lifestyle so as to be dressed for work, social functions, etc. In these cases, clothing serves them, but Bateman is practically imprisoned by his lifestyle and status.
His clothing and by extension is not only a mask, but part of a cage of sorts that he cannot escape, hence the final line of the novel and sign in the film “THIS IS NOT AN EXIT”. It should be noted that the first line of the novel is “Abandon all hope, ye who enter here” These are in reference to Dante’s Inferno and No Exit which depict fictional tellings of hell.
PATRICK: BUT EVEN AFTER ADMITTING THIS THERE IS NO CATHARSIS, MY PUNISHMENT CONTINUES TO ELUDE ME AND I GAIN NO DEEPER KNOWLEDGE OF MYSELF.
While Bateman’s unreliability as a narrator means that we have to draw our own conclusions about the film’s ending, the hints he drops about the nature of reality are intriguing.
This film uses a visual narrative about clothing to explore how it is possible to create a false sense of identity by drawing on the traits of others. Rather than celebrating the real man beneath, the brands represent his idealized self by adopting his ethics, values, imagery, and way of life.
Rather than Patrick donning the garments, they are worn by him here. Even though it’s fiction, this perspective reveals a great deal of truth. Real-world fashion serves a similar purpose through the image it projects to the world, the values it conveys through the brands we choose, the rich history behind each item’s symbolic meaning, and the effect it has on the wearer.
SOURCES: Ralph Lauren Mission and Vision Statements- https://mission-statement.com/ralph-l…. Patrick Bateman nailed 1980s businessman style- https://www.gq-magazine.co.uk/fashion… Psycho’ Fashions- https://nypost.com/2000/04/10/psycho-… Social Identity Theory- https://www.simplypsychology.org/soci… American Psycho Review- https://offscreen.com/view/psycho1 How Giorgio Armani Redefined Menswear- https://therake.com/stories/style/how… Fashion Psychology: What Your Choice in Clothes Say About You- https://www.scienceofpeople.com/fashi… Lacan’s Concept of the Object-Cause of Desire (objet petit a)- https://thedangerousmaybe.medium.com/… Collective Identity- https://link.springer.com/referencewo…. Labeling Theory- https://www.theworldcounts.com/happin…
