American Psycho is a satirical psychological thriller film co-written and directed by Mary
Harron, based on the 1991 novel by Bret Easton Ellis. The film follows the story of Patrick
Bateman, a yuppie New York City investment banking executive who lives an alternate second
life where he indulges in his violent and hedonistic fantasies. Distinctly this film
embodies the stylish sensibilities of the 80s, the decade of decadence, in regards to
cultural aspects, overall visuals, and fashion.
As Mark Twain famously stated, “Clothes make the man. Naked people have little or
no influence on society.” This may be interpreted as people perceive and form opinions according
to the way you are dressed or by dressing in a certain manner you may actually shape
yourself and impact the way you behave which is in reference to enclothed cognition.
Yuppie is a term coined in the early 1980s for a young urban professional with a well-paid
job and a fashionable lifestyle. Bateman takes this to another level as image is paramount
to him.
This holds relevance to this day since fashion and beauty can serve as a marker of societal
norms and aspirations as well as a reflection of who people are, who they would like to
be, or who they must be. Bateman’s fixation on displays of monetary value is very telling
and his choices of aesthetics, specifically fashion as well as the reasoning behind the
purchases hold great significance on many levels.
In the novels there are numerous sections where the author goes into great detail about
the clothing, music, stereo equipment, brands of grooming products, etc to an immense degree-
the same exact way by which the violence is written. This juxtaposition is translated
onto the screen through the cinematography by Andrzej Sekula that isn’t only captivating,
but also very revealing as it not only aids in setting the tone, but gives viewers a glimpse
into the mind of Bateman. These techniques portray Patrick’s mundane image driven lifestyle
with a deep fixation on details that are so stark visually to convey the lack of depth
and blackness within. For instance his apartment in contrast with the later apartment of Paul
Allen that is very warm, comfortable, much more saturated, and embracive.
The only vibrancy in Patrick’s life are produced by hedonistic ventures and objects
which produce equal pleasure in Patrick’s mind.
Let’s focus on the material objects specially clothing, American Psycho lists many prestigious
and well established high fashion brands in the novel, which have made their way to the
screen visually and into the script.
PATRICK BATEMAN: HE ALSO HAS A PENCHANT FOR VALENTINO SUITS AND OLIVER PEOPLES 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 & Stainless
steel case and Jubilee Bracelet.
PATRICK BATEMAN: DON’T TOUCH THE WATCH.
For perspective, these timepieces were incredibly coveted and worn by businessmen of the 80s.
This is quite an obvious choice to opt for Patrick because it not only allows him to
project the image he is so set on, but also mirrors Patrick’s mind and world view. We
see this same sort of minimal clean aesthetic visual within his home.
When a person purchases from a high fashion brand, they not only are buying a shirt or
watch, but into a rich history, lifestyle, belief system, and look of the brand. This
process usually is driven by self fulfillment and most people buy based on what personally
resonates with them, even within dress codes. Bateman takes on the ideals of the high fashion
brands he buys and curates them into his own.
This is why concepts and relationships such as brand loyalty exist due to the enhanced
image perception and this reassurance about who are are as people as well as products
to aid in visual communication of this, comfort in being oneself, and that the brand will
continue to produce in a manner that caters to its target demographic in with respect
to their clients.
Of the list of the many brands, with most mentions Armani is most notable which is suitable
due to how the designer redefined menswear in the 80s. Like many, Armani’s apparel
were an extension of his own personal aesthetics, beauty preferences, and luxury. These variables
together traditionally appeal more to elite society as Armani as a brand is built upon
three pillars: class, quality, and exclusivity. This is the heart of Armani fashion and in
relation to this story, these three pillars are the ones that shape not only the world
of Bateman, but himself on a physical level. He follows stricts skincare regimen, workouts,
diets, codes of dress
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.
Along with cultural standards that are the ones by which he forms his identity around
due to his lack of individuality. Ironically with the many references in this story, Ralph
Lauren's mission statement is “to inspire the dream of a better life through authenticity
and timeless style.” This concept in regards to Bateman is to create the appearance of
this, the costume designer visually conveys how there is a disconnect between the true
nature and idealized image that is held in high respect.
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.
There is this very deep id, ego, and superego power struggle within, but this is masked
by the social identity and in Patrick’s case this is made up of collected pieces from
others. He constantly pays attention to these details of not only himself, but 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.
Though Bateman has conjured up fragments of others in terms of outward beauty that is
executed through sophisticated imagery, the detailed art direction captures the inner
degradation of him as a man, but Bateman never sees himself despite the amount of focus on
producing the social and self perception he deems as valuable.
Reflections are highly symbolic within this film, which is not an unusual technique, but
is executed quite distinctly. For example, in Black Swan where the mirrors provide a
vehicle to look into Nina's character, her self awareness produced by her ego is evident
and she is very fearful of her internal struggles. No matter how extreme a situation may be,
her ego keeps advocating and providing reason throughout the imbalance of power. Much differently,
Patrick displays a lack of ego, the mirror for him is very welcoming and he is not seeing
himself through a lens of depth, but the surface value since that his obsession.
He cannot differentiate what he is viewing, reality and imaginary events overlap and this
inability creates this desentization. Everything is surface value- what is the difference between
a concept, a person, and an object.
This inability is what creates this blind spot
PATRICK: I FEEL LETHAL, ON THE VERGE OF FRENZY. I THINK MY MASK OF SANITY IS ABOUT TO SLIP.
that can be explained by freudian theory where the superego and id form tension, so getting
ready in the morning to go to work is just as casual as preparing to murder his self
defined nemesis Paul Allen. He even goes as far to protect his suit and holds this to
be high priority within the situation.
His id which is the primitive and instinctual part of the mind that possesses the aggression
and sexual drives is imbalanced in combination with the superego which is the critical and
moralizing role. With a lack of ego, there is a lack of mediating these two ends of the
spectrum.
This explains Patrick’s indifference and how his views are skewed. The labels and details
provide great insight.
The very first reflection is in a poster for the film les miserables which is often referenced
throughout the movie to capture Patrick's disconnect, it acts as an object for social
status, but the story explores themes are are rather ironic to be since Les mes explores
themes of class struggle, inequality, and inhumanity.
In the same way that Patric does not reflect on himself, Patrick does not ever reflect
on these themes, even this is transformed from a conceptual, artistic, intellectual
experience into an object that Bateman decides to use to impress others in relation to intelligence
and wealth.
PATRICK: NEXT SATURDAY? SURE.
PATRICK: CAN'T, I'M AFRAID. I HAVE A MATINÉE OF LES MIS.
By seeing himself in this poster, it’s not a moment of observation of the object, but
an observation of himself. It’s the upkeep of his self perception. This is when one observes
their own behavior and self concepts, but Patrick's view again is on pure image rather
than any internal development or depth. Reflections are empty to him just as life is.
For example,many find fulfillment and develop while pursuing a career. Despite holding an
esteemed position and defining himself within yuppie culture- he tends to not work, when
walked in on he pretends to be on the phone discussing clothing rather than choosing to
act as if he were working,
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, what is within tends to not be valued.
This is depicted through the constant misidentifications within their social circle. A name of a label
is a min identifier. Whether positive or negative, this has 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 is fabricated, an aberration. I am a noncontingent
human being. My personality is sketchy and unformed”
This is tangible 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, 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 he 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 that 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.
The ending of this film has been left incredibly open-ended for us to interpret, but since
Bateman is an unreliable narrator these references do provide some insight into what reality
may be. (ending quote no deeper knowledge of himself).
The visual narration of fashion in this film, showcases this disconnect of appearance to
character to their true self and how the formation of oneself out of others can become a facade.The
brands represent the preferred persona tangibly, taking on all of the morals, values, imagery,
and lifestyles associated and covers up the man beneath rather than embracing him.
In this specific case, the clothing wears Patrick, he does not wear the clothing. Though
this is a story, through this lens there is a lot of truth. Fashion in real life can function
similarly through presenting an image to the world that we covet, communication of values
through our brands of choice, the symbolic meanings of each individual piece due to the
rich history of how it came to be, and the impact of wearing clothes in relation to a
person as an individual.
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