Composite featuring images by Paul Smith, Jaime Hernandez, Wendy Pini, Michael Wm. Kaluta, Howard Chaykin, and John K. Snyder III.
Composite featuring images by Paul Smith, Jaime Hernandez, Wendy Pini, Michael Wm. Kaluta, Howard Chaykin, and John K. Snyder III.

12 Comic Book Fashion Icons of the 1980s

Composite featuring images by Paul Smith, Jaime Hernandez, Wendy Pini, Michael Wm. Kaluta, Howard Chaykin, and John K. Snyder III.
Composite featuring images by Paul Smith, Jaime Hernandez, Wendy Pini, Michael Wm. Kaluta, Howard Chaykin, and John K. Snyder III.

Back in the 1980s, most comic books (and the artists who drew them) were not usually up on the latest fashion trends. Still, there were a handful that stand out now as being very much keyed into the styles of their times. One of these was a little known comic called Fashion in Action by John K. Snyder III (who would later draw runs on Matt Wagner’s Grendel and DC’s Suicide Squad). Fashion in Action is being reprinted for the first time thanks to a Kickstarter run by editor Hope Nicholson. Hope was kind enough to co-write this list of comic book fashion icons of the 1980s with me. Special thanks to fashion designer Dani Vulnavia who also provided some valuable insights.


Paul Smith // Marvel Comics

In 1983, the X-men’s Storm had one of the most unexpected and talked-about makeovers in comics history. In Uncanny X-men #173, the weather-controlling mutant, who had always worn a flowing cape that matched her long white tresses, suddenly showed up in a black leather vest, studded choker, and a mohawk. Her personality also underwent a shift that matched her new look. The serene young woman who was considered a goddess in her native Kenya was now more direct and aggressive and would soon grow into a strong, decisive leader—characteristics she would retain from that day forward.

Paul Smith // Marvel Comics

Storm’s famous mohawk appalled some of her fellow X-men, who seemed to equate her cutting her hair with irrevocable change (and this is coming from mutants who see their teammates die and come back to life on a regular basis). Artist Paul Smith had actually proposed the “Mr. T” look as a joke, not expecting Marvel editorial to actually go for it. Made popular by punk rockers and non-conformists in the early 1980s, a mohawk was usually visual shorthand in comics for someone who was trouble—not a hero—but this look is what now comes to mind for many readers when they think of Storm. The mohawk will make its big screen debut this year when actress Alexandra Shipp plays Storm in X-men: Apocalypse.


Tony Salmons // Marvel Comics

Dakota North first appeared in a five-issue mini-series in 1986 that wasn't much of a hit, and afterwards she was relegated to sporadic guest appearances in other comics. Nonetheless, comics fans from that era can recall this striking ad above drawn by series artist and Dakota co-creator Tony Salmons. Dakota’s short, sharp bob and motorcycle jacket signaled that this series would be taking fashion very seriously. In fact, the stylish private eye’s first case involved protecting a famous fashion designer.

North’s heavy tapered power suits were similar to those made popular by real-life fashion designer Thierry Mugler.

Tony Salmons // Marvel Comics


Jaime Hernandez // Fantagraphics

Jaime Hernandez’s contributions to the long-running comics anthology series Love & Rockets centered mostly around Maggie Chascarillo and Hopey Glass, two young women who become friends—and occasionally lovers—amidst the post-punk music scene of 1980s Southern California. Feisty and hard-edged Hopey is the true punk whose style rubs off on the more sensitive, feminine Maggie. They both experiment with spikey hairstyles, torn leggings, black leather, and punk band t-shirts. Maggie and Hopey’s fashion sense made them icons for the post-punk, new wave era of the early ‘80s.

Jaime Hernandez // Fantagraphics


John K. Snyder III

Frances Knight was the leader of the stylish, expensive, and incredibly powerful all-girl protection agency called Fashion In Action. Her style was influenced by Annie Lennox and David Bowie, with some shades of "The Man in the Hathaway Shirt" ads thanks to her pressed suits and eye patch. She looked like she was right out of a Theirry Mugler-Helmut Newton collaboration. Her long, ragged coats that gave the appearance of a cape on top of neatly pressed suits reflected her powerful personality and her dark, tortured past.

John K. Snyder III

Fashion in Action ran as a series of eight-page backup stories in Eclipse Comics’ Scout beginning in 1986. Written and illustrated by John K. Snyder III, it was set in the year 2086 where 100-year-old clothing styles were still in vogue. This mostly forgotten series has never been reprinted—until now, thanks to a Kickstarter running this month.


Wendy Pini

Wendy and Richard Pini’s Elfquest was a pioneer of the independent comic movement in the late ‘70s and early ‘80s. Set in a fantasy world similar to Earth but populated by elves, the style of clothing was influenced by late-era hippie fashions of the ‘70s with lots of fringe leather. However, in 1987, Elfquest returned after a two-year hiatus with a new series called Siege at Blue Mountain in which you could see a shift to reflect a more contemporary ‘80s culture. Suddenly, winsome heroine Dewshine traded in the luxurious curly locks inspired by Twiggy for the blown-out metal hair of David Lee Roth. Even her makeup became more ‘80s glam rock with sharper contours and heavier eye-shadow.

Wendy Pini


John Byrne // Marvel Comics

As a successful lawyer, She-Hulk was a Melanie Griffith-style working girl in the late 1980s, starring in her own self-titled series written and drawn by John Byrne. She often wore stylish power suits like those designed by Ralph Lauren and, in her downtime, could be seen wearing oversized comfy sweaters and brightly colored party dresses with an Espirit vibe.

John Byrne // Marvel Comics


Michael Wm. Kaluta

The heroines of the sci-fi series Starstruck—inspired by the off-Broadway stage play of the same name—had an aesthetic influenced by roller derbies and art-house fashion. Series artist Michael Wm. Kaluta was also the designer of the costumes for the show, along with Elaine Lee who wrote and starred in the play and wrote the comic. Kaluta cobbled together the costumes by dumpster-diving and finding discarded clothing on the streets. These days, superhero costumes are often designed with easy cosplaying in mind, but the costumes of Starstruck existed in reality before coming to the page, giving them a realistic, DIY feel.

Elaine Lee

Galatia 9, a captain and freedom fighter, wore an asymmetrical outfit that showed skin yet didn’t feel sexualized. One side of her body suit was all business with thick wrestler's boots and gold armor plating while the other side was mostly bare and featured a star-shaped breastplate where her right breast should be (she is of Amazonian origin, hence the lack of one breast).


John Romita, Jr. // Marvel Comics

When refugee mutant from the future Rachel Summers joined the X-men in their present world of 1984, she took her time before settling on a legitimate superhero name and costume. For a while, she would accompany the team while wearing jazzercise outfits, but she also rocked a lot of stylish gender-neutral attire like suspenders or a jacket and tie. She even offset her close-cropped red hair with a long, single braid.

Alan Davis // Marvel Comics

Eventually, Rachel would take on the name Phoenix and don a series of costumes in homage to her mother, Jean Grey, the original Phoenix. But by the end of the 1980s, she had moved to a punky, spiked battle suit and, in her down time, wore aggressive and sexy red leather outfits much in the style that designer Jean-Claude Jitrois had made popular at the time.


Mitch O’Connell

In the 1986 graphic novel The World of Ginger Fox by Mike Baron and Mitch O’Connell, a single mother and businesswoman tries to resurrect a failing Hollywood film studio and gets caught up in the world of drugs, gangs, and martial arts. This is a mostly forgotten but wonderfully illustrated comic that you can now read in its entirety online. O’Connell drew Fox in big-shouldered corporate attire, but also featured tight party dresses, buttoned-down suit dresses, and high, teased hair. Her sexy, abstract style was very similar to the fashions of Claude Montana, who played a lot with volume, cuts, and color.

Mitch O’Connell


Brett Ewins

Created by Peter Milligan and the late Brett Ewins in 1985, Sindi Shade was a back-up story in Johnny Nemo magazine. It featured a young girl trying to find the truth behind the mysterious Librarians in a dystopian future. Her look featured big purple hair with dark lightning streaks, clunky accessories, a ripped shirt, high-waisted tights, and fishnet pantyhose. Her cyber-punk look might have been influenced by Jean Paul Gaultier's constructivist lines mixed with elements of underground glam fetish.

Brett Ewins


Howard Chaykin

The mid-'80s sci-fi satire American Flagg! envisioned an America in the 2030s that was drowning in mall culture and rampant sexual promiscuity. The look of the series is perhaps best remembered for every female character's penchant for elaborate lingerie (a few years before Victoria’s Secret would begin to make that trend mainstream), but series creator Howard Chaykin was a bit of a fashion maven and incorporated a lot of early 20th century retro-style (with an ‘80s twist) to the design of his characters' wardrobes.

Crystal Gale Marakova personified a fusion of all the styles that Chaikin seemed infatuated with: officer attire, garters and stockings, a 1920s Louise Brooks hairstyle, and a Cold War blend of Soviet and American chic thanks to Crystal’s own cross-cultural heritage.


Carmine Infantino // DC Comics

DC Comic super heroines in the 1980s were awash in headbands, from Black Canary to Fire, but the original headband wearer was Supergirl. The look was derived from the 1984 Supergirl movie starring Helen Slater, or, at least what DC thought was going to be the look in the film. When test footage of Slater wearing the headband was revealed in 1983, the studio encouraged DC to have the comic book character begin wearing the accessory to create a visual continuity with the film. She debuted it in Supergirl #17 in November 1983, but then a funny thing happened: The studio changed their mind about the headband and Slater never wore it in the film.

The headband look would die with Supergirl and the entire multiverse about a year later in 1985’s Crisis on Infinite Earths #7.

Warner Brothers
5 Records Black Panther Has Already Broken

Black Panther isn’t just a success—it’s a phenomenon. Based on the Marvel Comics character created by Stan Lee and Jack Kirby, the movie has already grossed well over $1 billion at the worldwide box office, and it’s not exactly slowing down, remaining at the top spot for a fourth weekend. It’s currently the seventh-highest grossing movie of all time at the domestic box office, trailing heavy-hitters like Star Wars: The Force Awakens, Jurassic Park, and Titanic.

It’s also a huge win with critics and audiences, as it currently holds the best Rotten Tomatoes score for a Marvel movie, beating out The Avengers, Spider-Man 2, and Iron Man. With all of the praise and money pouring in, we’re taking a look at five records Black Panther has already broken.


February has typically been seen as a soft month at the box office, especially where blockbusters are concerned. But in 2015, Deadpool changed all of that by taking in a record $130+ million over its Valentine’s Day weekend debut. While that was a record at the time—and even more impressive for a movie with an R rating—Black Panther left that total in the rearview, taking in around $202 million in its first weekend in theaters. That was good enough for the highest February weekend of all time, but that’s not even all of it.

The movie’s $75+ million Friday was the highest ever February debut and the biggest opening day overall for a solo superhero movie—exceeding the likes of 2012’s The Dark Knight Rises and 2016’s Captain America: Civil War. It also holds the record for the biggest February preview day ($25.2 million) for its late-night Thursday screenings before its official Friday premiere.


Chadwick Boseman in 'Black Panther' (2018)
Disney/Marvel Studios

In 2017, director F. Gary Gray’s The Fate of the Furious took in an impressive $1.2+ billion at the worldwide box office, with $226 million of that coming from the United States. For a while, that was the biggest box office win for an African-American filmmaker both domestically and internationally. But after its opening weekend, Black Panther was already at $200 million, and after the President’s Day holiday that came immediately after, it had amassed another $40.176 million—easily giving director Ryan Coogler the crown of helming the highest-grossing film for an African-American director (and cast) in the United States (even when adjusting for inflation). And before its run is over, it will certainly top Furious’s worldwide total.


Not even a galaxy far, far away could stand up to Black Panther. Star Wars: The Force Awakens used to hold the crown for the highest-grossing Monday at the box office with $40.110 million but was topped by Panther’s $40.176 million.


Added to that, Black Panther now owns the Marvel record for the highest-grossing Tuesday, Wednesday, and Thursday, as well as the best first Marvel week overall, coming in at $292 million, compared to The Avengers’s $270 million in 2012. It also topped every other Marvel movie’s second weekend with $108 million and only trails The Force Awakens for the best second weekend in history.


Black Panther came out of the gate strong with the biggest debut for a solo superhero movie ever at $75.81 million. Then, after 27 days in theaters, it topped them all, becoming the highest-grossing solo superhero movie in U.S. history, beating out the $534.8 million held by The Dark Knight Rises. This means it topped all the other Iron Man, Captain America, and Spider-man solo movies on the character's first attempt. It still has some work to do to topple the $623,357,910 of The Avengers, but nothing is off the table at this point.

However, these numbers don’t take inflation into account. So while it trounced Spider-man’s 2002 domestic take of $403 million, you’re comparing it to ticket prices from 16 years ago. In reality, Sam Raimi’s first Spider-Man would have made $637 million today—and that Avengers total would jump up to $705 million.

Myles Aronowitz, Netflix
10 Super Facts About Jessica Jones
Myles Aronowitz, Netflix
Myles Aronowitz, Netflix

Jessica Jones is back! After a more than two-year wait, fans of Marvel's rough-around-the-edges superhero-turned-private eye are celebrating the arrival of her Netflix series' second season (and binge-watching it accordingly). Here are 10 things you might not have known about the character.


In 2001, writer Brian Michael Bendis and artist Michael Gaydos created Jessica Jones for MAX Comics, an imprint of Marvel. As the star of the comic book series Alias, Jones was the first character created for the new publishers, which allowed for more explicit content than its parent company.

Born Jessica Campbell, she got her superpowers when her family was in a tragic car accident with a military vehicle carrying radioactive chemicals; Jessica was the only survivor. After several months in a coma, Jessica was adopted by the Jones family. Shortly thereafter, she discovered that the chemicals had given her special abilities, including super strength, resistance to physical injury, and the power of flight (though she never quite mastered that one).


Before Jessica Jones arrived on Netflix in 2015, showrunner Melissa Rosenberg had originally developed a series based on the superhero for ABC in December of 2010. The pilot, which was originally called A.K.A. Jessica Jones, featured references to Tony Stark and Stark Industries, and acknowledged the Marvel Cinematic Universe. Unfortunately, ABC passed on the series in 2012. A year later, Netflix partnered with Marvel and Disney for four new live-action TV series and a mini-series. Rosenberg was brought on to develop, produce, and write a new version of Jessica Jones, which joins the Marvel/Netflix roster of TV shows, including Daredevil, Luke Cage, Iron Fist, and The Defenders, a team-up miniseries.


Krysten Ritter in Jessica Jones
David Giesbrecht, Netflix

Jessica Jones made her first appearance in Alias #1, as a former costumed superhero who left her post to become a private investigator. Alias ran for 28 issues between 2001 and 2004. Co-creator Brian Michael Bendis originally made the story’s protagonist Jessica Drew, a.k.a. Spider-Woman, but created Jessica Jones instead, “Which is good,” Bendis told USGamer, “because had we used Jessica it would have been off continuity and bad storytelling.”


Jessica Jones went to Midtown High School in Queens, which is the same high school Peter Parker attended. In fact, Jessica had a crush on Parker while they were classmates. He believed they had a special connection because both of them had lost their families under random and tragic circumstances. After Peter Parker became Spider-Man, Jones (not knowing it was Parker) saw the web slinger protect their school from the evil Sandman, which inspired her to use her superpowers for good. 


David Tennant and Krysten Ritter in 'Jessica Jones'
David Giesbrecht, Netflix

Jewel was the identity Jones adopted for her first attempt at being a costumed superhero, and she didn’t do much to make a name for herself. It wasn’t until she came under the mind control of one of Daredevil’s foes, Zebediah Killgrave (The Purple Man, who is portrayed by former Doctor Who star David Tennant), that Jones saw any real action. Ordered to kill Daredevil, Jones arrived at the Avengers Mansion, where she battled the Scarlet Witch, Iron Man, and Vision. Fortunately, she was spotted by her longtime friend Carol Danvers (Captain Marvel), who took her to safety. After another several months in a coma, Jones was watched over by S.H.I.E.L.D. and eventually regained her mind and identity with the help of some psychic therapy, courtesy of the X-Men’s Jean Grey.  


The super-pair met when Jones donned the hardened vigilante identity Knightress. After dealing with the supervillain the Owl, Jones and Cage had a drunken one-night stand. They then started to have an on-again/off-again relationship. Then she became pregnant with their daughter, Danielle, who was named after Daniel Rand (Iron First), Luke’s best friend.


Mike Colter as Luke Cage in 'Jessica Jones'
Myles Aronowitz, Netflix

After marrying Cage, Jones joined the New Avengers and changed her superhero name to Power Woman as a tribute to her husband’s superhero identity, Power Man. But due to the stress of the job and the potential threat to their new family, the pair left the New Avengers and started a new life. Cage later started up another superhero team called the Mighty Avengers, but Jones, annoyed and irritated with her husband, opted not to join because she wanted to raise Danielle instead. 


Bendis followed up the success of Alias with The Pulse in 2004. It centered on Jones taking a job as a “vigilante analyst" with The Daily Bugle publisher J. Jonah Jameson. Working alongside reporter Ben Urich, Jones was tasked with uncovering the true identity of Spider-Man, but ultimately discovered that the Green Goblin was really Norman Osborn (which did not sit well with Osborn).


During Marvel’s Civil War, Iron Man and Captain Marvel confronted Jones and Cage about registering with the authorities under the Superhuman Registration Act, which enforced a “mandatory registration of super-powered individuals with the government.” Unwilling to register, Jones and Cage were forced to go underground. 


James McCaffrey, Krysten Ritter, and Rachael Taylor in 'Jessica Jones'
David Giesbrecht, Netflix

Jones’s longtime friend Carol Danvers was originally going to appear in an early version of the TV show. Her character was scrapped and replaced with Trish "Patsy" Walker when the series moved from ABC to Netflix. Marvel then decided to feature Carol Danvers as the star of her own feature film, Captain Marvel, which is due in theaters in early 2019. Oscar-winner Brie Larson will play the title role.

“Back when it was at ABC Network, I did use Carol Danvers," showrunner Melissa Rosenberg explained. "But between then and when it ended up on Netflix ... the MCU shifted, and it also shifted away from the universe in the [comic] book ... But as it turned out, Patsy Walker ended up being [a] much more appropriate fit with Jessica. It was better that her best friend was not someone with powers. It actually ends up being a really great mirror for her.”


More from mental floss studios