The Magic of "Priscilla: Queen of the Desert" — A Legacy of Self-Expression and Resilience
Capturing the Essence of an Era: The Opening Scene and Its Cultural Significance
The movie The Adventures of Priscilla, Queen of the Desert opens in a dimly-lit Sydney bar in 1994, setting the stage for a story of identity, resilience, and self-discovery. The film, which premiered at the Cannes Film Festival 30 years ago, introduces viewers to Tick Belrose, played by Hugo Weaving, performing as his drag persona Mitzi Del Bra. Clad in a silver sequin dress, gloves, and a bouffant blonde wig, Mitzi’s performance is a blend of glamour and humor, encapsulating the spirit of the drag scene in 1990s Australia. This iconic opening scene is not just a visual feast but also a reflection of the unique cultural moment in which the film was made.
Costume designer Tim Chappel, who created the dress, shares how it was born out of a playful challenge. "I made that dress for myself," Chappel told CNN, recounting how he had worn it to a Miss Teen USA beauty pageant as Miss Silicon Valley. The dress, with its joke plastic boobs, was a perfect mix of camp and creativity. Chappel’s vision for the film’s costumes was to make the characters look like ladies while also poking fun at traditional drag aesthetics. This balance of elegance and irreverence would become a hallmark of the film’s wardrobe.
From Trash to Treasure: The Design Journey Behind "Priscilla"
The making of Priscilla was as unconventional as its story. Tim Chappel and fellow designer Lizzy Gardiner worked with a tight budget, relying on thriftiness and creativity to bring their vision to life. Chappel recalls how the now-iconic flip-flop dress was made from $15 worth of shoes purchased at Target using his mother’s staff discount. "That was good," he quipped, "because that was about three-quarters of our budget." Many costumes were crafted with hot glue, chicken wire, and duct tape, and some even fell apart after filming. Yet, the flip-flop dress, held together with cable ties and duct tape, survives as a testament to the ingenuity of the design team.
The extended preparation time before filming allowed Chappel to refine his ideas, leading to some of the film’s most memorable looks. For instance, the trio’s performance of "I Will Survive" for a group of First Nations people originally called for hairdos inspired by Gloria Gaynor. Over time, Chappel’s vision evolved, and the characters ended up with elaborate headpieces adorned in flowers, completely obscuring their hair. This kind of creative evolution defines the film’s aesthetic and its enduring appeal.
A Darling at Cannes: The Film’s Rise to Fame and Critical Acclaim
When Priscilla premiered at Cannes in 1994, it quickly became the "darling" of the festival, according to film critic Susan Barber. While Barber noted some problematic elements, such as the handling of female and non-white characters, the film’s costuming was widely praised. Chappel and Gardiner’s work earned them an Oscar for Best Costume Design in 1995, cementing the film’s status as a cultural phenomenon.
The film’s success wasn’t just about its visuals; it tapped into a cultural shift. At the time, Australia was on the cusp of legal reforms for LGBTQ+ rights, and the AIDS crisis was still ongoing. Yet, Priscilla brought a sense of hope and resilience to its audiences. Chappel reflects that the film captured a moment of renewed optimism, as new HIV treatments offered a lifeline to a community that had faced immense hardship.
Drag as Art: The Enduring Legacy of "Priscilla’s" Costumes
The costumes in Priscilla are more than just wardrobe; they are a celebration of drag as an art form. For drag artist and costumer Philmah Bocks, who has been designing costumes for 30 years, the film is a masterclass in turning "drab into fab." The thong dress, with its quintessentially Australian charm, and the finale look featuring emus atop the characters’ heads, are just two examples of how the film used Australian culture and iconography to create something truly unique.
Bocks, who has replicated Chappel’s designs for projects like the London musical Priscilla the Party! and even for Katy Perry, says the film’s influence extends far beyond the screen. "’Priscilla’ showed us a lot of that [drag costuming] because a lot of that type of design work was happening in and around Sydney in the early ‘90s," she explains. The film’s ethos of creativity and resourcefulness continues to inspire drag queens and designers around the world.
The Cultural Impact: A Mirror to Australia’s LGBTQ+ Community
Priscilla is more than a film; it’s a cultural touchstone. Its story of three drag queens embarking on a road trip across the Outback resonated with audiences in ways that few other films of its time could. The bus, Priscilla, becomes a symbol of their journey—not just a physical one but an emotional and cultural one.
The film’s exploration of identity, community, and resilience struck a chord, particularly in Australia. At the time of its release, Australia was still grappling with LGBTQ+ rights, and the AIDS crisis was a stark reality. Yet, Priscilla brought a sense of hope and visibility to a marginalized community. The image of Felicia performing an opera aria atop the moving bus, decked in flowing silver lamé, is not just a moment of cinematic brilliance but a powerful metaphor for the enduring spirit of the LGBTQ+ community.
The Lasting Legacy: From the Screen to the Stage and Beyond
Thirty years after its release, Priscilla’s influence can still be felt. The film’s costumes have become iconic, its story a beloved part of LGBTQ+ culture. The film’s legacy extends beyond the screen, inspiring a successful musical adaptation that has toured globally since 2006. The musical, featuring Chappel’s original designs, continues to delight audiences and introduce the story to a new generation.
In recent years, the film’s influence has reached new heights. Since 2021, Priscilla has been broadcast to new audiences through contestants on RuPaul’s Drag Race Down Under. For Tim Chappel, the film’s enduring impact is a source of pride. "If I get run over by a bus tomorrow," he says with a laugh, "the last little thought that goes through my head – besides ‘ouch’ – is going to be ‘I’ve left an impression, that’s cool.’" With a sequel in the works and a musical continuing to dazzle audiences, Priscilla will undoubtedly leave an impression for many years to come.
