The Pope’s New Clothes

Introduction Since his election to the papacy in 2013, Pope Francis has garnered international headlines for his environmental activism. His decision to adopt Francis as his papal name communicated to the public how his papacy would be advocating the environmental ethics associated with his namesake Saint Francis of Assisi. As part of his environmental activism and commitment to centring the socioeconomic injustices faced by the poor in public messages, Pope Francis deliberately incorporates modest, rather bare vestments into his papal uniform. He has emerged as a men’s fashion icon primarily due to his humble institutional uniform and public critiques of the wasteful consumerism commonly associated with contemporary consumer culture and the fashion industry. Pope Francis’s individualised approach to the papal uniform is not unique to his papacy. His selection of vestments and regalia is situated within a larger visual history of pontiffs selecting their religious uniform to brand and circulate their papal persona in public discourse and popular culture, evident through the actions of Pope John Paul II and Pope Benedict XVI. As the leader of the Catholic Church, the pontiff represents the institution’s brand identity. Following Naomi Klein’s analysis of institutional branding, the characteristics associated with a pontiff’s public image provide an opportunity for the Catholic Church to revitalise its image for global audiences (Klein “How Corporate”). Through a textual analysis of select media coverage of pontiffs and their approach to the papal uniform, this article discusses how Pope Francis’s religious uniform functions as a mechanism to extend the symbolic institutional power of the Catholic Church as a brand in popular culture by negotiating ideas of austerity. The Institutional Politics of the Uniform as a Form of Communication Fashion and clothing are important modes of communication that enable an individual to nonverbally signal their identity and belonging to various social groups, causes, and institutions (Barnard; Coghlan; Craik). An understudied but widespread element of everyday life, the uniform is a powerful signifier of the ideological and discursive formations reproduced by social institutions (Craik). Uniforms played not only an essential role for social organisation within modernity, but for Jane Tynan and Lisa Godson their materiality has significantly shaped the imagery of visual culture (8). Scholars including Jennifer Craik, William Keenan, and Q. Colville have addressed how uniforms negotiate gendered politics due to the prevalence of such garments within institutional spheres such as the military, healthcare, and religion. Influenced by Foucault’s view of the uniform as a mechanism to brand the body as under the power, authority, and control of the institution, Tynan and Godson have extended this argument to identify the relationship between uniforms, social structures, and violent practices of colonisation and imperial dominance (10-15). The institutional power of the uniform also extends to the papacy and the Catholic Church. In her historical analysis of papal regalia, Maureen C. Miller argues that during the thirteenth and fourteenth centuries the uniform may not have been viewed by large audiences, but popes were beginning to understand how their vestments were a powerful communicative tool shaping their public image. Combined with the increasing theatrically of the pontiff, Miller argues that “performative uses of clothing were significant not for the complexity of the messages they conveyed but for their strategic aim to make simple points memorably and to promote their diffusion” (293). Her analysis underscores how the papal uniform – and the individual way in which different pontiffs have approached donning vestments – represents a significant visual communicative history which continues to intensify in contemporary media culture. In a retrospective discussing papal regalia, Vanity Fair alluded to this extensive history. Evoking the theatricality discussed by Miller, Vanity Fair compared previous popes’ uniform choices to rap artists and the individuality of Sex and the City characters, noting that the Catholic Church’s leaders “have historically exhibited a daring sense of style over their 2,000 years in the high office” (Miller). Following Miller’s argument, Pope Francis’s approach to his papal uniform is purposefully designed to memorably communicative his environmental message, a core aspect of his brand identity. The message of his simple approach to the papal uniform cannot be adequately addressed without placing it within the sartorial choices of his predecessors, especially Pope Benedict XVI and his preference for communicating authority and power through opulence. Approaches to the Papal Uniform since the 1960s Fashion has always played a significant role in communicating the institutional power and brand identity of the Catholic Church. Beginning in the mid-1960s with the creation of the Second Vatican Council by Pope Paul VI, the vestments comprising the papal uniform became the subject of increased media attention. Pope Paul VI’s move towards eliminating the more ostentatious robes and accessories associated with the papacy included his “dramatic gesture” to auction a papal tiara – which The New York Times estimated was worth roughly $80,000 in 1964 – with proceeds donated to charities and organisations assisting the poor (“Pope Paul Donates His Jeweled Tiara to Poor of World”). In a sociohistorical analysis of papal fashion, The Guardian argued that the decision by Pope Paul VI to auction the accessories of the papal uniform that were intended to mediate the Catholic Church’s institutional power represented his mandate to appear “more in touch with the people” (Conway). Pope Paul VI’s understanding of the communicative power of the papal uniform to symbolise the institutional values of the Catholic Church’s brand identity draws parallels to Pope Francis. The strategic curation of papal vestments and accessories demonstrates that the role of institutional uniforms for practices of brand and image management is not unique to the contemporary cultural moment. Although Pope John Paul II was known to enjoy a fondness for Rolex watches (which Teen Vogue cites as an iconic papal fashion moment), the papacy of Pope Benedict XVI coincided with a drastic resurgence in the grandiose garments neglected by his predecessors (Webster). With a preference for pre-Vatican II luxurious self, velvet, and fur pieces like the cape-style mozzetta, The Guardian contends that Pope Benedict XVI’s papal uniform represented a shift away from the communal emphasis of Pope Paul VI towards reviving the Catholic Church’s hegemonic heritage and tradition within visual culture. The Guardian argues that “at a time of global economic uncertainty, and with the Church struggling to retain its flock in an increasingly secularised world, reinforcing tradition and underlining the continuity of ritual was a bold and, Benedict felt, necessary direction” (Conway). The newspaper situates Pope Benedict XVI’s sartorial preference for his papal uniform within the larger trend of couture houses like Alexander McQueen and Chanel revisiting their archives. Pope Benedict XVI’s papacy oversaw the Catholic Church experiencing a significant decline in global authority and symbolic power due to the continued fallout from numerous scandals, including the longstanding history of sexual abuse allegations and charges of embezzlement at the Institute for the Works of Religion, the official bank of the Vatican. Combined with his highly conservative doctrinal approach and unwillingness to adapt the church’s position on key human rights and social justice issues, including LGBQT+ acceptance within the institution, Pope Benedict XVI’s conspicuous taste and approach to the papal uniform was symbolic of his leadership. His regalia and vestments mediated an undesirable brand identity as a pontiff largely disconnected from the realities of his public. Pope Benedict was also reported by the press to enjoy conspicuous designer accessories, in particular his Gucci sunglasses and, most notably, allegedly preferred to wear Prada for his papal shoes. In line with his symbolic approach to the papacy, Benedict revived the wearing of red shoes by the pope (with red a signifier of martyrs’ blood). Esquire labelled Pope Benedict XVI as their 2007 “Accessorizer of the Year”, primarily for incorporating a signature “ornate” footwear into his institutional religious uniform (“Best Dressed Men in America”). Conversely, Pope John Paul II’s papacy signified a shift away from this aspect of the papal uniform, preferring burgundy over a blood red colouring. The Vatican subsequently corrected that Pope Benedict XVI’s red papal shoes were not Prada but rather commissioned specifically for him by Italian cobblers (Fetters Maloy). However, the idea that Benedict incorporated Prada shoes into the institutional papal uniform had become repeated by numerous cultural intermediaries ranging from the Associated Press to Women’s Wear Daily,to the extent that it is now entrenched into the popular imaginary. Upon his retirement in 2013, The Cut argued Pope Benedict would be primarily remembered for the “pair of bright red Prada loafers that he almost always wore beneath his robes” (Cowles). When Pope Francis arrived in Washington, D.C. for his 2015 visit to the United States, USA Today celebrated the event with the brazen headline, “Pope Francis arrives and he’s not the ‘Prada Pope’” (Puente). Reflecting upon his divisive legacy after his death in December 2022, The Daily Beast continued circulating this narrative, writing that when Benedict XVI was elected to the papacy, he donned “Prada slippers and stumbled his way through a papacy fraught with controversy” (Latza Nadeau). It is within this context of Pope Benedict’s hegemonically ornate approach to

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