Gregory Maguire’s 1996 novel, Wicked: The Life and Times of the Wicked Witch of the West, reexamines the story of L. Frank Baum’s characters, Elphaba Thropp, The Wicked Witch of the West, and Glinda Upland, The Good Witch. Since then, the witches have been brought to the stage in the 2003 musical adaptation and most recently, onto the silver screen in Jon M. Chu’s 2024 film adaptation of Wicked the musical. Starring Cynthia Erivo and Ariana Grande as Elphaba and Glinda respectively, Wicked (2024) immerses audiences into the story of the Witches of Oz and the Emerald City through the elaborative set design, orchestrations and costume design. Based on the iconic costumes of The Wizard of Oz (1939), Paul Tazwell, the award-winning costume designer, reimagined Elphaba and Glinda’s costumes for the new film to highlight their tumultuous relationship and position in society. 

The witches’ position and function in the land of Oz is reflected in their wardrobe and can be understood through disidentification theory. In José Esteban Muñoz’s Disidentifications, Muńoz responds to the concepts of identification and non-identification. Identification is the idea that in an environment with societal norms, people typically completely identify and assimilate to the standards of that environment. Non-identification is when an individual chooses to entirely remove themselves from the dominant environment and not identify with it at all. In his book, Muñoz presents disidentification, which is “the third mode of dealing with dominant ideology, one that neither opts to assimilate within such a structure nor strictly opposes it; rather, disidentification is a strategy that works on and against dominant ideology.” (Muñoz 11) Here, In Disidentifications, Muñoz argues that there is actually a third route– disidentification– which is the choice to participate in a normative environment but not entirely comply with the normative standards. Disidentification fights the dominant ideology from within itself and not by an outside force, to construct alternative queer realities. Disidentification is particularly used by queer people– specifically those of color–as a method of survival and resistance in a hegemonic society. Essentially, disidentifactory actions and people who disidentify can be thought of as queer because they are non normative beings in a normative space. For the purpose of this paper, “queer” alludes to sexual orientation but also to this idea of non normativity. Therefore, the styling in Wicked reveals and reinforces the inherently queer experiences of Elphaba and Glinda and their evolving disidentification with Shiz University and Oz.

Muñoz’s disidentification theory can be explained through Tazwell’s designs of the Shiz University students’ uniforms. The appearances and behaviors of the Shiz University population can be categorized into the three stages of identity: identification, non-identification and disidentification. The Shiz University student body wears blue and gray uniforms inspired by traditional structured academic suiting featuring pinstripes, shoulder pads, pleating and ties. Although each of the students have a unique uniform design, they are all crafted with the same textiles and details which visually unites them all. This uniformity is an example of identification, meaning that students participate in their society and subscribe to its norms. In an interview with Backstage.com, Tazwell said that “Creating the world of Shiz was about how young people evolve and set a tone for who they are… I thought it was very important to show their [individual] qualities. Since it’s a university in a fantasy world, it can be gender-inclusive.” (“How Costume Designer Paul Tazewell Worked Magic with the "Wicked " Wardrobe") Tazwell purposefully shows the diversity and “queerness” of the Shiz University students through the various uniform designs; however, they still all comply to the accepted norms in their community.

On the opposite end of the spectrum, the Animal professors at Shiz University entirely engage in non-identification with the normative ideology of Shiz University. Theatre academic Stacy Wolf argues that “...the Animals stand in for the racialized Other,” because the government of Oz strips them of their ability to speak and are forced out of Shiz University. (Wolf 10) Most of the Animal professors choose to leave Shiz University before they are forced out by the oppressive Oz government. While they appear different through their form and costuming, the Animals’ decision to leave Shiz solidifies their non-identity with Shiz and later on, Oz as a whole. 

Elphaba and Glinda’s unique uniforms show how they disidentify with Shiz University. Although Elphaba and Glinda participate in the Shiz community, their personalized uniforms reveal how they do not subscribe to the accepted norms of Shiz. Elphaba’s Shiz uniform has hints of light blue and stripes like the other students’, but her uniform is mostly black, the stripes are misaligned and it is “very structured and very restrictive” according to Tazwell. (“Eight Costume Details to Look out for in the Wicked Movie”) Glinda also has her own take on the Shiz uniform. The stripes and style are similar to the other uniforms “but it is in her signature pink, and it speaks to her vanity and her artifice.”  (“Eight Costume Details to Look out for in the Wicked Movie”) While the phases of identification are clearly defined through the Shiz uniforms, Elphaba and Glinda’s relation to disidentification– and thus, queerness– is fluid and evolves throughout the film. 

Over the course of her journey, Elphaba progresses from disidentifying  to non-identifying with Oz. In the Oz fandom, Elphaba is widely regarded as a queer character because Maguire establishes this theory in his novel. There are rumors about Elphaba in the novel saying she is “a woman who prefers the company of another woman” and “she was born hermaphroditic.”  (Maguire 13) While these theories are neither proven nor disproven, Elphaba still has a significant place in queer pop culture. Since childhood, Elphaba has always disidentified with her environment and eventually non identifies with Oz as she matures. Because her mother died very early in her life, Elphaba chooses to wear black all her life. When designing the costumes, Paul Tazwell had “to think about the austerity of black, thinking about teenagers and young adults who make that decision to pull away from society and revert to that.” Elphaba was also “ostracized from the family because of the color of her skin. It was giving her reasons to gravitate to that color that was so dark and actually physically kept her outside of the world of the rest of the community.” (“Ariana Grande’s “Wicked” Bubble Dress Took More than 225 Hours to Hand-Bead”) Elphaba’s all-black wardrobe and green skin makes her stand out in the colorful world of Oz– visually representing the disidentification that Elphaba feels with her community. 

Despite the scrutiny, Elphaba is outwardly unashamed of her appearance as seen during her arrival at Shiz University. When Glinda first meets Elphaba, she says, “You’re green,” to which Elphaba playfully responds, “I am.” (Wicked 00:15:48) Elphaba then launches into a terse and confident statement to her peers stating that she is not ill and has always been green. Here, Elphaba proudly proclaims her identity as someone who is different from others but still wants to be an active member of Shiz University. In her adolescence, Elphaba exists as a non normative being in a normative world which, according to Muñoz, is the queer experience. As Elphaba’s powers strengthen and she gains consciousness to the corruption of Oz, Elphaba begins to non identify with Shiz University and Oz. 

Elphaba’s costumes and styling details change throughout her journey to reflect her self-actualization and desire to go against the norms of Oz. Subtle details like the length of Elphaba’s elaborate nails, the height of her heels and rigidity of her clothes evolve to reflect her inner growth as she comes into power. Tazwell designed her costumes with the intention to show how “As Elphaba realizes who she is more clearly and what her own internal power is, she becomes more comfortable in her body and starts to expand her wardrobe.” (“Ariana Grande’s “Wicked” Bubble Dress Took More than 225 Hours to Hand-Bead”) Cynthia Erivo, a nail enthusiast herself, played a large role in the styling of Elphaba’s nails because she wanted to show how “as she [develops] within her time, her nails [become] very much part of showing her power and her strength.” (Sanchez) Elphaba’s nails evolve from green stubs during her childhood to dark green talons when she reaches the full potential of her power during “Defying Gravity”. 

Elphaba’s non identification with Oz is also signaled through the structure of her clothing. At Shiz, Elphaba’s uniform is “very structured and very restrictive in a way” and she wears corsets and rigid dresses with angular silhouettes to reflect her closed off and controlled demeanor. (“Eight Costume Details to Look out for in the Wicked Movie”) However, as Elphaba gains more power– especially when she arrives at the Emerald City– Elphaba “starts to open up and soften” internally and externally. (“Eight Costume Details to Look out for in the Wicked Movie”) When Elphaba comes into her power, she also gains freedom. Tazwell’s costume for Elphaba during “Defying Gravity” reflects this new found freedom and power through the use of flowy tulle and organic textiles. When Elphaba sheds her restrictive clothing, puts on her cape and flies away from Oz, it signifies Elphaba’s complete rejection and non identification with Oz and in turn, her liberation. 

Glinda, on the other hand, journeys on a more complex path from identification to disidentification and back to identification again. Although Glinda is not explicitly said to be a queer character, when she aligns herself with Elphaba, she– outwardly and inwardly– becomes queer. Glinda makes herself the center of attention when she first arrives at Shiz University. This is not just because she is wearing all pink, but because she draws attention to herself by singing a solo in the courtyard. (Wicked 00:15:20) Glinda makes her love for Shiz well known because she dreams of being a powerful sorcerer at Shiz University Therefore, Glinda internally identifies with Shiz as she feels a strong connection and desire to participate in the norms and culture of the university. However, Glinda’s all-pink version of the Shiz uniform visually disagrees with her internal desire and makes her stand out at Shiz. Glinda desperately wants to be the perfect model student at Shiz and does so by always trying to appear and act perfectly. This perfection actually goes beyond the norms of Shiz University and results in Glinda being non normative. Even though her actions align herself with the Shiz community, Glinda’s uniform reveals how she is inherently non normative and therefore, queer. While Elphaba intentionally wants to be viewed as Other, Glinda’s strong desire to fit in unintentionally Others her. 

Glinda does not have a strong sense of her own self so she is easily swayed to identify with other groups. As Glinda becomes friends with Elphaba, Glinda slowly starts to identify less with Shiz University and instead identifies with Elphaba. Since she identifies with someone who is non-normative and queer, Glinda becomes queer herself. Glinda’s disidentification with the Shiz community is reflected in the alignment of Glinda and Elphaba’s silhouettes. In the beginning of the film, Glinda’s costumes have soft feminine features that are inspired by the 1950’s, while Elphaba’s costumes are inspired by 1910’s dress with puffed sleeves, a big skirt and a tight waist. Elphaba and Glinda’s connection is strongest when they go to the Emerald City together. There, Glinda wears a pink jacket with puffy sleeves that resemble the shape of Elphaba’s 1910’s inspired dress. At the height of their friendship, Elphaba and Glinda’s costumes meet in the middle between rigidity and softness “to show how each of them has affected the other” (“Ariana Grande’s “Wicked” Bubble Dress Took More than 225 Hours to Hand-Bead”) This merging of silhouettes solidifies the idea that Glinda disidentifies with Shiz and in turn, identifies with Elphaba and her queerness. 

Glinda takes one more step in her identity journey: identification. The audience is made to believe that Glinda has disidentified with Oz for good; however, the last scene of the film reveals that this is not the case. Glinda takes off her Elphaba-inspired jacket to reveal an airy and feminine 1950’s top similar to her attire when she began this journey. As Elphaba sets off into the skies to claim her power while belting “Defying Gravity,” Glinda sheds the garment that aligns her with Elphaba’s identity and chooses to “stay put and play by the rules.” (“Ariana Grande’s “Wicked” Bubble Dress Took More than 225 Hours to Hand-Bead”) Glinda reverts back to identifying with Oz and its corrupt government because her true desire is to be good and fit in with society. 

Although her silhouette evolves, Glinda’s fashion stays true to her all-pink hyper-feminine style which contributes to her queerness. Hyper-femininity is defined as “exaggerated adherence to a stereotypic feminine gender role” but has been reclaimed by the queer community as an act of resistance to the heteronormative male gaze. (Murnen and Byrne, 480) Not only do Glinda’s flouncy costumes present her as hyper-feminine, but her overall appearance and mannerisms do as well. Glinda calculates her movements to be precise and perfect, always drawing attention to her styled golden locks through dramatic hair tosses that feel more like a performance. Substack author, Erica Nicole, asserts in her essay, “Musings on Hyperfemininity: The Y2K Aesthetic, Queer Feminism, and The Female Gaze”, that “Under patriarchy, heteronormative femininity requires women to put forth effort but also restraint...But hyperfemininity is unapologetically high maintenance, inherently disruptive, and gleefully conspicuous. It is a badge of femme labor pinned to the chest, unconcerned with obscuring the hours of planning and process, or decoding its conclusion for male comfort.” Here, Erica Nicole shares how queer people– specifically femme lesbians– have reclaimed hyper-femininity to act more as a strategic performance of femme liberation without consideration for the patriarchy at all. Glinda embraces her hyperfemininity and does not dilute it in order to fit the norm. She wields her hyper-femininity as a power that allows her to disidentify with Shiz and be her unapologetic self.  

The fabled Witches of Oz have been reimagined in Jon M. Chu’s Wicked (2024) to highlight how they are queer and disidentify with the land of Oz through Paul Tazwell’s oscar-winning costume designs. Elphaba and Glinda carve out their own paths of self expression and identity in the Yellow Brick Road of the hegemonic Oz. Though they did not choose the same destiny, Elphaba and Glinda helped each other forge a route from within towards freedom under the oppressive government. A story of love, belonging, discovery, defiance and betrayal is underscored through precise styling details that solidify Elphaba and Glinda’s place as queer characters in the land of Oz. 

Works Cited

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Muñoz, José Esteban. Disidentifications: Queers of Color and the Performance of Politics. Minneapolis, University of Minnesota Press, 1999.

Murnen, Sarah K., and Donn Byrne. “Hyperfeminity: Measurement and Initial Validation of the Construct.” The Journal of Sex Research, vol. 28, no. 3, 1991, pp. 479–89. JSTOR, http://www.jstor.org/stable/3812715. Accessed 10 May 2025.

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Sanchez, Chelsey. “How the World of Oz Got so Wonderful.” Harper’s BAZAAR, 18 Nov. 2024, www.harpersbazaar.com/culture/film-tv/a62899627/wicked-movie-costumes-hair-makeup-set-design-interview-2024/. Accessed 10 May 2025.

Tamison O'Connor. “Wicked’s Costume Designer on Telling a Timely Story through Clothes.” ELLE, 25 Nov. 2024, www.elle.com/uk/fashion/a63008002/wicked-costume-designer-paul-tazewell-interview/. Accessed 22 Apr. 2025.

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