I like the use of red in this film. Granted, red for non-conformism isn't all that original, but the details make all the difference. Elin's dissent is raw, unbound energy. Although the strap of her bra showing from under the glaring red camisole is probably deliberate, the ensemble looks vulgar. The interesting thing is that Elin seems uncomfortable in her skimpy outfits: too exposed, shivering in the evening cold on the bridge, or doubtful, in front of her mirror preparing for the party. Agnes, on the other hand, is a 'closeted' free thinker who, wisely, doesn't make a point of standing out. Her khakis and red sweatshirt, her classical haircut are respectfully conventional yet beyond passing trends: she could be from the late seventies or the eighties or the nineties. Maybe it's a case of using convention as a shield, though I doubt it: militancy isn't her thing, she wants to live and let live. We never see her trying to decide what to wear. Comfortable and secure within convention, Agnes doesn't need to wear statement clothes to be herself. But there are symbols of serene superiority, too, like the air balloon pattern on her shirt.
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