Throughout The Chase, clothing and designer brands function as a motif that explores identity, status, and judgment. Fitz’s shock that the billionaire Kamal Jain is wearing one of the same designer outfits Summer brought for Fitz to try validates her fashion expertise and subverts Fitz’s initial assumption that her interest in clothing is frivolous. Kamal’s comment on Fitz’s designer shirt—“Is that a Marc Jacobs? […] Hope you didn’t clean out your savings account for li’l ol’ me. You’re in college, you can’t afford frivolous purchases yet, Colin. I’ll get my assistant to send you a check of reimbursement” (174)—reinforces his sense of his own status, while making assumptions about Fitz’s. 

As the novel progresses, clothing acts as a catalyst for conflict, highlighting the misogyny that the female characters’ clothing inspires. Brenna’s lacy bralette is referenced by Davey as a justification for his assault. Later, Professor Laurie’s tells Summer, “You’re a tall girl […] You should think about walking the runway yourself. I have no doubt you look incredible in a bikini” (152), underscoring his pattern of inappropriate behavior and harassment. These moments demonstrate how women’s clothing choices are scrutinized and often misinterpreted, serving as flashpoints for male desire, judgment, and even aggression. 

For Summer, clothing represents a form of artistic expression, a connection to the strong women in her life like her grandmother, and an embodiment of a personal philosophy. Her admiration for Coco Chanel is rooted Chanel’s resilience and her vision of fashion as a “way of life” (122). As Fitz comes to understand Summer’s depth, intelligence, and loyalty, his perception of her fashion choices shifts from markers of superficiality to expressions of her complex identity.

Kennedy uses Fitz’s art—such as his self-designed tattoos and his sketchbook of drawings for his online games—as symbols of his guarded inner world, representing the artistic passion and emotional depth hidden beneath his stoic exterior. The tattoos also projecting a tough or rebellious image that belies his introverted, nerdy nature. As Fitz notes, “[My] harsh expression seems even harsher when paired with my tattoos […] I designed all the tats myself, and whatever I can use as a canvas, I’ll use. Including my own skin [but] all the ink just makes me look like a thug” (58). Fitz’s tattoos act as a kind of shield that invites assumptions and associations, keeping his true self, emotions, and thoughts concealed. However, as his connection with Summer deepens, Fitz allows her to see the inspiration and intention behind his designs: “‘You’re really into the fantasy imagery, huh?’ She focuses on my left biceps. ‘This sword is badass. Is it based on Sir Norman’s glass sword in The Glass Forest? No, wait, the sword doesn’t show up until the third book’” (167), strengthening the bond between them.

Fitz’s sketchbook provides a more private and vulnerable expression of his art. It contains the raw material of his creativity and, eventually, his feelings for Summer. The moment he unconsciously draws her portrait acts as a turning point in his arc, signaling an emotional truth he has not yet admitted to himself. He tells her, “I think she might look like you” (160), referring to a character in his video game, which signals his willingness to merge his private artistic world with his developing feelings for her. By allowing Summer to see his sketches and making her his muse, Fitz grants her access to a part of himself he has long hidden from everyone, including his own parents. These symbols mark the progression of their relationship from one of mutual misjudgment to one of deep trust and vulnerability.