Courtney Iseman 2017-10-27 23:16:36
SOME OF OUR FAVORITE MOMENTS IN CINEMA WERE DEFINED BY MORE THAN JUST THE SCRIPT. HERE, WE LOOK INTO THE COSTUMES THAT STOLE THE SHOW. THE POWER OF COSTUME IS UNDENIABLE. From the iconic James Bond to the beloved Audrey Hepburn, film ward robes have often played as important a role as the performers themselves. These looks most often captured a feeling, an emotion, or even a style that defined entire scenes and entire movies. They broke ground, ignited trends, and often, stole the show. Here, we remember some of our most beloved scene stealers: the clothing and accessories that have become synonymous with their films and eras. LEGENDARY LEAD In her iconic Givenchy dress, Audrey Hepburn’s Holly Golightly embodied elegance, modernity, and an independent sophistication that we love and mimic today. Yet, what really made this simple look the icon it has become are spectacular Tiffany & Co. pearls. Tiffany three-strand necklace of cultured pearls, diamonds, and sapphires in platinum, price upon request, Tiffany & Co. THE WHITE BIKINI Ursula Andress in Dr. No “THIS BIKINI MADE ME INTO A SUCCESS. My entrance in the film wearing the bikini on that beautiful beach seems to now be regarded as a classical moment in cinema.” Actress Ursula Andress was acutely aware of the impact her white bikini made in 1962’s Dr. No as she spoke of its importance when it garnered nearly $53,000 at a Christie’s auction in 2001. Andress herself helped Dr. No’s costume designer, Tessa Prendergast Welborn, sew the hipster two-piece so that it fit her flawlessly. The bikini broke taboos of the time with its revealing nature, and had women copying its glamour by opting for similar swimwear silhouettes — setting in motion a move toward less fabric for beach and poolside dressing. The look also set a precedent for the iconic Bond girls who would star in subsequent 007 flicks, raising a permanent bar for sophisticated sex appeal. THE ROLEX WATCH Sean Connery in Dr. No SUAVE. DEBONAIR. SOPHISTICATED. Ian Fleming’s James Bond was a man of impeccable taste and could naturally wear only the best. Every detail of his wardrobe would have to be carefully chosen for his film debut — and it was. In 1962’s Dr. No, each article of clothing and accessory Sean Connery sported to aspirational aesthetic. Rolex already had a luxe identity, and its watches became even more sought after once given the Bond seal of approval. They were officially the timepieces of quite possibly the world’s most refined dresser — even before the movies. In Fleming’s second James Bond novel, 1954’s Live and Let Die, he specifi- cally calls out Bond’s watch as a Rolex. Connery memorably wears a Rolex Submariner in Dr. No; WatchTime magazine says it’s believed that particular model was Connery’s own. SECRET AGENT While Sean Connery is believed to have worn his own Rolex Submariner in Dr. No, he went on to sport it again in the opening scene of 1964’s Goldfinger — a scene that ADWEEK says made the Submariner “Rolex’s Coolest, Most Recognized Watch.” Rolex Oyster Perpetual Submariner Date 40mm, white gold, $36,850, Rolex by Tapper’s Diamonds & Fine Jewelry. FEMME FATALE As the first Bond girl, Ursula Andress took the little white bikini into uncharted territory, making it forever a classic. Convertible strap top, $64, and tab side hipster bottom, $38, Everything But Water. “THIS BIKINI MADE ME A SUCCESS.” — URSULA ANDRESS THE ARMANI SUIT Richard Gere in American Gigolo PAUL SCHRADER’S 1980 FILM, AMERICAN GIGOLO, and its Armani wardrobe exemplify style versus substance. How Richard Gere’s Julian has held up over the years is debated, but critics and writers agree that the film taught an entire generation of men how to dress. Julian’s personality became apparent through clothing-related moments, like when he is being fitted by his tailor or making a ritual out of getting dressed for the day — moments brought to us by Giorgio Armani. The designer was relatively unknown at the time, and American Gigolo introduced his brand to U.S. and international audiences along with his game-changing aesthetic. Men were used to bulky, sti tailoring, and so became quickly drawn to Armani’s fluid, slimming-yet-lightweight silhouettes and fabrics that fit more the ortlessly and smacked of cool polish. With the simple appearance of Richard Gere on screen in one of these Armani suits, menswear was forever changed. THE PERSOL SUNGLASSES Steve McQueen in The Thomas Crown Affair IN A 2006 AUCTION, the Persol sunglasses that Steve McQueen wore in 1968’s The Thomas Crown Affair nabbed $70,200, testament to their treasured status. Steve McQueen was known as the “King of Cool,” while Thomas Crown was a dapper self-made millionaire. The confluence of these two personas was bound to be sartorially influential, hence the signifi- cance of those Persol shades. The sunglasses — the 714 model, possibly the first collapsible design, featuring blue shades made from crystal — became eternally linked with McQueen in the many images that have been used to support his “King of Cool” title and cement his legacy as a style icon over the decades. MR. COOL Richard Gere's sleek wardrobe in American Gigolo ignited a revolution in men's dressing. Bulky blazers and trousers quickly evolved into sleek and impeccably tailored pieces. Suit, $3,895, and shirt, $695, Giorgio Armani. THE SATIN GOWN Michelle Pfeiffer in Scarface MICHELLE PFEIFFER MADE AN UNFORGETTABLE ENTRANCE as Elvira Hancock in Brian De Palma’s Scarface, slinking onto the screen and into the audience’s consciousness in a blue-green satin gown, flowing like water in its fluid fit and subtle sheen. The dress set the tone for Elvira’s character, capturing an entire era at once. The work of costume designer Patricia Norris, Elvira’s gown contrasted the loud prints and sti fabrics that were popular in the early 1980s and present in the film. It set Elvira apart in the fast crowd of Miami as an unattainable party girl. The Halston-esque aesthetic celebrated the short but radiant life of disco, representing the more sophisticated side of the hedonistic scene. Elvira’s blend of indulgence and refinement, symbolized by this dress, has inspired starlets and fashionistas since the film’s 1983 release. Rihanna has walked the red carpet professing Elvira as her inspiration; Jonathan Saunders has named her as his influence for an entire collection. Although markedly early ’80s, the modern glamour of that blue satin dress is eternal. DEBONAIR New in the early 1960s, the 714 Persol came along just in time for Steve McQueen’s performance in The Thomas Crown Affair, which solidified their iconic status. Persol 714 collapsible sunglasses, $370, Sunglass Hut. UNMISTAKABLE GLAMOUR Michelle Pfeiffer’s wardrobe as Elvira Hancock in the ’80s classic, Scarface, perfectly captured the style and aesthetic of the disco era. Today, her sleek satin numbers continue to be interpreted on the runway and red carpet. Asymmetrical dress, $345, Halston Heritage. TOTAL PERFECTION A fashion film from start to finish, Clueless continues to inspire generations of fans with its designer dresses, two-piece skirt suits, and all that wonderful plaid. Balmain tartan mini dress, $3,860, Neiman Marcus. “I LIVE FOR MYSELF AND ANSWER TO NOBODY.” — STEVE MCQUEEN “I DON'T GET HOW GUYS DRESS TODAY. I MEAN, COME ON, IT LOOKS LIKE THEY JUST FELL OUT OF BED AND PUT ON SOME BAGGY PANTS AND TAKE THEIR GREASY HAIR — EW — AND COVER IT UP WITH A BACKWARDS CAP AND LIKE, WE’RE EXPECTED TO SWOON? I DON’T THINK SO.” — CHER HOROWITZ (ALICIA SILVERSTONE) IN CLUELESS THE DREAM WARDROBE Alicia Silverstone in Clueless A 2015 GUARDIAN ARTICLE CLAIMS AMY HECKERLING’S CLUELESS IS THE GREATEST FASHION FILM EVER MADE. Countless others seem to take that stance in their tips for dressing like or honoring the best outfits of Alicia Silverstone’s Cher. We all have our favorites — the yellow plaid Dolce & Gabbana suit, the white Calvin Klein dress, the red Alaïa dress, the baby doll dresses, the sheer shirt over an argyle miniskirt and under a cropped sweater vest. Fashion drove the 1995 film and its main character, whose life and those of her friends revolved around what they saw on the runways, bought at the mall, and debuted at school. Heckerling’s approach never took Cher into vapid or greedy territory, instead showcasing fashion as a world of fun to get lost in. She and costume designer Mona May told Vanity Fair in 2015 that they scouted Los Angeles high schools for inspiration while writing the film, but were turned off by the grunge trend. They created Cher’s sartorial world on their own, taking cues from unexpected places like Liza Minnelli in Cabaret for Cher’s over-the-knee socks. Heckerling joked that May lost sleep over finding the right outfit for Cher’s first-day-of-school look — that plaid suit — which in retrospect is perfect. It paid off : No matter how ’90s, Cher’s outfits make their way into women’s style routines even now. THE SHEARLING COLLAR COAT Kate Hudson in Almost Famous BETSY HEIMANN STRUCK SARTORIAL GOLD AGAIN when she put Kate Hudson in a shearling coat for Cameron Crowe’s Almost Famous. A long, subtly fit-and-flared shape cut from brown suede with wild shearling trim, the coat struck the right balance between overwhelming the character of Penny Lane in a perfectly over-thetop, ’70s rock way and letting Hudson’s vulnerable teen groupie performance shine through. Heimann has explained that although the iconic cover-up looks like a dream thrift-store find, she actually designed it herself. She wanted it to take on the feeling of armor for Penny, who actively pursued a larger-than-life persona on the outside. Heimann even labored over the color of the shearling, working with cinematographer John Toll to choose a shade of cream that would bounce light off of Hudson’s face. The result is a tangible glow that Penny and, consequently, millions of other women, can and want to be wrapped in. ROCKIN’ IT The shearling-trimmed coat Kate Hudson wore in Almost Famous captured the '70s. Lancaster coat, $1,498, Tory Burch. “IT’S ALL HAPPENNING.” — PENNY LANE (KATE HUDSON) IN ALMOST FAMOUS THE HAWAIIAN SHIRT Leonardo DiCaprio in Romeo + Juliet THE LOUD HAWAIIAN SHIRT LEONARDO DICAPRIO DONNED to play Romeo in Baz Luhrmann’s 1996 Romeo + Juliet was almost mundane in how at home it was for the character and setting, yet paramount in what it meant for Romeo, DiCaprio, and a formerly uncool look. Now a sought-after costumer, Kym Barrett made her styling debut in this film and has said there was no major motivation behind the choice other than Romeo simply being a kid from California (Luhrmann’s version found Shakespeare’s star-crossed lovers in Verona Beach). It just fits: a SoCal kid in a tropical shirt. When the shirt went on display at New York’s Opening Ceremony in 2016, though, Luhrmann explained the symbolism that Romeo was literally wearing paradise on his back, a poignant point for a tragic tale. The shirt didn’t catch on as a trend until Hollywood and fashion felt ’90s nostalgia in the past several seasons — Hedi Slimane kicked off a Hawaiian shirt resurgence for Spring 2014, and Gucci and Louis Vuitton have since followed. CLASSIC REDUX When Leonardo DiCaprio donned a floral shirt in Romeo + Juliet, the ’90s heartthrob captured the California cool that defined Baz Luhrmann’s remake of the Shakespearean classic. Now the Hawaiian shirt has made a major, updated comeback. Printed shirt, $25.99, ZARA. THE VARSITY JACKET Eddie Murphy in Beverly Hills Cop II 1987’S SEQUEL TO THE SMASH HIT, BEVERLY HILLS COP, finds our hero, Detective Axel Foley, back in La-La Land on another case. Foley, however, is a Detroit cop through and through, and in this second installment, the wardrobe department (supervised by James W. Tyson and Bobbie Read) chose to make sure the Motor City was proudly represented. Throughout the film and its crime-investigating hijinks, Eddie Murphy’s Axel brings Detroit grit to Beverly Hills with not just his attitude, but his Detroit Lions jacket. The varsity look set Axel apart and further cemented why audiences loved him in all of his relatability and hometown pride. It helped boost the popularity of team jackets, a trend that’s still a heavy hitter today when a shopping search turns up pages of results showing similar versions designed specifically to nail that Axel style. UNDERCOVER COOL The varsity jacket has long been a staple of the classic All-American look. But when Eddie Murphy as Axel Foley took to the streets in the sequel to Beverly Hills Cop, the 1984 action-packed blockbuster, this classic cover-up became the symbol of cool. Coach 1941 varsity jacket, $795, Coach. “IF YOU’RE AN ARTIST LIKE A REALLY, REALLY LONG TIME, IT STOPS BEING A PERFORMANCE. I’M NOT PERFORMING ANYMORE. I REVEAL MYSELF TO THE AUDIENCE. I SHOW YOU SOME OF ME. IT’S NOT A SHOW NO MORE.” — EDDIE MURPHY THE LEOPARD PRINT Anne Bancroft in The Graduate HERE’S TO YOU, MRS. ROBINSON, INDEED. Mike Nichols’ seminal film, The Graduate, turned 50 this year, but nothing — from Simon & Garfunkel’s music to the themes of young adult confusion to Anne Bancroft’s seductive wardrobe — feels out of step. As Dustin Hoffman’s Benjamin Braddock finds himself falling for his father’s business partner’s wife, Bancroft introduces us to the smart, sexy, stylish, and bored 1960s housewife we know as Mrs. Robinson. Her advances on Benjamin are mirrored in her sophisticated and bold ensembles, marked most blatantly by her love of leopard print. Always glamorous and never tawdry, the way she wore leopard — fine fabrics, flattering silhouettes — still influences the way we sport wilder motifs today. A wardrobe choice made for Mrs. Robinson by Nichols himself, and said to have cost upwards of $25,000 for animal-patterned furs alone, the prints sealed her siren reputation in our minds forever. SCREEN SIREN The legendary wardrobe of Anne Bancroft’s Mrs. Robinson in The Graduate is proof of the power costumes can have on a character and movie. Leopard-print coat, $298, J.Crew. “MRS. ROBINSON, YOU’RE TRYING TO SEDUCE ME.” — BEN BRADDOCK (DUSTIN HOFFMAN) IN THE GRADUATE THE WHITE SNEAKERS Kevin Bacon in Footloose THERE ARE FEW WARDROBE COMPONENTS MORE PARAMOUNT than the white tennis shoes in Footloose. The 1984 film follows Ren McCormack, a teen who moves from big-city Chicago to quiet Bomont, Iowa, where dancing is forbidden. Ren dances in white, red-swoosh Nikes, busting a bevy of moves in the town. Ren embodies a positive force of rebellion from his dancing to his wardrobe, standing out in his Nikes among cowboy boot-clad locals. Ren wears the sneakers when he first does his fancy footwork, motivating him to help bring dancing back to Bomont. He succeeds, and the kids (and everyone else) can dance in whatever shoes they’re wearing — a crusade that started with a simply cool pair of white kicks. FAMOUS KICKS Kevin Bacon’s legendary dance scene in 1980s favorite Footloose proves that bright white sneakers can bust a move. Blaster sneaker, $870, Louis Vuitton. THE WHITE SHIRT Uma Thurman in Pulp Fiction MAYBE IT WAS THE SILENT FILM-STAR HAIRDO — POSSIBLY, THE GOLD CHANEL SLIPPERS. Maybe it was Uma Thurman’s hypnotic performance. Or maybe it was that dance scene. Whatever the case, the idea of taking an oversized men’s white shirt and cinching it in a feminine silhouette was cemented as forever chic after Quentin Tarantino’s Pulp Fiction premiered in 1994. Costume designer Betsy Heimann explained to ELLE that she wanted Mia Wallace, a mobster’s wife, to look powerful in her own right. So she took inspiration from her own work on Tarantino’s Reservoir Dogs, reshaping a black suit and white shirt for sexy Mia. Heimann created the shirt herself, adding a large collar and long cuffs to emphasize the effortless femme-fatale appeal. Women have been following Mia/Uma’s lead ever since, with bonus points for askew buttoning. UNBUTTONED CHIC Uma Thurman’s performance as Mia Wallace in Pulp Fiction made the classic white shirt and black pant look effortlessly cool and forever chic. Non-iron fitted dress shirt, $98, and tuxedo pant, $298, Brooks Brothers. Mule, $435, Max Mara. THE LEATHER TRENCH Richard Roundtree in Shaft “AS HE PUMMELED THROUGH LEGIONS OF BAD GUYS or simply strutted through the mean streets of New York, the flaps of his long coat would jump and move, creating a stir and sense of mystery wherever he went,” wrote Marjon Carlos for Vogue in 2015 when designers like Céline and Jason Wu revived Shaft’s leather trench on their runways. The article goes on to note the reasons we’ve loved the cover-up ever since Richard Roundtree wore it in 1971. The cool factor of the classic trenchcoat is turned up to 10 thanks to the leather, which is also warmer and more practical than a trench’s typical canvas. You’ll even find mentions of Shaft and his unforgettable image in books like Mob Culture: Hidden Histories of the American Gangster Film and Crime Wave: The Filmgoers’ Guide to the Great Crime Movies. Shaft was a new kind of hero — a crimefighter with his own edge, imbued in downtown attitude. The look was bold enough to represent an entire genre of good-guyversus- bad-guy storytelling. Slipping into a leather trench today instantly cloaks the wearer in cool quality, whether keeping the streets safe — or not. THE BRETONSTRIPED TOP Jean Seberg in Breathless OFFICIALLY LAUNCHING THE FRENCH NEW WAVE OF CINEMA, director Jean-Luc Godard took his films out of polished studios and onto the gritty streets for a healthy helping of captivating realism, most notably in 1960’s Breathless. In 2010, Vanity Fair speculated that Godard probably let his actors, Jean-Paul Belmondo and Jean Seberg, choose their own clothing; their looks were so natural and honest. Seberg was already proving to be a trailblazer at the time, making her own way as an expat in France and fighting for quality film roles as well as for civil rights. Her progressive approach made its way into her wardrobe in a style that was practical with a hint of pretty. Case in point: her relaxed Breton-striped tops in Breathless, tucked into a pleated skirt. The American obsession with French nonchalance was born. NEW WAVE Whether in 1960 or 2017, a striped top is a classic choice that always looks contemporary. Graduated striped top, $398, Burberry. LEADING MAN Whether you’re a fan of the original or the contemporary sequel, John Shaft’s leather trench look is one to repeat. Leather trench, $3,995, Burberry. “WE’RE ALL ON THE HUSTLE.” — BUMPY JONAS (MOSES GUNN) IN SHAFT (1971) MENSWEAR FOR WOMEN Diane Keaton in Annie Hall DIANE KEATON’S MENSWEAR LOOK IN WOODY ALLEN’S ANNIE HALL rivals the feminine glamour in Breakfast at Tiffany’s for its influence and staying power. Keaton’s take on the titular role was so charming that everything about her epitomized this relatable and fascinating character, including her menswear-inspired outfits — an approach that was still uncommon in 1977, especially on screen. Also similar to Hepburn’s star-style turn, Keaton brought her own fashion sense to her role, with a tomboy twist. Her ensemble of relaxed khaki pants and a crisp white shirt cinched with a Ralph Lauren vest punctuated by a tie started a whole new genre of dressing for women. The clothes were powerful and refined, yet playful, flattering, and fit-conscious. Costume designer Ruth Morley spoke to Vogue in 1978 about the trend. “Now people tell me that all the girls in London and Paris are turned out like Annie Hall. It’s crazy; it’s practically become a household word!” Keaton has said that she was merely taking notes from the fashion trailblazers she saw in SoHo and Hollywood, but the modest star made menswear covetable for women’s wardrobes. ICONIC Fashion fans continue to emulate Annie Hall's eclectic looks. Rag & bone hat, $195, Neiman Marcus. Gilet, $1,150, shirt, $545, and pant, $745, Max Mara. “I DON’T CARRY LITTLE PURSES. I CARRY BIG DUFFELS, ALWAYS.” — DIANE KEATON THE TIFFANY & CO. HEADPIECE Carey Mulligan in The Great Gatsby ONE COULD ARGUE THAT THERE COULD BE NO MORE APPROPRIATE MATCH for Baz Luhrmann’s 2013 reimagining of The Great Gatsby than Ti any & Co. The book’s author, F. Scott Fitzgerald, was a frequent Ti any shopper, after all. Fittingly, the creations the brand and costume designer Catherine Martin conjured up radiate Jazz Age opulence, dazzle factor, and luxury, forever bonding the jewelry house’s legacy with that of the Roaring ’20s. The crowning jewel of the collection is, in fact, a crown of sorts. In one of the movie’s most decadent party scenes, Carey Mulligan’s Daisy Buchanan steals the spotlight in the Savoy headpiece. Tied at the back with a ribbon, the headband has an Art Deco pattern encrusted in diamonds and pearls, and is punctuated by Grecian-goddess diamond leaves and a ’20s-perfect pearl tassel. This single piece sums up the rich world of Fitzgerald’s time-honored tale, while giving Daisy a halo of mesmerizing glamour. THE LOAFER Cary Grant in To Catch a Thief “UNDOUBTEDLY ONE OF THE MOST STYLISH FILMS OF ALL TIME,” proclaims The Telegraph. Alfred Hitchcock’s 1955 romantic thriller, To Catch a Thief, is a visual delight with its idyllic French Riviera setting and lavish costumes designed by Hollywood legend Edith Head. This high-style epic stars the beautiful Grace Kelly as Frances Stevens, a millionaire’s daughter, and the dashing Cary Grant as John Robie, a retired cat burglar and jewel thief. While Kelly wore an impressive 10 looks in the film — her diaphanous blue gown a fan favorite — Grant’s debonair ensembles endured and continue to be emulated today. From his sleek and often imitated gray single-breasted suit to his charming Breton-striped sweater, Grant’s wardrobe evoked his signature suave confidence. True to his style and love for simple, yet quality, clothing, Grant sported an elegant pair of loafers throughout the film. As his preferred footwear on and off set, Grant once said to GQ, “The moccasin-type of shoe is, to me, almost essential.” RELAXED SUAVE “I am reminded of a piece of advice my father gave me regarding shoes ... he said it is better to buy one good pair of shoes than four cheap ones. One pair made of fine leather could outlast four inferior pairs and, if well-cared-for, would continue to proclaim your good judgment and taste no matter how old they become.” — Cary Grant Velvet loafer, $350, Del Toro. ART DECO DREAMS This diamond and freshwater cultured pearl headpiece evokes the iconic glamour of the ’20s. The Savoy, $200,000, Tiffany & Co. “SIMPLICITY, TO ME, HAS ALWAYS BEEN THE ESSENCE OF GOOD TASTE.” — CARY GRANT
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