Courtney Iseman 2017-11-22 05:13:47
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 wardrobes 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 Boutique. FEMME FATALE As the first Bond girl, Ursula Andress took the little white bikini into uncharted territory, making it forever a classic. Sliding halter top, $88, and banded hipster bottom, $88, 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 e 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. 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. Jacket $1,695, shirt, $425, and pant, $925, Emporio Armani. 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. 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, ILORI Optical. 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 backless mini dress, $2,890, Saint Laurent by Anthony Vaccarello. “I LIVE FOR MYSELF AND ANSWER TO NOBODY.” — STEVE MCQUEEN 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 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 JEWELS Elizabeth Taylor in Cleopatra “UNDENIABLY, ONE OF THE BIGGEST ADVANTAGES TO WORKING ON CLEOPATRA IN ROME WAS BVLGARI’S NICE LITTLE SHOP,” Elizabeth Taylor famously wrote in her memoir, My Love Affair With Jewelry. The jewelry both on and off set of the 1963 film has a reputation almost more legendary than the film itself. It both caused and symbolized romance, drama, adultery, glamour, and excess, while simultaneously launching fashion trends. Taylor’s unquenchable thirst for jewels wove itself into the movie, her ornate 65 costumes — gold-leaf headdresses, 24-karat-gold capes — flanked by gilded arm cuffs and snake rings that became all the rage for Cleopatra and Taylor fans. 20th Century Fox was almost bankrupted by the film’s budget-busting spending, propelled by the jewels Taylor insisted would boost Cleo’s regal presence. Meanwhile, Taylor’s affair with co-star Richard Burton became one of the bestknown storylines of the film. It was a relationship dotted with trips to BVLGARI so Burton could shower Taylor with gifts. The saga of the jewels that intertwine Cleopatra and Taylor lives on today in the form of international exhibitions, auctions, and of course, gossip. THE CROWN WARDROBE While filming Cleopatra, Taylor would often visit the BVLGARI boutique and was even spotted on set wearing a watch from the Italian house's iconic Serpenti collection, which debuted in the 1940s. Serpenti Tubogas necklace in 18-karat pink gold with pavé diamonds, $58,000, BVLGARI. RICHARD BURTON ONCE SAID, “I INTRODUCED LIZ TO BEER, SHE INTRODUCED ME TO BVLGARI.” 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. Dahlia beach camp shirt, $125, Tommy Bahama. 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 will bring back 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 actionpacked blockbuster, this classic cover-up became the symbol of cool. 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 Hoff man’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.
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