Ever since I was a little girl, I loved watching movies for one sole reason: to stare at the outfits, think about what I would do differently if I were in charge of the costumes, and most importantly, what I would wear if I were magically inserted in that universe. Now, there are so many different things that turn a movie into a cult favourite classic; from soundtrack to the actors to the cinematography, they’re all essential factors. But what’s often forgotten is the costume design department. Just think back to your favourite movie, and imagine the main character wearing something else in that one scene. It would throw off the whole movie. There is no Clueless without Cher Horowitz’s yellow plaid set, and no Pulp Fiction without Mia Wallace’s classic white button-up. No matter how unrelated fashion is to the subject of the movie, it still plays a major role in bringing everything together. It helps you know the characters better, and makes up for some good Halloween costume when October rolls around. This article is a nod of appreciation to those responsible for helping bring some of our favourite characters to life. We know we’re missing a few, but there are too many talented folks out there and we only have so many words, so hopefully you will accept my invitation to go back in time with me...
16th Century: Shakespeare in Love
Set in 1953 London, the film takes us through a fictional life of William Shakespeare, and his short-lived love affair with wealthy Viola de Lesseps (Gwyneth Paltrow). The Elizabethian period of the Tudor era is known for its strict dress codes and even stricter inter-social-class rules. Sandy Powell does a beautiful job of using colours to show the distinction between Viola’s and William. Viola wears crimson and gold on multiple occasions, the two colours signifying royalty, wealth, and nobility. Additionally, the Tudors thought of gold as a colour connected to masculinity. This makes Powell’s choice to have the two most iconic looks of the movie, Viola’s gorgeous ball gown and Queen Elizabeth’s (Dame Judi Dench), both be golden and signalling feminine power much more bold. Queen Elizabth’s looks are all particularly detailed, and the inspiration of the Queen’s Armada Portrait is undeniable. Huge puffy sleeves, a large amount of pearls, and the bejeweled corset all make her look recognisable in an instant. Contrarily, Viola’s costumes all have delicate elements in all of their extravagance.
18th Century-Part I: The Favourite
Set in England again, this time in 1708, Sandy Powell is once again the mastermind behind the costume design of yet another brilliant period piece. The film focuses on the interpersonal relationships of Queen Anne (Olivia Coleman), her lover and right hand in court, Lady Sarah Churchill (Rachel Weisz), and Sarah’s cousin, fallen noble Abigail Hill (Emma Stone). The 18th century is largely underrepresented in cinema, which posed a challenge for Powell but gave her more creative freedom and allowed her to explore the era without focusing on historical accuracy. Her biggest sources of inspiration were Ingmar Bergman’s Cries and Whispers, a Swedish period drama set in the late 19th century, and the Draughtsman’s Contract, Peter Greenaway’s 1982 period film. Powell chose a black and white colour palette for costumes, banned the use of hair spray for more authentic hair looks, and kept the three leads mostly makeup-free. On the other hand, the male actors spent the most time in hair and makeup. The men had to wear garish full faces of white makeup, mimicking the lead paint powder and rouge of the era, and massive wigs. Powell calls them “the peacocks”, perfectly summing up the overdone red cheeks, knee-high socks, lace sleeve, chunky high heels, and caked-on white makeup.
18th Century-Part II: Marie Antoinette
If you have spent even a minute on the fashion side of Tumblr as a teenager, chances are you have seen gifs of Sofia Coppola’s Marie Antoinette. As the name suggests, the film depicts a highly romanticised and rather fragmented version of the personal life of Marie Antoinette (Kirsten Dunst), focusing more on her naïvete and emotions rather than the action and the history. Because of this, the costumes and the colours play a major role in reinterpreting the characters. In fact, the costume change shows the passing of time, and the shift from her early years in Versailles to her partying years, to her brief motherhood, and to mourning. The abundance of cakes and pastries in her partying phase, being referred to as “a piece of cake” on multiple occasions, and the resemblance of the costumes to cakes are direct references to Marie’s most famous quote, “qu'ils mangent de la brioche” or “let them eat cake.” The intricate pleated low collars, the ruffles, the feathers, the flowers, the bows, and the pastel colours are all testaments to Milena Canonero’s high attention to details in this Academy Award winning project. The film also served as an inspiration to Anna Sui’s spring 2007 show.
19th Century: Anna Karenina
Joe Wright, Keira Knightley, and Jacqueline Durran; probably my favourite trio in cinema, are responsible for a plethora of intimate hand touching scenes, and highly poetic, slightly surreal romance. Loosely based on the 1877 Leo Tolstoy novel, the film follows a married young Anna (Keira Knightley) and her ill-fated affair with Count Vronsky (Aaron Taylor-Johnson). Despite being set in the late 19th century, Anna is decked out with pearl and Chanel jewelry and gowns that are eerily similar to early Balenciaga. To Durran and Wright, clothing is an effective means of storytelling, so it calls for stylized pieces that are accessible to the modern eye. For that, Durran had to look at pictures of 50s couture, and tried to combine it with existing garments and silhouettes from 1870s paintings and photographs. On her way to Moscow, one of Anna’s looks stood out in particular. The fur-trimmed coat embroidered with peacock feathers is inspired by a cape in the Victoria and Albert Museum in England. The peacock feathers are seen as unlucky, and it can be seen as a sign of what’s about to come.
1920s: Piccadilly
The impact of East Asian culture on fashion and cinema has always been and still is immense, with more fashion houses taking inspiration from–and sometimes blindly appropriating–their culture. In 1929, Anna May Wong became the first Asian American actress to gain international recognition in cinema with Piccadilly, and in the following years she became a cultural icon. John Galliano himself credited her as the muse behind his spring 1993 collection for Dior, and her looks are still widely recognised and influential. The silent film is the story of a dishwasher (Wong) and her rise to fame after her riveting performance at the Piccadilly Circus nightclub. The costume designer being uncredited is unfortunate, as Wong’s scanty, armour-like outfit in her dancing sequence is nothing short of a masterpiece. The metallic pants and breastplates, as well as the chandelier-esque headpiece are classic items that appeared decades later on the runway and will serve as inspiration for many more to come.
1930s-Part I: The Handmaiden
If this were a class for cinema, I could probably write a 10-page essay on this film. The Handmaiden is complex, adventurous, shocking, soft, and passionate. A period drama set in the 1930s Japanese-occupied Korea, an exploration of two cultures, and an erotic romance. Gloves play a major role in unpacking the film, symbolising duality and performance. Sang-Gyeong Jo uses costume design to create the characters, bringing them to life and telling their story. Lady Hideo wears extravagant costumes when she’s assuming her role in society as a submissive woman who is practically owned by the men in her life. Contrarily, when she’s alone with Sookee, her handmaiden and later her lover, the costumes and the leather gloves come off; showing her vulnerability and regaining her power back.
1930s-Part II: Atonement
Another heart-wrenching collaboration between Joe Wright, Keira Knightley, and Jacqueline Durran, this time with perhaps one of the most iconic fashion looks in the history of cinema. A secret affair, a lie, and a rumour, separate lovers Cecilia Tallis (Keira Knightley) and Robbie Turner (James McAvoy). While the movie is filled with beautiful costumes, from Cecilia’s white one-piece swimsuit to her soft floral top and skirt ensemble, there is one look that has engraved itself in everyone’s memories forever: Cecilia’s green silk dress. Over a decade after the release of the movie, the dress is still fawned over, with replicas selling for up to $30,000. In order to design the iconic dress, Durran went through fashion reference books from the ‘20s and ‘30s, and chose ones that would look flattering on Knightley. Wright wanted to dress to remind the audience of the hottest day of the year, and this is where the bare back came to be. While bare backs were fairly common in the 1930s, they were not quite as naked. While green is never a popular choice in costume design, the way it complements Knightley’s skin tone and speaks of her youth and vitality is almost hypnotic.
1940s: Inglourious Basterds
By now it must be clear that costume design in period cinema is more stylised as it is historically accurate, and Quentin Tarantino’s Inglourious Basterds proves to be another case of that. Anna B. Sheppard, costume designer, describes the costumes as flamboyant and more elegant than typical movies about World War II. The film is about few Jewish soldiers hoping to bring the Nazi government down in an undercover mission whose plan coincides with Shosanna Dreyfus' (Mélanie Laurent) vengeful plan to do the same. One of the most iconic looks of the film is Diane Kruger’s brown suit, designed specifically for the role in Berlin. In another scene, Nazi Propogana Minister’s interpreter and mistress, Francesca Mondino (Julie Dreyfus) is seen wearing a leopard cat hat, a direct reference to Elsa Schiaparelli’s famous hat. Although all costumes are designed by Sheppard herself, Schiaparelli’s influence can be seen in various items.
1950s: Rear Window
After almost seven decades, Grace Kelly remains one of the biggest fashion icons Hollywood has ever seen. Alfred Hitchcock’s thriller Rear Window is not only famous for its cinematic brilliance, but also for Edith Head’s gorgeous designs. The “fresh from Paris” dress is arguably the most popular Kelly look. The fitted black bodice, the deep V-cut, the cap slightly off the shoulder sleeves, and white skirt layered with chiffon and tulle, create a silhouette that is still popular in 2020. Head was the Dior Ligne Corolle before Ligne Corolle was created–in fact, the line was designed in 1947, and made in 1955, a year after the film’s release. The look is complete with a white chiffon shoulder wrap, as was common back then.
And with that, I hope next time time you watch a movie you will be paying close close attention to its costume design like never before ... Stay tuned for Fashion through the eyes of the spectator: A movie guide Part II!
Bella Niaravani
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