By Manish Mishra
Read about some of cinema’s seminal looks which still inspire intrigue and spark off multiple recreations
Audrey Hepburn in Givenchy couture in Breakfast At Tiffany’s (1961)
A taxi halts in front of New York’s Tiffany boutique and Audrey Hepburn playing the coquettish Holly Golightly steps out. Looking like a million bucks in a noir sheath dress embodying simplicity, she takes a bite into her croissant while enjoying the sight of the jewellery on display at the shop window. This iconic satin dress was a pièce de résistance crafted by Hubert de Givenchy (Audrey’s lifelong friend) for the actress. Moreover, this attire was accessorised with a Tiffany necklace, richly ornate with multiple rows of pearls as well as a brooch in her hair. Released in 1961, the Blake Edwards film has since become the epitome of cinematography and fashion in the 1960s. Designer Riccardo Tisci, former creative director of Givenchy, described the dress as a perfect example of 1960s style: chic at the front, delicate, sensual and Parisian at the back. This look is possibly one of the most mood-boarded looks of all time. Not surprisingly, for Givenchy Fall ’22 collection by the then Creative Director Matthew Williams drew heavily from this look.
LBDs by Coco Chanel in Last Year in Marienbad (1861)
This movie marked a cinematic turning point for Gabrielle Chanel, who had designed costumes for a number of Hollywood films in the 1930s, thanks to a million-dollar contract she clinched with movie mogul Samuel Goldwyn’s production company. Chanel described the covetable garments as comprising “a wardrobe tethered to everyday life but [evoking] the allure of 1920s cinema stars, as well as a modern and timeless elegance”. Chanel extrapolated an array of fabrics to bring the protagonist’s costumes to life. A sheer, square-necked chiffon dress that billows behind the heroine as she glides down gilded corridors and garden paths stands out. Also worth mentioning is the lace and tiered tulle that accent her little black dresses (the Chanel signature). Feather accents were added to create a theatrical effect on a black floor-length cape and a white silk peignoir. A signature Chanel two-piece was also featured, comprising a boxy round-neck jacket and shift dress in a visually appealing metallic jacquard. The footwear included two-toned kitten heels and the looks were accessorised with costume jewellery crafted with pearls. For Chanel’s Spring/Summer ’23 collection, the brand’s former Creative Director Virginie Viard offered homage to these historically significant looks which have been so central to the design universe of the French luxury house.
Blake Lively’s trouser suits in A Simple Favor (2018)
Blake Lively has always been the epitome of effortless style and the litany of Ralph Lauren trouser suits she wore in A Simple Favor, a dark comedic thriller, directed by Paul Feig further cements her incomparable style mettle. While the film was based on the novel of the same name by Darcey Bell and ushered viewers to embark on a suspenseful roller coaster ride, it was the stunning wardrobe–courtesy of costume designer Renée Ehrlich Kalfus–which became the ultimate talking point. Packed with power dressing and stealth chic–each suit look was a clever adaptation of menswear tailoring. Blake’s Emily steps out of her car in towering stilettos, white cuffs, a three-piece navy pinstripe suit and a matching fedora. A gold handkerchief in her breast pocket adds to an elegant finish as she pops open her umbrella to walk through the rain to her son. Kalfus found the outfit in Ralph Lauren’s archive closet, according to a Vanity Fair article by Julie Miller.
Keira Knightley’s green dress in Atonement (2007)
Easily one of the most pinned dresses on Pinterest, Keira Knightley’s pleated and draped green dress in the 2007 romantic war drama still gets the Internet talking. Created by Costume Designer Jacqueline Durran with director Joe Wright, this was worn during the film’s climactic scene. The dress, inculcating period and modern elements, was applauded by fashion critics on Atonement’s release and has been hailed as a standout in film fashion. The dress is an emerald-green, lush, low-cut gown with a flapper drop back and thin straps alongside a drape wrapped around the upper hip, a central slit, and a Grecian, full-skirted silhouette. Featuring elements of London fashion in the mid-1930s, but had a modern, 2000s focus with its colouring, patterns, and strap combinations.
Reese Witherspoon’s bunny costume in Legally Blonde (2001)
Witherspoon’s character Elle Woods wears an array of playful looks throughout this cult classic–from the hot pink skirt suit to her wedding dress–every look resonates with her go-getter personality. However, the skimpy bunny costume she wears to a party hosted by the initially evil Vivian Kensington—who told Elle it was a costume party when it wasn’t, in a bid to humiliate her, stands out. Understanding what had happened, Elle puffed up her chest and walked confidently up to Vivian and her acolytes, telling them, “Thanks for inviting me, girls! The party is super fun.” Just divine! All in all, a quirky outfit that showed off her look-at-me attitude and is likely to put a smile on anyone’s face.
Julia Roberts’ red dress in Pretty Woman (1990)
Picture Julia Roberts in a red dress. And Richard Gere with strawberries and a bottle of champagne. Cinematic dreams are made of such visuals. The red ensemble was worn by Roberts’ character, Vivian Ward, a prostitute who seduces a millionaire Edward Lewis (played by Gere). The outfit signalled the evolution of the on-screen couple’s relationship from merely a casual exchange to a relationship laced with a touch of formality. In the film, Roberts wore the dress to catch a private plane before heading to the opera. The outfit’s designer Marilyn Vance was nominated for a BAFTA Award in 1990 for her design. And the dress has been so defining that in 2014, it was exhibited at the Victoria & Albert Museum in London! Recently this crimson-hued ball gown even made its debut at Paris Fashion Week. In Vetements’ 78-piece Spring/Summer 2024 collection, Creative Director Guram Gvasalia offered a moment of reprieve amongst his avant-garde and streetwear-coded offerings by recreating the iconic gown.
Sarah Jessica Parker’s wedding dress in Sex And The City movie (2008)
Sarah Jessica Parker’s Carrie Bradshaw in the hit HBO series has always been hailed as the Holy Grail of high fashion. Come on, how many brides stuff a dead bird into their hair? Not surprisingly for her wedding to her longtime boyfriend Big, she wears a statement-making frothy and voluminous Vivienne Westwood gown which was first seen in Westwood’s Gold Label’s Autumn/Winter 2007 collection titled ‘Wake Up Cave Girl’ and was inspired by the diamond cutting technique. While in the film, Carrie famously received the dress as a gift from the late English designer–along with the note “Dear Carrie, I saw your photo from the Vogue shoot. This dress belongs to you! Love, Vivienne Westwood”. In fact, costume designer Patricia Field previously revealed that she’d actually wanted Carrie to wear the black Zac Posen bridesmaid dress worn by Charlotte as a “mourning dress”, reflecting the shaky nature of her relationship with Big.
Margot Robbie’s Chanel looks in Barbie (2023)
Chanel’s then Creative Director Virginie Viard created five looks that appear in the movie: three suits and a dress for Robbie’s Barbie, plus a ski suit for Ryan Gosling’s Ken. The French luxury Maison also supplied quilted bags and other accessories, like sunglasses, hats from Maison Michel and jewellery. Barbie’s Oscar-winning Costume Designer Jacqueline Durran, who had previously worked on the likes of Beauty and the Beast and Little Women, chose some of the rosy outfits from Chanel’s Coco Beach and Coco Neige ready-to-wear collections. While Robbie’s wardrobe also featured Schiaparelli couture, Moschino, and vintage Versace, her Chanel looks included a yellow tweed suit and a vintage pink blazer.
Cailee Spaeny’s Chanel wedding dress in Priscilla (2023)
In this visually sumptuous and soul-searing biopic, filmmaker Sofia Coppola depicted Priscilla and Elvis Presley’s relationship and tells the story of Priscilla’s passage into adulthood, her quest for identity and independence. One significant scene captures the momentous wedding between Elvis and Priscilla, where Chanel’s Haute Couture and Métiers d’Art ateliers combined their expertise to create a couture Calais and Chantilly lace wedding dress that took over 90 hours to make. This exquisite creation underscored the symbolism of Priscilla’s transformation from girlhood to womanhood, marking her journey to becoming Mrs. Presley. In 1967, Priscilla got married to Elvis in a dress she had bought off the racks. Just like the upscale wedding dress inspired by the original, the pinned-up beehive hair remains true to the unforgettable Priscilla of yesteryear.
Gwyneth Paltrow’s cardigan in Great Expectations (1998)
Paltrow was the Nineties ultimate style goddess and one of her most standout outfits in films is an all-green Donna Karan cardigan and slinky skirt in Great Expectations. This head-turning outfit can still be spotted on all major nostalgic Instagram accounts. Easily one of the most replicated looks ever! In fact, not long ago Paltrow had posted an updated version of the ensemble on her IG. This time around, she swapped her barely buttoned shirt for a peasant blouse and finished off the look with a tailored pair of pants instead of a slip skirt.
Gwyneth Paltrow’s Fendi fur coat in The Royal Tenenbaums (2001)
The fur coat and the Birkin bag are two pieces which have always represented old money and country club cool. However, when Gwyneth Paltrow as budding playwright Margot Tenenbaum in director Wes Anderson’s 2001 film, The Royal Tenenbaums wears these pieces, there’s a hint of broody, moody punk. Even descending the stairs of a Green Line bus, she’s a nonchalant silhouette in slow motion. Besides the fur coat, her pin-straight bob, which she side-parts, flat-irons, and clips with a barrette adds to a girlish appeal. Perhaps that’s what director Wes Anderson wanted to portray–the irreverent girlish style she never grew out of. The film fashioned Paltrow into a pop-culture icon. An anti-heroine of sorts who’s promiscuous and chain-smokes in the bath.
Kirsten Dunst’s birthday gown in Marie Antoinette (2006)
Even though Sofia Coppola’s Marie Antoinette was booed at Cannes, its gorgeous costumes still make for an interesting study. Embracing a chick flick format and set against an early 2000s indie sleaze soundtrack, the film attempted to offer audiences a contemporary twist chronicling the life and fall from grace of the Queen of France, who reigned from 1774 until her guillotine demise in 1794. The film offered a fresh perspective on her journey from a young Austrian duchess to one of Europe’s most notorious rulers. The costumes for this film were designed by Italian costumier Milena Canonero who stuck to a macaroon-inspired palette of white, pink, yellow and blue. However, Kirsten’s birthday gown stands out. The whiteness of the silk bodice and overskirt was nicely contrasted by the sharp turquoise; the pink flowers and feathers infused a pop of colour into the ensemble.
Jude Law’s knitwear in The Talented Mr Ripley (1999)
The suntanned Dickie Greenleaf played by Jude Law remains one of the most stylish men to have ever graced the silver screen. Want to look absolutely elegant on your next Italian holiday? Watch this film and pay special attention to all of Jude’s looks–from the polo knits to the beach shorts to the sheer shirts and sunglasses. Even his bespoke suits looked instantly desirable. All in all, there was a sense of effortlessness and a rakish nonchalance embodied in all his looks which also added depth to his character.
Richard Gere’s Armani suit in American Gigolo (1980)
American Gigolo entrenched Armani on the style map. One of the most distinctive items in American Gigolo was the high-yoked single-button grey sports jacket that Julian (Richard Gere) wears when calling upon the Rheimans of Palm Springs. The jacket underscored the structured yet relaxed silhouette that Armani pulled off by deconstructing the restrictive lining and padding from his suits and jackets. Following the natural shoulders on Gere’s jacket with roped sleeve heads and a distinctive yoke that slightly curves out from the collar along the shoulders, this was one of the finest examples of relaxed menswear tailoring.
Kate Hudson’s gown in How To Lose A Guy In 10 Days (2003)
Essaying the affable Andie Anderson, Kate Hudson rocks a full-length yellow silk gown which captivated fashion fans all over the world. The dress was custom-made for the movie by Carolina Herrera and Costume Designer Karen Patch. It featured an open back, a deep neckline and a drop waist. This remarkable look signified Andie’s evolution from a woman playing games to one who is vulnerable and real. It’s a visual metaphor for Andie’s feelings for Benjamin Barry (Matthew McConaughey) and a moment of truth and clarity in the movie.
Alicia Silverstone’s party dress in Clueless (1996)
Before Carrie Bradshaw’s naked dress, there was Cher’s (played by Alicia Silverstone) date night dress. The fashion-obsessed Cher came downstairs for her night with Christian in a neutral slip dress. The itsy-bitsy number prompted one of the film’s more memorable father-daughter exchanges, which Silverstone recently reenacted on her TikTok account in honour of the film’s anniversary — featuring her son, Bear Blu, in the role of Cher’s father.
Kristen Stewart’s Chanel dresses in Spencer (2021)
Kristen Stewart, a Chanel brand ambassador since 2013 looked sensational as she essayed Lady Diana in Spencer, a movie financed by the brand. The movie revolved around a pivotal weekend in 1991 when the late princess spent the Christmas holiday with the royal family at Queen Elizabeth II’s Sandringham Estate, leading to her separation from Prince Charles. The actress wears a red tweed coat with a tailored collar from Chanel’s Fall 1988 ready-to-wear collection in one advance image from the film. In another, she sports a red turtleneck sweater with gold Coco Crush earrings.
Natalie Portman’s ballet costume in Black Swan (2010).
Natalie Portman’s gorgeous Black Swan costume designed by Rodarte’s Laura and Kate Mulleavy was definitely one of the high points of this dark yet devastatingly beautiful film. The Pasadena-based sisters have always cited cinema as an influence in their designs and their Fall 2008 collection was a take on Japanese horror films and Spring 2009 was, among other things, a direct reference to Boris Karloff’s portrayal of Frankenstein. Since Black Swan captured a ballerina’s quest for perfection leading to calamitous consequences, her feathery, tulle-heavy dresses in a way reflected her mind and mood shifts. She’s vulnerable yet strong, tough yet delicate.
Tippi Hedren suit in The Birds (1963)
Tippi Hedren’s pale green wool sheath dress and matching jacket in Alfred Hitchcock’s The Birds is probably one of the most note-worthy costumes for a female character in cinematic history. It was designed by the iconic Edith Head (who is said to have lifted it from her book of designs for Grace Kelly’s Lisa Fremont in Rear Window). Hitchcock wanted it to be in green so that it sets Tippi apart from the rest of the cast. From this point on it is worn for the rest of the movie, with a fur coat. Melanie–Tippi’s character, gets pecked by the evil birds as the film progresses but her overall style and appeal remain intact.
Marilyn Monroe’s pink dress in Gentlemen Prefer Blondes (1953)
One of the most copied looks of all time, Marilyn Monroe’s shocking pink dress in Gentlemen Prefer Blondes definitely merits a mention. The dress was created by Costume Designer William “Billy” Travilla and was used in one of the most famous scenes of the film, which subsequently became the subject of numerous imitations, significantly from Madonna in the music video for her 1985 song “Material Girl”. In the TV series Gossip Girl too, Blake Lively wears a version of it in a dream sequence.
Julianne Moore’s dress in A Single Man (2009)
One of the movie’s (directed by Tom Ford) most memorable moments is the dance scene with Colin Firth and Julianne Moore. The monochrome caped column dress worn by Moore was made by Neusteters, an upmarket department store that closed in 1985. Costume Designer Arianne Phillips sourced this dress for the movie. The film was set in the Sixties and Moore’s graphic eye make-up and coiffured hair complemented the decade’s mod vibe pretty much like the dress.
Anne Hathaway’s Chanel boots in The Devil Wears Prada (2006)
Even today, Anne Hathaway’s Chanel boots still continue to inspire countless memes all over the Internet. The film traces Andy Sachs’ sartorial journey–from being the girl-next-door in a lumpy blue sweater to a style-savvy glamazon in come-hither Chanel boots (from the brand’s Fall 2005 collection). When she struts into the office her colleagues–Emily (essayed by Emily Blunt) and Serena (played by Gisele Bundchen) couldn’t believe the transformation. This ensemble also featured a chic tailored jacket from Karl Lagerfeld’s resort runway. This scene follows a montage of some remarkable looks as she’s walking down the streets of New York, running errands and doing her assistant duties as Madonna’s ‘Vogue’ song plays in the background.
Grace Kelly’s dress in Rear Window (1954)
Grace Kelly is the epitome of timeless chic in this iconic thriller. She always looks like she’s just stepped out of a salon, wears a series of fit and flare looks and flips through the pages of Harper’s Bazaar. One of her key looks comprising a fitted black bodice with a deep V cut down to the bust and rear to the small of the back, off-the-shoulder neckline and cap sleeves is easily the film’s pièce de résistance. Full skirt to mid-calf, gathered and layered in chiffon and tulle and featuring spray branch pattern on the hip, narrow black patent leather belt, nipped in waist–this creation evokes the ladylike spirit of the decade.
Faye Dunaway’s beret and vest in Bonnie and Clyde (1967)
Over half a century since the film’s release, Faye-as-Bonnie’s iconic look–puffy berets, neckerchiefs, knitted T-shirts and pencil skirts–continues to inspire the mood boards of fashion editorials and collections from designers like Dior’s Maria Grazia Chiuri who has often referenced this look to play out the idea of tough femininity. Faye’s yellow knitted vest with matching beret and tweed skirt is still one of the most badass yet chic looks seen on the silver screen.
Catherine Deneuve in YSL in Belle de Jour (1967)
Actress Catherine Deneuve and designer Yves Saint Laurent collaborated on various projects and even for the actor’s offscreen appearances. However, it was 1967’s Belle de Jour which remains most memorable and epochal. Catherine essays Severine, an upper-middle-class housewife who resists her husband’s sexual advances in bed but goes on to explore her sexuality by being a call girl at a brothel in Paris as the film progresses. This film is a master study of costume design which carefully and cleverly reveals character. Catherine’s immaculate hairstyles offer one clue about who she is and what she is craving. As a doe-eyed Severine, one sees Deneuve embracing pieces in innocent shades of white and pale pink. As Belle, she’s seen strutting around Paris in dark browns and black from head to toe. The choice of textiles reveals her character evolution–from demure to downright titillating. Yves Saint Laurent dressed in an array of chic fur, leather and vinyl jackets and trenchcoats. Also, it’s hard to miss the overarching military influence in the clothing that elevates the fetish feel of the film. Saint Laurent’s FW ’22 campaign starring model Guilherme Keim was inspired by Belle de Jour, specifically Marcel (played by Pierre Clementi), the violent, gold-grinned lover of Severine. Within Vaccarello’s collection, Marcel’s androgyny translated across slick patent leather trenchcoats, helter-skelter tailoring and more than a sliver of peril.