Top 20 Fashion Films

Since the release of AFI's top 100 American Films, arguments have been raging. A friend of mine has even taken on the daunting task of creating his own top 100. Inspired by his idea and equally offended by the AFI list, I've decided to create a list of the top 20 movies with inspiring fashion. Here are the rules:

1) Subjectivity: This is my fucking list. And any claim to objectivity would be bullshit anyway.
2) Fashion vs. Costume: Clothing is just one part of an infinite number of choices that make a film what it is. Someone might decide that the best thing for their film would be to have very unnoticeable, boring clothing on their characters. That might be an excellent costume decision, and we might want to hand out an award to the costume desginer that pulls that off well. But that doesn't make the film a great Fashion film, it doesn't inspire us to change our look or make us drool. This list is about Fashion, not costumes. However, nothing made the list unless the clothes were also great for the film.
3) This List is all American films, partially for consistency with the AFI theme and partially because I don't want to take on Saris and Kimonos.
4) Drafts: This is meant to be the first draft of the list. I'm leaving the numbering off and keeping an open mind, so that those who want to criticize, comment, or whatever can do so. The list, therefore, will be organized by date of release.

Morocco (1930)

As mentioned in an earlier blog, Marlene Dietrich's undeniably sexy cooptation of a man's tux remains one of the most important moments in fashion and film history. It's not easy to pull off men's clothing, because it's designed to accentuate the ideal male body. Breasts are usually the most difficult thing to squeeze into a suit, and they tend to destroy the lines of the clothes, obliterate a waist, and generally look awkward. But in Morocco Dietrich is stunning, invoking both female and male sexual indicators. Papers should be written about how she pulls this off.

The Adventures of Robin Hood (1938)

I watched this film as a child and fell in love with the costumes. The curiously unfrumpy clothes of the Merry Men and particularly the costumes of Maid Marian are burned into my memory as the examples of Medieval clothing. Although they are probably not so accurate, the styles are iconic, filled with over the top color and perfectly implying the good or evilness of the character.

The Women (1939)

More than once it has been argued that this film, entirely made up of female characters, is really about men in drag. Critics point to the over-the-top performances, which easily read as caricatures of femininity. The clothes are equally outlandish, supposedly because these are women of "society." Whatever the gender implications of the film, the clothing has remained outrageously fabulous, and always inspiring.

Gone With The Wind (1939)

In a scene from the first half of the film, Rhett Butler brings Scarlett a hat from Paris, which she places on her head backwards. He tells her things have really gotten bad if a girl like her doesn't know how to wear the latest fashion. Clothing plays an integral part in all the many hours of the film, used and manipulated as a tool. Scarlett famoulsy makes a dress out of curtains to get money from Rhett. Rhett forces Scarlett to wear red so that Melanie can sufficiently embarass her. The film's comment on the emotional and politcal significance of clothing would be enough to send it to the top of the list. Thankfully, the costumes themselves are eternally stunning.

Rear Window (1954)

Every single outfit that Grace Kelly wears in this film is enviable. Kelly plays a New York socialite and works at a women's clothing store. Could there be a more perfect set up for Edith Head? The infamous costume desginer made the best of a good situation and turned out clothing so spectacular it would still turn heads at a Park Avenue party.

Rebel Without A Cause (1955)

It's not just the leather jacket. People forget that the rest of Dean's wardrobe in Rebel was more Wittgenstein than The Wild Ones. Sal Mineo's wardrobe (along with his performance) has also been forgotten. What's really surprising about the wardrobe for these "rebellious" teenagers is it's sense of restraint. This isn't Brando on a motorcycle with a gang of similarly dressed troublemakers. These are real kids, wearing what is pretty much acceptable for the day and only slighlty pushing the boundaries. The ultimate rebel wears a tweed jacket, not a leather one.

Some Like It Hot (1959)

It wasn't enough that Marilyn Monroe would be frolicking around in a sheer, sequined, skin tight dress. The costumes for Jack Lemmon and Tony Curtis in drag were every bit as fabulous as Marilyn's. In fact, Marilyn looks out of place in the roaring twenties, her curves being in serious conflict with the era's ideal. It's the negotiation of twenties and fifties styles, believability and comedy, that make the clothes in this film brilliant beyond comparison.

Breakfast at Tiffany's (1961)

This is, hands down, the least controversial film on the list. But I'd like to reject the way the film is normally invoked. If Holly Golightly were just glamorous, the clothes would be dull. What is special about the character and her famous scene in front of the window at Tiffany's is the performance of glamour. Holly is playing at being rich and glamorous, dreaming of one day affording the jewels in the window. What is, or should be, inspiring about the fashion in the film is our ability to play around with our clothes, take on an alter ego, have fun. Not that we should lie to the hot homosexual living in the apartment building, but you know what I mean.

Cleopatra (1963)

There are two reasons to watch Cleopatra. To hear Elizabeth Taylor explain the value of a library to Caesar, and to see how many ways Irene Sharaff can emphasize Taylor's bosom. And it's quite a bosom. But with 65 costume changes, the record for motion pictures, it's not just about low-cut. Scene after scene shows Taylor in yet another fabulous get-up, dressed (or undressed) to perfection for the given situation. Perhaps this is more inspirational to men performing as women than it is to the rest of us, but who cares. Bosom is bosom.

Le Samourai (1967)

The film was not made, nor does it take place in the forties, yet, it captures perfectly the look of the film noir anti-hero. Alain Delon takes Bogart to the Japanese country-side and never looks back. This look is cooler than cool, but still oh-so-simple. Has the trench ever gone out of style?

Bonnie and Clyde (1967)

Faye Dunaway in Bonnie and Clyde would be the best dressed hipster at your local indie coffee house. That's how of-the-moment the clothing is. For whatever reason, the thirties-cum-sixties style is very trendy on the runways right now, leading all of us to ask whether it wouldn't be better to say you're going for the Faye Dunaway, rather than the thrities-cum-sixties-cum-two-thousands.

Cabaret (1972)

Fosse, a polyamourous relationship, Nazis, and spectacular stage perfromances - does it get any better than Cabaret? The clothing in this film captures the pre-war Berlin of Christopher Isherwood's imagination and experience, an era that seeemed oddly appropriate to the early seventies. While no one could doubt the influence of Liza Minelli's outfits, my attention is always turning to the costumes, literally meant to be costumes, that appear on stage. The Cabaret girls are sexy, but also grotesque, the drag is comically off-base, and the master of ceremonies looks the part of a Shakespearean clown.

The Sting (1973)

What's with the seventies and fashion from the twenties and thirties? Another thesis paper waiting to happen. But, again, costume designers got it right with The Sting, making Reford and Newman look just as sexy as ever. The greatest part of the costuming, however, is the wide variety. These are con-men, so their character and clothing have to change for each con they play. The result is a rich documentation of men's clothing - the cuts, the colors, the patterns, the lines.

Annie Hall (1977)

I've written (and talked) a lot about Diane Keaton's wardrobe in Annie Hall, but enough probably can't be said. The tie and vest are iconic now, but her outfits in the rest of the film are equally inspiring. Remember what she's wearing when Allen and Keaton attempt to cook Lobster? How about her grossly improbable choice of clothing for a swanky LA party? Even avoiding sex in underwear and a tank-top, Keaton maintains the Annie Hall style. It's also worth noting how often clothing plays a role in the film's jokes. Check out the crowd, which includes Paul Simon, that invites Annie to hang out after her successful singing performance. Is Annie Hall the first onscreen reference to a "visible panty line?" Anyone up for watching the film again for fashion references?

Edward Scissorhands (1990)

The mix of dark and sweet, retro and futuristic that only Tim Burton could think up, seems to me to embody everything about indie fashion. Winona's half-ironic suburban chic is rarely recognizedas a precursor to much of the street-style that is popular today. In fact, most hipster-wear can be attributed to some element in the visual language of the film - the crazy hair cuts, the outrageous planned-community, the grotesque sexuality of the housewives. This is ground breaking shit.

Elizabeth (1998)

Forget wearability. Sometimes fashion in a film is inspiring the way an editorial spread in W is inspiring. Even if you could somehow afford the clothing depicted, you couldn't possibly walk around in the outfit. The idea is not to copy, but to interpret. The fashion in Elizabeth cannot be copied, but it is truly inspiring. While the looks from the Queen's early years are prettiest, I'm partial to her extraordinary transformation at the end of the film. Furthermore, this kind of decayed opulence is one of the biggest rends for Fall 2008.

Ghost World (2001)

There's a moment in the film when Enid is feeling low, takes off her hat, and changes her glasses. I think that scene pretty much sums up the role of clothing in the film. It's hard for me to imagine anyone, or at least anyone interesting, not connecting with Enid's fashion as a part of her struggle for self-identity. In an effort to distinguish herself from the suburban life-style around her, Enid tries on an what she calls a, "1977 original punk rock look." But no one gets it. And the clothing does a beautiful job of telling that story on its own.

Me and You and Everyone We Know (2005)

Even my mother loved the clothing in this film. Taken partially from Miranda July's own wardrobe, "Christine" is both funky and relateable. But perhaps the most brilliant costuming in the film was of the two teenage girls walking home from high school. Heather and Rebecca look like JAPs (Jewish American Princess for those who didn't grow up around Jews), they look like they are in high school, and they look equal parts sexually curious and sexually naive. Perfect.

The Last Kiss (2006)

This is the most controversial film on the list. And, yes, it's not great. However, the clothing in the film perfectly captures the time and place. Rachel Bilsen looks both sexy and irredeemably childish. Jacinda Barett's clothing embodies that just-threw-this-together thing that makes graduate students so hot. Also unforgettable is the wardrobe for Blythe Danner, hopeful mother-in-law to Zach Braff. I recommend watching this film again, so that you can take a second look at the clothing. I predict that in ten, twenty years people will point to this movie as an indicator of style in the first decade of the 21st century.

The Queen (2006)

The clothing in this film blew me away. It is rare that I envy the wardrobe of anyone over 65, but by the end of the film I wanted to run out and get a cardigan set. The trick is that the clothing is entirely believable, in fact eerily similar to the strict dress code that Elizabeth II maintains. But the wardrobe in the film somehow manages to out-do the Queen, stylizing her look to the piont of being fashion forward. Who woulda thunk it? But that's the magic of fashion and film.




Some movies that almost made the list, but not quite: What a Way to Go!, North By Northwest, Lord of the Rings, Rocky Horror Picture Show, When Harry Met Sally, Do The Right Thing, My Cousin Vinny, Sixteen Candles, Kill Bill vol. 1 and 2.

Hadley Freeman (one of my favorite fashion journalists) recently commented in the guardian about the return of big shoulders to the runway calling it, “the final piece of the Bermuda Triangle of '80s fashion…” As witty as I found her insights into the trend, there was one oh-so-significant element that she missed: this isn’t really about the ‘80s. First, much of what graced the runways was, in fact, a strange revamping of the medieval suit of armor, but that’s a discussion for another time. What I want to stress here is that the “power suit” of the 1980s was a throwback to the cinched waist and footballer-style shoulders of the 1940s.

Stars like Joan Crawford commanded serious screen presence with what now looks like outrageously exaggerated shoulders. It was outrageous. But then, so is almost everything in fashion. The interesting thing is that this look is undeniably powerful. In fact, when I talked to my father about the classic noir film, Mildred Pierce, he described Joan Crawford as, “one of those castrating women.” Besides being a little offended, I realized that there was much more to this look than fabulousness (of which there is a lot). The big shoulders and super-fitted pieces have come to symbolize an (over)powerful femininity. Crawford is no-nonsense, no frills, not really even any fun. She’s serious and self-sufficient. No doubt some of this is inherent to the lines of the clothes themselves, as large shoulders mimic the ideal male form. But most of this image is probably an accident of the cultural zeitgest of the forties, leftover from femme fatales, film noir, and women in the workforce.

What’s interesting about the recent revival of the shoulder pad, is the conscious or unconscious play with the “castrating” model. In an effort, probably partially about sales, designers rejected the petite, boyish dresses and shifts that are uber-popular right now. The replacement was less about a return to female economic and political power, than it was about dominating sexuality. Theoretically, and Freeman does a good job of poking a hole in this theory, the larger shoulder emphasizes a small waist. In several cases, the tiny-waist-big-shoulder proportion was further emphasized with a corset of sorts. How perfect. The perhaps ultimate image of female dominance with the perhaps ultimate image of female repression. Even the watered down versions, Topshop Unique for example, were pairing emphasized shoulders with look-at-me belts. Is the fashion world not comfortable with straight-up female power? Is this simply a pragmatic nod to issues of wear-ability (and marketability)?

In the end, one is rather indistinct from the other. Women won’t wear the pads unless they think they’ll look sexy in it. And whether or not this style will actually get worn is yet to be seen. But there’s no doubt how the indie girl or vintage lover should approach the issue. Go Crawford all the way. Make no apologies for the big shoulders. Whether you wear your waist nipped in or rock a big-shoulder-skinny-jean look ala the not-so-masculine hipster male, make sure your pieces scream “I’m aiming at you lover” and not “greed is good.”

You could spend hours searching through ebay for the perfect vintage jumper to wear at your favorite hipster hangout. Don’t pretend you haven’t already. After showing up consistently on the Spring runways, every girl and her ironic haircut has been searching high and low for an affordable version. Or you could just visit the girls of Eskell, Kelly Whitesell and Elizabeth Del Castillo. Since 2005 they’ve been turning out a vintage-inspired collection that manages to be right on top of the trends. The proof is in their new line for Spring 2007, full of flowy dresses and off-beat patterns. But if you’re headed to an art gallery in Bucktown, it’s the “Cayman Onesie” ($286) that’s going to get you jealous glares aplenty.

According to my dictionary, the thing floating around the fashion world and called everything from a “jumper” to, apparently, a “onesie” is officially a romper, “A loosely fitted, one-piece garment having short bloomers that is worn especially by small children for play.” That would be true, instead of almost true, if anyone designing these things was making it with snaps at the crotch. Fortunately, there are a wide variety of styles, none of which require a pacifier. Like everything else on the runways these days, the jumper/onesie/romper is an ambiguous mix of references to other eras. With volume on the bottom it can look very much like a swimsuit or uniform from the ‘20s or ‘30s. Tight and especially in metallic fabric, you better be heading to a disco. Most of them, however, seem to be a (very) slight play on the jumper dress of the early ‘90s. But whatever the particular allusions, it’s always an easy way to look hip. As Samantha Pleet told fashionlines.com about the number of “jumpers” in her Spring 2007 line, “It always looks sassy you don't have to try--you just put it on and go out!”

Eskell’s put-it-on-and-go version certainly falls in the jumper dress re-mix category. But it has a lot more going for it. It almost looks boyish, like it could be the uniform at a boarding school in New Hampshire. But that’s exactly what gives it that I-just-threw-this-on sex appeal you wish you had. Neither too weighty at the bottom, nor too tight, the “Onesie” will be as comfortable paired with sneakers in the summer as it will be stylish paired with tights in the fall. Fear not the childish reference. Although this trend could easily go the way of the baby-doll dress, with examples like Eskell’s Cayman you’ll at least be glad you tried.

Eskell
953 W. Webster
Chicago, IL 60614
773.477.9390
www.eskell.com

The Problem With Sunglasses

Hadley Freeman
Monday May 28, 2007
The Guardian

Is it possible to wear sunglasses without conveying the sartorial message that one is a massive idiot?
Liv Beattie, by email

Not really, no, but that is more the fault of one's own innately cynically self-deprecating British mindset than the glasses themselves. Of course, one can err gravely with a pair of sunglasses: one can wear them indoors, one can get shades larger than a Sky dish, one can sport coloured lenses, one can wear them in the rain - truly, the faults are grave and the faults are multiple. But really, the ultimate problem with sunglasses is that we associate them with the famous and holidays.

To deal with the latter first, for some reason, even in these post-Al Gore, imminent end-of-the-world days of ours there still exists some latent collective image of Britain as a rainswept, cold, fog be-crept, gor blimey, bit parky today, guv'nor, land. Thus, to wear something so intrinsically associated with sunnier climes is seen as laughable, even - oh great British crime! - pretentious, never mind that it is now about 90 degrees in the shade here in August (sometimes.)

The wannabe factor is similar because, as we've already established, sunglasses are genuinely needed from time to time in this country. More confusing is how expressing an ambition for fame can still be mocked in a land where at least 73% of the TV schedule is devoted to talent-free teenagers doing their darndest to attain that lofty goal.

Ebaytastic!

Every once in awhile I have such a good day shopping on ebay, that it renews my faith in the whole system. I may have spent day after day searching through the same boring ‘50s dresses and ‘80s pumps, but it’s days like this that make up for it. Here are just some of my recent finds:

1940s – Red Suede Peep Toe Pumps: For some reason there is no end to suede pumps on ebay. And why did everyone suddenly wake up one day and realize they have a whole stash of shoes from the 1940s laying around? Whatever the reason, if you spend anytime looking at shoes on ebay, then you’re already bored with this look. This pair, however, is special. Besides being lipstick red, which might have been enough (Dayenu!), there are folds of suede at the toe. Ya, it’s sort of a bow, but the whole thing is so stylized that the “bowiness” shouldn’t bother you. No one would ever mistake these shoes for being girly.


1919-1925 – Muslin Kimono: I have always desperately wanted a Kimono to wear around the house. It’s so unnecessary and indulgent, so old-hollywood, and so unabashedly orientalist that I just can’t help myself. I mean, this hails from a time when people were unashamed to group India, the Middle East, Jews, and East Asia into one big uber-romantic fantasy land. But aside from the political and cultural implications, this is one beautifully crafted piece of clothing. And I absolutely love the patter, which is made up of insect cages. They just don’t make stuff like this anymore. Or, at least, no ones publicist lets them wear it.


1920s-1930s – Green Jumper: The seller claims that this is a “one piece, bloomer style gym suit.” I’m not sure how they can know that, but it’s very charming to imagine a bunch of girls giggling and running around a field in outfits this outrageous. Whatever it’s true origin, this couldn’t be more of the moment. Imagine it with a fabulous belt, tights, and heels. I couldn’t pull it off. But someone could, and they’d look fabulous.

1920s-1930s – Red Silk Chiffon Flapper Dress: Let me set something straight. Everything made or worn between 1920 and 1939 is not a flapper dress. This is something that you have to watch out for when shopping on ebay. Similarly, everything from the 1960s through the early 1970s will be called mod. As if Jackie O. was known for her “mod” style. But that aside, this is a wonderful example of clothing from the period. There are lots of tiered dresses on ebay, but there is something special about the way this one has been done. The bodice also has some beautiful and I assume very flattering stitching. This is the reason you let dress after dress slowly disappear from your “watching” list. You just know that the perfect dress will come along eventually.

Prejudice

I have to admit that I judge people based on what they wear. It’s a very complicated calculation. How much thought did they put into it? Are they wearing it ironically? Are they getting away with that ridiculous hat? Etc. Sometimes I’m wrong, sometimes. But most of the time I find that I’m spot on. The guy at the end of the bar with chest hair exposed and sunglasses on in a dark bar – don’t talk to him. The girl at the grocery store in a sweat suit and a Louis Viutton purse – spoiled brat.

But I never really thought that everyone else was engaging in the same kind of judgments. Sure, we all do it subconsciously. But I suppose I figured that the sea of girls in tight jeans and spiky heels that floods the northside every weekend had numbed most people into submission.

I was grateful to find out last Saturday, however, that others share my love of prejudging and categorizing. I had somehow ended up sitting at a table outside a burger joint in Wicker Park. In the midst of the drunken mayhem, the sounds of honking and metal colliding directed everyone’s attention to a minor accident on the street in front of us. We were all sharing guesses about what had happened, when one of the accidentees stepped out of their car.

“Based on what he’s wearing, I’d say it’s that guys fault,” says the man sitting at the table next to me. “I was just going to say that,” I exuberantly responded. Indeed, everyone around us was nodding their heads in agreement. Along with designer jeans and shoes too pointy to be pulled off by any man, this guy was wearing a striped shirt with the collar up, exposing a separate, dotted design. Wow. Now that’s bad. There’s no chance that guy wasn’t responsible for the accident.

Girl Tye

As a follow up to the Annie Hall conrtoversy (see below), I've decided to share information on a site that just might be a new favorite of mine. Theorignialgirltye.com is dedicated to selling a women-only accessory that they proudly proclaim is not, "...just a man's tie for women. Or a woman's scarf slimmed down." The pieces are sized to female proportions and are produced in colors and fabrics appropriate to a woman's wardrobe. But at the risk of offending the creators of a site that I really love, it's just a tie.

Wherever you want to position yourself on the tie/tye debate, there's a lot to be said for the site. Not only are the pieces highly desireable, but they're relatively cheap. The best part, however, is that the site provides a lot of great ideas on how to use the accessory. Although I've seen a lot of women rock a man's tie, I've rarely had the guts to pair it with anything other than white button-down shirt. But why not a peter pan collar? How about under the lapel of a Jacket? The site has given me so many ideas, I'm going to have to stop writing and run home to try them!