Reflecting on my last post about Don't Tell Mom the Babysitter's Dead, I decided to go take a look at our collective closet, Etsy, and see what's up. Oh My. There are so many lovely choices in Neon Green. However, some good research skills will come in handy. Keep in mind that one person's "neon" is another person's "bright" is another person's "lime" is another person's "acid." So you may have to try a lot of different search terms to find what you want.
This ridiculous movie is one of my favorites of all time. Christina Applegate plays your average teenager with loads of personal style who just wants to spend the summer on the beach with her friends. But mom goes off to Australia (...to be a with a younger guy? Ugh. Gross mom.) and leaves her five kids in the hands of a very very old woman who is also very very mean. But then she dies! And now Christina Applegate has to get a real job at a real company with a real early morning commute so that her siblings don't starve. On the way to adulthood, she falls in love, of course.
But perhaps my favorite is her incredible color combo in the following outfit. Neon green, if the blogs and magazines can be trusted, is this spring's must-have color. Here she makes it look not at all garish and incredibly sophisticated.
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.
Technicolor! Ok. So sometimes the colors get a little over-the-top along with much of the styling. Is glitter really an appropriate choice for Errol Flynn when he's gallavanting in Sherwood Forest? Apparently, even Flynn complained, formally requesting that his ridiculous wig be altered so that he didn't look so...silly. But who cares. The men are dandified, Maid Marian is radiant, and this film will eternally be my image of Medieval costumery. RPG nerds take note. This is how it's done.
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 -much of which takes place in clothing stores, changing rooms, and beauty parlors- the clothing has remained outrageously fabulous, and always inspiring in its unqualified love of fashion.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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?"
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.
Remember grunge? I don't. By the time I was old enough to reflect on the persona my clothes created, Clueless took a hatchet to grunge, buried it deep in a hole, and spit on the grave. Cher Horowitz tears apart the baggy jeans of her male peers ("And like we're supposed to swoon. I don't think so.") and gives her flannel-wearing "project," a very young Brittany Murphy, the ultimate makeover. For those of us that were preteens when this film hit the big screen Alicia Silverstone is THE fashion icon. You have to remember that this film is pre- Sex and the City, a precursor to the thoughtful fashionista Carrie Bradshaw. Thank you Mona May (Who is also responsible for The Wedding Singer...and 8MM?) for making it cool to care about clothes again.
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 trends for Fall 2008.
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.
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 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.
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