#fashion in film

[denastudio]

I always loved the outfits in The Watermelon Woman (1996) directed by Cheryl Dunye <3

[voguefashion]

Claudia Cardinale photographed by Angelo Frontoni on the set of Once Upon a Time in the West, 1968.

[chicflicks]

Character Style

The Fast and The Furious, Letty (2001).

[barbiehairbrush]

my icon 4ever & ever & ever

[zporphyrogenita]

Jennifer Tilly as Tiffany in Bride of Chucky (1998)

[eyesfullofmoon]

Norma Shearer wearing a sparkly, star themed Adrian costume in Marie Antoinette (1938)

[sundaynightfilms]

Romy Schneider’s fashion in 1970′s movies was unparalleled

[ladamarossa]

Maika Monroe’s wardrobe in Watcher (2022)

[c0ck4ndb411t0rtur3]

Janeway in THIS fit

[wildcheries]

outfits in devdas (2002)

[specialagentblogger]

The Icon Status of Jane Birkin

Best known for being the muse behind the renowned Hermès Birkin bag, Jane was and still is, one of the world's most famous icons. She made her way in the British cinema scene during the mid 60s and was a part of films like: The Knack... and How to Get It (1965) and Blow-Up(1966). The latter led her to a career-defining role in  Slogan (1969), during the making of which Jane met her decade-long partner, the famous French singer/songwriter Serge Gainsbourg. The pair was best known for the French love song "Je T'aime... Moi Non Plus", recorded in 1967 with Brigitte Bardot. After he fell for Jane, Serge asked her to re-record the song. "Je T'aime... Moi Non Plus" was banned in several countries due to its overtly sexual content. Thus began a love story of the century. The couple's wild lifestyle inspired a freedom in an era when sexual expression was still taboo.

STYLE ICON

 Jane Birkin acquired her style icon status through her day-to-day outfits. Her relaxed British demeanor, clean statement pieces, and French elegance were a killer combination. Thus, Jane stood out amongst other iconic stars of the time - bombshell beauty symbols such as Brigitte Bardot, Catherine Deneuve, etc. Birkin's signature look was her long, usually messy, bedhead hair and fringe, flared blue jeans, simple white tees, and the capacious woven basket. However, it would be naive and unfair to say that Jane was an icon only because of her clothes. 

LA PISCINE (1969) - a short summary

This slow-burn erotic crime drama directed by Jaques Deray follows Romy Schneider and Alain Delon as Marianne and Jean-Paul - a couple vacationing in a luxurious villa in the French Riviera. La Piscine presents an atmosphere that feels exactly like a careless summer holiday. The sweetness of doing nothing, dinners outside, bottles of wine, dancing, sleeping, kissing, and none other than - swimming in the pool. That is until, Jean-Paul’s old friend and Marianne’s former lover Harry drops by, along with his teenage daughter Penelope (Jane Birkin).

Costume Design

The person behind the costume design of La Piscine was the French designer André Courrèges. The looks made for Jane, specifically, were very much close to her actual style. Minimalistic colour palettes, simple silhouettes, and, most importantly, comfort mixed with elegance. These choices make Penelope's teenage essence stand out amongst all the rest of the thirty-something characters. We see lots of short skirts, revealing dresses, and very little make-up on her. Penelope's first look in the film includes a classic white 3/4 sleeved shirt, tucked into a mini checkered skirt. The accessories perfectly elevate this simple look. A delicate black belt to enhance the waist, black ballet mini-heels (talk about comfortable elegance), massive round sunglasses with blue lenses, and, of course, the basket.

Poolside Crochet Dress

Another statement look for Jane was this gorgeous white crochet poolside dress. The '60s was the decade for crochet pieces, thus it was representative of the trends. An ideal piece to throw on after a swim (with great ventilation too). The dress has a densely crocheted top around the bust area and reveals more skin going down, with a rather loosely crocheted spider-web pattern. It perfectly encapsulates Penelope's character - as the dress blends sensuality with a bit of alluring elegance. Good luck to me, because I will be trying to crochet this.

SWIMMING SUITS When there's a swimming pool, there's always a swimming suit (well...). Because of the luxurious and colourful mise en scene in the film, the bathing suits worn by both Romy and Jane were either black or white shades. The pieces presented a distinct contrast between the greenery of the landscapes and the marine blue of the pool. This choice was the most immaculate way of capturing the effortless and elegant French way of dressing. As well as accentuating the dichotomy of both characters.

JANE B. FOR Agnès V.

In 1988, the French filmmaker Agnès Varda decided to create an experimental documentary about Jane Birkin. The idea came from their conversation on how Jane felt anxious about turning forty. Agnès thought that it was the perfect opportunity to make a beautiful portrait of Jane's life. The documentary is filled with Jane acting in fake movie scenes, posing in Goya and Tiziano Vecelli's "paintings", portraying Joan of Arc, visiting her childhood home, and talking about her life. Varda's vision of Jane brings a magnetic piece of work to life. It is a must-watch for anyone who admires Jane or wishes to know a bit more about her.

“I’m Jane B. I was born British. My height now is 5 feet 7 inches. No distinguishing marks. No exceptional talents, but I’m here. You’re watching me as time passes.” - says Jane in the film. It seemed that everyone but herself thought of her as a charming, magnetic person. Not only Agnès Varda but also Jane's daughter, actress and director Charlotte Gainsbourg, created an ode to her mother in 2021, called Jane for Charlotte. Finally, in her forties, Jane fully embraced her lifelong insecurities - she cut her hair short, exchanged ballet shoes for old sneakers, and started wearing oversized men's suits. Jane lived the second half of her life in her truest form, until the very end.

I started writing this a couple of days before Jane's death. I thought the timing was hauntingly coincidental. She has been a part of my life ever since I read about her for the first time in Alexa Chung's IT (2013). It was one of those moments, where you can just sense that a person is special and I could not look away. I started watching her interviews, pinning every possible photo of her on Pinterest, printing out photos of her to hang on my wall, listening to her music, and watching her films. I cut my fringe at fifteen because of her and started separating my bottom lashes with lumpy mascara... My mum even bought me a basket-like bag to carry with me. Jane Birkin was not only a style icon to me. Her humble confidence, magnetic presence, and grace were the qualities I admired the most about her. Now, that is true beauty.

Rest easy, dear Jane. Au revoir.

[voguefashion]

Jacqueline Bisset photographed by Eva Sereny during the filming of Day For Night, 1973.

[chicflicks]

In the realm of fashion in entertainment, one film reigns supreme in capturing the hearts of style enthusiasts: Clueless. The outfits of Cher Horowitz, which were resourcefully assembled by Mona May, have made their mark in film history.

The most memorable character in Clueless is the costume design. —This Vogue article.

Clueless, though, was released in 1995, and personal circumstances may have delayed your encounter with that cinematic gem. In my case, no one in my household had a VHS copy of the film, so I didn't have the opportunity to watch it until I was well into my teenage years, on the cusp of adulthood. Instead, I bring you the wardrobe design in another film that holds great significance for me: Confessions of a Teenage Drama Queen. Lola Steppe was my Cher Horowitz. Not necessarily for the ensembles themselves, but for the risks she took in how she put each piece together. The costume and wardrobe department for Confessions was led by Pauline Chung.

[barbiehairbrush]

Jawbreaker (1999)

[zporphyrogenita]

Jennifer Tilly as Tiffany in 'Bride of Chucky' (1998)

[eyesfullofmoon]

Shelley Winters rehearsing a scene for South Sea Sinner (1950).

Photographed by Allan Grant on July 7, 1949.