From the Screens to the Runways

The relationship between fashion and film is one of history’s greatest love stories—a loyal bond that’s had its rocky patches, multiple fights, and tragic break-ups. But, through it all, this relationship has lasted over a century. What is it that makes the two so compatible?

Ahhh, the Oscars, a night all movie buffs have circled on their calendars, awaiting to see what blockbusters have made it to the noteworthy platform. The build-up before the Academy Awards is thrilling and also quite nerve-wracking: suddenly, all of Hollywood is buzzing with whispers of who’s going to win best picture. Yet, another popular question also making its rounds is, “What will the celebrities be wearing?” The Red Carpet, capitalized for its important role in the overall ceremony, is where fashion and film first meet for the night. Gucci, Meryl Streep, and Quentin Tarantino all under one roof? It seems too good to be true, but this relationship is an age-old happening. Although often pitted against one another as two very distinct disciplines, fashion and film have created some of the most memorable moments, on both the runways and the screen. Do you remember the movie, The Seven Year Itch? Not ringing a bell? How about Marilyn Monroe’s halter neck dress blowing up around her legs as she stands over a subway grating? Ahhh, the image comes to mind almost right away. Tight-blonde curls, an alluring smile—and of course—one of the most iconic white gowns in history. Although we don’t remember the movie, we remember this particular image. This is just one of the many notable points in cinematic history where film and fashion clicked. It slowly became apparent that costumes are far more than just clothing—they are a robust cinematic tool. Think of some of your favourite movie moments…Uma Thurman’s murderous rampage in Kill Bill (2003), the opening window-shopping sequence of Breakfast at Tiffany’s (1961), and the closing amusement park scene of Grease (1978). All of these movies were amazing in their own right, but what made them iconic were the costumes their characters wore. Uma Thurman’s badass yellow motorcycle suit, Audrey Hepburn’s stunning Givenchy gown, and Sandy’s black spandex pants and red kitten heels are all outfits that have almost become larger than the films themselves—they are cultural icons in their own right.

As movies are often influenced by our cultural atmosphere, costume design often influences fashion and vice versa. Diane Keaton’s appearance in the film Annie Hall (1997) is just one of those moments where costume design ignited a new fashion trend. The masculine look for women became a 70’s staple after Keaton sported the classic menswear combo throughout the film. This trend is apparent now with movies like The Man from U.N.C.L.E (2015) which launched around the same time that runways were stocked full of 60’s-inspired numbers. Stranger Things (2016), despite being a television show, launched its own clothing line under the UK brand Topshop. Fashion and film inspire each other more often than they’d like to admit. Although there is a profitable marketing aspect to this dynamic, the influence film has on fashion—and vice versa—does more to bring the two disciplines together than it does to distinguish them as independent practices.

Costumes have become more than clothing—they play a much bigger role in the plot of a movie than one might think. Just as Raf Simons curates an overall theme and feel for his collections, Sandy Powell takes on a similar approach when drafting the costumes for The Young Victoria (2009). Rather than simply being a hat or a blouse that’s chosen for someone to wear, costumes and clothing are now an integral part of how we understand the character as a whole. The ‘cutsie’ mini skirt and top combination that Buffy rocks informs us of her innocent high school identity, but is highly contrasted by the tight vinyl pants and leather jacket that transform her into the confident and ruthless Vampire Slayer. These costumes convey a story of their own, without any need for words. We put on clothes every day that— whether consciously or not—emit something specific about who we are. Clothes are almost like adopting an identity. Maybe we’re shy so we hide under turtlenecks, or perhaps we’re more on the bolder side and opt to wear bright colours and stripes. Something is already being said about us before we even have a chance to introduce ourselves, and that’s what both film and fashion do. They are a look into what cannot always be said and act as a mirror portraying identity in a beautifully-crafted way.

By Sydney Williams