Ten female fashion icons in film
Ranging from the 60s through to the 90s right to our current decade, here’s our carefully selected top ten female fashion icons in film history. Standing their ground against all odds, these women are as influential as they are inspirational: characters who leap from the silver screen into your world. So let these feminist and fierce ladies teach you a thing or two…
ANNA KARINA IN ‘UNE FEMME EST UNE FEMME’ AND ‘PIERROT LE FOU’ (AND PRETTY MUCH ANYTHING ELSE SHE GRACES)
Anna Karina oozes style in any film she graces, usually with the help of director Jean-Luc Godard’s aesthetic nature. But in Koralnik’s Anna, the combination of her statement glasses with classic Parisian-esque outfits creates a look which exemplifies the vibrant film itself, as well as representing the French culture of Anna’s era. Quite possibly the best effortless icon a wannabe-French girl could have, any 60s film Karina stars in could be counted as a top fashion in film moment. To name a couple of Godard’s aesthetic masterpieces – Une Femme est une Femme and Pierrot le Fou both encapsulate the simplicity and elegance of classic French fashion: both showcasing carefree white pieces in some scenes, to bright pops of red and powder blue representing the French flag.
BRIGITTE BARDOT AS CAMILLE JAVAL IN LE MEPRIS
Although another Godard film, this semi-autobiographical one features Brigitte Bardot as the lead with arguably the best (and best dressed) performance of her career. When she isn’t seductively relaxing in a towel or lounging naked in her apartment, Bardot is dressed in exquisitely stereotypical sixties French pieces – from breton stripes with navy cropped cardigans, to cinched high-waist midi skirts, classic shift dresses worn with a black wig, satirically alike to his then-wife Anna Karina’s hair in Godard’s Vivre Sa Vie. Always the aesthete, Godard ensures that this cinematic masterpiece fits together perfectly: in an architectural sense, in the forming of the narrative, and undoubtedly in the costume design. What is created is not only a timelessly iconic film, but also an ultimate style icon – Brigitte Bardot.
PATRICIA ARQUETTE AS ALABAMA WHITMAN IN ‘TRUE ROMANCE’
Although not the most everyday-wearable selection of outfits, Tony Scott and Quentin Tarantino’s Alabama Worley of True Romance is a hard style icon to beat – as a self-proclaimed Call Girl both ‘Bama and her outfits certainly have gumption. Look to Patricia Arquette’s character for leopard print in abundance, which she somehow makes look cool (even in pink), and the prettiest sheer blue top you thought you’d never dream of liking. Those feeling less daring could still take a leaf out of Mrs Worley’s book and steal yourself a pair of Elvis sunglasses, hopefully from your Hawaiian shirt wearing man like Clarence.
SIENNA MILLER AS EDIE SEDGWICK IN ‘FACTORY GIRL’
Only Andy Warhol’s muse could transcend as a 60s style icon to a modern day film in the way that Sienna Miller manages to as Edie Sedgwick. From the moment Edie explodes on the New York scene, so do her outfits. Eyeliner in one hand and cigarette in the other, Miller perfectly personifies the idol of the era, and her wardrobe full of striped numbers and the lavishness of furs. A decadent collection which seems to mirror exactly what this biopic explores – the star’s downfall of copiousness.
THE GIRLS OF ‘DAZED AND CONFUSED’
For a film set wholly on the last day of school in May 1976, there are certainly a killer selection of outfits – it’s true what they say about trends coming back around, as most of the looks here are the originals of what Topshop attempt to copy. From bum-hugging blue flared jeans with off the shoulder cotton tops to the classic American Apparel-esque short shorts teamed with sporty knee-highs, this is one of the most iconic yet most wearable teen film looks in existence.
NATALIE PORTMAN AS MATHILDA IN ‘LÉON: THE PROFESSIONAL’
In her first ever film role, Natalie Portman’s aesthetic as Mathilda of Léon: The Professional is one which seems to have inspired the entirety of tumblr with her stripy top and embellished black choker combo. These combined with her feisty personality and ambition to train as an 11-year-old assassin with Léon, played by Jean Reno, who also dons John Lennon-esque sunglasses with knitted beanies, a literally-killer look.
CHRISTINA RICCI AS LAYLA IN ‘BUFFALO ’66’
The cutest film wardrobe you could wear vicariously belongs to Layla the tap dancer, portrayed by Christina Ricci, who sparkles through the Buffalo ‘66, in shimmering silver shoes on top of head-to-toe powder blue with touches of white. Layla’s outfits are as dreamy as the film itself, check it out and be whisked into her fairy-tale fashion world that’s turned upside down by none other than Vincent Gallo.
GWYNETH PALTROW AS MARGOT TENENBAUM IN ‘THE ROYAL TENENBAUMS’
Margot Tenenbaum is without a doubt Wes Anderson’s greatest female fashion icon, with Moonrise Kingdom’s Suzy coming as a close second. Margot’s secretive nature as the playwright and adopted daughter of the Tenenbaum family is clearly emphasised by her sharp bob cut, her smoldering eye make-up and a fur coat so enormous it could hide a multitude of sins. Underneath the coat, though, Margot dons a youthful striped polo dress, with chunky patent shoes, a look you could simply pick up from a charity shop, but one which she works so sophisticatedly – who wouldn’t dream of that?
PAM GRIER AS JACKIE BROWN IN ‘JACKIE BROWN’
Even dressed in her air hostess uniform, Pam Grier struts through the opening scene of Jackie Brown and into the realms of fashion icons. The best look of hers from the film is a close tie between the timelessly classic red shift dress and black sunglasses combo, and the wonderfully 90s black Kangol hat with hoops peeking through her luscious curls.
KRISTEN STEWART AS MARY-LOU IN ‘ON THE ROAD’
When portraying the most iconic woman of Beat generation literature, Mary-Lou of On The Road, whose careless style fits better than that of Kristen Stewart? With her bed-matted hair held back with simple shades, and endless collection of vintage t-shirts, she fits the perfect symbol of the Kerouac culture – epitomised in the dance scene below, where her baby pink shirt and bare face bring out her beautifully reckless nature.
