The 12 Movie Characters That Inspired My Style (part 2)

9 Dorothy Gale, The Wizard Of Oz

Costume Designer, Adrian Adolph Greenberg

The most perfect shoe ever to grace the silver screen? Dorothy Gale's ruby slippers.

When I was seven years old I wanted to be Judy Garland. Or rather, I wanted to be Judy Garland as Dorothy Gale in The Wizard of Oz. And in order to be Dorothy Gale, I needed three things: french plaits, a blue gingham pinafore dress, and a pair of ruby red slippers...

In the days before CGI, costumes had to work. While Judy Garland only had to put up with corsetry to flatten her chest, it’s hard to say which of her pals had the more uncomfortable costume: the scarecrow’s rubber mask left a woven-cloth pattern on Ray Bolger’s skin which took forever to fade (he didn’t appear in another film for two years), and the Tin Man costume was so rigid that Jack Haley couldn’t sit down. Bert Lahr’s lion costume was as heavy as a small child and soaked in sweat by the end of the day. (It was dried overnight and very occasionally dry-cleaned. eeww.)

The lesson here is that while it’s fun to look at spectacular costumes, it’s probably best if we don’t think too much about the blood, sweat and tears involved.

Although the first Technicolor film was released in 1935, "The Wizard of Oz" paid homage to Hollywood's transition from black and white into colour as Dorothy (Judy Garland) stepped from Kansas into the colorful land of Oz. Dorothy's outfit was a centerpiece of the film, with her blue and white gingham pinafore dress and ruby red slippers.

Dorothy’s ruby slippers are undoubtedly the most iconic shoes ever to grace the screen – yet they would have been silver if it hadn’t been for the whim of Louis B. Mayer, who wanted them to stand out in vivid technicolour against the famed yellow brick road.

 The slippers are so emblematic that today they are hailed as treasures of American history by the Smithsonian Institute. 

Dorothy's checkered blue and white pinafore marked the character's innocence, and was, of course, clothing appropriate to the time.  She looks so sweet and summery with her apron dress. And the shoes? Her ruby red slippers define the film entirely, and are the key to Dorothy's safe passage back home.

Dorothy's slippers are probably the most magical shoes of all film history - throughout the film, they never leave her feet - as good witch Glinda reminds her "... remember, never let those Ruby Slippers off your feet for a moment, or you will be at the mercy of the Wicked Witch of the West. "

I must have watched The Wizard of Oz 100 times, and seven year old me never wanted a pair of shoes as badly as I wanted Dorothy's ruby red slippers. One summers afternoon, I made my mother take me to every shoe shop on Camden High Street, looking for a pair of ruby slippers. Unsurprisingly, the mission was unsuccessful. The closest I came was a weird disco/Morris dancing sandal hybrid - a wooden clog sole, sandal strap across the toes which was covered in red glitter ( the nod to Dorothy's slippers) and red laces which wrapped all up the leg to the knee. Not quite a slider, a clog or a ballet shoe, but somehow all three. The shoes had red glitter as part of its make up though, and that was enough for me to fulfil my Dorothy fantasy. My mum reluctantly bought them for me, and I wore these weird little shoes all summer long. 

10 Lorelei Lee, Gentleman Prefer Blondes (specifically the 'Diamonds Are A Girl's Best Friend' gown.

Costume Designer: William Travilla

Marilyn Monroe as Lorelei Lee, singing 'Diamonds Are A Girl's Best Friend'.

One of Marilyn Monroe's most famous looks (of many) was in Gentlemen Prefer Blondes. During her rendition of "Diamonds Are a Girl's Best Friend," the actress—dripping in diamonds, of course—rocked a hot-pink strapless evening gown with matching gloves. As a young girl I was a massive Marilyn Monroe fan. And this was one of my favourite Marilyn dresses. That pink. So pink. The pinkest shocking pink. And the diamonds. So many diamonds. I was mesmerised.

This fuschia pink dress was created by Marilyn's personal costume designer, William Travilla, My favourite aspect of this stunning bold dress is the oversized bow on the back. Oh, and the decadent matching gloves, of course. It is probably one of the most referenced musical numbers of all time and the dress, (other than Travilla's other famed look of Marilyn in a white dress on the subway grate) one of the most iconic images of Marilyn.

The song itself has been touted as a feminist anthem of sorts. 

One can interpret the number as about control - her control. It's about a woman who recognises what the world does to women like her and resolves to take charge of the situation in order to obtain the greatest and longest-lasting advantage for herself. The film itself is a classic buddy movie - Monroe and Jane Russell strut their way through the film promoting sisterhood with a confidence and a power not generally seen in movies, particularly musicals, of it's day. They are two women who are confident, in control and know what they want out of life. Men are an aside.

The pink satin gown has become an iconic look not just because it looks great on so many women and never goes out of style, but also because it has remained a symbol of female control and empowerment for nearly seventy years (who can forget Madonna's homage to the famous song where she re-enacted the scene wearing a replica of the dress, whilst singing about being a Material Girl), while also fully embracing classic feminine glamour and presentation. The gowns shocking pink hue is not accidental. Pink has always denoted feminine power. And this gown demonstrates that a woman truly can have it all – if "all" is defined as lifetime financial stability, a never-ending stream of admirers, and the opportunity to appear fabulous at all times.

11  Elvira Hancock, Scarface

Costume Designer Patricia Norris

Michelle Pfeiffer as Elvira Hancock

One element of Brian De Palma's Scarface has always been universally admired: Michelle Pfeiffer, aka Elvira Hancock, her style, her cool, are utterly beguiling. Michelle Pfeiffer's breakthrough role as Elvira Hancock, is an example of how minimalism can still be glamorous.Throughout the film Elvira steals the spotlight in her range of elegant and sleek satin slip dresses in jewel hues and her iconic bob hairstyle.

In her near-uniform numbers, the backless halternecks in silk or satin with plunging necklines, Elvira – first the love interest, and then the wife of Al Pacino’s Tony Montana, one of Castro’s criminals fled from Cuba, who rapidly stakes claim on the drug trade in Miami – is a sullen coat hanger, showing nothing but boredom, insolence and contempt – feeling trapped without escape, “Elvira wards off boredom with cocaine and cynicism,” wrote film journalist Steffen Haubner.

From her show-stopping entrance gown, a shimmery sea-green chemise dress trimmed in gold appliqué, backless and with a huge slit up the right leg, to the crimson-rose pink satin dress and the brown sequined dress  Elvira Hancock doesn’t look like anything but a femme fatale.

But one element of the film has always been unmistakably admired: Michelle Pfeiffer, aka Elvira Hancock, in a blue silk dress complete with a rhinestone -embroidered neckline

 Draped in the sapphire silk dress, Michelle Pfeiffer reveals a slender figure underneath an outfit that is truly unforgettable. Part of the reason the character stood out in Brian de Palma's film was because of her Patricia Norris style. With a plunging neckline, an open back, and a dizzying slit from the top of the thigh to the ankle, Elvira Hancock's dress has become a movie icon of its own.

If you ever want a template for how to look chic while on the arm of a gangster, then Elvira Hancock is it. But Patricia Norris had more in mind when she constructed this legendary dress. The fabric used by the costume designer says a lot about Elvira Hancock's character. Firstly, Brian de Palma's Scarface was a remake of Howard Hawk's film released in 1932 and we see several subtle nods to the original film in the costumes of Elvira. Rather than a garment with frills and colourful prints as was often done in the 1980s, Patricia Norris opted for an outfit inspired by the Hollywood glamour of the 1930s. The slit on the thigh, the V-shaped neckline, and the shimmering material of Elvira Hancock's dress are all reminiscent of Jean Harlow's outfits in William A. Wellman's The Public Enemy. The minimalism of the dress in no way detracts from Elvira's fatal charm. On the contrary, for Patricia Norris, less is more. Michelle Pfeiffer's simple yet sultry dress contrasts with Tony Montana's flashy outfits. The two characters are not from the same class - not cut from the same cloth, if you will,  and it shows in their sense of style. Surrounded by money, Elvira Hancock dresses in luxury but could go unnoticed alongside the extravagant trends of the era. What makes her unforgettable is the charm and allure of the actress who embodies her. Elvira is all elegance to Tony's flashiness, however, they are both driven to walk the same path through their addiction to drugs and money. Patricia Norris will maintain this silhouette throughout the film, giving the actress a wardrobe full of plunging necklines, sultry outfits, made in silky materials. 

Like Marilyn Monroe's shocking pink gown in Gentlemen Prefer Blondes or Keira Knightley's emerald dress in Atonement, Michelle Pfeiffer's blue silk slip dress continues to inspire, even nearly forty years after the release of Scarface. Patricia Norris truly created a timeless outfit. There is no doubt that the sleek silky dress of the 1930s/70s will still be in vogue in fifty years.

Although her dress acknowledges some 1930s roots, it is clearly a dress which personifies the disco couture era.  The costumes were designed by Patricia Norris, but each one of them carries the undeniable mark of Halston. Roy Halston was the designer who had the strongest influence on the American fashion early in the 70s/60s, when he was instrumental in burying the flowery hippie chick of the 60’s and introduced the virtually opposed minimal, utterly simple, modern clothes that women were ready for. He was a master of the art and one of the names who helped draft in the American wave of designers whose fresh clean lines dominated the 80s runways.

His designs included both slinky dresses worn by the ladies of Studio 54 and smartly tailored, linear, refined suits – all presided over by a glamourous, simple, sleek, minimal quality. HAlston's simple lines eschewed buttons and zips. There is no button or zipper on any of the dresses Elvira is wearing either, and even the white suit jacket is a tie waist jacket. Her make-up is very 70’s, too: smoky eyes and a highly saturated lip colour, and the jewellery is glitzy, but not excessive, as it mainly consists of drop earrings – the only type of jewellery a low-cut dress calls for.

Anytime you see a simple backless silky dress with spaghetti straps in a vibrant hue and minimalist jewells, you can guarantee that Elvira Hancock was on that designers mood board somewhere.

12  Rosemary Woodhouse, Roesmary's Baby 

Costume Designer, Anthea Sylbert

The psychological horror film, directed by Roman Polanski, follows Rosemary Woodhouse (Mia Farrow), a pregnant lady living on New York's Upper West Side who believes her husband has pledged to deliver her unborn child to their super-creepy neighbours for a peculiar ritual sacrifice in a weird Faustian deal to bolster his ailing acting career. Despite her stomach aches, strange vitamin beverages, and terrible nightmares, Rosemary maintains her sartorial flair throughout the movie. Her style is authentically 1960s, with everything from Peter Pan collars and Breton caps to stylish leather satchels and patterned shift dresses. 

The mix of bold colours and timeless designs deem Mia Farrow's character, Rosemary Woodhouse, a style icon. 

Baby blues, pastel yellows Peter Pan collars and Mary Janes, Rosemary's style is classic and feminine with voluminous shapes. What makes Rosemary's clothing so iconic is its girly without being fussy or complicated. 

Farrow's fragile portrayal as Rosemary is flawless, and as the film's momentum mounts, the atmosphere becomes increasingly oppressive as Rosemary's options dwindle. 

Rosemary is shown as a sweet and innocent young woman who maintains her innocence in the face of adversity. Her style effectively reflects this. 

Throughout the film, Rosemary wears short babydoll-style dresses, which enhance her already young appearance. Her dresses are composed of light pastel hues, mainly blue and yellow, which were not only prominent fashion colours at the time, but also popular colours for newborn baby boys clothes at the time.   

 One great aspect about the film, fashion-wise, is that it spans all four seasons, which means it's packed with '60s styles that are appropriate throughout the year.  Rosemary's winter ensembles are particularly timeless. 

When Ira Levin wrote the novel Rosemary's Baby in 1967, he had no idea the influence it would have on the world of fashion. A truly frightening thriller that explores the occult and gender stereotypes of the age, Roman Polanski transformed it into a film in 1968 — and his subsequent sartorial success has impacted designers ranging from Miuccia Prada to Marc Jacobs. Rather than succumb to the gothic, witchy look prevalent in so many horror films, he enlisted costume designer Anthea Sylbert to, as she stated, put viewers at their ease, thus making the impact of the storytelling more frightening. 

""Roman said to me, 'Let's make 'em think we're doing a Doris Day movie," Sylbert remembered in Designing Movies: Portrait of a Hollywood Artist. "He wanted everything to look ordinary. People are put at ease by ordinary, and in fact, are put at ease by garish. He didn't want anything in the film to seem sinister. " Thus, protagonist Mia Farrow was dressed in sweet 1960s garb, while her villainous neighbours wore gaudy decorations, and the result was undeniably spectacular. 

Costume designer Anthea Sylbert created Mia's clothes herself – presumably easier than repurchasing three-year-old cutting-edge couture – to evocatively portray this revolutionary fashion era. Rosemary's hemlines purposefully rise throughout the film, paralleling her futile attempts to express her independence from the witch coven that surrounds her. 

When we first meet Rosemary, she is dressed in a white shift dress and carrying a matching quilted bag as she visits the apartment she and her husband would eventually move into. She embodies girlish charm, doe-eyed and naive. Throughout the film's first act, she maintains clothing in subdued pastels - light blue coupled with white (the Virgin Mary's colours) becomes an especially recognisable combination. Later in the film, right before she is raped and pregnant with the devil's offspring, she wears an oversized crimson trousersuit that engulfs her fragile body. The colour is a marked contrast from her previous selections — and its significance is difficult to overlook. 

The Devil red hue alludes to Mia's imminent demonic encounter, but the loose fit emphasises her delicate, body and innocence. The shoes are a more sophisticated nighttime version of Mia's omnipresent ballet pumps, which she wears in practically every scene. 

This costume is reminiscent of something Ossie Clark might have designed. It incorporates several of his characteristic motifs, including a deep v-neck, bell sleeves, waist layering, and extensive use of chiffon; it is fashioned in a light, gracefully feminine manner. The sleek, no-waist tailoring also has a Mary Quant feel to it, since it is a typical aspect of her signature front-zipped shift dresses. 

When a pregnant Rosemary gets home, she proudly displays her new pixie cut to her husband, declaring it "Vidal Sassoon. Very in." . He later tells her, "If you want the truth, honey, that was the worst mistake you ever made" – her attempt to reclaim control over a body that is slipping further and further out of her control (not only due to her pregnancy, but also due to her evil obstetrician and the assortment of "herbal" concoctions her neighbour is pressuring her into drinking) is abruptly condemned. 

When Rosemary's buddy Hutch dies mysteriously, she attends his funeral dressed in what can only be regarded as the finest mourning suit ever. In a monochrome cross-hatched babydoll with billowing chiffon sleeves and a Peter Pan neckline. This is her last moment of innocence before she realises the horrible fate about to befall her. The innocence of the style contrasting with the foreboding of the black . 

Rosemary's Baby (1968) is the ideal fashion film set in the mid-1960s. John Cassavetes, her co-star, also wears some fantastic outfits, including vibrant turtlenecks, sports coats, and even a groovy blue Penguin polo shirt. Unsurprisingly, Mia owns all the nicest outfits — and the chiffon trouser suit in brilliant blood red is one of my favourites.