Armani | Clothes on Film

Posted by Chris Laverty on September 18, 2009

Second in a two part journey through the Giorgio Armani fashions of The Untouchables (1987). Sean Connery’s character Malone prefers a more relaxed style of dress to Elliot Ness, as illustrated the first time we see him out of beat uniform in civvies:

Norfolk jacket in brown twill tweed. Light green shirt with pointed collars and single button cuffs. Red cable knit waistcoat. Brown tweed peaked cap. Dark green loose fitting wool trousers. Black lace-up leather shoes.
More…

Posted by Chris Laverty on September 4, 2009

The Untouchables (1987) director Brian De Palma’s prohibition era Chicago crime thriller is remembered for, amongst other things, Sean Connery’s accent, the controversial Ennio Morricone score, that Battleship Potemkin scene with the pram, plus a rather lavish Giorgio Armani designed wardrobe.

And if this is how cops dressed in the 1930s, it is a wonder anybody wanted to be a gangster.
More…

Posted by Chris Laverty on July 31, 2009

Though really nothing more than an extended backlit music promo, Flashdance (1983, directed by Adrian Lyne) has garnered a considerable cult following in recent years.

Savaged by poor reviews on its release, the film is now embraced as a musical and stylistic record of the second most hedonistic decade in western history. In this respect it is actually a stronger movie than, say, Wall Street (1986), and Flashdance even has a biracial woman as its star; unusual at the time, we should perhaps be grateful producers Don Simpson and Jerry Bruckheimer didn’t opt for Goldie Hawn instead.
More…

Posted by Chris Laverty on June 11, 2009

Oscar winning costume designer Janty Yates has kindly taken time out filming Ridley Scott’s latest Robin Hood to chat about her contribution to an earlier Scott picture, Hannibal (2001).

Hannibal’s forbear, classic chiller The Silence of the Lambs (1990), was directed by Jonathan Demme and costumed by Colleen Atwood. It relies on a dank, washed-out atmosphere that informs the narrative by very lack of its presence. Hannibal on the other hand was always intended as a glossier more conspicuous affair.
More…