Envision if contemporary fashion creators took a new approach to the most renowned garments in cinematic history. How would celebrated figures appear if their ensembles were reimagined through the discerning eyes of the artistic leaders from houses such as Louis Vuitton, Balmain, Marc Jacobs, or Miu Miu? This piece highlights attires from eight distinguished movies – “Barry Lyndon”, “Marie Antoinette”, “Dune”, “Black Panther”, “Orlando”, “Edward Scissorhands”, “Once Upon a Time in… Hollywood”, and “The Great Gatsby”. These outfits were crafted by prominent designers who fashioned modernized renditions of the original looks specifically for Vogue World: Hollywood. This underscores the influence of fashion on culture, transforming movie costumes into components of global heritage.
Model Angelina Kendall in a costume from Stanley Kubrick's historical epic “Barry Lyndon” (1975), worn by Marisa Berenson in the film
“Marie Antoinette”, 2006
Milena Canonero of Italy is celebrated as one of the foremost costume architects on the planet. She’s garnered four Academy Awards and an additional nine nominations. Her identity is intimately interwoven with the chronicles of cinematic attire conception. In 1986, Vogue noted: “When Canonero designs costumes, she doesn’t merely create beautiful appearances—she articulates a character’s narrative through fashion.” Her signature approach is known for its meticulousness and use of hue. Regardless of her profound engagement with sartorial history, she does not aim for complete factual precision. “I draw from art and images spanning various periods, yet the essence lies in capturing the epoch’s sentiment,” Canonero explains.
Model Lila Moss in a Louis Vuitton dress by Nicolas Ghesquière, inspired by 18th-century court dresses
A look from Sofia Coppola's film, created by Milena Canonero and performed by Tirelli Costumes for Kirsten Dunst as Queen Marie Antoinette. Shoes — Manolo Blahnik
For the Vogue World Hollywood exhibition, Nicolas Ghesquière, the creative director at Louis Vuitton, re-envisioned the alluring and lavish Rococo garments of the 18th century, taking inspiration from Canonero’s contributions to Stanley Kubrick’s “Barry Lyndon” and Sofia Coppola’s “Marie Antoinette.”
“Dune”, 2021
When Denis Villeneuve approached Jacqueline West to develop the costumes for “Dune,” she was initially hesitant, stating, “I’m not involved with the science fiction category.” This, however, intrigued the filmmaker. “He expressed that he wanted the future to suggest echoes of the past,” West remembers. “I believe he chose me because he valued my contributions to ‘The Legend of Hugh Glass’ – I consistently gravitate towards authenticity.”
Model Gigi Hadid tries on a costume created by Jacqueline West for the character played by Zendaya in Denis Villeneuve's films
This artist, who has delved into art history, took inspiration from medieval sources and the cultural tapestries of North Africa and the Middle East. She grounded some of her costume inventions for “Dune” in detailed descriptions from Frank Herbert’s source novel. “It was clear the clothing needed to serve practically, featuring systems for moisture retention, but also function as armor. The Fremen were combatants, and our designs had to reflect that.”
Alaïa's sophisticated top and skirt harken back to the long, dark robes of the powerful Bene Gesserit order from the Dune universe.
West states that she dedicated herself until she received Villeneuve’s approval. Her sartorial creations in the motion picture stand as an example of how flair and utility can merge into a cohesive design ethos.
“Black Panther”, 2018
“Crafting attire is akin to shaping an entire world,” says Ruth Carter, twice an Oscar recipient for her input on “Black Panther” and “Black Panther: Wakanda Forever.” Her achievements epitomize how filmic fashion can fuse historical elements, symbolism, and modern taste.
Model Awar Odyang in a Balmain look created as an interpretation of Ruth Carter's designs for Marvel Studios' Black Panther
One of Ruth Carter's costumes in the Black Panther cinematic universe
Carter states: “The premiere fitting for Chadwick Boseman in the suit was unforgettable. He exuded strength – I was overpowered emotionally: Black Panther was materializing before me.” Refinements were still needed. “Adjustments to promote movement, and a specialized mask mechanism were implemented. Though complicated, it was essential,” Carter says. Similar focus was aimed at the apparel for the Dora Milaje, Wakanda’s guards of women. Model Awar Odiang presents an ensemble created by Olivier Rousteing of Balmain for Vogue World: Hollywood.
“Orlando”, 1992
Sandy Powell, with three Oscars and BAFTAs to her name, shares, “Throughout my work on many films, ‘Orlando’ provided the greatest creative latitude.” Sally Potter’s directorial venture, starring Tilda Swinton, exemplifies how fashion onscreen can embody a period’s ethos. Powell reflects, “Our goal wasn’t absolute historical fidelity, but we aimed to capture the essence of the time.”
Julia Nobis in a costume created for the film “Orlando”
The look by Valentino Haute Couture recreates Orlando's journey through time – from the era of Elizabeth I to the 1990s
Swinton also had a hand in “Orlando’s” sartorial design. Powell further explains, “I need to know the wearer to conceive a costume. Attire is integral to the character, not merely garments. The feeling of the persona, their potential character, must resonate. It transcends mere aesthetics, involving their carriage, gestures, and stance. Their views are vital; we construct characters as a team. I’m not solely dressing figures; I facilitate their belief in the role.”
“Edward Scissorhands”, 1990
“Edward’s look originated on New York’s streets,” recounts Colleen Atwood, a four-time Academy Award victor for Tim Burton’s film costumes. She describes assembling the iconic costume with found items from Canal and Orchard Streets – locations for discarded leather, hardware, and archaic tools. This spawned the creation of a character pieced together, merging bandages, practicality, and Victorian elements.
Model Anok Yai in an incredibly intricate and spectacular costume created by Colleen Atwood for Tim Burton's dark romantic fantasy
McQueen's look, by Sean McGirr in collaboration with Atwood, retains the gothic drama of the original – with lots of belts, buckles and torn textures
“Edward is a figment of Tim’s mind,” Atwood says. “Tim essentially ‘draws’ his figures, visualizing amazing creatures for years. These sketches laid the foundation for creating Edward.” Atwood refreshed Mr. Scissorhands’ costume for Vogue World: Hollywood, worn by Anok Yai, who also modeled a Sean McGirr’s McQueen interpretation.
“Once Upon a Time in… Hollywood”, 2019
Arianne Phillips excels in designing costumes for true story films. She shaped the visual representation of Bob Dylan and Johnny Cash in “Crossing the Line,” and also crafted Sharon Tate’s outfits in Quentin Tarantino’s “Once Upon a Time in Hollywood.”
The coat, bag and platform shoes by Marc Jacobs recreate the costume Arianne Phillips created for Margot Robbie as Sharon Tate, with maximum accuracy and respect for the original
“My aim was to honor Sharon’s true self,” reveals Phillips. “She stood as a 1960s icon.” The imitation python coat donned by Margot Robbie as Sharon Tate at the Playboy Mansion mimicked Ossie Clark’s original worn at the “Rosemary’s Baby” London premiere in 1968. Arianne Phillips personally collects Ossie Clark’s works. “Sharon and Roman Polanski dwelled in 1960s London, during Carnaby Street’s peak of youth culture, fashion, and freedom,” Phillips explains. There, Swinging London emerged, marked by Mary Quant’s and Ossie Clark’s daring, bright designs celebrated by stars from The Beatles to Twiggy. For Vogue World: Hollywood, Quentin Tarantino has generously provided a coat from the original film, and Marc Jacobs will showcase its precise reconstruction.
Kendall appears in an original look created by Arianne Phillips for Quentin Tarantino's blockbuster
“The Great Gatsby”, 2013
The Australian Catherine Martin is the second woman, after Edith Head, to gain two Oscars for a single movie, recognizing her efforts in costume and production design. She accomplished this twice, initially in 2002 with “Moulin Rouge!” and then in 2014 with “The Great Gatsby.” Her special talent for blending historical accuracy with contemporary visuals rendered both films unforgettable. Their clothing effectively defined the era’s cinematic aesthetics.
The Darker Side of Daisy – performed
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