The Great Gatsby (2013)
Designer: Miuccia Prada
The Italian designer reached back into the the label’s archives to outfit Carey Mulligan—Brooks Brothers created suits for Leonard DiCaprio and the other male stars—for Baz Luhrmann’s big screen adaptation of The Great Gatsby, due out next summer. Prada also worked with wardrobe designer Catherine Martin to create flapper dresses and other era-appropriate pieces, which were paired with jewels from Tiffany & Co. It?s not the first time the designer has lent her skills to Lurhmann: Prada created a custom suit for Leonardo DiCaprio for 1996’s Romeo + Juliet.
Quantum of Solace (2008), Skyfall (2012)
Designer: Tom Ford
When costume designer Jany Temime decided to give 007 an image update, she called Tom Ford, who created hand-made suits tailored to fit Daniel Craig like a glove while also being wearable enough for high-action stunt scenes. “It’s quite difficult because James Bond is such an iconic figure that you have to respect a certain style: an English gentleman perfectly dressed up. Sometimes doing a lot of difficult stunts with beautiful, glamorous women in exotic locations,” Temime told Vanity Fair. ”That?s what?s expected to be seen so you have to give a new look to a very successful image.”
Sabrina (1954), Funny Face (1957), Breakfast at Tiffany's (1961)
Designer: Hubert de Givenchy
Givenchy had a hand in creating some of the most famous images of the Audrey Hepburn era, including her little black dress and pearls ensemble for Breakfast at Tiffany’s. Hepburn had asked the Parisian designer to dress her in the films, but the answer to who deserved credit — Givenchy or costume supervisor to all three films, Edith Head — remains. In 1954, Head, who had coordinated the more plainclothes outfits, received an Oscar for Sabrina, while Givenchy, who crafted the gowns, was left uncredited.
The Untouchables (1986)
Designer: Giorgio Armani
Costumer Marilyn Vance-Stracker traveled to Milan to chat with Armani about the look of the Prohibition-era gangster drama and brought home several suits to use during filming. “It was a good thing we had the Armani suits.” Vance-Stracker, who also scoured L.A.-area vintage stores to find authentic 30’s ensembles, told a reporter the following year. “And we did end up using most of them. But not on all the lead actors. We stuck a lot of them on extras in the background.”
Black Swan (2010)
Natalie Portman called on friends, sisters Kate and Laura Mulleavy of the fashion house Rodarte, to design ballet costumes for the psychological dance thriller. But in addition to an Oscar snub for Best Costume Design, the Web also went wild when the Mulleavy sisters were left off the ballot for the Costume Design Guild awards. ”The Costume Design Guild has a tradition of rules,” Laura told EW. ”To be a part of that legacy is a huge honor for Kate and I.” Costume designer Amy Westcott ended up taking home the Guild trophy for Excellence in Contemporary Film.
The Fifth Element (1997)
Designer: Jean Paul Gaultier
For his futuristic sci-fi thriller, director Luc Besson hired French provocateur Jean-Paul Gaultier, who famously created Madonna’s cone bra, to design the out-there costumes. Gaultier dressed Milla Jovavich in barely-there bandage dresses and Bruce Willis in backless tops. ”I wanted the best, and that is Jean-Paul,” Besson told EW in 1997. ”He knows the color, he knows the flavor of New York.”
Robert Pattinson’s character spends much of the movie sitting in the back of a limousine, but during scenes where he steps out of his luxe ride, moviegoers get a good look at his sleek Gucci Signoria suit—accessorized with a watch from Chanel. Costume designer Denise Cronenberg reached out to Gucci after learning it’s one of Pattinson’s go-to labels in real life.
I Am Love (2010)
Designers: Raf Simons for Jil Sander; Fendi
To paint Tilda Swinton as the top of European bourgeoisie, costume designer Antonella Cannarozzi — whose work earned her a Best Costume Design Oscar nomination this year — asked Raf Simons for Jil Sander to outfit the actress in crisp sheath dresses and elegant overcoats. The men’s wardrobes were also outfitted by a couture name: Silvia Venturini Fendi, who oversees the label’s accessory division and co-produced the film.
Coco Before Chanel (2007)
Designer: Karl Lagerfeld
Who better to bring Gabrielle ”Coco” Chanel to life than Lagerfeld, the luxury brand’s current head designer and creative director? Though the fashion master supervised costume designer Catherine Leterrir, Lagerfeld designed Audrey Tautou’s classic Chanel suit for the film, which depicts the iconic woman’s rise from orphan to haute couture.
Marie Antoinette (2006)
Designer: Manolo Blahnik
For the footwear in Sofia Coppola’s jazzed-up historical biopic, Blahnik, who earned household-name status after Carrie & Co. strutted in his pumps on Sex and the City, studied 18th-century shoes in Paris and at the Victoria & Albert Museum in London. The end result was candy-colored confections that matched the film’s pastel-hued costumes, which won an Oscar in 2007.
The Thomas Crown Affair (1999)
To play a slick investigator in the caper remake, Rene Russo asked friend Michael Kors, who, at the time, served as creative director of Celine, to design her sexy, slinky wardrobe. But Thomas Crown wasn’t the Project Runway judge’s only dabbling in film; Kors also designed the clothes for Gwyneth Paltrow in 2002’s Possession.
American Gigolo (1980)
Designer: Giorgio Armani
Richard Gere suited up in impeccably tailored Armani ensembles — remember that dress-up dance? His streamlined look, a drastic departure from the bell-bottoms of the ’70s, put the Italian designer on the fashion map in the States and ushered in the slim-fit menswear trend.
Designer: Giorgio Armani
After winning praise for his wardrobe work on American Gigolo, Armani followed up by dressing leads Mel Gibson and Rene Russo in his duds for the crime thriller.
Annie Hall (1977)
Designer: Ralph Lauren
Diane Keaton was the leading lady in this seminal Woody Allen film, but her look was anything but feminine. Costume designer Ruth Morley worked with Keaton to create a quirky, menswear-inspired look — think trousers, waistcoats, and oxfords — that echoed Keaton’s real-life style. But controversy struck when Lauren allegedly took most of the credit for the wardrobe. Morley has stated that his contribution was limited to a tuxedo jacket and blazer.
The Great Gatsby (1974)
Designer: Ralph Lauren
Rumors of misplaced credit plagued Lauren once again, this time, for costumes worn by Robert Redford and the rest of the male cast on the Jazz Age adaptation. Costume designer Theoni Aldredge pointed out that Lauren merely crafted her own designs. (Though she was unsuccessful in her fight with Paramount to remove Lauren’s name from the credits.) He retained secondary credit, while Aldredge took home the Best Costume Design Oscar — and omitted Lauren from her acceptance speech.
Belle de Jour (1967)
Designer: Yves Saint Laurent
The French designer worked his sartorial magic on the sets of The Pink Panther (1963) and Arabesque (1966), but his most famous film contribution was to the French classic Belle de Jour, starring Catherine Deneuve. The designer and actress struck a close friendship on the set and went on to collaborate on more films including La Chamade (1968), Mississippi Mermaid (1969), Liza (1972), Un flic (1972), and The Hunger (1983).
Great Expectations (1998)
Designer: Donna Karan
The designer used pieces from her Fall ?96 collection to dress Gwyneth Paltrow’s Estella in this modern re-telling of the classic Charles Dickens story. Paltrow?s emerald, olive and hunter green costumes were echoed in those worn by the film?s extras to create a stylish color-coordinated effect.
Wall Street (1987)
Designer: Alan Flusser
”…And buy a decent suit. You can’t come in here looking like that. Go to Morty Sills. Tell him I sent you,” Gordon Gekko (Michael Douglas) tells Bud Fox (Charlie Sheen) in 1987’s high-finance drama Wall Street. Though Morty Sills was a real tailor, known for dressing Manhattan’s power players in the 1980s, costume designer Ellen Mirojnick actually commissioned menswear designer Alan Flusser to cut and fit all of Gekko’s well-tailored suits, and custom shirtmaker Alex Kabbaz to create his signature (Tom Wolfe-inspired) shirts.
2001: A Space Odyssey (1968)
Designer: Hardy Amies
Once Royal outfitter to Queen Elizabeth II and other members of the British Royal Family, Hardy Amies designed the costumes (royal milliner Freddie Fox created the hats) for Stanley Kubrick’s 1967 Sci-Fi flick. Though the fashions were futuristic, much of the wardrobe still had a distinct late ’60s vibe.
La Dolce Vita (1960)
Designer Inspiration: Cristóbal Balenciaga
Piero Gherardi deserves full credit for the costumes (and he got it when he won the Oscar for Best Costume Design for his work on the film) but Fellini often claimed that it was designer Cristóbal Balenciaga’s sack dress that inspired his vision for the film. ”These sack dresses struck Fellini because they rendered a woman very gorgeous who could, instead, be a skeleton of squalor and solitude inside,” co-writer Brunello Rondi told Fellini biographer Peter Bondanella. Interestingly, no Balenciaga designs actually appear in the movie.