Fashion in Film // Woody Allen’s “Midnight in Paris”

Published on June 23rd, 2011 by Lauren Valenti
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In Woody Allen’s new film: Midnight in Paris, the recurring theme of the “golden past” and idea that any time period of the past was better than the current, stood most true in terms of fashion. While I continue to be enthralled by fashion of today, I couldn’t help but be completely romanticized by the 1920′s fashion donned by legendary figures of that time in Allen’s vision. These legendary figures include famous literary authors and artists, whose beautiful and innovative visions translate to their wardrobes as well.

The film’s Costume Designer, Sonia Grande, who also designed for Allen’s other film: “Vicky, Cristina, Barcelona”, captures both the fashion of today as well as the dramatic trend of the 20′s. Identifying the individual characteristics of each character and identifying how it will translate to the clothes they wore was something that Grande did flawlessly.

For example, the two main love interests in the protagonist Gil’s (Owen Wilson) life represent not only two types of women, but two unique fashion styles. Grande explains to The Hollywood Reporter, “”Ines is one of those women who comes from a rich and privileged world, one of those bourgeois women that exist in any one of our ‘globalized’ first world countries,” of  McAdams’ character, Ines. “She has the good taste that comes from an easy access to information and economic capacity or refinement, but perfectly recognizes fashion trends.” Designers who Grande used to dress the contemporary Ines, were Dior, Isabael Marant, Chopard, Chanel, and Hermes.

Midnight in Paris Marion

As for Marion Cotillard’s character,  the seductive 1920′s muse: She’s the opposite of Ines,” explains Grande. “Adriana is romantic, idealistic, feminine and a dreamer, but also exquisite. She’s a delicate muse to artists and intellectuals in the ’20s.” As for where she found the treasure trove of a wardrobe,  she explains ”Costume pieces were found through a “tireless search of half the world’s antiques in Paris, London, Madrid, Buenos Aires and their sultry boutiques,”

“When preparing for a film, you don’t choose an individual look. You think about the overall development of each of the characters, their actions and physical and emotional journeys,” says Grande of finding the perfect wardrobe for a character “You don’t really think of fashion as a tool, but use it as a tool of communication.”

Midnight in Paris Costume Designer

Midnight in Paris Costume Designer

Midnight in Paris Costume Designer

Midnight in Paris Fashion

Midnight in Paris Style

Midnight in Paris Fashion Car



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