From Anne Hathaway to Cate Blanchett, without forgetting “Runway” magazine editor Miranda Priestley’s dragon-like fictional character, fashion and cinematography have always been two creative artforms that work in perfect synergy… to the extent that sensational styles featured in great movies affect fashion market trends.
Let LBSS dig deeper into how actresses became fashion inspirations, then encouraging high-end designers to use film as an alternative and creative way of advertising new collections.
Who, as a fashion aficionado, did not already revel in watching David’s Frankel The Devil Wears Prada (2006)? David Frankel makes us dive into the ever-idealized behind-the-scenes of a fashion magazine: where creativity meets draconian rigor. Protagonist Andy Sachs’ sartorial transformation from a girl for whom fashion equals superficiality to the style-savvy assistant of NYC’s fashion queen builds the movie’s immaculate aesthetic. The level of sophistication of Andy’s outfits, ranging from timeless white shirts styled with Chanel accessories (see pictures) to the one and only green and leopard trench animated by Andy’s newly confident walk, reflects how fashion is pictured as a means of empowerment and self-expression through this cinematographic work. From a business perspective, The Devil Wears Prada’s popularized luxury brands like D&G, Jimmy Choo (cf. Nigel’s iconic relooking of Andy) and of course Chanel for wider audiences, raising awareness and increasing demand for the sophisticated corporate girl style: sleek boots, tailored coats, head accessories and other pieces contributing to Andy Sachs’ inspiring, timeless elegance. The emphasis on Andy’s Chanel black boots, the same that allowed her to stop other assistants from mocking her personal style, as well as the numerous TikTok trends recreating outfits from the movie (throwback to Gisele Bundchen’s evil Serena!) give proof of how luxury items can become mainstream thanks to cinematographic experience.
Florian Marc Balhaus, the movie’s cinematographer, magnified corporate chic in using high-contrast lighting and polished office landscapes for Meryl Streep’s appearances as the powerful chief editor of Runway magazine. His powerful portrayal of the fashion queen inspired high-end designers and modern professional wardrobes, as Miranda Priestley’s sharp-tailored coats, silk blouses and impressive eveningwear still symbolize corporate chic decades later. In this stream of thought, others capitalized on how influential portraying corporate fashion styles in movies can be. Sarah Jessica Parker’s Carrie wardrobe in Sex on the City inspired generations of fans, translating into a commercial success as the actress collaborated with American brand GAP for a clothing collection and even launched her own shoeline, SJP.
In some cases, fashion and cinematography’s dialogue makes a specific fashion item the star of the show: we call it the “It” effect. Who other than Audrey Hepburn to embody this phenomenon, as her interpretation of Breakfast at Tiffany’s’ precious Holly, dressed by Hubert de Givenchy, gave all its fashion resonance to the iconic “little black dress”. The dress’s pairing with pearls and oversized black sunglasses, bathed into the movie’s subtle morning light and soft aesthetics made the outfit become a wardrobe staple, so much so that brands today (such as Chanel) are still re-adapting it to the modern age in their collections.
Sometimes, a movie star’s aura is so impactful it contributes or even gives birth to entirely new fashion movements. Think of Diane Keaton’s Annie in Annie Hall (Woody Allen, 1977). Her offbeat style (men’s blazers, wide-legged trousers and neckties), blended into the movie’s natural lighting, powerfully emphasized the character’s authentic energy, sparking a cultural movement: designers such as Ralph Lauren were increasingly inspired to use menswear-inspired elements in their collections for women, marking the rise of androgynous fashion collections. Other cinematographic successes praising androgynous clothing styles for women, such as Todd Field’s Tar (2022) starring world-famous film icon Cate Blanchett, contributed to the increase of demand for tailored, gender-neutral clothing. Stella McCartney, Jil Sander, The Row: all brands whose recent collections aligned with an alternative approach to traditional corporate wear, aligned with Lydia Tar’s crisp tailored suits, neutral tone button-ups and use of high-end materials (cashmere, silk), building up the quiet but strong authority of the Berlin Philharmonic’s chief conductor in Todd Field’s masterpiece. In movies, fashion builds aura, and aura leads the fashion market.
Movies and the fashion industry share a reciprocal relationship, where not only do films and actors influence fashion trends, but filmmakers also provide a platform for designers to show their collections in innovative ways. Designers are gradually moving away from traditional runways, embracing artistic and conceptual storytelling with a more detached approach. This is cinematic storytelling, which is changing the way fashion brands present their collections.
For instance, Maison Margiela recently deviated from the conventional runway approach during Paris Fashion Week, instead premiering a documentary titled Nighthawk. The film explores the creation of their 2024 Haute Couture Artisanal Collection, renowned for its porcelain doll costumes and astonishing makeup by Pat McGrath, which many – without success – tried to copy. Directed by Sasha Kasiuhache and conceptualized by John Galliano, the film offers a behind-the-scenes view of the design process, including the detailed craftsmanship and inspirations that defined the collection. Featuring appearances by Kim Kardashian, Gwendoline Christie, and Monica Bellucci, Nighthawk adopts a horror-inspired aesthetic reminiscent of 1980s film posters like Vestibule Pour Tuer. This documentary not only highlights the collection’s artistry but also shows Galliano’s ability to merge fashion and film, crafting an unconventional, creative, and narrative-driven experience. You can watch the documentary on YouTube: https://www.youtube.com/watch?v=d13q-V-FBRk
Similarly, Celine used cinematic storytelling for its S/S 2025 collection. Creative director Hedi Slimane created Un Été Français, a short-film inspired by Françoise Sagan’s novel La Chamade. This homage to 1960s Paris captures themes of teenage disillusionment and romance, with the collection channeling the aesthetic of iconic French it-girls like Françoise Hardy. The collection that is presented, blends Celine’s heritage with vintage Parisian styles, featuring tweed twin sets, babydoll dresses, printed silk scarves, and Breton stripes. The “Teen Bag Joséphine” serves as a central accessory, evoking nostalgia for classic, ladylike handbags. The video further highlights rebellious undertones through winged eyeliner and ruffled bobs, paying tribute to Hardy’s spirit. You can watch Celine’s film here: https://www.youtube.com/watch?v=ElWYmb4YiNw&t=430s
With these concise film adaptations, Margiela and Celine show how fashion houses are increasingly using cinema not just to present clothes, but to build whole stories and invite audiences to immerse themselves in the cultural and emotional context of their collections and heritage. Cinema and fashion definitely are two symbiotic forms of art.
