For the last season, designers, it seems, they managed to remember all the eras in a row - the 70s as well. Some characteristic things of that time almost never leave the catwalks: these are flared jeans, and woolen vests, and suede boots, and sand trench coats. And while few people quote the decade verbatim, some, like AnOther Magazine editor-in-chief Ben Cobb, do just fine. You can study the fashion of the 70s, first of all, from the film "Taxi Driver" and the first two parts of "The Godfather". Let's talk about a few more paintings that defined the spirit of the times.
Text: Anna Eliseeva
Kramer vs. Kramer
It's no coincidence that Kramer vs. Kramer became one of the most iconic films of the 70s. Women's emancipation made us think about the redistribution of the typical roles of men and women, which formed the basis of the plot. Housewife Joanna decides to leave the family, leaving the child in the care of Ted's busy husband, in order to find a calling outside of motherhood. Meryl Streep admitted that she would not have taken on the role if she had not been allowed to make changes so that Joanna would not appear as an unambiguous villain in the eyes of her husband, son and the public.
Joanna maintains a strict order in her wardrobe - she chooses discreet skirts, impeccable blouses and shirts, buttoned up to all buttons. Ted, on the other hand, preoccupied with his career, is only dressed up in the office, swapping formal three-piece suits for simple flared trousers, frayed polos and denim shirts at home. The more time he spends with his son, the more obvious the similarity of their clothes: they both wear casual windbreakers, flared jeans, beige trousers, shirts and sweatshirts.
It seems the only thing that Joanna and Ted have in common is their love of trench coats. Costume designer Ruth Morley, also known for her work on Annie Hall, deliberately brings the characters together in a neutral way, making them look at them as equals. Everyone and no one is to blame, and both deserve compassion.
It is noteworthy that in this film there are almost no female characters, and those that do appear only in short episodes as victims. The film itself is not devoid of the spirit of freedom, inspired by the beginning of the sexual revolution in the 60s: the heroines often appear naked, and the men are clearly flirting with each other.
Looking at the style of the characters in the film, it's hard to believe that it was filmed almost half a century ago. On the one hand, all the fashionable signs of the 70s are selected in it: heroes and casual passers-by are dressed in bright ponchos, corduroy sets, flared trousers, velvet coats and soft hats. On the other hand, the costume of the main character looks so modern, as if it was copied from the last shows.
We know almost nothing about the Police Inspector nicknamed Dirty Harry, but the way he looks immediately grabs attention. Even on the most unsightly assignments, he is dressed in impeccable tweed suits, white shirts and polished boots, complemented by impenetrable Ray-Ban Balorama glasses.
Play it again, Sam
In the analysis of the style of the 70s, it is difficult not to mention the films with the participation of Woody Allen. Over "Play It Again, Sam!" Anna Hill Johnston worked, dressing, among other things, the heroes of other cult films: "The Godfather" and "Serpico". The dresser seems to have used all of the 70s signature pieces found today in Gucci shows and in the latest Celine collection.
Film critic Allan, who is abandoned by his wife, is not used to thinking about clothes - he appears almost everywhere in frayed trousers, T-shirts and a baggy cardigan. He is not at all like another hero - Humphrey Bogart, whose ghost in a classic trench coat and hat occasionally gives advice on relationships. Allen dresses in suits and shirts only for dates, but to no avail - excessive excitement and attempts to pretend to be someone else only repels the companions.
He is not like his friends Linda and Dick, whose outfits scream of respectability.Linda wears houndstooth jackets, patterned sweaters, various hats, plain shirts, flared skirts; there is also a vest in her wardrobe, made in a fashionable crochet technique. Dick cannot be found without a tweed suit in a cage or a herringbone and a wide tie. But here, too, clothing serves as a visual trick: behind the impeccable appearance lies the cooled feelings of the spouses and the impending crisis in marriage.
Three days of the condor
Sidney Pollack's film is considered not only a model political thriller, but also an example of unrivaled style in cinema. CIA agent Joe Turner performs atypical espionage work - he reads books to find encrypted information and secret codes. He arrives at work in plain flared jeans, a blue shirt underneath a dark jumper, a herringbone blazer, and leather gloves. Costume designer Joseph J. Olisi decided to add an unusual detail to the image of the protagonist - trekking boots, which give the outfit a casual look and hint at Joe's rank-and-file job. It stands out only with transparent "aviators" Ray-Ban.
But while the protagonist is careless about his appearance, the CIA leadership and the private hitman are in perfect order. They wear impeccably ironed shirts, straight trench coats, fur-trimmed coats and wool vests. It is their emasculated appearance that they make Joe suspicious. The heroines are also dressed in the fashion of the time: the character Faye Dunaway, for example, chooses simple turtlenecks and a cream coat, and the employee of the Joe department - a yellow shirt and loose trousers, completing the look with large oval glasses in the spirit of Alessandro Michele's collections for Gucci.
The iconic film by Alan Pakula stands out among the many thrillers of the 70s. The main character, for whose role Jane Fonda received an Oscar, at first glance seems like an ordinary woman: she goes to model auditions and auditions, and in the evenings she spends time for her pleasure with a glass of wine and a book. Contrary to stereotypes, Bree Daniel’s style doesn’t betray her as a sex worker. She wears typical clothes of that time: knitted tops and tight sweaters with a throat, A-line skirts and knee-high boots, turtlenecks combined with a velvet jacket and sundresses with Victorian blouses, sometimes adding a large pendant on a long chain. According to Jane Fonda, all things belonged to the actress herself.
Bree does not seek to hide behind clothes, because she is not shy about her profession. On the contrary, in her conversations with a psychotherapist, we recognize the heroine as a more complex, vulnerable and at the same time self-sufficient person. She is aware of her sexuality and strives for control, which is reflected in her wardrobe.
Another tape reflecting the changing perceptions of the roles of men and women in the 70s. Needless to say, this film is most often featured on all sorts of lists of the "most stylish". The heroine Annie from the very beginning appears to be an outstanding free personality, which skillfully emphasizes her wardrobe. Perhaps the most recognizable image - with baggy "man's" trousers, a strict shirt, waistcoat and wide tie. Some models for Annie were provided by Ralph Lauren - much later he will take her looks as a basis for the fall-winter 2016 collection.
Despite the fact that dresser Ruth Morley also worked on the film, Diane Keaton had complete freedom in choosing clothes. The restrained androgynous outfits that belonged to the actress herself confirmed the right of women to dress the way they want. Herringbone jackets, silk shawls, printed cardigans, knee-high leather boots and horn-rimmed glasses are other recognizable elements of the 70s style that the ribbon did not do without.
Saturday night fever
The spirit of disco can be seen in the film from the first seconds: to the cult song "Stayin 'Alive" by the Bee Gees, twenty-three-year-old John Travolta in a leather biker jacket, flared trousers and low-heeled shoes walks through New York, simultaneously peeking into a store with colorful shirts.A consultant at the hardware store, on Saturdays, Tony Manero becomes the star of the dance club, and devotes all his free time to rehearsing new dances. He usually wears bright red shirts and blue wide-collared polos, and dances in a pink polyester suit.
In a casual outfit, Tony looks defiant and daring in comparison with those around him. Even with her haughty partner Stephanie, the protagonist has nothing in common. An aspiring public relations manager, she strives to dress sophisticatedly: white blouses, light-colored trousers, cream coats and tweed caps. For the final performance, Tony chooses an atypical white kit that should symbolize a change in life. Stephanie performs in a Greek-style flying dress that does not match the kitsch club setting.
Laura Mars eyes
The story of fashion photographer Laura Mars, who became famous for her provocative shots of half-naked models and scenes of violence. The heroine Faye Dunaway defends her concept, but suddenly she herself begins to suffer from terrible visions of the murders of the people around her. At the beginning of the film, Laura appears strong and confident: at her own exhibition in a closed dress with a throat and bows in her hair, she looks really stately.
Laura's style looks modern by the standards of both the 70s and today: ponchos, skirts with side slits, silk blouses, suede knee-high boots, an ultra-fashionable hat-helmet, plaid jackets and much more make up her wardrobe. Men keep up with the choice of knitted cardigans, spectacular blousons, puffy vests and soft jackets, over which they wear white scarves.
Photos: Columbia Pictures Industries, Warner Bros., Paramount Pictures, MGM, United Artists