Movies That Influence Our Style: The Ultimate Fashion-in-Film List
This blog is an ongoing project, a growing list of films that have inspired us (and continue to inspire us) in our vintage fashion journey. To be honest, we’ve lived through every aesthetic on this list, one fashion phase at a time. If you’ve ever dressed according to a character, an era, or a cinematic mood, you’ll understand, and we’ll keep updating it as we discover more.
Gia (1998) – Michael Cristofer
→ For all Gabriette lovers: heroin chic, leather, messy glamour.
Clueless (1995) – Amy Heckerling
→ The classic that started it all: preppy plaid, pastel valley girl.
Mean Girls (2004) – Mark Waters
→ Iconic late Y2K: pink, cardigans, lip gloss confidence.
Almost Famous (2000) – Cameron Crowe
→ Penny Lane, the infamous muse: suede coats with shearling, gold hoops, lace camis, 70s rock-and-roll bohemian fantasy.
Nana (2005) – Kentarō Ōtani (live action)
→ Punk meets Vivienne Westwood à la japonaise: tartan skirts, bondage straps, platform boots, rock-romantic heartbreak aesthetic.
Buffalo ’66 (1998) – Vincent Gallo
→ Sad indie suburban glamour: white ballet outfit meets cigarettes, motel melancholy, dirty blond hair, heartbreak wrapped in soft grunge.
Legally Blonde (2001) – Robert Luketic
→ The ultimate Y2K dream incarnation: hot-pink power dressing, satin mini-skirts, rhinestone handbags, glossy sorority glam with brains.
Ghost World (2001) – Terry Zwigoff
→ The epitome of early-2000s indie: thrift-store sarcasm, retro glasses, graphic tees, tartan skirts, outsider fashion turned into identity.
Hackers (1995) – Iain Softley
→ Cyber dystopian streetwear, PVC, neon rave goggles.
Heathers (1989) – Michael Lehmann
→ 80s aesthetic: shoulder pads, power blazers, bold color blocking.
Jawbreaker (1999) – Darren Stein
→ Late 90s / early Y2K iconic looks: latex, chokers, Barbie evil.
The Doom Generation (1995) – Gregg Araki
→ Iconic Tumblr looks: sex, leather, chaos, Gen X nihilism.
Liquid Sky (1982) – Slava Tsukerman
→ Crazy 80s glam, angular silhouettes, punk alien beauty.
Marie Antoinette (2006) – Sofia Coppola
→ Rococo meets pop culture: pastel couture, bows, decadence.
Bitter Moon (1992) – Roman Polanski
→ 90s yuppie elegance with a twisted erotic undertone.
Blue Velvet (1986) – David Lynch
→ Romantic and dramatic gowns, dark beauty, femme mystery.
Wild at Heart (1990) – David Lynch
→ Kitschy 80s Americana: animal prints, fringes, road-trip glamour.
Jennifer’s Body (2009) – Karyn Kusama
→ Late Y2K demon cheerleader aesthetic.
Showgirls (1995) – Paul Verhoeven
→ Kinky striptease aesthetic: rhinestones, thigh-highs, stage seduction.
Annie Hall (1977) – Woody Allen
→ Classic vintage silhouettes: vests, ties, oversized trousers.
10 Things I Hate About You (1999) – Gil Junger
→ Romantic indie girl, tank tops, floral skirts, raw attitude.
Kamikaze Girls / Shimotsuma Monogatari (2004) – Tetsuya Nakashima
→ A love letter to gothic lolita fashion.
The Fifth Element (1997) – Luc Besson
→ Cyber dystopian couture: latex straps, orange hair, chrome.
Thirteen (2003) – Catherine Hardwicke
→ Rebellious teenage low-rise dreams: tank tops, chaos, 2000s angst.
Cruel Intentions (1999) – Roger Kumble
→ Iconic Y2K prep: satin slips, pearls, aristocratic seduction.
The Devil Wears Prada (2006) – David Frankel
→ Y2K high couture addicts: Chanel boots, designer power coats.
Pride & Prejudice (2005) – Joe Wright
→ For the Victorian Regency lovers: empire waist and English romance.
The Matrix (1999) – Lana & Lilly Wachowski
→ Techno-raver lovers: vinyl, trench coats, black sunglasses.
Party Monster (2003) – Fenton Bailey & Randy Barbato
→ Club kid nostalgia: glitter, platform boots, DIY chaos.
The Virgin Suicides (1999) – Sofia Coppola
→ Pastel innocence: lace nightgowns, quiet suburban melancholy.
The Craft (1996) – Andrew Fleming
→ 90s witchy goth summoners: Catholic uniforms + occult attitude.
Fallen Angels (1995) – Wong Kar-wai
→ 90s casual indie girl: leather jackets, bleach photography.
Chungking Express (1994) – Wong Kar-wai
→ 90s casual indie girl: denim miniskirts, chopped hair, Hong Kong neon.
Blow-Up (1966) – Michelangelo Antonioni
→ Mod London style, 60s Mondrian dress / YSL aesthetic, geometric minimalism.
Spring Breakers (2012) – Harmony Korine
→ Bimbocore, late Y2K white-trash glam, neon bikinis, ski masks, chaotic femininity.
Kids (1995) – Larry Clark
→ 90s New York streetwear, skate culture, hip-hop silhouettes, raw teen grunge.
Gummo (1997) – Harmony Korine
→ Chloe Sevigny core: thrift chaos, DIY fashion, Vetements / VICE anti-style energy.
The Holy Mountain (1973) – Alejandro Jodorowsky
→ 60s–70s psychedelic mysticism, desert new-age robes, occult surreal couture.
Velvet Goldmine (1998) – Todd Haynes
→ 70s glam rock decadence, Bowie meets Roxy Music, metallic vintage flamboyance.
The Love Witch (2016) – Anna Biller
→ 60s does witchy Austin-Powers fantasy, pastel lingerie, romantic occult glamour.
Dangerous Liaisons (1988) – Stephen Frears
→ Aristocratic seduction couture, corsets + lace, beauty as manipulation, the poisonous elegance blueprint.
Basic Instinct (1992) – Paul Verhoeven
→ The coldest femme-fatale alive: erotic minimalism that cuts like a knife.
Consider this our forever fashion moodboard, because style starts in fiction, clothes just make it real. If you’re into the aesthetics of these films, you might enjoy exploring our archive.
