【中字】穿著如何塑造人設_‘蒂凡尼早餐’時尚造型分析_Clever___Chic

Breakfast at Tiffany's is a film based on a novel set in Manhattan's Upper East Side, telling the story of a young writer's fascination and fondness for his charismatic, do-as-she-pleases party girl neighbor by the name of Holly Golightly. The film has become more famous for its striking visuals rather than the actual characters or storyline, as it depicts fashionable and New York chic looks. Audrey Hepburn's portrayal of Holly is synonymous with minimalist and elegant styles that push boundaries on what it means to be feminine outside of very traditional looks. One of Audrey Hepburn's most identifiable roles, memorable scenes, and legendary outfits is in the opening of this film, where she steps on screen in a classic little black dress that was designed by Hubert de Givenchy, a designer who heavily influenced fashion. In the 50s and 60s, there were designs that featured essences of simplicity, minimalism, and underlying drama within his couture. The character's Givenchy gown features a sleeveless fitted bodice that highlights the shoulders and is embellished in the back. The skirt has a demi-loon cutout with a thigh-high slit to accentuate the leg and add a sultry essence to the overall elegant and simple look. For accessories, the iconic pearl necklace and tortoiseshell Oliver Goldsmith sunglasses, reminiscent of the Ray Ban wafer model. The look is finished off with long black satin gloves. This ensemble is associated with ultra-feminine Parisian and elegant looks. In her book, Audrey's Style, Pamela Clarke writes, which the apogee of refined elegance as Holly Golightly's hangover chic caused a run on triple-strand faux pearl necklaces, sleeveless dresses, and oversized dark sunglasses that continues to this day. In the film, Dawn has broken in this scene, the same way that she feels somewhat broken inside, but the exterior is beautiful as the city mirrors her as she steps out of her cab onto Fifth Avenue, outside of Tiffany's. The street is deserted and she is alone, referencing how she is truly detached from all and finds an inherent comfort in glamour and beauty. In spite of the way that Holly paves her own way in the world and refuses to conform, she is not as free as she seems to be. She is actually in her own self-contained cage that keeps her from connecting with others, meaning that she is far from obtaining the true freedom and happiness that she desires. Her fashion is very important to the storyline of the film as it revolves around her pursuing an identity that can bring happiness and fulfillment. She struggles with finding herself as chooses between stability versus desire, navigating this concept of what it means to be feminine and striving for self-actualization. The different types of looks reference the different identities she took on in her life In Maslow's Hierarchy of Needs, she is in the stage of self-actualization. Psychologist Abraham Maslow stated, that human motivation is based on needs, seeking fulfillment and change through personal growth. This refers to how one evolves and experiences throughout their life. According to this law, the self is defined as a being in the process of mere becoming and self-actualization is a being in the process of authentic becoming. Holly only feels close to the state at Tiffany's, an American luxury jeweler and specialty retailer. Tiffany's is a tangible depiction of her dream, but even her dream falls short in her mind. She fantasizes about having breakfast there, but obviously they don't serve food, which conveys how she will choose to have unattainable ideals and mask what is lacking with a beautiful exterior. She is the anti-heroine who rejects traditional stereotypes of women, who challenged the contemporary codes of this time of what it means to be feminine, creating new feminine elements because she is constantly remaking herself. Her indecisiveness is sophisticated and very chic because at one point in her life, she was anything but. Holly is able to curate distinct identities within New York's urban consumer culture. She is girlish still, meaning that she has this look of wonder in her eyes, but still is well-rounded and an independent woman, enjoying the freedoms of adulthood, but still having a naivete to her. Her subversive nature for this time is conveyed visually through her clothing. As costume designer, Edith Hegg created characteristics for Holly to embrace through a chic wardrobe that is both fun and mature. For example, the men's shirt that Holly wears to sleep, which is topped off with an aqua sleep mask with gold detailing. The sexuality and maturity of the men's shirt creates a stark contrast with the delicate and very cute sleep mask. Though she does have this underlying innocence to her, it's quite evident that she's more drawn to serious looks because she wants to be worldly. She wants to be taken seriously, so she's very drawn to serious colors. Like, for instance, her library outfit that consists of neutrals and black accessories paired off with dark sunglasses and a bag with luxurious gold hardware. Or another look like this is a casual one, which is just a pullover with trousers and flats. She is effortlessly chic and done up, but not so overtly in these cases. She's not done up in a way to draw attention, yet she still does. She also often sports little black dresses and will have jewelry, hats, and brooches to adorn these looks. If you're more interested in this style philosophy, I have an entire video dedicated to effortless, chic, and elegant wardrobes if you're interested in this type of look and would like to learn more about the identity of this fashion, which is who Holly wants to be. Someone who is stylish, well-rounded, sophisticated, yet still laid-back and carefree. Her curated look is produced by her fashion, which gives her the opportunity to have the lifestyle she wants, even if it's not in an ideal way. The character of Holly conveys how glamour is accessible. No matter who you are or where you come from, you don't have to fit into a certain label or a certain box to have a look that you want. Holly has been in multiple roles, such as the housewife and the lady, but she never still conformed to these roles and decided her own way. Though she seems to be carefree, she has an evident underlying anxiety linked to forming strong, stable connections. She views this as imprisonment because her life in the past and even trauma has left her insecure and unable to trust. Why are you crying? If we're going to be friends, let's just get one thing straight right now. I hate snoops. Rather than letting this cripple her, she rejects her old look, name, accent, and home to create a new life. This is why Holly is so one-dimensional on the surface. Because in her quest of finding stability on her own terms, she has to remain as far detached as possible, so no one defines this for her. Fashion plays a role in this because clothing is a vehicle for identity. Personal style is a display of one's ideals, values, lifestyle, and beliefs. Holly narrows down this scope to not display her whole identity and rotates between identities by changing her looks to give her the freedom that she covets so badly. She is usually always done up and uses clothing as a symbolic boundary between herself and others in order to not only create the chic New York identity, but also to form a barrier of protection. One of the few times we see her most vulnerable and in touch with her emotions is when she's singing Moon River on the fire escape, wearing a light grey sweater, denim, and her hair wrapped in a cloth. Audrey Hepburn is quoted saying, the real girl comes alive in blue jeans. Every woman is an actress in a Paris gown. The line, I'm crossing you someday in style, is symbolic of her life, meaning leaving a plain world behind for a glamorous one. The clothing she's wearing here does not serve to make her beautiful. She is just beautiful herself. And she is the most vulnerable dressed down because she doesn't have any purpose here but for her own comfort. A rare experience for Holly because comfort comes from stability and she lacks that greatly. The psychological struggle between stability and desire is the driving force of this film, not only within Holly but also the relationship between herself and Paul who are on the opposite sides of the same spectrum. Paul feels that he is an outsider who is always looking in. He is content to settle down while Holly is an insider with a charmed life but feels that she is a wild thing not suited for the world. So she constantly feels the need to be unattached from people, places, and things that jeopardizes the freedom that she wants so badly. Paul finds himself drawn into Holly's lavish and surface-level superficial world that she embodies because of her allure. He is stuck in a creative rut and she inspires him. He has a great distaste for mass culture and finds his writing to be a personal expression. So to tamper with this, it would compromise his integrity as an artist. Holly is perplexed by this because her personal expression is in her image. She treats herself like a piece of art, constantly crafting and honing to create an image which began with concealing her true self. It also serves in a way that she can appeal to wealthy men. Her fashion has a range that caters to different people, events, and things. It's a form of self-commodification that allows for Holly to survive in the only way that she feels safe. She views herself as a commodity to be bidded for. The more luxurious, the higher the price. For instance, her wardrobe overall is very neutral, chic, and minimalist. But here, she's in a hot pink silk cocktail dress. Rather than being understated and clean, it's studded with rhinestones and features a bow paired off She has a literal breakdown in this outfit because at this point, she is at a high emotional state. Her image can't protect her anymore. She cannot handle that reality is breaking through. Holly is not usually seen in saturated colors. But here, she is taking on a very hyper-feminine look to provoke interest. Saturation doesn't always mean this, though. Another saturated look is a double-breasted orange wool coat. But this time, it's matched with a salt-and-pepper patterned dress. Then accessorized with sunglasses, pearl earrings, a brown fur hat, kitten heels, and a tote bag. This is balancing a statement piece with a lot of staples. It's a very cohesive look. She sports this when she goes out with Paul and they try new things together. It's a look that's very bright and very playful with mature undertones. The balance that she begins to create through her relationship with Paul. But this isn't her normal state. This is a new state that she's entering. This type of look is one that she feels most comfortable in. Like how her hair is streaked with blonde highlights. It detracts from a prim and proper look. It gives one that's more out there and distinctive. Her identity is constantly fluctuating to adapt and repel. Her reinvention is what gives her the freedom that she enjoys, but is also a double-edged sword as it's actually caging her. Because she's never able to form any stable connections with others. This changes over the course of the film. Like how she can't even bring herself to properly name her cat in the beginning. I could find a real life place that made me feel like Tiffany's, then I'd buy some furniture and give the cat a name. After losing it, she wants to be connected with others and she wants to be herself. Rather than letting the fear control her. By running to the cat, she's letting go of the holiday of her life and returning to her inner home. In this final scene, she's again in neutrals and dark tones. More serious, more mature colors. It's a beige trench coat paired with a polo t-shirt and herringbone skirt. She also has a headscarf which is mirroring the Moon River scene. She is vulnerable again and overcomes her fear. Meaning she's able to now form deep connections with others which allows for her to be with Paul. She runs to Paul the same way she ran to the cat and they share a kiss in the rain. The environment of this romantic scene is very telling and signifies what is happening in her mind. There in an alleyway and in the background is a pawnbroker's along with advertisements saying bargain center, dollar savings, and rent. The first and last scene parallel one another. Holly is no longer in the street glamorously done up in a lavish gown and diamonds in front of Tiffany's. She is an alley with rain-soaked hair and wet neutral-toned clothes. Neutral tones usually indicate a lack of enthusiasm, passion, or opinion. They tend to be more mysterious. But here, the paler neutral creates a lighter mood rather than the serious and darkness of the black gown. It visually represents how she has let go of this dream that she curated and chosen reality meaning that she accepts who she is rather than hoping to move upward socially. In the film's ending she develops a new appreciation for life and chooses to be fully dimensional rather than living her elusive honed life constantly making an image. She is no longer rejecting societal norms but rather finding her own place and accepting it. Her self-commodization is now over. Breakfast at Tiffany's is one of the most adored and appreciated films in regard to visuals and costume design to this day because of Givenchy's impact on fashion and his understanding of Audrey's image along with the creativity and artistic direction of costume designer Edith Head. The clothing of the story tells just as much as the storyline. It visually depicts where Holly's head is at the same way that personal style often conveys so much about a person. Audrey Hepburn's portrayal of Holly is synonymous with minimalist and elegant styles that push boundaries on what it means to be feminine outside of very traditional looks allowing for more idiosyncratic and effortless looks to be embraced in media as well as culture today. Through immortalizing coats of dress that remain timeless both on film screens and in real life today. I hope you enjoyed this video. If you did, please like, subscribe, turn on notifications, and comment. Thank you so much for watching.