The New Wave or La Nouvelle Vague is a French art film movement created by a group of young intellectuals and film critics in Paris during the late 1950s to 60s that in the spirit of iconoclasm rejected traditional techniques and visuals of film to go for more experimental ones. This movement is considered to be one of the most influential movements in cinema history as the filmmakers pushed conceptual and artistic boundaries in regards to their editing, visual stylization, and narratives, but never to be taken at surface value as there is often utilization of irony to work with hot social or political topics as well as exploration of existential themes.
In the words of director, screenwriter, and critic Jean-Luc Godard, “To me, style is just the outside of content, and content the inside of style, like the outside and the inside of the human body. Both go together, they can’t be separated.”
The stylization of film did not mean visuals over substance, but rather acknowledging that style in and of itself is a form of substance that is very influential and powerful with impact which not only shaped the fashion scene of this era but also present fashion media and personal style.
The fusion of film, art, photography, graphic design, and fashion introduced new styles of visual communications within media and intertwined these art forms to create films that were radical and innovative. Not only did they change the face of cinema but also through their work created the trendsetting faces of multiple fashion icons such as Brigitte Bardot, Anna Karina, and Francoise Hardy or for men Jean-Paul Belmondo, and Alain Delon as well as defined codes of dress that are still upheld from today due to the revolution of visual culture.
Films prior to and after this movement tend to uphold this image of perfection, but the unorthodox outspoken, and forthright approach within narration and themes undones this- adding a degree of imperfection that visually perpetuates the effortless cool and nonchalant attitude many deem as ideal for living or the look of perfection with this component an aspirational standard in relation to fashion and beauty.
French New Wave cinema challenged the insipid visual communications of traditional cinema by pushing the everlasting dichotomy between perfected depictions of experiences and sincere life situations. The clothing of these films looking at fashion history was not groundbreaking, but forward-thinking, costume design was of course a very conscious decision and contributing factor to the look- there is a reason why the looks of these films are still referenced while others are not.
The allure has something different than traditional media- a lightness, mischievous, freewheeling essence that is often absent yet desired. This time period by which the movement took place was a time with freedom beginning to look. With a differing ettique of editing and alternative style of visuals, the division and tension of sophistication and bohemian spirit translate through to perpetuate this allure still setting the tone for films following along with fashion and beauty. The films breathed life, attitude, and personality into this look and as a result, the themes and clothing grew with one another to hold prominence visually and conceptually which provides a timeless appeal as it doesn’t capture an era, but rather a concept that many desire or find themselves in. This revolutionary movement was not only impacting the film scene but also fashion but garnered new forms of creativity. Given the low budgets, many actors would actually be in their own clothing and express their character in a manner they saw suitable.
The style found in these films along with the icons still resonates with many people, designers and fashion brands often pull inspiration from the movement on screen as well. The fashion of the French new wave not only inspires the look, but conceptual execution and delivery of high fashion media.
DOES HE TELL YOU HOW TO DRESS?
ABSOLUTELY NOT. NOT AT ALL.
Anna Karina, named by Coco Chanel, is the face most recognized for the style of this movement and rightfully so as she is the muse of director Jean-Luc Godard and performed in several of his films. Her expressive and radiant presence embodied the spirit of the 60s within her girlish, vibrant, playful, vulnerable, and artistic style. There is an elevation of femininity while detailing a down-to-earth display of style. Beauty is a contributing factor to the iconic look, her makeup is distinctive 60s with an emphasis on the eyes. Hair was low maintenance with an undone factor. Her fashion is quirky, yet cynical, romantic, and risque conveyed through styling techniques.
She often wore girlish dresses adorned with frills and minimal yet prominent detailing. Checks, plaids, and stripes were applied with contrasting primary colors- a nod to mod culture. Karina’s looks were finished off with bold accessories. Subtle detailing and ruffles were read as womanly, another element of this is the constant waist emphasis that streamlines out in a flared manner to create the signature A silhouette. In films she sported a range of looks to suit her characters, but there was always an overall air of mystique.
Brigitte Bardot, the most notable actress from the movement, is more remembered for her hair than fashion. Short hemlines, sundresses, and bow accessories were her signatures- but she often wore stylish trends of the late 50s and 1960s. She popularized the boat neck off the shoulder cut to the point the namesake neckline is often referred to as Bardot. The wide headbands with simple outfits and a focus on beauty were also a staple look of hers. Bardot garnered a new appreciation for vacation and travel wear through her films, making the pieces not just practical but desirable.
Another actress with notable fashion contributions is Catherine Deneuve who on-screen shared sophisticated, elegant, chic, and modern looks- even dressed by designer Yves Saint Laurent. Many took style cues from her outfits to the point that the YSL “Belle Vivier” shoe that she sported in BELLE DE JOUR became the brand’s most famous shoe. It was also featured in the 1965 Mondrian collection.
Other actresses also breathed life into clothing and differing tones of dress within the French New Wave fashion that resonates with many people through essences.
Icon Jean-Paul Belmondo was dubbed the “bad boy” of the French New Wave. One of his most iconic performances was in Breathless 1960, a film often noted for its style despite lacking a costume designer. Belmondo sports beatnik-bourgeois looks that were coming into fashion in the 1960s with film-noir influences.
Belmondo’s take on the character was dressing in the same manner as his thoughts, this carefree state of mind captured in patterns and often chaotically scaled garments that are unsuited to him or the weather. On this, Sarah Kaufman stated, “The long stride, the oversized jacket bobbing above it.
He’s filmed to look big and broad-shouldered, but it’s the fluidity of his stride and the harmony in his whole body that telegraph abundant confidence.” The little details, for example, more seen than not the tail and blade of his ties often swinging loose over his jackets in hand with his personality added more visual depth to not only his looks but creating these characters to add an implication of vanity and insincerity in juxtaposition with the ever so laid back and genuine pieces – a devil in the flesh type approach that he used often. His unique take on the tough guy and persona made waves in the fashion scene.
Another leading man of this movement is Alain Delon, Jean Paul Belmondo is of yin and yang, he on the other hand is moved forward to more elegant and dashing looks with a timeless sense of style. Though Delon is not known for a specific look, his overall looks, many still reference his fashion, but in a more philosophical way. Since there is not a formulaic approach, the romantics of his looks live on and serve to provide a way of dress rather than code to create the pristine and polished, yet at ease style. His everlasting approach to fashion can be found within his own fashion label, best known for its trailering and attention to detail that creates a pure feeling of luxury. Both actors had an influence on the image of men and still hold do within modern menswear.
Though the films do not have a focus on one style, there is one philosophy that has shaped the movement and life after it: that a look may display the authenticity of the wearer through a proclamation of character and an indifference in regards to forcing this is the execution needed to bring it to life.
For example, the spirit of New Wave cinema vibrantly shines in the Prada Candy campaigns with direction from Wes Anderson and Roman Coppola, there are three episodes – “Meet Candy . . .” “Let’s Dance!” and “Gene or Julius?” – that convey the whimsy of the scent through the stylistic narration and presentation of the fashion short film’s characters, atmosphere, and dialogue. The perfume is a playful and seductive scent, New Wave
Inspired by Jules et Jim and other classic French new wave films Prada Candy is able to capture the witty, cynical, romantic, laid-back, sexy, and lively essences of the product in a visual manner.
Another example of New Wave revival in fashion media is in the short -Miss Dior Cherie, which is in homage to Jacques Demy’s candy-colored musical ‘The Umbrellas of Cherbourg’ (1964). Miss Dior Cherie is a very sweet and feminine scent, a romantic one. Miss Dior Cherie is meant for those with good style and taste, but also a bit unusual with an eternal youth factor.
The cinema movement is also present in men’s campaigns, in a Chanel campaign directed by Martin Scorsese there is a strong New Wave feel present within the visuals and character portrayal, though it does more explicitly mirror Blow-Up 1966 which also pulled deep inspiration from French New Wave cinema.
Off-screen, the movement can be found within collections, garments, and styles such as Agnes B’s Fall 2007 collection and Kate Spade’s Fall 2012 line. The collections are an ode to this movement rendered in a modernized manner while producing classic imagery through color, print, and silhouette.
For the Dior Fall 2018 collection, the fashion house channeled the artist movement in reference to “The 400 Blows,” “Breathless” and “Band of Outsiders” to signify the influence of art and films. The campaign’s execution was heavily inspired by the classic “A Woman is a Woman” – even including subtitles and similar styling techniques. The themes of counter-culture and irony were present within the 60s inspired embroideries, prints, lace, and altered school uniform garments to play into the retro look, but through a lense of luxury.
Recently for Chanel Spring 2020, the designer upheld the enduring portrayal and experience of womanhood through intellectual and nonchalant tones. The scenery was done to produce the “atmosphere of the Nouvelle Vague” in order to showcase the image of women in an honest light similar to how the films conveyed how it’s about culture, lifestyle, and attitude of the clothing.
The fashion of The New Wave had reached every market level internationally, with the fashion of the movement remaining so far-reaching, that many look to the effortless, vintage-esque aesthetic. The way that artistic identity is present in the films is the way the personality translates into the clothing. Many trends often cycle back that were derived from these films, often they also are the basis of wardrobe and components of aesthetics for many people.
While one may go for a cat eye, mini dress and headband, or relaxed button-downs and sleek tailored trousers with beat-up leather oxfords, the notion that life shatters the illusion of ideals and what is traditionally deemed as imperfections of dress may just be the true style for one. Each film teaches about life and touches on numerous topics with great impacts on the viewer, one aspect of these films that we can draw inspiration from is the beauty of life and the beauty of being present. Personal style and the way we wear clothing is a way to interlace ourselves into these little moments, to create the visual narrative of our life while signifying ourselves and experiences- in doing so we tangibly capture ourselves and connect to the world in the same manner that these characters do since sometimes the visions and most moving moments in film are just as of life.
Jean-Luc Godard and Francois Truffaut: The Influence of Hollywood, Modernization and Radical Politics on their Films and Friendship – https://tigerprints.clemson.edu/cgi/viewcontent.cgi?article=3077&context=all_theses
French New Wave Fashion- http://www.newwavefilm.com/about/french-new-wave-fashion.shtml
French New Wave Icons- https://guestofaguest.com/fashion/our-favorite-french-new-wave-style-icons?slide=6Standout Style From The French New Wave- https://www.esquire.com/style/mens-fashion/a28853/standout-style-from-french-new-wave-films-052814/
