Last Night in Soho is a psychological horror film directed and co-written by Edgar Wright following the story of Eloise, a timid fashion student dreaming of making it as a designer who inexplicably transports to the 1960s, where she mirrors an aspiring singer by the name of Sandy on her attempted journey to stardom in the big city. The film is noted for its production design, cinematography, costume design, and the actor’s performances that breathe new life into the nostalgic sinisterly stylized visuals, weaving this into the present to bring viewers within the dark neon audiovisual playground where nostalgic dreams are both enchanting and dangerous. The double time period piece is an ode to the swinging sixties laced with the mind spiral of both creatives in their own psychedelic feverish dream state.
Between Ellie’s darkly felt anemoia and Sandy’s decline in pursuit of their ambitions, their wardrobe showcases not only iconic codes of dress with vintage references that are cherished and adored through feelings of sentimental longing as well as tangible depictions of their characters but also the idealized dream in contrast to the dismal, gritty reality both encounter in their own recollection, hence both women remaining confined to the past, longing for freedom. The film’s visual narrative materializes their separate and intertwined journeys that fuel Eluoise’s psychological crisis and the creative mind for a fusion of psychedelic, emotional, and raw references.
In the beginning, Eloise’s style is all about who she is. Her first appearance in the film is a newspaper dress, one that showcases her skillset as a creative, young, spirited girl. Her style at university carries this tone, paying homage to her roots- her home, her family, her interests, and her aesthetic eye. She has a strong sartorial contrast with her peers, she does not belong. Her way of thinking is unique and goes against the crowd, but her strong sense of self centers her, and she does not conform. Inadvertently making a statement in the style scene of artistic students in contemporary London. She has a firm sense of self-identity in the face of group-think, but when Eloise first hallucinates in the 60s, we see her in a neutral look. Sleepwear of dull color, her hoodie acts as a blank slate for color to fill in the same manner she fills the world with color. The hoodie is removed from her shoulders, in the same manner as an elegant, demure vintage cape, hence merging the characters together through fashion while retaining their separate identities.
Sandie initially has a modest, self-assured look. The costume designer and actress wanted to capture Sandie’s true essence straight away, a woman with class, who views herself as a duchess. To create this look, a high-coverage flowing chiffon was cast over the tight underdress. The dress flows and cascades, the detailing such as beading and bow in hand with the construction of the dress fashions her aura. a true extension of her character as she enters Café de Paris with her hopes and dreams in her heart. Sandie’s beauty and styling references are Brigitte Bardot, Twiggy, and Julie Christie as well as the trending fashion of her time.. Swinging London is a term referring to the thriving cultural scene of London during the 60s where optimism and hedonism flourished through art, fashion, and music, the basis of a cultural revolution through a carefree time of innovation captured in garments that served as a symbol of social change. Though Eloise did not experience this, the time is one that she is drawn to by the phenomenon of Anemoia, which is defined as a longing for a time never experienced. These feelings arise from specific imagery, hearing certain music or sounds, and even smelling scents.
Sandie becomes the epitome of this time to Eloise as her fashion holds a chic, upscale look that allows her to be the center of attention. Her clothing serves to showcase her personality, passion, and talents. Dressing to live, rather than living to be dressed. Sandie is inspired by designers such as Pierre Cardin and Paco Rabanne but does not have high fashion roots, as she would not be able to afford the clothing.
She does, though, carry the spirit of their garments through her personality, liveliness, and glamour that is found in her fashion because she has an innate sense of style, hence Sandie embodies the time Eloise adores with her emblematic looks. For example, the“Mac” trench coat Sandie wears. A durable, structured garment in white, psychologically white is linked to purity and innocence as well as isolation and stark emotions.
White also symbolizes new beginnings or a blank slate, translating the blank slate dever dream looks to the real world through a lens of naivete and love of a romantic 60s. A form of escapism from the inner trauma that she carries. The fashion of the story says more than Sandie’s or Eloise’s words could be amidst their confinement.
Clothing holds the past from its roots and the history of wearers that continuously influences the present and wearers into the future. The psychological aspects of the character’s style and image further the interaction between the two creative women. Eloise begins to take style cues from Sandie, the type of woman she looks up to representative of a time she has romantic notions of which serves as a source of comfort from the darkness of the world or even her own mind. Eloise feels mentally confined due to her trauma-based hallucinations, while Sandy is confined physically to her situation, hence as Sandie is enduring traumatic events that cause her life to spiral out of control, so does Eloise. As they follow down this path, their images and styles become more alike because of parasocial interaction.
In 1956, Horton and Wohl delved into social interactions and coined the term parasocial interaction: the psychological experience undergone by a viewer or audience by which they feel familiar and emotionally invested in another they view. With each viewing experience, the interaction intensifies and can even blossom into a relationship. Depending on Variables such as one’s mental health, cognitive information processing style, and in media, presentation methods, and visuals, as well as programming messages, For instance, rhetorical moments and conversational presentation.
This is dubbed the “illusionary unreciprocated involvement” (Hatmann & Goldhoom, 2011) An emotional connection to the persona is garnered similar to the manner one would be with a close friend as they interpret their personality, appearance, fashion, voice, and self-conduct. This then causes identity construction interruption as the path of self-identity alters into wishful identification.
The interaction strengthens into a relationship because she is too emotionally involved, hence furthering her mental confinement to the past as her romantic notions of the world do not align with the cruel reality. For Eloise, it is noted in production notes that timing is crucial in the storytelling of this film and that Soho in her mind is a time rather than a place that abstracts the world around her and disconnects her to some extent further. In contrast, John, who has quiet confidence despite being an outsider as well, is more sure and secure of himself even in his awkward moments. His authenticity and gentleness allow him to connect with Eloise who is growing into herself at this point in time. She has very uncynical black-and-white thinking, as the quote goes “We see things as we are, not as they are.” Hence she is susceptible to idealism and immersing herself in the appeal of surface value concepts over the fully fleshed-out reality. Ellie is unable to appreciate what history has to provide visually while also acknowledging that reality is far more complex than what meets the eye.
The woman she saw Sandie as, the effortless style and being who held a timelessness beyond modernity is gone. As her hemline heightens and her clothing becomes eye-catching hues that do not cause her to stand out, but wears her and serves others rather than showcasing her as the woman she is inside. The color from Sandie’s face drains. She is bleak, exposed, and hurt.
Her life and identity are lost, she becomes a different woman in a different mini dress every night to survive a cruel world she treats just as such. The final look of her flamboyant with boisterous sex appeal, technicolor fever dream period, towards the future is a psychedelic 1968-esque dress when she sits with the man who has caught on to the dark reality behind her bright looks.
Eloise has gone through a similar transformation despite the lack of vibrancy, opting for darker colors and heavier makeup. The darkness and abrupt neons in the production design mirror and frame the women’s looks to reflect the story’s themes. The disparity of the women is lost as Sandie spirals out of control and Eloise begins to follow suit down to the details of their looks. such as the lace lingerie from Sandie’s darkest moments making an appearance in the elements in hand with design aspects of the dress she wore singing “Downtown” for Eloise’s outfit when she hits rock bottom.
Sandie’s look on the stairs with the knife where she feels in control showcases an ensemble that is true to Sandie’s dream, an ensemble that truly speaks to her, a classy, glamorous dress with a long hemline, heels, and lavish embellishments. Her hair is done up and her makeup is fresh, the look symbolizes the dream, and her menacing actions show the reality. The scene becomes an allegorical depiction of psychological crisis and the creative mind. Sandie’s longing, Eloise’s fear. Rather than becoming as cruel as the world can be, Eloise breaks the cycle of shared agony through tenderness which allows for Sandie’s solicitude to free both. The look represents Sandie making peace and letting go as Eloise sees the world not through rose-tinted glasses, but in full dimensions which allows for her to let go as well.
Eloise showcases her collection and in her final look she returns to herself, but a more sophisticated, centered version with subtle influences through her own lens of her inspirations as well as initial “her country mouse look. Which depicts her growth as an individual. This carries on and translates into her work.
She carries what she has learned on her back rather than the weight of the world. She carries her mother with her as well as the 60s culture that gave her comfort through Sandie’s embodiment. Sandie’s final appearance leaves the film open to interpretation whether it be remnants of the downfall not hindering the forward path or Elouise’s gift. Rather than purely admiring or only being haunted, she accepts them for all they are and is no longer afraid as she moves forward, with clothing that carries on both of their spirits into the future holding both a realistic and romantic view of their lives.
