Clueless & 90s prep chic

‘Do you prefer “fashion victim” or “ensemble-y challenged”?’

When Clueless burst onto our screens in the mid-90s, it left us with a bucketful of sarcastic put downs to try out in the school hallways and a penchant for plaid we never knew we had. Alicia Silverstone’s Cher Horowitz became an overnight sensation. Girls identified with her heartbreak and social worries, simultaneously envying her revolving wardrobe and online outfit chooser. Loosely based on the plot of Jane Austen’s Emma, this is a High School film at its finest. Set in sunny Beverly Hills with a free rein of Daddy’s credit card, the fashion is of utmost importance and social acceptance. The overriding sense of the film is that these are girls on the precipice of adulthood, their levels of sophistication undeveloped and gaudy. Inwardly, they are desperate to be taken seriously and their garishly matched designer uniforms are their outward attempts at this.

Cher’s style is ‘rich girl prep’ and her signature patterned mini-skirts, knee high socks and platform Mary Jane shoes became emulated by girls the world over. The look is all about tasteless colour and texture, with Crayola brights adorning the pleats and pinstripe patterns. When more is more, accessories are bountiful; the tackier the better. The girls are drowning in faux-fur handbags, feather-trimmed coats and velvet headbands, with Cher’s best friend Dionne exhibiting a penchant for freakishly flamboyant hats. This is a world where berets appear to be not only socially acceptable, but actually fashion forward.

When new girl Tai, a then relatively unknown Brittany Murphy, arrives on the scene she is quickly shunned for her Nirvana-grunge appearance, probably the most realistic portrayal of how teens dressed at the time. The contrast is so extreme that it is Tai who looks wrong and costumed, while the other clownishly dressed students are the ones that appear acceptable. It is up to Cher and Dionne to transform her, cladding her in preppy shift dresses and oxford collars until she becomes another Beverly Hills clone.

The west coast preppy flair of the film delves us into a world of pure fantasy, far removed from the sloppy grunge style of its 1995 release. As a result, Clueless provided a fashion revelation, with girls everywhere longing to shop on Rodeo Drive. In the words of Cher, they would strive for “courageous fashion efforts” and work to makeover their wardrobes. Hopefully, like Cher, they were also inspired to make over their souls in the process.

1995, USA

Directed by: Amy Heckerling

Costume Design: Mona May

70s hip in Almost Famous

Take a still from any scene in Almost Famous and I guarantee it’ll have you aching for the hedonistic pleasures of days gone by. Set in 1973, the film envelops us in a riotous and self indulgent world of sex, drugs and rock ‘n’ roll. Above all, the mantra is about living for today. The film follows 15 year-old journalist William Miller as he attempts to write his first article for Rolling Stone magazine, finding himself embarking on a road tour with fictional band Stillwater. The film is shot to a backdrop of heavy 70s rock with muted, sepia tones tones, engulfing us in a carefree and nostalgic haze. It's all about image.

Awash in a sea of lace, crochet and headbands, the characters have us longing to emulate their heady nature, dripping with that ‘just thrown on’ style and attitude. The gentleness of the sheer fabrics is contrasted against classic denims and worn out suede, draping a sexual softness over their rocker lifestyles. Hemlines range from hippie chic maxi length to unashamedly short, with casual layering the key component. After all, who knows where the party will lead next? Hair is wavy and unkempt and faces bare and seemingly makeup free. Accessory wise, simplicity is the answer. What more do you need besides sunglasses when your life is already this cool?

Mesmerising and brazenly sexy, it is Kate Hudson’s character, Penny Lane who gives us the greatest outfit envy with her scene stealing ensembles. Making her entrance in an Afghan trimmed suede jacket and a lace crop top, finished off with John Lennon style sunglasses, she is the epitome of the film’s look. Her favoured palette of whites and nudes are the perfect answer to hazy, wild days. Copy the embroidery, paisley prints and artful headscarves, coupled with a sun kissed tan and that perfectly dishevelled hair and you’re all set for a summer of self indulgence.

This is a film about being rebellious, exuberant and indulgently youthful. Bring forth the festivals.

USA, 2000 
Director: Cameron Crowe 
Costume Design: Betsey Heimann