8 throwback movie muses to inspire your new season wardrobe

For those contemplating a wardrobe overhaul come September, look no further than Vogue’s pick of throwback film style icons. Will you match Maggie Cheung’s hothouse florals in In the Mood for Love, or adopt the leather-trouser trend inspired by Grace Jones in A View to a Kill? Here are the top eight films to watch for a dose of autumn/winter ’19/’20 fashion inspiration.

Diana Ross, as Tracy Chambers, in Mahogany (1975)
As design student Tracy Chambers in Berry Gordy’s 1975 melodrama Mahogany (above), Diana Ross is completely in her element. She struts down the streets of Chicago in knee-high boots, rejects potential suitors and moves to Rome to model. Her runway looks are wildly experimental—all purple turbans and kimono-sleeved gowns—but it’s her off-duty style that chimes with autumn/winter ’19/’20’s penchant for luxe minimalism, as seen at Lemaire and Jil Sander. Her uniform consists of tailored separates, low-brimmed hats, silk scarves and delicate funnel-neck tops à la The Row.

Moira Shearer, as Victoria Page, in The Red Shoes (1948)
Simone Rocha is the latest designer to have fallen under the spell of Michael Powell and Emeric Pressburger’s 1948 interpretation of Hans Christian Andersen’s fairy tale, The Red Shoes. Moira Shearer stars as Victoria Page, an aspiring ballerina torn between dancing and love, who gives the performance of a lifetime wearing red pointe shoes. The film’s influence is visible everywhere, from the balletic silhouettes, transparent organza and detailed embroidery of Rocha’s dresses, right down to her bejewelled footwear. Elsewhere in London, lashings of tulle were on the agenda at Molly Goddard and Peter Pilotto, leaving aspiring ballerinas spoilt for choice.

Ali MacGraw, as Jennifer Cavalleri, in Love Story (1970)
When it comes to cosy knitwear, few can compete with Jennifer Cavalleri, the Radcliffe College bohemian who falls in love at first sight in this 1970 tearjerker. Playing the part that cemented her status as America’s sweetheart, Ali MacGraw dashes around campus in crisp button-down shirts, plaid skirts and cashmere turtlenecks. Her preppy aesthetic harks back to the early years of Ralph Lauren and Tommy Hilfiger, while her plush camel coats could give Max Mara’s 8 throwback movie muses who are totally on-trend for autumn/winter ’19/’20 iterations a run for their money.

Sean Young, as Rachael, in Blade Runner (1982)
How to prepare for an imminent apocalypse? Take your style cues from Blade Runner replicant Rachael, a femme fatale who knows the power of a shoulder-padded skirt suit. Olivier Theyskens did, dedicating his autumn/winter ’19/’20 collection to retro-futurism and adding plenty of nods to Ridley Scott’s 1982 sci-fi classic. At Theyskens’ show, he played the film’s soundtrack backwards and referenced Rachael’s wasp-waisted tailoring via sculpted coats and suiting. Those dressing for dystopia can also look to Saint Laurent and Alexa Chung, where the jackets were part Rachael, part The Terminator.

Jane Fonda, as Bree Daniels, in Klute (1971)
Suede minis, knee-high boots and billowing sleeves are the cornerstones of Jane Fonda’s wardrobe in Alan J Pakula’s 1971 neo-noir crime thriller. She plays call girl Bree Daniels, who becomes embroiled in a murder mystery and is determined to lie low—difficult considering her eye-catching jewellery, fringed bags and shaggy mullet. Copy the hairstyle, as seen on the autumn/winter ’19/’20 catwalks at Proenza Schouler and Gucci, and find modern takes on Fonda’s louche knits and flouncy blouses at Tory Burch.

Maggie Cheung, as Su Li-zhen, in In the Mood for Love (2000)
Roses reigned on the autumn/winter ’19/’20 runways, splashed across sheath dresses at Dries Van Noten, hanging from pencil skirts at Prada and dominating the sculptural gowns at Alexander McQueen. The way to wear them now? Banish ditzy prints in favour of bold hothouse florals and take inspiration from Su Li-zhen, the heroine of Wong Kar-wai’s 2000 romantic drama, In the Mood for Love. Costume designer William Chang had his work cut out, handpicking 23 cheongsams for Maggie Cheung’s beloved character. Swirling with hypnotic petals, each is more spectacular than the last.

Sofia Coppola, as Mary Corleone, in The Godfather Part III (1990)
Mob heiress Mary Corleone’s wardrobe is just one of the reasons to watch the third film in Francis Ford Coppola’s genre-defining trilogy. Although his real-life daughter Sofia’s performance was panned by critics, she rarely puts a foot wrong when it comes to her style. There are extravagant chandelier earrings, taffeta skirts and gala-ready ballgowns, all the better to romance Vincent (Andy García) with. Emilia Wickstead was so enamoured with the character that she made Mary her autumn/winter ’19/’20 muse, creating velvet frocks, top-handle bags and elbow-length gloves worthy of a New York debutante.

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Grace Jones, as May Day, in A View to a Kill (1985)
Leather trousers made a welcome return to the autumn/winter ’19/’20 runways at Bottega Veneta and Hermès. Make like Grace Jones’s villainous 1985 Bond girl, May Day, by pairing them with stilettos, oversized jackets and a bright red lip. Then there’s the haute hood, a crucial component of May Day’s Azzedine Alaïa-designed ensembles, which has seen a revival at Saks Potts, Missoni and Giorgio Armani. Both trends confirm what we’ve always suspected: Jones was a style icon, way ahead of her time.