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 and after this movement tend to uphold this image of perfection, but the unorthodox
outspoken, and forthright approach within narration and themes undone this- adding a
degree of imperfection that visually perpetuates the effortlessly 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
through 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 that 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 etiquette
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 in 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 of and found in these films along with the icons still resonate 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 distinctly 60s with 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 by her name.
The wide headbands with simple outfits and a focus on beauty was 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 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 for 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 oversize 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 swing 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 and he are a bit
of a yin and yang situation, 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,
but 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 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 and 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 styling 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 the 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 had done conveying 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, 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 true
style for one. Each film teaches about life and touches 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
most moving moments in film are just as of life.
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