Bonnie and Clyde, 1967

　　《雌雄大盗》(1967年)

　　Bonnie Parker’s main accessory, aside from her gun and Clyde Barrow, was a series of killer hats. Her beret and silk scarf combination is as legendary as it is simple, and the beribboned fedoras she wore on several heists gave her a sense of propriety in improper circumstances。

　　除了枪和克莱德-巴罗外，邦妮-帕克的主要配饰是一系列杀手帽。她的贝雷帽和丝巾搭配既简洁又具有传奇色彩。她在多次抢劫中所戴的饰有缎带的浅顶软呢帽在不适宜的场合中散发出一种适宜感。

　　Annie Hall, 1977

　　《安妮-霍尔》(1977年)

　　Admittedly, that androgynous waistcoat and tie shtick, based on Diane Keaton’s own wardrobe of vintage menswear, looks a little clunky now. But no Annie Hall, no Ralph Lauren. Annie’s impact reverberates even today – see Chloe, Celine。

　　不可否认，基于女主角黛安-基顿个人衣橱中的古董男装而为影片设计的男女通用的马甲和领带的特色搭配，现在看起来有点笨拙。不过没有《安妮-霍尔》，就没有拉夫-劳伦的今天。安妮的影响力持续至今——看看蔻依和赛琳的设计吧。

　　Factory Girl, 2006

　　《工厂女孩》(2006年)

　　To play the part of Edie Sedgwick with any conviction Sienna Miller had to employ the skills of her enormous eyes and long, nubile legs. The clothes in between were a revolving mixture of black leotards, striped dresses and enormous animal skins. Although she spent a good part of the film in nothing more than a pair of tights, wherever she went piles of necklaces and several knuckleduster rings followed。

　　为了更好地诠释伊迪-塞奇威克这个角色，西耶娜-米勒必须发挥她的大眼睛和性感长腿的魅力。影片中的服装是黑色紧身连衣裤、条纹连衣裙和大皮草的循环混搭。尽管她在影片中大部分时间都只是穿着一双紧身裤袜，但她总是会搭配很多项链和指节套似的戒指。

　　Gone with the Wind, 1939

　　《乱世佳人》(1939年)

　　Vivien Leigh’s Southern-belle accent was slightly wonky, but the graceful way she wore her antebellum wardrobe was impeccable. The scene in which Mammy harnesses Scarlett’s waist down to 18in inspired generations of sadistic fashion designers but, fiddle-dee-dee, we can’t help loving those Walter Plunkett designed ballgowns。

　　虽然费雯丽的南方美人口音有点不靠谱，但她穿战前服装的优雅方式无可挑剔。保姆将斯嘉丽的腰勒成18 英寸的场景为一代代有施虐倾向的时装设计师带来了灵感，不过，这纯属无稽之谈。我们无法不喜欢那些沃特-普兰克特设计的公主撑裙。