With sex, promiscuity and non-stop thrills raving at the height of the swinger years, 1967 was the perfect time for the release of French film, Belle De Jour. Adapted from the original novel of the same name, Belle De Jour achieves a state of glamour and and classiness despite the drama of prostitution and deceit it tells. Directed by famed surrealist filmmaker, Luis Bunuel, Belle De Jour is the dramatic tale of Séverine, a lady who seems to have it all – beauty, wealth, a loving husband, strong social ties – but that isn’t enough and she is drawn to the desperation of prostitution to bury her dark secret.
Not just any lady could fill those heels though! French beauty Catherine Deneuve plays the role of Séverine with a poignancy mirrored through her clothing style, which was designed (for the majority) by Yves Saint Laurent. A brave move on their part for the high-end brand, especially considering what their established clientele would think of the edgy, and perhaps cheap topic of their latest venture.
With that in mind, YSL rose to the challenge and presented a polished and impeccably styled Séverine, while more importantly developing a series of timeless looks that establish the film’s fashion never looks dated, not even to date, despite being more than 40 years old. A success for YSL, who were determined the film should stand strong against the years and made the risky decision to ban miniskirts from Séverine’s wardrobe, fearing that, although they were trending hugely at the time, the look would become easily dated.
Instead, YSL and Bunuel opted for precise tailoring, minimalist designs, and a cut just above the knee to retain a demure appearance that sharply contrasts the cheap association she is involving with. The all-black outfit and military jacket she wears for her first visit to the brothel is as well thought as her reason for visiting. Dark and mysterious, the stiff buttons and straight cut mark her as a lady not to messed with, but she doesn’t want to attract attention anyway.
Through her daily visits to the brothel, Séverine retains a strong sense of integrity through her clothing, which never fails to be anything short of impeccable. Black becomes a significant colour for her outfits, but the confidence she displays from her newly discovered sexuality questions whether she feels the need to disguise herself any more. As the materials of her clothing becomes less matt and more shiny, perhaps this speaks for itself.
S̩verine positively shines from the freedom she has discovered. Nobody achieves a style as chic bourgeoise as S̩verine Рher hairstyle and fresh complexion has inspired fashions even today Рthe hairband look below and peachy tones for make-up is raving in popularity through spring and summer. With France already being a more liberal nation than their counterparts in the UK, they had style and frivolity down to a fine art. Easy!
The decision of YSL to design Séverine’s clothes around blocking colours is important so her character does not become overcomplicated with bold colours and textures. Keeping a soft texture and gentle shades naturally makes Séverine appear even softer on the eye than she is already. A clever observation for the designers, considering audiences would be more likely to warm to her amicable and approachable appearance.
Here, her white cashmere jumper with a high button shirt visible underneath establishes her as ‘the good wife’ – angelic and moral – though her actions tell a very different story.
Séverine models a collection of stylish trenchcoats throughout Belle De Jour, but no other is as striking as her bold red jacket worn in the opening scene. Breezing over the fact that yes, it’s red and screams ‘warning’ louder than a foghorn, we’re more interested in director Bunuel’s motive for using such a direct colour for Séverine. Personally, red appears too harsh against Séverine’s pale complexion, but that doesn’t matter; as long as Séverine holds the attention of her husband, Pierre, that’s all that matters.
Séverine’s final dress is as sharp as the brutal consequences of her actions. Perfectly tailored and the high quality visible even from the low camera quality, we couldn’t expect anything less than perfection from YSL. She even makes cufflinks the most un-masculine addition to a shirt and tied back hair. Dressed prim and properly, Séverine’s ‘school-girl’ dress does nothing to ease her moral conundrum…though the scallop-edged Roger Vivier heels are beauties!
