Proving beauty can be achieved by the most minimalist touches of simplicity, Sofia Coppola’s palpable reflection of loneliness, culture shocks and relationships for 2003 success, Lost In Translation is due credit for it’s subtle use of style and costume design.
With principal characters imbrued in the glare of the media eye, distinguished actor Bob and Charlotte – the sidelined wife of a rising photographer – bond through their life experiences and status within society. A Yale University graduate and newcomer to Japan, costume designer Nancy Steiner could be forgiven for indulging Charlotte’s character in the mass of decadence and glamour wealth can offer, she instead characterises her through clothing that heightens her mundane psychology and imagines her through a dull appearance as though reflected into the eyes of society.
As with any first impressions, no costume designer underestimates the importance of how a character is perceived within the first moments of their opening scene, so Charlotte’s introductory outfit generates an interesting reading into her personality and fate within the film. Clever, beautiful, and with a sophisticated and understated sense of style to match, our initial meeting of Charlotte is influenced by the professional clothing and reserved mannerism she holds. In a crisp shirt and skirt-suit uniform, she displays a consideration for keeping a smart appearance that contrasts with her relaxed style in later scenes.
Neatly presented in black and white, every detail of her suit furthers the impression that Charlotte at this point conforms to expectations and shows no signs of a desire to reveal her identity. With not even a hint of pinstripe, subtle change of colour or a cheeky touch of individuality to her outfit, Charlotte blends into her corporate surroundings, but as a newcomer to Japan, that’s just how she likes it.
The strength Charlotte’s character holds to the drama of the filmy is heightened by the toned down colours and saturation of stronger shades of blues – a colour applied thoughtfully to the majority of Charlotte’s costume choices. Wearing a selection of pastel colours and greys, Charlotte’s wardrobe lacks colour, subconsciously hinting at a character who chooses to hide from attention, and subequently portraying her as a weak character when correlated with the more colourful and brash characters she interacts with.
Notably, this is observed for the interaction between her husband John and actress Kelly, where his attentive behaviour for her far out shadows the attention he displays for Charlotte. So while Charlotte does not blend lost into her surroundings, she is however easily glossed with for her conservative style and neutral appearance in the already systematic society.
Charlotte’s opposition to colour is however an influential factor that explains her unlikely friendship with Bob. Proving to also be a character with an avoidance for sharp colour, the actor openly broadcast’s his dislike for burgundy – a colour Charlotte’s clothing is oblivious to. Whether an attempt to denote fledgling romance between the pair, or the allure Charlotte’s non burgundy appearance offers Bob – the significance of the colour purely seeks to remind us of the methods behind their plutonic relationship.
When Charlotte ventures out from the hotel complex and into the welcoming surroundings of her friends in the karaoke club, at last she relinquishes at least some of the strict clothing styles she fashions for her daily routine. Yet as if appearing in disguise, she dons a pink stripper wig and conceals under a black shift dress as she settles with ease into a sassy confidence.
Returning to the mundanity of the apartment and the conflicting feelings of rejection from John and fondness from Bob, Charlotte’s appearance takes on a sense of self confidence to parade in her casual, and somewhat guilty attire. Retaining the neutral blues and white, her clothing is explained through Steiner’s observation of Charlotte’s emotions. “Fitting in with the stillness of the scene, that sense of being alone.”
In bleaching out the colours to a neutral result, Charlotte’s costumes camouflage into the apartment and further emphasises her feelings of isolation and the joy she gains from her friendship with Bob.
As their friendship runs it’s end and they say their goodbyes on the Tokyo street, Charlotte’s heavy black coat and grey skirt does nothing to dispel suggested feelings of mourning for a deceased friendship and separated souls.
