The Breakfast Club(1985)
The Basket-Case becomes the Princess.
For most of the film, Allison wears oversized, dark clothing.
“She wants to disappear; she doesn’t feel loved.
Credit: Everett Collection; Buena Vista Pictures (2)
Therefore, she is just a black, empty space,” Vance says of Sheedy’s initial style.
Vance says there was originally a lot more to the makeover.
Hughes and Vance had conceived of Allison being a softer, more feminine girl underneath her gruff exterior.
Everett Collection; Universal Pictures
Allison obscured her true self, literally keeping it under wraps.
“[The blouse] is in that purse that we made for her,” she says.
The whole idea was that she was wearing it under all that horrible stuff.
Everett Collection; Buena Vista Pictures
She had things in her bag."
The goal is simply that we stop seeing her in the simplest terms, in the most convenient definitions.
Sincerely, The Breakfast Club.
Paramount Pictures (2)
“We didn’t think about labels,” she explains.
“We thought about what a girl like her would be looking at and be interested in.
I got inspiration from magazines.
Everett Collection (2)
I had to buy those magazines that were fifty bucks that had all the fashion shows.
I just thought about what she would think was fun or sophisticated.”
“That dress was really elegant,” she explains.
Buena Vista Pictures (2)
“We went out of our way to come up with it.”
It required they shut down a portion of Rodeo Drive and block multiple lanes of traffic.
line to land on the final version.
20th Century Fox; Everett Collection
We would call that a big stroke of genius (huge!).
“Don’t we all venture to cut our clothes?
That’s trying to find yourself,” May explains.
Barry Wetcher/Disney (2)
“We had at least 10 shirts.
David Bowie’s ‘Fashion’ was the temp track here, but music supervisor Karyn Rachtman wanted something fresher.
Costume designer Susie DeSanto says they experimented with several gowns, including sheath-dresses and more flowy silhouettes.
“We wanted something that you couldn’t believe it was the same person,” says DeSanto.
“We really wanted to show off her figure.
Somebody who wears a really tight, short Herve Leger dress is somebody trying to attract attention.
You don’t rock a dress like that if you’re trying to hide who you are.”
Music supervisor Steve Schnur reveals the track wasn’t licensed but instead recorded specifically for the film.
They hired Los Angeles band Los Lobos to put their own spin on it.
“We went through the pre-recorded versions of the song.
They didn’t work as well,” he explains.
“We needed that sexy reveal.
It had to have some Hispanic element to it; we were in Texas.
And the cherry on top?
Now how’s that for a talent portion of the competition?
The Princess Diaries(2001)
“I take ‘This!’
and I give you a princess.
Screenwriter Gina Wendkos spent more time rewriting this scene in revisions than any other.
Marshall devised brilliant shots like Paolo drawing his styling tools from his pockets like pistols.
“That was the idea.”
“I wrote him to be over-the-top,” muses Wendkos.
“But Garry knew how to make Larry explode.”
“We actually only had like two or three shelving units,” reveals director David Frankel.
“We had to shoot the shot several times and move the units and redress them.
It was technically painstaking, and it’s probably the fanciest visual effects element in the whole film.”
“That fur piece is back in my closet.
I overused it and abused it.”
“We had a bunch of montages built into the storytelling,” he says.
“It was fun to see her transformation in an instant.
There might not be any build-up required, but Frankel used slow-motion to really milk the moment.
That costume was an early automatic selection, and Field wanted it to give Andy a touch of smugness.
“I wanted to see Chanel interpreted for young people,” Field says.
“It’s Chanel as a classic and modern.
The boots, the mini-skirt I treated it a little bit punky.”
Though Andy’s transformation might feel subtle to the audience, Frankel says it dictated the entire production schedule.
“We had to plan our schedule around her look, rather than our locations,” he says.
For Giselle (Amy Adams),Enchantedcostume designer Mona May opted to make herunder.
May says they never considered having a montage of Giselle trying on different looks.
“We always wanted it to be a surprise,” she explains of the purple ballgown’s reveal.
She was the fairy tale princess.
She’s now a modern girl.
This silhouette and the color really supported that,” says May.
“It wasn’t the dress was wearing her and where is Giselle?
It really was Giselle.
She’s right here.
She’s ready to embrace this new journey.”
“She’s one of the first princesses in Disney history to save the prince.
That feminine strength had to come through the dress.”
