As my previous posts may have hinted at, I find style inspiration in films and music much more often than I do in magazines or catwalk collections. Annie Hall (1977) and Manhattan (1979) are both seminal classics written and directed by Woody Allen, and star Diane Keaton and Allen himself. People often praise Keaton's performance as ditsy and free-spirited Annie, but I personally prefer her performance as the neurotic, pretentious and pseudo-intellectual Mary in Manhattan (pictured below). It's a well documented fact that Diane Keaton wore her own wardrobe for both her roles in Annie Hall and Manhattan, and arguably single-handedly popularised the menswear-as-womenswear trend of bowler hats, oversized, collared shirts, ties, straight-leg pants, waistcoats and blazers. I love her quirky layered look, which remains clean and sharp because of the simple and masculine shapes. Annie Hall and Manhattan are iconic in more ways than one; Allen inspired his own genre of film, and Keaton became a fashion icon for decades to come. She said of Annie Hall in her biography Then Again:
"Woody’s direction was the same. Loosen up the dialogue. Forget the marks. Move around like a real person. Don’t make too much of the words, and wear what you want to wear. Wear what you want to wear? That was a first. So I did what Woody said: I wore what I wanted to wear, or, rather, I stole what I wanted to wear from cool-looking women on the streets of New York. Annie’s khaki pants, vests, and tie came from them. I stole the hat from Aurore Clément, Dean Tavoularis’s future wife, who showed up on the set of The Godfather: Part II one day wearing a man’s slouchy bolero pulled down low over her forehead. Aurore’s hat put the finishing touch on the so-called Annie Hall look. Aurore had style, but so did all the street-chic women livening up SoHo in the mid-seventies. They were the real costume designers of Annie Hall."
Hat: H&M, Coat: Vintage Mackintosh, Shirt: ZARA Men, Jeans: Topshop, Bag: Cambridge Satchel Company