By Calum Marsh
At the dawn of the 1960s, a group of young intellectuals and film critics in Paris got together, and with some rented equipment and a burst of collective inspiration, changed the face of movies forever. People called their movement of jazzy, unconventional films the nouvelle vague, or the ‘French New Wave’, and from the moment they arrived it seemed that film style would never be the same. But when we say the New Wave was stylish, we don’t only mean cinematically—these young directors also boasted some of the most forward-thinking fashion around, and their movies did about as much to influence modern menswear as they did shooting and editing. In this slideshow we take a look at some of the best looks found in the French New Wave.
Stolen Kisses (1968)
It was in 1959 that Francois Truffaut kickstarted the nouvelle vague with his debut feature, The 400 Blows. Nearly a decade later he returned to follow up on the young hero of that film with Stolen Kisses, which follows Antoine Doinel (Jean-Pierre Leaud) as he bumbles through Paris in his awkward mid-twenties. The comic romance would reimagine Leaud from beloved child star to a symbol of modern French cool—the kind of guy who could make a formal suit-and-tie ensemble seem totally laid-back and effortless.
Breathless (1960)
One of the most vital, vigorous, and altogether exciting films ever made, Jean-Luc Godard’s Breathless almost singlehandedly redefined the modern motion picture. More than 50 years later, it also endures as the very picture of French cool: its goofy, lovable antihero, played by Jean-Paul Belmondo, skulks around downtown Paris trying to play the part of the movie gangster, dodging the law and earning the affections of an American ingenue played by Jean Seberg. Ironically enough, the ultimate movie-worshipper would soon become an iconic character himself, and to this day his noir-influenced look remains a classic.
Pierrot Le Fou (1965)
One of Godard’s most provocative features, Pierrot Le Fou once again revolves around the tragicomic exploits of a dopey would-be hero played by Jean-Paul Belmondo, though in this time around the breezy black-and-white noir style of Breathless has been traded out for a full-color spectacle made with all the verve of a Hollywood musical. Godard become known during this period for making the most of primary colors, and that translates to some incredible outfits for Belmondo’s lead: cherry-red button-ups, blue-grey blazers, and even, during the film’s climax, a face painted blue (we don’t recommend that last part).
Jules et Jim (1962)
In many ways, Jules et Jim is the truest embodiment of the French New Wave. It’s at once bohemian, freewheeling, sophisticated, and sexy, whisking us along an adventure of comedy, tragedy, and romance alongside its eponymous leads. It should come as no surprise, then, to learn that Jules and Jim are in many ways the epitome of French New Wave heroes, as much in sensibility as in style. It’s sixties Parisian cool at its finest.
Paris Belongs To Us (1961)
Jacques Rivette remains one of the lesser-known directors of the French New Wave, and in fact the majority of his films are not even available in North America on DVD. But his first feature, Paris Belongs To Us, is one of the most essential portraits of youth culture in France during the period, giving us a clear idea of what it was like to be young and hip at the time of cultural revolution. Forgoing the gangster chic adopted by many of Godard and Truffaut’s heroes, the characters in Paris Belong To Us show us a new kind of casual style, one that would soon become popular in America but which, at the time, was basically its own form of radical attire.
Last Year at Marienbad (1961)
As far as the style of the French New Wave goes, Alain Resnais was in a sense the exception that proved the rule: he made movies so singular that it’s hard to group them in with his contemporaries, but the impact of his originality was undeniably the same. In his best-known film, Last Year at Marienbad, existential drama finds its home at a luxe European resort, where the uber-rich guests mingle as they enjoy despair. It’s all very modern, and, fittingly, the style is too: it’s all clean lines and ultra-sharp tailoring, the perfect looks for the modern gentleman up to face the emptiness of the universe.
Le Samourai (1967)
If Jean-Paul Belmondo was the poseur pretending to be a movie star, Alain Delon in Le Samourai was the real thing: the platonic ideal of the hyper-cool action hero, decked out in a suit, trench coat and fedora so perfectly arranged he makes it look effortless. The French New Wave may have been best known for its fast and loose style and bohemian spirit, but in the hands of elder statesman Jean-Pierre Melville the films still knew how to look sleek and professional.
http://www.esquire.com/blogs/mens-fashion/standout-style-from-french-new-wave-films-052814
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