Pretty Woman has been one of my all-time favourites for two years now – I have watched it over 20 times yet it never ceases to provide me with absolute satisfaction and it always soothes my emotional radar. I just love the idea of this film – a seemingly worthless, ‘cheap’ prostitute sleeps with a successful although brash businessman, and, rather predictably, they fall in love.
Young Vivienne’s immaturity at the beginning of the film is overthrown and her fashion transition is quite incredible – she is forced to chuck her skimpy tights and revealing tops to conform to the wealth and gracefulness that radiates from Edward – her client. She learns the values of self-respect and dignity, and becomes the face of an empowered woman – one who is prepared to move forward and determine her own future, without being dependent on men. She decides her future consists of her Prince, who ‘rescues her’ from her tower, climbing up the fire escape with his umbrella sword, and she finally has a man who will treat her right. A place that I one day yearn to go- Rodeo Drive, – solely for the shopping!
Vivienne is shopping for a conservative outfit to wear that evening and the best line from the movie is spoken; she says, “Big Mistake. Big. HUGE!” to the shop assistants as they had preconceived she was incapable of affording such clothing items. Goes to show appearance isn’t always a testament to social status and class.
When we first see her, about to begin work for the night, we immediately gain an insight into her reckless, street-chic vibe, with her wild brown curls and big hoop earrings and diamond cuff bracelet a strong statement. This is enhanced by her exhibition of a seductive two-part white and blue shimmery leotard, made casual by her maroon fur-sleeved coat. Edward was inevitably attracted to her sexy composition, with her thigh-high black leather boots intimidating and striking.
On the second day of her week with Edward, he takes her on a shopping retreat to assist in her change of wardrobe, yet there is a level of sophistication here marking her definitive change to a polite and graceful woman. The wearing of complementary colours is rewarding, with the cobalt tight mini-skirt flattering against her baggy, rolled up white shirt. This is an essential item to have in the wardrobe, and one in which she has perfectly mastered, tying it up in the centre and unbuttoning it to reveal a white singlet underneath. Her hair truly makes this outfit, its craziness is in keeping with the bagginess of the shirt and makes her look effortless.
KIT DE LUCA’S FABULOUS WARDROBE
Her look is ultra-90s. Baggy denim jacket, with various badges and patches sewn on, cropped mustard leotard, black tight jeans, silver hooped earrings, a diagonal Aztec handbag. She’s a fashion legend. And always seen with chewing gum as she speaks, enhancing her savage and cheeky attitude.
Their dinner-date and opera outing marks the prime of Vivienne’s fashion phenomenon. Her rouge gown is incredible, with her elbow-length white gloves reminiscent of the numerous past Cinderellas seen in children’s books and films. Her hair neatly tied back into a bun adds a level of utter elegance, with the divine red/white diamond jewelled necklace, bought by Edward, the final touch to her stunning composure. The red lipstick tops it off, as her smile is undeniably the most wonderful feature of her delicate face and ultimately her beauty.
THE END SHOT
The end scene marks her final maturity and collectiveness and self-assuredness. She wears a classic cotton t-shirt, adorned by a navy blazer – very smart-looking. Her makeup is naturally refined, and her voluminous low-ponytail together with her straight-leg jeans and white pearl earrings, emits a very Parisian Vogue look. Very street-style. She is effortlessly beautiful, admirable and subtle in beauty.
Mandatory Credit: Photo By SNAP / Rex Features
FILM STILLS OF ‘PRETTY WOMAN’ WITH 1990, GARRY MARSHALL, JULIA ROBERTS IN 1990
1990, GARRY MARSHALL, JULIA ROBERTS