Welcome to Fashionable Films with Fashionable People!
This series is part of the 100 Fashion Films Project universe, where I invite the most inspiring people I know to share the ways fashion in film impacts their style and work.
Today we’re sharing our popcorn with artist and jewelry designer Rachel Goatley.
How would you describe your personal style?
My style is totally mood driven, a total toss up day-to-day. Sometimes I'm feeling very sporty spice: baby tees, track pants, what have you. Other days, want to feel pretty with flowy skirts and pretty necklines, maybe a darling flat. Some days I want to be swimming in slouchy pants that stack on my sneakers, with an oversized tee that gives no indication of shape whatsoever.
All that to say, I'm all over the place. This is the result of honoring every part of myself.
I will say, my jewelry is the only constant. I get to wear my work. it is representative of my passion, certain milestones, memories, all that and then some. I'll wear it even when an outfit or occasion doesn't really call for it. I realize that it elevates anything that I wear. It carries energy! It does the heavy lifting! It's a part of me!
What are your top 5 fashion films?
1. What a Way to Go! (1964)
Costume design by Edith Head, with jewelry by Harry Winston
2. Casino (1995)
Costume design by Rita Ryack, with jewelry by Bulgari
Alex: Casino is also one of my all-time favorites! More on Rita Ryack’s phenomenal take on Las Vegas styling for movie #5 on the 100 Fashion Films Project below:
3. The Royal Tenenbaums (2001)
Costume design by Karen Patch
4. Death Becomes Her (1992)
Costume design by Joanna Johnston
5. Confessions of a Teenage Drama Queen (2004)
Costume design by David C. Robinson
If you could teleport the wardrobe for any one movie directly into your own closet, which one would it be?
Death Becomes Her!
I love Meryl Streep, and I just feel like she looked soo ridiculously good in [the movie].
Alex: Rachel and I talked for a bit about the incredible necklace-as-top worn by Isabella Rossellini as Lisle Von Rhuman. We were both curious to know more, but there’s surprisingly little to be found online about the creation of this iconic piece! It seems that costume designer Joanna Johnston created the look herself, as there are no jewelers credited.
I want to shout out my friend Jeniece Blanchet [of JÉBLANC], who does work similar to that now. She knows how to design so well for the woman’s body. She does bras, skirts, everything out of beads and stones. She’s phenomenal. I think she will be on the red carpet very soon, if she hasn’t already!
Best jewelry on film?
What a Way to Go. There’s that one scene where she has this back necklace, with the backless dress. It’s strings of pearls with a drop pendant that just sits at the small of her back in the most beautiful way.
Recently Sabrina Carpenter had a look inspired by that, and I was like - this is beautiful, thrilling, to me.
All of the jewelry in that movie went beautifully with the dresses and the other costume design. It was just so impressive.
And also, I love vintage jewelry!
What's your first fashion film memory? Was there a specific early childhood movie that strongly impacted your style?
The costume design from 13 Going on 30 is permanently seared into my brain. I was enamored with everything that 30-year-old Jenna wore. The slip dresses, the bustiers, the heels and the dress. I literally remember thinking I can’t wait to be 30, a sentiment largely shaped by the absolutely stellar wardrobe. 30 year-old Jenna is essentially getting dressed by 13-year-old Jenna, and the outfits were like a total fantasy. They were sexy and glamorous and playful and romantic.
[To me, 13 Going on 30] represented what womanhood could look like before things like practicality and restraint crept in and took over.
Now at 30, I actually do let 13-year-old me call the shots every once in a while. I’ll dress up in a fabulous little slip dress and an exquisite heel to join my girlfriends for cocktails. It is imperative that this happens on a monthly basis in order to maintain my good spirits (doctor’s orders). But, seriously, I do feel a little tenderness around this. 13-year-old me is alive and well, and it feels good to let her play dress up when she wants to.
For fellow lovers of Jenna Rink’s 2004 style, I dropped Movie #7 on the 100 Fashion Films Project below for a full breakdown of Susie DeSanto’s playful costume design.
Any other musings you'd like to add about fashion in film, costume design, and style?
So many films left me with crystal clear, almost tangible memories of what certain characters wore...sometimes that's the main thing I can remember about a film. How powerful is that?! There's so much opportunity for storytelling through costume design. It's an art, it's a tool, it can influence entire generations if it's done well enough.
I wonder what film I'll take style inspiration from next...
You can find more of Rachel and her work on Instagram, at the Greg Yüna store on Mulberry Street, and on the hands, necks, and feet of your favorite celebrities. Just a few of the incredible projects she’s released recently include this 1 of 1 gold & diamond sneaker charm for Nike (even more insane in person, somehow) and bejeweled custom Vans for SZA.
Rachel is also the brilliant designer behind the 1955-1963 ILGWU-inspired logo for my vintage brand, St. Evens.
Thank you so much for chatting with me, and for your support and friendship over the years. This was so much fun :)
Need more vintage film fashion inspiration? Some of my other recent favorite pieces from the 100 Fashion Films Project, below:
