Wes Anderson, a trend-setting aesthetic

Wes Anderson has been setting trends. Always has been. And not only in "his" field, the film industry, where his personal stylistic signature has become synonymous with a well-defined aesthetic that makes each of his films immediately recognizable: Wes Anderson also sets trends in fashion. "Andersonian" are the symmetries, the wide fields, the color palettes made of warm and vivid hues, but so are the outfits of his characters, studied and edited with manic attention that draw heavily on the iconography of the 1960s and 1970s.



“I Tenenbaum”



Each of Anderson's films, is an imagery unto itself, made up of iconic looks that have been a source of inspiration for the fashion world as well. Sometimes all it takes is a detail: the tennis headband always worn by Richie Tenenbaum (Luke Wilson) in "The Tenenbaums," the floral necklaces on Peter Whitman's (Adrien Brody) gray suits in "The Train to Darjeeling," Steve Zissou's (Bill Murray) custom Adidas and red cap that constantly accompany him on his "aquatic adventures" aboard the Belafonte.



Margot Tenenbaum



But the contaminations are not only in the output: often the same brands appear with clothing and accessories in his films. Unforgettable is Margot Tenenbaum's (Gwyneth Paltrow) fur coat, created by Fendi based on Anderson's design, Jopling's (Willem Defoe) leather trench coat in "The Grand Budapest Hotel," by Prada. The set of suitcases and duffel bags that the Whitman brothers lug around in "The Train to Darjeeling" is by Marc Jacobs, creative director of Louis Vuitton at the time, while the caftan worn by JKL Berensen (Tilda Swinton) in "The French Dispatch" again bears Prada's signature.



“Asteroid City”



A kaleidoscope of styles just got a new nuance: "Asteroid City," Anderson's 11th film, was recently released in U.S. theaters. Premiered at the Cannes Film Festival, it will arrive in Italy on September 23, but what has transpired so far is enough to get us into the mood. United States, 1955: a colorful group played by an, as usual, stellar cast grapples with a close encounter of the third kind. The looks draw heavily from 1950s style, with an ever-present "Andersonian" accent.






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