Belle De Jour: A Fashion Analysis

By Deputy Fashion Editor Sinead Sheridan

The captivating 1967 film adaptation of ‘Belle de Jour’ by Luis Bunuel conveys the complexities of sexuality through the protagonist Severine. The plot consists of a housewife leading a double life as a sex worker that quickly spirals out of control. The exploration of certain themes throughout the film can be clearly seen in the clothing worn by Catherine Deneuve’s character. The purpose of fashion in film can often be disregarded as not particularly important, due to its perceived minimal role in contrast to the characters, plot and storyline. Yet, there is so much that can be conveyed ,as fashion can serve as a metaphor or reinforce the implied messages of the story.

The renowned fashion designer Yves Saint Laurent met Deneuve two years before the filming of ‘Belle de Jour’. Their friendship quickly blossomed as Deneuve fell in love with his designs, so much so that she commissioned him to be her very own stylist in many of her films at the peak of her career. Her looks embodied the French ‘it girl’ aesthetic of the time. The 60s was a time that was dominated by boxy silhouettes, a great contrast to the previous decade’s cinched waists trend. The Mondrian Collection released in 1965 especially focused on this new loose fitting silhouette as it took inspiration from many art pieces deprived from the abstract and modernism genre. The painting ‘Composition with Red, Blue, Black, Yellow and Gray’ by Piet Mondrian was the focal point of the collection, as the piece can be seen on a shift dress that became instantly popular and is still recognised for its iconic design today.  The 1920 painting and the original ‘Belle de Jour’ novel written in 1928 are perfect examples of the twenties being modernised to the sixties, a coincidence that works well for the wardrobe of this film.

The Mondrian Collection made an appearance in pieces like the iconic buckle shoes that were seen throughout the film. A tan coloured cape that can be seen as a piece that would be seen on a rich Parisian woman, which Severine was. This elegant piece which had a similar look to the tan jacket seen on Severine was definitely inspired by. Yves Saint Laurent modernised the original safari jacket by transforming it into a safari dress, a subtle change that created a modern outfit. The safari dress with a similar tan hue was complimented with a loose gold chain belt that enhanced the loose fitting silhouette. The high modest neckline and clean cut pockets clearly translated the rich housewife aesthetic. 

Once Severine plunges into the life of a sex worker, she is laced with guilt. Her fantasies that once brought comfort are now plagued by shame. Her vision of mud thrown at her while she wears a pure white dress is symbolic of how her ‘innocence’ is rapidly unravelling. The white dress imitates the structure of an ancient Greek dress. The crisp white fabric is draped to perfection as it achieves the look of a Greek goddess. 

In one of the last outfits shown, the shiny black patent jacket is a standout. It can be seen twice during the film and is styled in two different ways. The first time we see it, the jacket is styled with sunglasses and a black hat creating a disguise for Severine to go to and from the “whorehouse” without being seen. The second time we see it, she wears it with no accessories as she fully embraces her double life with a great sense of openness. The shame we once saw previously, barely exists now that Severine is completely engulfed by this new exciting life.