Costume Party: How To Dress Like Two French Girls


The clothes in ‘The Young Girls of Rochefort’ are a Gallic fantasy

Jacques Demy's 1967 musical, The Young Girls of Rochefort, wraps a buoyant story of romantic entanglements (with a random aside about a murderer thrown in at one point) in an eye-popping array of pastel shades. Featuring the effervescent Catherine Deneuve and her sister, Françoise Dorléac, playing twins Delphine and Solange, the film may not have the emotional wallop of Demy's earlier Deneuve-starring The Umbrellas of Cherbourg (1964), but it does have a pure '60s sense of pop art fun and fabulous attire.

Dorléac never reached the heights of Deneuve's fame, as she died tragically young in a car crash the year The Young Girls of Rochefort was released. Knowing this adds a certain poignancy to her plucky performance alongside her sister. She would've turned 76 late last month, which provides an ideal opportunity to look back at this film.

Demy plays on the protagonists' sisterhood by having them always dress alike. It could be a corny device if the outfits weren't so charming. Delphine and Solange wear the same wide-brimmed hats and flippy dresses in different colors. One can imagine them having perfectly coordinated closets, and every element of each of their outfits is made to match.

Sisters dressing this way is par for the course in the colorful town of Rochefort. There are no little black dresses or drab suits here, and the townspeople's collective outfits provide a cheerful spectrum of yellows, pinks, and blues. With warmer spring weather on the horizon, there's much sartorial inspiration to be found in these pastels.

The colors of all these costumes—so obviously stylized and very much an auteurist choice—add to the heightened atmosphere of the musical. Not only do we suspend disbelief that people would break into song, but that they would all be dressed in perfectly complementary outfits while doing it. It's a giddy illusion, and when you consider that Rochefort is a town in which both women and men wear white go-go boots, it seems like a pretty fun place to live.

This is the kind of fantasy setting where you can wear a giant hat bedecked with a veritable bouquet of flowers and what looks like a cluster of grapes and no one comments on it. Solange ties the look together with dainty white gloves.

The costumes in the film seem to flow out of the small-town setting with a surprising ease. Delphine's all-yellow outfit perfectly matches a yellow building that she strides past.

Later, in the simplest ensemble she wears in the entire film, a blue-and-white outfit, she sits in a plaintive mood, appearing in harmony with the empty restaurant setting.

While the aesthetic of the film is unmistakably '60s, some of the costuming borrows from earlier decades. When the sisters are roped into performing in a show, they wear sparkling, form-fitting red dresses that recall Marilyn Monroe's sultry '50s femininity in Gentlemen Prefer Blondes.

Even when they're lounging around at home, the twins look fabulous. They wear sheer, billowing peignoirs trimmed in marabou. The two robes are the same but, of course, the colors are different. Solange's orange look plays off of her red hair, while Delphine's light blue gives her a Cinderella-like appearance. These sorts of robes—elegant and soft, and decadent in the suggestion that they are meant to be worn at home while looking so glamorous—also recall the costuming of Golden Age Hollywood cinema.

Pairing off with men doesn't break the sartorial spell. In a sly bit of visual comedy, when Demy shows the sisters embracing their suitors, the men are dressed alike in white jackets and pants, and both women are wearing spangled shirts (also with white pants). With outfits so harmonious, the film posits, How can they not get together? Fashion is a visual cue for relationships here, and one starts to wonder if, when the sisters go their separate ways, they'll start dressing differently. It's hard to say, but watching the film build a fashion statement out of sisterhood makes for unforgettably colorful fun.

Screenshot via Youtube

While the song should serve as a reminder to your exes

Just a day after dropping new single "Nunya," featuring Dom Kennedy, Kehlani has released the winter-wonderland visuals to go along with. The singer, NYLON November cover star, and mother-to-be rocks some of the best winter 'fits I've seen in a while, including a glorious puffer jacket that could double as a down comforter that I absolutely need in my life right now.

Kehlani is clearly living her best life up in some snow-filled forest hideaway, vibing on the beach at sunset and sipping on something bubbly as she coolly reminds nosy exes that who she's with is "nunya business." There's not much of a story line (unlike her recent "Nights Like This" video); the main takeaway is that Kehlani is busy dancing through a forest, missing no one and chilling amongst people who are clearly not the subjects of the song.

Kehlani is only two short months away from bringing baby Adeya into the world, who she thanked for helping her get through the video process. "Shot that 7 months pregnant in da snow..." Kehlani wrote on Twitter, adding, "thank u baby for da motivation, mommy was FROZE."

Even from the womb, Adeya has been hustling hard alongside her momma. Twitter user @ODtheMC pointed out that this is already her second music video appearance, and she's not even been born.

Get some mulled wine ready and escape into Kehlani's winter getaway, below. Stay tuned for her forthcoming mixtape, While We Wait, out on February 22.

Kehlani - Nunya (feat. Dom Kennedy) [Official Music Video]



Photo by Alberto E. Rodriguez / Getty Images.

As in Black Panther Political Party leader

It's been a running joke that the Black parents/grandparents of millennials were really confused about all of the Black Panther hoopla ahead of its 2018 release. Many of them were anticipating a movie about members of the Black Panther Political Party and didn't know who the hell T'Challa was. Well, those people are about to have their moment, and we're about to have another one.

Variety is reporting that Fred Hampton, the Black Panther leader at the center of the upcoming biopic Jesus Was My Homeboy, could be played by none other than Daniel Kaluuya. Apparently, he is in negotiations for the role. And he's not the only Black Panther alum in the mix. The Warner Bros. project is being produced by Black Panther director, Ryan Coogler. The same article reports that the forever swoon-worthy Lakeith Stanfield—who appeared with Kaluuya in Jordan Peele's Get Out—is also in negotiations, to play William O'Neal, an FBI informant who infiltrated the Black Panther Party.

Coogler and Charles King are putting together a dream cast to tell a difficult story. Hampton was killed by the Chicago Police Department, while his pregnant girlfriend lay next to him, thanks in part to information they received from O'Neal. Whenever it's out, I strongly recommend having Black Panther queued up as a palate cleanser.