Our 20 favorite movie shirts – Reel

(Cover photo credit “A Perfect World”, 1993 - photo Warner Brothers/Getty Images / article updated 04/28/22)

1. THE MOST RIVIERA SHIRT: ALAIN DELON IN “ PLEIN SOLEIL ” BY RENÉ CLÉMENT (1960)

There is the sky, the sun and the sea. A real enigma in the overall gnangnan career of René Clément, “Plein Soleil” is perhaps not quite a cinema film. It's a late fifties summer perfume, a morning fashion story of criminal intrigue off the Italian coast. And perhaps even a slightly strange documentary, on the impatience of youth and the young Alain Delon in particular.

Much more than the plot, it is this last aspect which still fascinates today. Because the sun here is perhaps Alain Delon himself. Ambiguous character, assertive style, blinding photogenicity: no wonder “Plein Soleil” comes back to haunt the fashion pages every summer rather than the cinema magazines.

This irresistible attraction is due, among other things, to with crazy charisma of its main actor and its very Riviera style. In his suitcases populated with false pretenses: a mirror probably, but also light materials, lots of pastel-toned shirts ( pink and light blue), white moccasins but not only, regatta blazers... And of course beautiful white, cream, light gray pants, etc. It’s simple: “Plein Soleil” is a true style guide for summer .

It's perfect, timeless, always in good taste and nothing is missing: neither the swimming shorts , nor the accessories , nor even the printed shirt which fits well. Chest pocket, beautiful color, beautiful patterns.

She is one of the stars of the film, the little touch of elegance and relaxation which also serves as a symbol. Because yes, clothing here is not just a pretext for style: it is a signature, an identity card, the tipping point between two personalities.

For more Alain Delon at the cinema:

2. THE MOST HAWAIIAN: ELVIS PRESLEY IN “ UNDER THE BLUE SKY OF HAWAII ” BY NORMAN TAUROG (1961)

Elvis Presley knew “The Fury of Living” by heart and dreamed of following in the footsteps of James Dean. Driven as always by the lure of gain, Colonel Parker will make the King's film career a nightmare.

If Elvis Presley only appeared in an incredible series of nonsense in the 60s, why would we force ourselves to watch “Under the Blue Sun of Hawaii” today? For its landscapes, its cabin-refuge on the beach, its Mai Tai cocktails and its carefree sixties?

Perhaps simply out of curiosity, for Elvis himself, his voice of course but also his style and… his Hawaiian shirts. No blue jeans here. But local colors, similar to those popularized a few years earlier in the cinema by Montgomery Clift, Frank Sinatra and Ernest Borgnine in “From Here to Eternity” by Fred Zinnemann.

The formula is simple: a guitar or ukulele, a pair of black or beige shoes, white or beige pants, all enhanced by an impressive collection of more or less printed shirts.

They are from all the colours , of all styles and some are as cool as they are magnificent. You can forget everything else , close your eyes and put on a King record. “ Blue Suede Shoes ” for example.

For further :

3. THE MOST CALYPSO: ROBERT MITCHUM IN “ THE RAW NERVE ” BY J. LEE THOMPSON (1962)

At the end of the 1950s, Robert Mitchum recorded a calypso-inspired record with a group straight from the West Indies. The result is quite stunning, and the cover , with our man in white pants, bottle nearby and blue shirt wide open, is a collector's item.

A few years later, Robert Mitchum shot “Les Nerfs à vive” with Gregory Peck. It's a well-crafted thriller, a nice surprise considering the CV of its director J. Lee Thompson and above all a perfect role for Robert Mitchum.

If the calypso music mentioned above gives way here to the beautiful suspense orchestrated by Bernard Herrmann , the actor's style remains in the tropical spirit: leaning on the counter, Panama hat on his head and cigar on his lips, moccasins, white pants, shirt with an open collar and polka dot patterns.

You probably won't find a more relaxed "bad guy" in 1962. Obviously on the face, it's often about morality, law and safety and the rest of the cast sometimes struggles to exist in their more strict and uneventful clothes. ).

At the beginning of the 90s, Martin Scorsese took over this film in his own, more violent way, with Robert de Niro pushing the role of Mitchum even further. The character is clearly more disturbed but the shirt is still there, this time in color and in a very aloha style.

Quite a fan, Robert de Niro also wears other shirts in the cinema, as for example in this other Scorsese film: “New York New York” in 1977.

Our advice on shirts here .

4. MOST OSCAR-WINNING: SIDNEY POITIER IN “ THE LILY OF THE FIELDS ” BY RALPH NELSON (1963)

The new, modern western. White jeans or beige chinos, white t-shirt, checked shirt, white denim jacket : the cut of all these pieces is perfect, wonderfully current, with a beautiful pair of boots to complete the look and tread peacefully on the arid lands of the 'Arizona.

The image is beautiful, enhanced by the grain of the black and white and the general atmosphere, blazing sun, desert to the tip of the horizon. So steps forward Sidney Poitier without hat or horse, “feel good” hero and worker of a little film about faith and the American dream that we would probably have forgotten if it had not allowed him to win the Oscar for best actor in 1964.

This is a first for a black actor in Hollywood: a great reward for this man who started from nothing and who began filming in the 1950s with some of the greatest filmmakers of the time, from Joseph Mankiewicz to Otto Preminger.

If “The Lily of the Fields” is especially good for the slightly overwhelming performance of its main actor, it is clear that Sidney Poitier also charms with his smile, his style and his always simple but well-felt outfits.

Here a beautiful costume typical of the sixties for celebrations, there a military-inspired shirt for the workwear touch, elsewhere an almost divine apparition on the abandoned roads of the great West: black glasses, white t-shirt , beautiful printed shirt that we imagine colorful and very pleasant to wear, pants and pretty shoes to conclude.

This is probably not the ideal outfit for breaking through the dust. But it is certainly the most magical of this film, otherwise rather modest and austere.

For more denim at the movies:

5. MOST ELEGANT: SEAN CONNERY IN TERENCE YOUNG’S “ OPERATION THUNDER ” (1965)

Recurring existential question as summer approaches: how to stay elegant with a shirt? If Alain Delon brought a first example of pure Mediterranean elegance in “Plein Soleil”, the character of James Bond played by Sean Connery from 1962 should logically continue to inspire you: in the 60s, it was whatever we thought. says a must-have style in cinema and the summer variations of “Opération Tonnerre” are no exception to the rule.

This is demonstrated by the numerous scenes filmed in the Bahamas and their wide variety of polo shirts and especially shirts: bright sunshine, open collars of course, pink or blue Gingham, monochrome blue or pink, even white with blue stripes. They each have their own thing and their outfits, which range from best dressed summer at the most relaxed . As usual, this contributes greatly to the attraction of the film.

My favorite shirt from this 1965 film? Without doubt the pink model that we discover first, for the color, cut and texture. Note that the ingenious M also yields to mermaids of the shirt and that we of course find plenty of other stylistic and technical discoveries in this film old-fashioned adventure .

For more Sean Connery at the movies:

6. THE MOST BARROUS: JACK NICHOLSON IN “ PROFESSION: REPORTER ” BY MICHELANGELO ANTONIONI (1975)

10 years have passed since Sean Connery's beautiful camp collar shirts. We resume our journey, somewhere on the burnt tracks of the Sahara and the soft underbelly of the seventies.

The weather is scorching, the style is adventurous and almost documentary. Our character of the day speeds in a Land Rover across an ocean of sand: leather sandals, khaki utility pants, widely open red checkered shirt, iconic sunglasses and a tired bob.

No one other than Jack Nicholson could have better made his entrance, thus dressed, into the cinema of the most mysterious of Italian filmmakers: Michelangelo Antonioni. If “Profession: Reporter” is the first authentic masterpiece of this selection, we owe it as much to the vision of its author as to its two main performers, Jack Nicholson and Maria Schneider.

It is a film of adventures, escapes and glances which tells a little of what Cesare Pavese called the profession of living. It's also a non-talkative film where we travel a lot and dress up a bit , especially with shirts.

For Maria Schneider: unique, printed with blue and birds. For Jack Nicholson: plural, ecru, green, blue, burgundy, classic type, plain, checkered or safari, often fitted a chest pocket and simply combined with chinos and pleated pants . It's simple, effective and there are even burgundy shoes and a beautiful mustache for Panache fans.

For more tile patterns:

7. THE MOST EXTRATERRESTRIAL: DAVID BOWIE IN “ THE MAN WHO CAME FROM ELSEWHERE ” BY NICOLAS ROEG (1976)

New Mexico, late 1970s. About his first major role in the cinema, David Bowie admitted to having understood nothing about what he was being made to play. To his credit, Nicolas Roeg's work is sometimes difficult to follow.

If the work of the English filmmaker likes to blur the lines and play with references, it also likes to feature musicians: Mick Jagger in “Performance”, Art Garfunkel without Simon in “Bad Timing” and therefore David Bowie in “L'Homme who came from elsewhere.

It is a film halfway between science fiction and documentary. Its subject: America, big Capital, the media and of course its main actor whose style here is inspired by the 1920s, Japan and Western fashion.

We therefore find pell-mell a beautiful hooded coat , hats, suits, a Harrington, drawstring pants or kimonos but the sequence that interests us most takes place between the “living room” and the bathroom, between a wall of televisions turned on to the world and a woman who takes his bath.

Bowie is absent. Fitted white shirt, dark pants, simple outfit which is revealed above all in its small details: the shirt is nicely textured, in the style of Japanese cottons.

Many years later, Bowie would wear a less “extraterrestrial” shirt in “Twin Peaks”, through an outfit that inspired by the 40s and the Gift Johnson from “Miami Vice” . Enough to haunt the screens once again.

For more David Bowie:

8. MOST CASUAL: HARRY DEAN STANTON IN “ ALIEN ” BY RIDLEY SCOTT (1979)

A science fiction classic, staggeringly modern despite its age. Everything is as accurate as possible: the soundtrack, the labyrinthine sets and the monster by HR Giger, the mythological references, the infernal closed door, the fear of the unknown and the direction by Ridley Scott, perfect in what 'she suggests here more than she shows.

But “Alien” would perhaps be just another genre film if it weren't for the key role of Sigourney Weaver and what it says about femininity and male society. More anecdotal, but just as current and exciting: the general style of the film and that of Harry Dean Stanton in particular.

There are a few space suits to remind us that we are lost in deep space here. But for the rest, nothing extraordinary or futuristic. It's even more like home: coffee and cereal for breakfast, hybrid wardrobe, stamped "born in the USA" and almost casual, here at the crossroads of streetwear and military genres.

If most of the crew subscribes to the white uniform, khaki t-shirt and white Converse , Harry Dean Stanton's character demonstrates a salutary nonchalance, going against the grain of the oppressive atmosphere which reigns on board.

Imagine instead: White Converse, pale blue utility pants, white henley with sleeves long, printed shirt , US cap and military-inspired khaki jacket. Add charisma, grime, grease and a rolled cigarette. You will probably get the coolest space mechanic outfit in the universe.

For more military jackets at the movies:

9. MOST BLING-BLING: AL PACINO IN “ SCARFACE ” BY BRIAN DE PALMA (1983)

The original Howard Hawks film warned us: “Well, that outfit's enough to give anybody the yips” . This scathing reply is addressed to a formidable gangster but already tempted by bad taste. Fifty years later, it’s as if everything has changed, for the worse.

You won't find more bling than Brian De Palma's Tony Montana, a sort of improbable cross between a reality TV candidate, Shakespeare's Richard III and the Travolta of "Saturday Night Fever".

For elegance, subtlety and intelligence, you'll find Al Pacino at his peak in Francis Ford Coppola's "The Godfather II." For everything else, fashion in particular, his role in “Scarface” reminds us if necessary that money and power are not everything, and especially not style.

Just take a look at this rather spicy wardrobe. The outfits are initially simple and summery, almost not bad: beige pants or white jeans, a white t-shirt, a bandana and pretty white or red printed shirts , with palm trees, tigers or toucans. A few details, however, betray a pronounced taste for the flashiness which will gradually extend to his entire wardrobe and his lifestyle.

Obviously, the American dream comes dearly through the journey of Tony Montana. Everything here is outrageous: the clothes, the violence, the dialogue, the music, the acting, etc.

But Brian de Palma is a clever filmmaker, not to be taken at face value: long hated, his revisited “Scarface” is now cult, praised among other things for its virtuoso and distanced staging.

For more Al Pacino at Brian de Palma:

10. THE LEAST FUTE-FUTE: NICOLAS CAGE IN “ ARIZONA JUNIOR ” BY ETHAN AND JOEL COEN (1987)

We have seen this through a few examples: from Elvis Presley to Al Pacino, the Hawaiian print has made its way to the cinema. The phenomenon exploded in the 80s, on the American small screen through series like “Magnum” or “Miami Vice”, but also more widely in films, all genres combined.

Regularly associated with a comfortable lifestyle and a certain social success, the Hawaiian shirt can also tell a completely different story: that of America's neglected people, for example. As evidenced by the Coen brothers' second film, a cartoonish dive into the land of Ronald Reagan's magnificent losers.

Among them, the improbable character of Nicolas Cage, the most stubborn and endearing loser of the year 1987. The accent is particularly rustic, the style rather "personal": boots, a pair of worn jeans, a white tank top under a red or blue Hawaiian printed shirt always open, Woody Woodpecker tattoo, mustache, sideburns and wtf haircut to “perfect” the style. This is for the typical outfit.

For special occasions, a suit from the seventies can do the trick. Or why not something more daring: taupe, beige and salmon “dressy” polo shirt, off-white pants and white moccasins. It's funny, crazy, served by a hair casting , full of winks and nice shirts.

(Thank you Vincent for the recommendation)

If polo inspires you more:

11. MOST ARTISTIC: TOM CRUISE IN “ COCKTAIL ” BY ROGER DONALDSON (1988)

Artistic, the word is out. It's not the first to come to mind when we think of "Cocktail" or its director Roger Donaldson. And yet, there is definitely something of that nature in this improbable 1988 box office hit. The music? There is indeed Little Richard’s “Tutti Frutti” to save the furniture but the song Beach Boys pales in comparison to the gems of “Pet Sounds” or “Surf's Up”.

The direction, the actors, the screenplay perhaps? No more: “Cocktail” is one of Tom Cruise's worst films and this story of bar-morning juggling with liberal ideology is enough to put off even the most loyal bar regular.

But then, is it all in the style? Elisabeth Shue gives us a first clue in her cozy Manhattan apartment: “my name is Mooney, not Monet”. Strange formula for a film that only has money where its mouth is. But the fact is that there are paintings almost everywhere here and even an exhibition of contemporary art at the end of which Bogart, Bergman and “Casablanca” are displayed on the front of a cinema.

It's already very unexpected, but the best is elsewhere, somewhere on the beaches of Jamaica: Tom Cruise in little white canvas shoes, beautiful white pants and loose printed shirt, a little salmon and above all very inspired, a bit like if Jackson Pollock had been responsible for its creation himself.

There are of course other shirts and summer outfits in “Cocktail”, but nothing that comes close to this one. This is the image of the film: a bit of style and abstract painting in a sadly materialistic world. Well done, Flanagan.

For more Beach Boys and white pants:

12. MOST AESTHETIC: LESLIE CHEUNG IN “ OUR WILD YEARS ” BY WONG KAR-WAI (1990)

New decade, new horizons. The shirt is not the prerogative of only Europeans and Americans. They can be found in cinemas all over the world. For example in Africa with Idrissa Ouedraogo, in India with Satyajit Ray, in Japan obviously and more generally in the new Asian cinema that Europe discovered with envy in the 90s.

Their names are Hou Hsiao Hsien, Tsaï Ming-Liang or even Wong Kar-Wai. For many moviegoers, it's a real aesthetic slap in the face. Second film by Hong Kong director Wong Kar-Wai, “Our Wild Years” already announces the indestructible classic “In The Mood For Love”. Same plastic beauty, same theme and favorite period for an equally successful style: that of Maggie Cheung of course, but also, above all, of Leslie Cheung, as elegant as she is relaxed.

He is a kind of idle and nonchalant seducer, an esthete who never goes out without his comb or his watch, accessories that we also use here for their poetic significance, as if they were a subtle and heady perfume. , or a little music that stays in your head forever.

At the beginning, there is almost always a white tank top. Then come the colors, the polo shirts, the shirts and blouses, always combined with beautiful pleated pants and black shoes. Its best piece is unique: over a white t-shirt, a shirt in a beautiful khaki color, with inserts on the collar and chest, small blue and white checks. Stunning.

For more Leslie Cheung and Wong Kar-Wai in cinema:

13. THE MOST OFFLINE: TAKESHI KITANO IN “ SONATINE ” (TAKESHI KITANO, 1993)

A little further to the East of the world, another major discovery of the 90s: the cinema of Japanese Takeshi Kitano. Deliberately contemplative, his fourth film is both dark and imbued with a strange lightness. It takes place largely near the beaches, somewhere on the island of Okinawa, in a basic house where yakusa in hideouts and shirts rediscover the joys of nature far from their usual routine .

If “Sonatine” happily upsets the yakuza movie codes , its main character finally gives us the opportunity to approach the more dressy side of the shirt here. Did you think it was impossible to combine this piece with a suit?

Takeshi Kitano tries it with sobriety, sometimes dropping the jacket and especially the shoes to keep only the pants (navy) and combine them with sandals and a white shirt with a Cuban collar. The result is a cleverly offbeat outfit, simple and effective, like a relaxed version of the office suit, which perfectly suits this role of clan leader who is as silent as he is mischievous, always a little lost in his thoughts.

Around him, like another world: a handful of talkative men of action, lovers of colors and printed shirts - with waves, dragons, fish... or flowers. The calm and the storm, carried by the music by Joe Hisaishi and the surf of time.

For more floral shirts, click here .

14. THE MOST WORKWEAR: KEVIN COSTNER IN “ A PERFECT WORLD ” BY CLINT EASTWOOD (1993)

Incredible decade than the 90s for director Clint Eastwood. A master in the art of the twilight film, the icon of the modern western buries two ultra-marked genres of cinema in quick succession: the western with “Impitoyable” (1991) and the road movie with “A Perfect World” (1993). ).

For Kevin Costner, it is both the role and the film of his career. Let's face it, it's also his best style in the cinema, almost a textbook case for any lover of workwear outfits. Texas, 1963: the story of a run through the American countryside. Everything here is deliciously vintage and guaranteed to be made in the USA : the cans of soda, the beautiful cars (Ford, Cadillac, Chevrolet), the music and of course the clothes.

This is evidenced by the very local style of the grumpy and silent Texas Ranger played by Clint Eastwood. With his western shirt , his boots and his cowboy hat, no one imagines him anywhere other than in a southern state. Less picturesque, more iconic, the character of Kevin Costner would certainly find happiness today in the revisited workwear of Universal Works or Champ de Maneuvers .

In the meantime, here he wears a big black and red checked wool jacket until we discover, with the help of sun and pilferage, the real outfit from the film: pretty camel work boots on his feet, light blue jeans from Levi's , tee -sleeveless white shirt , sunglasses and western-inspired shirt, blue and gray checks, snap buttons and slightly rolled-up sleeves. A cousin from America, in short.

For more workwear style:

15. THE DARKEST: JUSTIN THEROUX IN “ MULHOLLAND DRIVE ” BY DAVID LYNCH (2001)

Nearly twenty years after its release, “Mulholland Drive” has lost none of its mysteries: we continue to wander in the mazes of this film world, a beautiful tribute to cinema and a perfect synthesis of the world of David Lynch.

Impossible to get rid of Angelo Badalamenti's haunting music, his two key actresses (Naomi Watts and Laura Elena Harring), his gallery of characters colorful and the master's staging.

Strangely for such a stylized film, it's not the clothes that grab the attention. Let us nevertheless note those of the character of the chafouin director played by Justin Theroux, the opportunity to evoke the sensitive case of wearing all black in an outfit.

Let us admit that this variation permanent black and anthracite is not always very successful and that the inventiveness of the film is to be found elsewhere: in its oppositions for example, in particular during a fleeting scene where our man reveals a black shirt decorated with gray and red flowers during an audition that we would have seen for Alfred Hitchcock.

So what, BonneGueule favors the black shirt now? There is something for every style. What's interesting here is in the folds of the screen. On the set, from her dark director's chair, the contrast is striking to say the least with the colors and the light opposite: a young blonde woman, perfect in her pink sequined dress, launches into a playback of " I’ve told every little star” by Linda Scott.

This song is a Proust madeleine, which will immediately propel you to the most pop and tangy hours of the early 60s. It's perfect, and yet the sequence is loaded with a completely different meaning: unease, dull violence, palpable tensions . Doesn’t that remind you of anything? If you've ever seen "Blue Velvet," chances are you won't listen to Roy Orbison's "In Dreams" the same way.

Our advice on black:

16. THE MOST SIXTIES: LEONARDO DI CAPRIO IN “ CATCH ME IF YOU CAN ” BY STEVEN SPIELBERG (2002)

After opening the ball of the 2000s in darkness and science fiction (“AI”, “Minority Report”), Steven Spielberg returns to a little more light and lightness: “Catch Me If You Can” is a a delightful game of hide and seek, and unlike David Lynch's "Mulholland Drive", his style is less to be found in the moving eye of the camera than in his keen culture of clothing.

Here you will find everything that makes the sartorial charm of the 60s: the cut, the colors, the general emancipation of fashion and that of women in particular. That said, “Catch Me If You Can” is a very masculine film, an opportunity for Spielberg to return to his favorite motifs: family and its little stories, the father figure and above all Peter Pan, not so distant cousin of a Leonardo Di Caprio who is more attractive than ever.

His character is a style chameleon, as comfortable in a PanAm pilot costume as in a suit borrowed from 007 from “Goldfinger”. Many outfits are worth a look: this one for example Christmas 1963 , that also of the next hot summer .

Obviously, shirts are also part of the trip. Sometimes exotic and fleeting , often checkered , they all demonstrate a very confident taste for fashion, here entirely dedicated to youth.

17. THE BLACKEST AND WHITE: ALDEN EHRENREICH IN “ TETRO ” BY FRANCIS FORD COPPOLA (2009)

Buenos Aires, Argentina. We can bring out our Astor Piazzola records for the atmosphere, or wander the streets of the city, looking for a familiar terrace, with our two main characters. In the lead, Vincent Gallo: here an artist without work in pursuit of a new memory, blazer, short-sleeved Henley, pleated pants, shoe, cast and crutches.

Not far behind, the young Alden Ehrenreich, whose first role in the cinema is: teenager in search of meaning, white t-shirt, beautiful pop polka dot shirt, light or colored pants (the mysteries of black and white), white Converse at the feet.

The two men are linked by a family secret which extends to their style, one irremediably influencing that of the other. If there are a few clothing stories here , “Tetro” is especially a family affair , art and cinema: that of Michael Powell in particular, mentioned here several times for his “Tales of Hoffmann” or his famous “Red Shoes”. Perhaps a day will come when Coppola's work will be reassessed another notch.

Vampirized by the cult objects that are “The Godfather” or “Apocalypse Now”, his cinema has one of the most interesting backrooms of his generation.

In the meantime, “Tetro” is an astonishing testimony to what a man who has known it all is capable of putting himself back into play, ignoring his stature, his age and the pretenses of experience. It is the story of an eternal beginning.

For more Francis Ford Coppola at the movies:

18. THE MOST CONTEMPORARY: GASPARD ULLIEL IN “ JUSTE THE END OF THE WORLD ” BY XAVIER DOLAN (2016)

Final stretch for our overview of shirts at the cinema: the 2010s. Strange decade, marked by the advent of superheroes everywhere at the box office and Netflix series on the channel at home.

If we find great shirts in “Narcos” or “Stranger Things”, contemporary cinema asks: aren’t today’s films a little less stylish than their predecessors? And also, more anecdotally: can we consider wearing velvet with a shirt? These are at least two interesting questions for which you may find an answer here.

It's not the only one, but since you have to choose: there is something in this Xavier Dolan film that brings together fashion, theater, music and modern cinema quite well in a potentially divisive mixture of purity and excess of all kinds.

To see the outfits of its main actors (Gaspard Ulliel and Vincent Cassel), we are delighted to see that style in cinema is not dead. Note that the costume design is due to Dolan himself.

For Vincent Cassel: a pair of jeans, white sneakers, a brown velvet blazer and a very beautiful indigo striped shirt. For Gaspard Ulliel: beige espadrilles, navy cap, ¾ coat, blazer and pretty textured pants.

The shirt underneath is perfect, printed, with different shades of blue and the whole silhouette could why not speak to fans of Officine Générale . It's elegant, well worn and the absence of fantasy is obviously echoed in the solitary and mute character of the character. One of the late Gaspard Ulliel's finest roles in cinema.

19. MOST ROMANTIC: TIMOTHÉE CHALAMET IN “ CALL ME BY YOUR NAME ” BY LUCA GUADAGNINO (2017)

Once is not customary: let's first take a detour by the deliciously eighties clip from Daho's “Weekend in Rome”. If we detect some traces of his fascination with the shady style of the Jesus & Mary Chain, her most summery outfit comes almost 40 years later in a film which tells, in its own way far from the city, more or less the same era.

White Converse, light blue jeans, pastel pink striped shirt and light blue denim jacket too: Timothée Chalamet brandishes many other references than Daho but the stylistic spirit of this outfit is the same.

“Call Me By Your Name” is also an opportunity to rediscover a whole variety of light outfits based on shorts, denim Bermuda shorts, espadrilles, t-shirts and especially striped and/or colored Lacoste polo shirts. Did you forget them? They are displayed here in broad daylight, in the heart of Italy 1983.

If there are many great films associated with summer love, “Call Me By Your Name” plays in its own category: it is a golden bubble where everything is played out sheltered from the problems of the world, time and the cinema.

A large, deliciously shaded country villa, with character, a terrace, a swimming pool, large green spaces and bicycles for walks: it is in this idyllic setting that we discover the light wardrobe of the character played by Timothée Chalamet .

His shirt? Definitely perfect, simply paired with white canvas sneakers and faded jeans. It's a beautiful blue and white flower print: quite simply the most romantic shirt in our selection.

For other inspirations with faded jeans, click here .

20. COOLEST: BRAD PITT IN “ ONCE UPON A TIME IN HOLLYWOOD ” BY QUENTIN TARANTINO (2019)

A fireworks display, to conclude this selection dedicated to the shirt. “Once upon a time in Hollywood” may not be Quentin Tarantino's greatest film, but what wouldn't we do for such a healthy and cinephile pocket of resistance?

Once again here it is a question of cinema everywhere and Leonardo Di Caprio and Brad Pitt are simply irresistible, just like the Californian sun of 1969, and the avalanche of colors and style(s) that accompany it.

This is one of the particularities of Tarantino's cinema: he regularly makes you want to see or rewatch lots of other films. And sometimes it also makes you want to dress up. Shirts for example, you will very often find them at his house.

If the now classics “Reservoir Dogs”, “Pulp Fiction”, “Jackie Brown” or “Kill Bill” all have their own, the most remarkable to date is perhaps the one worn here by Brad Pitt in complete relaxation, in this which can legitimately be considered one of his best roles of the decade: bright yellow and tropical print, it's hard to get cooler. Especially when the shirt in question is combined with sunglasses, a white “Champion” t-shirt, Levi's 501, camel Minnetonkas and leisurely Cadillac rides on the boulevards of Los Angeles.

We can say that this is the holding of the film, even though there are others for Brad Pitt and that we would also have a lot to say about the style of the other key players in “Once upon a time in Hollywood” or about Tarantino's style in general. Perhaps next time, as part of another series on clothing in cinema.