Almost Famous Again

Haley Peckman

Keywords: Almost Famous/ 70’s Fashion/ Festival Fashion

Abstract

Almost Famous (2000) is a film that exhibits the essence of 1970’s rock culture. It is best known for its authentic, custom-designed costumes that create a dreamy, seductive aesthetic that are still being reinterpreted in 2015. This paper will discuss the costuming in Almost Famous, and how costume designer Betsy Heimann’s stylistic choices continue to affect fashion and style 15 years after the film premiered.

About Almost Famous

Almost Famous (2000) is a coming-of-age film about a 15-year-old boy who gets the chance to tour with and report on the 1970’s rock band, Stillwater. The film feels like opening a time capsule from the early 1970’s: bursting with suede, denim, and color, masterfully designed by Betsy Heimann. The first time I watched the film, I was captured by the film’s costumes and the essence of it all. The clothing in this film is exceptional because it successfully made 1970’s classic style, outside of its original time context. Through Heimann’s designs, the film made the 1970’s relevant in 2000 and continues to impact how we dress ourselves today. In this paper, I will delve into those impacts.

Methods of Research

To begin my research, I refreshed myself on the film by watching it again. While watching, I was careful to note the looks and scenes that had originally left an impression on me. Since I wanted to research mainstream trends of the present day, I decided to employ modern research methods, as well as scholarly articles. To start, I logged onto Pinterest. I used various key terms to create a board that included images that stood out to me in the film, as well as more current reinterpretations from fashion blogs and retail companies. This gave me a better visual representation of how Almost Famous has affected culture and style. It also gave me a direction for my research. I conducted searches via the Drexel Electronic Journal Portal, Vogue, Elle, and several blogs to find out more about 1970’s fashion and the making of the film. To find out more about the film’s everyday impact, I also posted a status to Facebook asking friends to share how the film influenced their style or idea(s) of style. Throughout the process of finding support for my thesis, I kept my eyes and ears open to find interpretations of Almost Famous and ‘70s rock looks on the street and online.

The Band Aids Then: Onscreen and in 1970’s Daily Wear

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Penny Lane and her Band-Aids are not your average groupies. They distinguish themselves through their love of music, which reaches far beyond their love of the band members. These women claim they are more independent and liberated than the standard groupie and their clothing is meant to illustrate that. There is a bohemian quality to their looks, which only makes sense given the time period and who they are within that context. There is a dreamy “anything goes” aesthetic in the way they style their clothes that permeates their approach to life. Penny famously expresses this attitude with the line, “I always tell the girls, never take it seriously, if ya never take it seriosuly, ya never get hurt, ya never get hurt, ya always have fun”. This is representative of a progressive and pleasurable time in the United States.

Valerie Steele describes this philosophy of dress in her article Anti-Fashion: The 1970’s. She writes that “to understand 1970’s style, one must recognize that fashion was not in fashion” (280). This was a liberating time for women sexually and it showed in popular trends, as well as in the film. Steele expands by explaining that 1970’s fashion magazines wanted to emphasize the choice women had when dressing themselves; and the hodgepodge of style influences available as part of early ‘70s style. This included the incorporation of “conspicuous outrageousness,” “retro fantasies” of the 1910s and 1930s, ethnic influences, and other aspects of counterculture (281). While reading about what made up ‘70s culture and style, I could easily envision a garment representing each of these themes in Almost Famous and a reminiscent quality of those themes in 2015 trends.

In the film, each garment, including t-shirts and shoes, were custom-designed and created by Betsy Heimann and her costume design team (Landis 486). I think that this intense, hands-on approach not only set the film apart in its time, but is also a testament to the carefully crafted world of Almost Famous. Memorably, Heimann created “the coat” most referenced in the film (See Figure 1). This coat defines Penny Lane: it is glamorous, yet simple in its essence. The suede coat was designed to be a fusion between ‘70s rock style and Fran Kubelik’s coat in The Apartment (Landis 486). This iconic coat was not sought out or purchased, but created. I think that quality of the garment functions very well within the hodgepodge of styles and “retro fantasy” to which Steele refers.

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Figure 1. Penny Lane (Kate Hudson) in her famous suede and faux fur coat. Almost Famous. 28 July 2015. Author's screenshot. Another iconic look from the film is Penny’s lace crop top with dark brown velvet pants (See Figure 2). This look is my personal favorite in the film because of the balance in contrast it is able to execute. The super-thin white lace crop top juxtaposed against heavy, flowing velvet with plenty of midriff does not quite make sense, but it is perfect for Penny Lane. The outfit expresses the clash of Penny’s innocent girlishness with her rock’n’roll groupie edge, ultimately embodying the character that is free to do and dress how she pleases.

Figure 2. Penny Lane (Kate Hudson) in a lace crop top and velvet hip-huggers. Almost Famous. 28 July 2015. Author's screenshot. Haley Peckman 4

The Band Aids Now: In Retail and Popular Culture

In 2015, we are seeing a vibrant revival of the ‘70s looks captured in Almost Famous. In Steele’s article, she says, “Retro has frequently been criticized on the grounds that it represents either a loss of creativity on the part of fashion designers, or a perverse ‘nostalgia’ for the past.” However, she debunks that idea, instead proposing vintage style is “one of the most important stylistic features of postmodernism” (285-6). As Steele observes, retro seems to be extremely significant throughout the 2000s and 2010s, so far. It is common for young people to embrace the styles of previous decades. In recent years, the ‘70s have already begun their comeback, with a mainstreaming of rounded sunglasses, clogs, platforms, and faux fur. But the revival is now in full force. Many popular retailers are pushing their version of ‘70s looks in this coming fall and winter, including Madewell (see Figure 3), Zara (see Figure 4), and Gap (see Figure 5). Even in my local consignment store, there has been a more noticeable resurfacing of clothes that could have walked off the set of Almost Famous (see Figure 6). From these images, we can see the

Figure 3. The Madewell "New Arrivals" webpage. Madewell Inc. 9 August 2015. Author's screenshot. continued relevancy of Penny Lane and her friends’ styles in mainstream fashion, as the coming season offers many of the fabrics, cuts, and colors from the ‘70s, depicted in the film.

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Figure 4. Zara Campaign AW 2015. 8 August 2015. Author's screenshot.

Figure 5. Gap Home Page. Gap Inc. 8 August 2015. Author's screenshot. Haley Peckman 6

Figure 6. Squan Dry Goods Vintage Room. 24 July 2015. Photo courtesy of Haley Peckman.

I have also noticed revitalizations of the films’ looks in pop culture. For example, one of Carrie Brownstein’s many characters in Portlandia, wears a very Penny Lane-esque coat (See Figure 7) with a mod printed dress and neon tights. It is fair to interpret this look as a shout-out to the film, and an updated characterization of Penny Lane’s breed. Portlandia is a satirical comedy about the micro-culture of present-day Portland, Oregon, and is a modern subculture icon. It only makes sense that Carrie’s character would identify with thrifted vintage styles, Almost Famous, and the era the film depicts. Haley Peckman 7

Figure 7. Carrie in a Penny Lane coat. Portlandia. Season 4, Episode 5. 7 August 2015. Author's screenshot.

One of my favorite bands, First Aid Kit, also adopts the style of 1970’s American rock and folk. At the XPoNential Music Festival in Camden, New Jersey this year, I could not help but imagine the crossover of style icons they must share with Betsy Heimann (and by default, the Band- Aids). The Swedish sister duo is constantly clad in ethereal linen dresses, Swedish Hasbeens, and vintage denim (See Figure 8). 1970’s rock and folk style is part of their effect as a band, only heightening the nostalgic sound of their music. Their music and image has been spread with the recent release of third full-length album, contributing to the recent obsession with the 1970’s in popular culture. Haley Peckman 8

Figure 8. First Aid Kit performing at the XPoNential Music Festival. 25 July 2015. Photo courtesy of Haley Peckman.

The Band Aids Now: In Our Daily Wear

Almost Famous has not only left a mark on retail and pop culture, it has also impacted how we dress ourselves, daily. On Facebook, I asked friends if they felt the film had rubbed off of their style, and if so, how? One of my friends, Hara Millman, responded saying that she vividly remembers the scene when Penny is spinning around and wearing a embroidered white linen top and a suede mini skirt, adding that the look has always provided her outfit inspiration (See Figure 9). In Figure 10, you can see Almost Famous has clearly influenced Hara’s daily wear. In talking to Hara about this outfit, she said that she was drawn to the platform sandals for their versatility and their level of comfort. Although I think Hara is a very stylish person, the essence of her sentiment stems from the “anti-fashion fashion” that Steele characterizes in 1970’s style. Haley Peckman 9

Figure 9. Penny Lane in an embroidered linen top and suede mini skirt. 28 July 2015. Author's screenshot.

Figure 10. Hara Millman in Rittenhouse Square, Philadelphia PA. 26 July 2015. Photo courtesy of Haley Peckman.

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Other friends also expressed their affinity for the film. One mentioned how the movie not only influenced her taste in accessories, but also the music she listens to and how she decorates her apartment. Fifteen years later, and many people my age, including myself, have fond memories of the film that we let seep into our everyday lifestyle choices. In an interview with Kate Hudson, Vogue Australia asked whether she was surprised by how influential Penny Lane’s look “resonates in fashion today” (Frank 2015). She responded, “It’s no surprise that they have maintained that kind of longevity. I believe that Penny Lane’s signature coat, which Betsy designed, is actually on exhibit at a museum, and I think that shows how that character’s look really resonated with people.” Whether it is the costume, the music, or the feeling this film gives off, Almost Famous has left a lasting impact in the style of 2015.

Conclusion

In a Wall Street Journal article about the comeback of 1970’s fashion in menswear, it is said that the heart of ‘70s culture is “a refusal to conform…not just for the sake of it, but to experiment and try something out of the ordinary” (Madsen). I think this is not only true of ‘70s culture, but also the era’s many reinventions still seen in retail, pop culture, and street-wear today. Almost Famous has helped keep the world of the 1970’s alive and relevant in 2015; in turn keeping that sense of experimentation alive and relevant too.

Works Cited

Frank, Julia. "What Kate Hudson Thinks of Her Penny Lane Outfits 15 Years after Almost Famous." Vogue Australia. NewsLifeMedia, 05 Feb. 2015. Web. July 2015.

Freedman, Ish, Hriso, Chloé, Millman, Hara, Mobley, Jeana, and Waxman, Maia. "How Almost Famous Influenced Your Style/ Idea of Style." Online personal interview. 9 Aug. 2015.

Landis, Deborah Nadoolman. "2000s." Dressed: A Century of Hollywood Costume Design. New York: Collins Design, 2007. 486. Print.

Madsen, Anders C. "Spring Fashion's ‘70s Look is Not So Far Out; In What May Be Menswear's Biggest Throwback to the 1970’s in 20 Years, There's Not a Bell-Bottom, Frill or Platform Boot in Sight." Wall Street Journal (Online). Feb 26 2015. ProQuest. Aug. 2015.

Steele, Valerie. "Anti-Fashion: The 1970’s." Fashion Theory: The Journal of Dress, Body & Culture 1.3 (1997): 279-96. Taylor & Francis Online, Web. Aug. 2015.