Springtime in Paris Cinema

One of my sartorial pleasures is watching French new wave—and other—films.

Perhaps my three favorites, for color, line, and hair, are Breathless, The Umbrellas of Cherbourg, and Cleo from 5 to 7.

Breathless, for its clean lines on Jean Seberg, who can rock a tight t-shirt and cropped cigarette pants, who can make a shirt-dress shockingly sexy, and whose boy-crop and cat’s eye glasses are iconic.

Cherbourg, for its psychological use of color—note how the wallpaper and clothing complement each other—and for some of the best maternity frocks on film (Rosemary’s Baby boasts an equally delightful maternity wardrobe—in direct counterpoint to the film’s theme, obviously).

Cleo, for its va va voom clothes and sculptural hair confections that never seem self-conscious, despite their self-consciousness.