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Ripley Is Back, But What About The Fashion? – The Gloss Magazine



To be fair, Fanning’s Marge had a lot to live up to. Paltrow’s iteration of the character has become almost a blueprint for Riviera dressing, referenced frequently in the fashion world. More recently, it has a new verve with the TikTok generation through trends such as #tomatogirlsummer and the vogue for highly aesthetic films where the Italian summer is a character in and of itself, such as Luca Guadagnino’s Call Me By Your NameAnn Roth and Gary Jones, the costume designers in the 1999 film brought Marge to life in joyful floral skirts, crisp white shirts, tortoise-shell hair bands, preppy knits and leopard print coats, replete with matching hats, made to delight. She was sweet, wholesome and had an air of good breeding: although she is a tad bohemian she is polished, even when wearing pyjamas while perched at her typewriter. This season, the look is replicated on the catwalks by designers like Hermès, Casablanca and Chanel. Equally, in her smaller but perfectly-formed role, Cate Blanchett’s Meredith Logue embraced high octane dressing for an evening at the opera, all pearl necklaces and decadent gowns.

Meanwhile, in Ripley, the style, much like the storyline – as the tale of murder, deceit and intrigue reaches its peak – picks up as the episodes progress and we see Fanning in tweed coats and sharp boat necks in black to signify the end of summer and her character’s awakening to the truth and (spoiler alert) the ill fate of her boyfriend Dickie. Overall, however, it fails to capture the charm, or the pulse, of its predecessor. Whether the subdued fashion is a sign of the times we live in (an algorithm-inspired glorification of pared-back luxury) or simply a missed opportunity, remains a mystery.

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