LUCY
Materialists and how luxury brands further storytelling
Ah, the age-old question: which is more important, love or money? It’s a question film and TV have explored time and time again, but MATERIALISTS (directed by Celine Song) gives it a fresh, modern twist that’s had everyone talking (and talking…and talking) for the past week.
MATERIALISTS is what I would describe as a fashion-forward, mostly realistic look into dating in the modern world. I wouldn’t classify it as a rom-com (even though the trailer led us down that path), and I wouldn’t necessarily classify it as a rom-dram either. What I will say is that it’s as much a visual feast as it is a commentary on ambition, relationships, and (yes) consumerism. I have seen a lot (A LOT) of discourse over how the film ends, its themes, and discussion of certain scenes, but what I haven’t seen much of is conversation surrounding the fashion. This is where I come in.
The striking blue Proenza Schouler Odette maxi dress that Lucy wears to the wedding of one of her former clients is our first big wow moment with the costuming in the film. Many of Lucy's key looks pair luxury brands like Proenza Schouler and Bottega Veneta with everyday pieces like Nili Lotan jeans, reflecting her NYC lifestyle but also the way most of us incorporate designer luxury into our style, too. Her style was a masterclass in casual, it-girl dressing, and many of her looks had me taking notes. The Leset trench coat paired with Nike Cortez sneakers was so good, and her everyday Hereu Calella oversized tote was so effortlessly cool that I got in my car and started planning my purchase.
This film focuses quite a bit (pretty much the entire plot) on the importance of money in modern relationships, so it makes sense that much of the costuming would be designer luxury brands. I also keep thinking about this post earlier this month about intentionally bland luxury fashion being featured in YOUR FRIENDS & NEIGHBORS, and it got me thinking about the use of luxury brands in media. And more specifically, how do these brands shape the media we consume today?
Designer fashion has always been about more than just aesthetics. It has existed at the intersection of culture, commerce, and identity for centuries. Dior’s New Look didn’t just change fashion, it changed women. After years of wartime scarcity, he brought back the cinched waist and full skirt, giving femininity a whole new shape—literally. Or how Yves Saint Laurent revolutionized style with the introduction of Rive Gauche, making high fashion feel cool, accessible, and actually wearable.
By the time the 1980s arrived, luxury fashion had become synonymous with power. Designers like Gianni Versace and Thierry Mugler offered women architectural silhouettes and commanding glamour. In the 1990s, Tom Ford at Gucci made sex the selling point, while Miuccia Prada made intellectual minimalism feel deeply luxurious. These evolutions weren’t happening in a vacuum. They responded to and shaped the times, mirroring shifting cultural attitudes about gender, wealth, beauty, and ambition.
Unsurprisingly, film and television became the ultimate runway. There’s a kind of symbiotic relationship between costume design and designer fashion that has only deepened over time. In BREAKFAST AT TIFFANY’S, when Audrey Hepburn steps out in Givenchy's black satin sheath dress, oversized sunglasses, and a statement necklace, she doesn’t just play Holly Golightly, she becomes an archetype. The image is so iconic, it’s replicated in window displays and Halloween costumes to this day.
Joan Collins as Alexis Carrington in DYNASTY wore couture-level ensembles every episode. Nolan Miller’s designs drew inspiration from designers like Valentino, Yves Saint Laurent, and Halston, channeling ’80s maximalism. The show’s high fashion drama helped popularize the “power dressing” trend among working women.
The Jean Paul Gaultier look worn by Leeloo in THE FIFTH ELEMENT became a cult classic and is still cosplayed worldwide. Gaultier’s signature sci-fi creation features the iconic white bandage bodysuit, creating a defining moment that catapulted fantasy fashion into pop culture.
Another heavily cosplayed look is the Rodarte piece worn by Nina Sayers (played by Natalie Portman) in THE BLACK SWAN. The Mulleavy sisters crafted couture ballet tutus specifically for Nina’s psychological transformation: the gasp-inducing black-swan costume mirrored her descent into darkness. Over 40 intricate pieces brought this haunting vision to life, and it is one of the most recognized images from the film.
HOUSE OF GUCCI is a film you would expect to heavily feature designer pieces, and costume designer Janty Yates delivered. She worked closely with the Gucci archive and recreated real outfits worn by Patrizia Reggiani (played by Lady Gaga). The film doubled as a visual timeline of the brand’s evolution.
More recent shows have pushed this relationship between fashion and character even further. In EUPHORIA, Heidi Bivens uses fashion to show exactly how messy, intense, and unpredictable being a teenager really feels. Zendaya's Rue Bennett effortlessly wears a vintage Jean Paul Gaultier kimono wrap vest with vintage pinstripe Roberto Cavalli pants, and the outfit somehow feels perfectly in line with her character. SUCCESSION, however, focuses on stealth wealth—Loro Piana, Brunello Cucinelli, The Row. The Roy family dresses to show power through not showing off, making their $2,000 cashmere sweaters feel like insider knowledge.
Today, luxury fashion has become even more deliberate in TV/film partnerships. Brands consult on scripts, provide vintage archives, and even fund wardrobe departments. Netflix’s EMILY IN PARIS features modern Valentino, Balmain, and Dior in nearly every episode. Apple TV’s THE MORNING SHOW dresses Jennifer Aniston’s character in Gabriela Hearst, Bottega Veneta, and Lafayette 148, carefully curated to reflect power, restraint, and status.
Why the outfit works: What MATERIALISTS does so brilliantly is bridge both those fashion modes: the loud, aspirational spectacle of the influencer age and the quiet luxury of the ultra-wealthy. Costume designer Katina Danabassis outfits these characters in Bottega Veneta, Loewe, vintage Galliano, and newer names like Area and Khaite. But what's most compelling about this film is how it critiques the performance of luxury while fully indulging in its pleasures. It understands that fashion is both costume and currency. It knows that a perfectly styled bag or a tailored Balenciaga blazer doesn’t just make the character; it is the character. And in that sense, the film is less a satire and more a mirror: a love letter to the brilliance of dressing for the life you want, not the one you have.
Where to find similar pieces: The original Proenza Schouler version can still be found among a handful of retailers (you can start your search here).
Lulus / Late Night Crush Royal Blue Mesh Ruched Strapless Midi Dress / $59
This shade of blue is slightly darker than the original but the silhouette is pretty evenly matched. This is also a great inexpensive option.
Revolve / French Blue Maxi Dress / $356
This option isn’t strapless like the original but the color is a pretty close match as is the length. The silhouette is a bit looser so it’s also a great option for summer heat and for those days you just want something to skim the body vs a bodycon style.
RUMER / Oracle Boatneck Gown / $349
This option offers the same sleek, body-skimming silhouette as the original but also has a different spin with the front cutout. It gives the look of a two-piece set but is fully connected in the back.
If you read last month’s post, you may have seen me mention that the next post would be one of my favorite characters of all time to celebrate one year of Style on Set. This is not that, but it’s because I saw this film and needed to discuss it immediately. The post I mentioned last time is still coming, as is our one year (!!) celebration.
XO, H
"But what's most compelling about this film is how it critiques the performance of luxury while fully indulging in its pleasures." YEP!
"the brilliance of dressing for the life you want, not the one you have" bars!