Eric Rohmer's Costume Design

Éric Rohmer's Costume Design

Written by Lana Spota

June 13, 2024

Still taken from Pauline at the Beach (1983)

If it's not too clear by now, Éric Rohmer is one of my favorite directors of all time. His influence on French cinema, and cinema as a whole, is one that should be known and remembered. With his pure efforts to capture love and friendship in their primal nature through a lens that is unique to only him, Rohmer takes the cake for the filmmaker that perfectly aligns with my film taste.

Aside from his film's themes, I also find myself appreciating the aesthetics of his filmography. In another journal entry, I admired his set design and eye for composition. Feel free to check that journal out whenever you may get to it, to hear more about Rohmer's genius use of storytelling through the camera. Another facet of his filmmaking that I have come to love is the costume design. Paired with Rohmer's captivating choice of color, every outfit seems to shine.

In today's journal, I'll be writing about some of my favorite outfits that show up in Rohmer's filmography. Including business casual from Love in the Afternoon (1972), to summer stripes from Pauline at the Beach (1983), each outfit on this list serves as a final touch to every last detail in a Rohmer film.

A Tale of Springtime (1990)

Something that I love in Rohmer's costume design (and something that shows up a lot) is denim on denim. This light wash shown on Florence Darel complements her tones gorgeously, and to me, screams spring. The effortless nature in Rohmer films owe a lot to what the characters wear. I also love the use of accessorizing through hats, which adds more depth to the character's outfit and frame composition.

A Summer's Tale (1996)

This is one of my favorite outfits that Amanda Langlet wears in this entire film. The burgundy-ish color, floral print, and sweetheart neckline - all things I love. The natural lighting that I love Rohmer for pairs perfectly with this outfit.

Pauline at the Beach (1983)

Another great example of Rohmer's eye for accessories. Who else can rock a coral statement necklace like Arielle Dombasle? Paired with a pastel-striped vest and simple gold jewelry, this outfit is the embodiment of mermaid-off-duty.

Love in the Afternoon (1972)

Even in the office, Rohmer finds ways to sprinkle in personal expression within the borderlines of his films. Like this frame from Love in the Afternoon; a cyan, color-block suit - just the right amount of daring, just the right amount of mystique.

Pauline at the Beach (1983)

The way Rohmer utilizes the pattern of stripes in his films is iconic. Even though the stripes don't share the same colors or width, it's such an appealing shot, and the color scheme brings out more than just the character's dynamic. The simplicity of of slightly loose-fit pair of jeans is often overlooked in many films, yet in my opinion, adds to the summer-y, beachy look that Rohmer could have been aiming for when filming Pauline at the Beach.

Boyfriends and Girlfriends (1987)

I love this outfit from Boyfriends and Girlfriends, partly because of the mix and match of patterns, textures, and colors, but also because I can so see myself wearing this outfit.

Claire's Knee (1970)

Claire's Knee is one of my favorite Rohmer films, and a huge reason is because of it's costume design. Shown in this frame is Claire, played by Laurence de Monaghan, wearing a navy blue t-shirt dress and a cyan beach hat. Aside from the costume design, resting in the background, is a beautiful scene: the water, the land, and a sailboat - all of which complement Claire beautifully with their cool tones.