Watching classic films from our childhood days can be nostalgic for more reasons than one. Not only can we recite the scripts word-for-word, but we scrutinise the fashion sense of our favourite characters, wondering: ‘Did I ever really dress like that?’ Whatever the answer, the truth is that you might actually be dressing more like Melanie Griffith in Working Girl, Alicia Silverstone in Clueless, or Diane Keaton in Annie Hall now, more than you ever did back in the day. With designers embracing vintage styles in a time of financial crisis and recycling trends from season to season, it isn’t unusual for us to see styles on the catwalk that are linked with the film characters of our youth.

In the second of a series of articles surrounding the topic, Running in Heels takes a look at two silver screen characters and the current catwalk trends that helped define them.

Melanie Griffiths in Working Girl

Film: Working Girl

Character: Tess McGill

Year: 1988

When Melanie Griffith’s Tess McGill seizes her opportunity to take over from her fashion-forward boss, she doesn’t just step into her superior’s shoes; she steps into her whole wardrobe. Ditching the long and frizzy locks, Tess opts for the chop in a decidedly 80s executive bouffant in an attempt to match her new – if very temporary – high-end wardrobe. Luckily for her, the power shoulder trick works, fooling many of New York’s business big wigs and more importantly, Harrison Ford.

Looking back, McGill’s outfits were offensively large hanging from her small frame, and nothing like we’d see on the catwalks today, but of course the power shoulder of 2009 draws constant comparisons with this 80s rom-com.

Luckily for us, Balmainia has seen to it that we celebrate the shoulder in a much more shape defining form over these past few seasons. Christophe Decarnin went body-con crazy for fall 2009 with barely-there dresses in sequined extravagance while a similar attitude was adopted for Balmain’s spring 2010 collection, with the shoulder appearing in more muted tones. Anticipating the financial difficulties throughout the new year, 2009’s popular shoulder trend was seen everywhere from newer talent Olanic at Vauxhall Fashion Scout to Christopher Bailey’s offerings at the youthful catwalk of Burberry Prorsum.

Other noteworthy style moments include:

Faux fur

We’re not entirely convinced that the coat McGill pulls out of her boss’ wardrobe to wear over that £6000 dress is faux, but we like to think (for the poor furry friend’s sake) that it is. Dyed fur was big on the 2009 runways for Giambattista Valli and Emilio Pucci while Dolce and Gabbana went faux with a look-at-me hot pink version. The look is probably on its way out for next season but there’s still a few more cold months ahead to enjoy this cosy trend.

Marc Jacobs' ss2010 catwalk

The high street caught on to the snuggly coat idea too, with plenty of picks in a range of designs from Mango’s collarless leopard-print number, to H&M’s selection of bombers.

Stockings

Now, this might seem like a bit of an odd item to acknowledge but Melanie Griffith does like to get her kit off in this film so it is almost impossible to not mention her underwear. Going out in just your intimates might seem like a ridiculous suggestion but looking at the catwalks from the past few seasons, we can see an obvious trend emerging: underwear as outerwear. Of course, McGill didn’t go to such extremes as to wander about New York City in her bra and pants however the lengthy scenes in which she spends in her garter belt, suggest that she might as well have for all we care.

For spring 2010, Marc Jacobs went all Japanese on us with pastel bras layered over loose shirts and also gave a preppy look with his burgundy knit pants and high-collared white shirt. Dolce and Gabbana’s went gothic with a black lace corset, Prada teamed detailed sleeveless tops with, well, pants and House of Holland teamed up with Pretty Polly to create the fun and edgy mock-stock.

Film: Annie Hall

Character: Annie Hall

Year: 1977

Diane Keaton’s Annie Hall was a breakthrough character in terms of fashion, leading women of the late 70s to emulate her different, androgynous style. Ralph Lauren for one, probably has much to thank the film, having designed a successful range of clothes for both Keaton and the film’s other star and director, Woody Allen, while designers since have been able to turn the ‘Annie Hall’ look to their advantage, using masculine cuts and shapes in womenswear collections over the years.

Diane Keaton as Annie Hall

While Hall’s tie hasn’t really seen the light of day since the 70s, the theme of androgyny inevitably creeps up on the runways year after year. Fall 2008 was a big season for the power suit with Yves Saint Laurent leading the way with severe lines and dramatic simplicity. Louis Vuitton followed suit (pardon the pun) with harem trousers and Todd Lynn, Jil Sander and Jonathan Saunders all channeled maximum minimalism.

For next season the look is more casual. Limi Feu went asymmetrical with monochromatic waistcoats, shirts, skinny ties, and baggy trousers, while father of Limi – Yohji Yamamoto – teamed sharp, tailored white shirts with long, full skirts a la Miss Hall.

Other noteworthy style moments include:

Straw bag

Where would Annie Hall have been without her big, straw bag? Luckily for us, summer is just around the corner (or so we’d like to pretend) so we know there’s going to be an influx of beach worthy arm-candy hitting the shelves very soon. Bags are still on the extra large size these days, particularly at Bottega Veneta where we saw the Mary Poppins sized casual, woven number on the runway for spring 2010. The look is kept fresh and girly, teamed with a crisp, white summer dress and a swimsuit at Badgley Mischka.