Following the information that actor Diane Keaton died on the weekend, aged 79, a clip of her at a Ralph Lauren present in 2022 resurfaced on social media. Runways will be critical locations, however the Oscar-winner is clearly having a ball — ingesting wine, laughing, bopping her head to the music and cheering fashions as they go by.
The second not solely encapsulates the androgynous tailor-made style she was recognized for, or the actual fact labels needed her on their entrance rows — it demonstrates that Keaton was somebody for whom vogue was instinctively, irrepressibly enjoyable.
In an age when celebrities not often go away the home with out the assistance of a stylist (and in an trade the place everybody is trendy, although few are really trendy), Keaton’s method was singular. Expressive and imperfect, however at all times charming, her private style was simply that: private. Her wardrobe of blazers, bowler hats and numerous turtlenecks was unmistakenly her personal. She was her personal stylist.
“Diane always marched to the beat of her own drum — in the way she lived, the way she saw the world, and the way she made all of us feel,” Ralph Lauren posted to social media on Sunday. “She was authentic, unique and full of heart. She was always herself — one of a kind.”
Keaton’s ascent by way of Hollywood predated the style trade’s fixation on curating stars’ each look. And her love of garments predated her fame. In her espresso desk guide “Fashion First,” launched in 2024, the actor recounted a childhood fascination with equipment and the customized outfits her mom created on the household stitching machine.
By the time she rose to prominence within the Nineteen Seventies by way of the primary installments of “The Godfather” trilogy, her sense of style was nicely honed. On display screen, in the meantime, the boundary between reality and fiction turned blurred.
While it will normally be unfair to guage an actor’s style on their costumes, Keaton successfully dressed herself for her defining position in 1977’s “Annie Hall.” She did so on the instruction of director Woody Allen, who had loosely based mostly the character on her (and the film itself on their relationship). Hall’s subversion of menswear — floppy hats, unfastened slacks and outsized collared shirts, or a necktie bursting out from the underside of a waistcoat — was, in some ways, Keaton’s personal.
The outfit she wore to gather an Oscar for that efficiency was additionally distinctly Keaton: a double-breasted Armani blazer, accessorized with a pink carnation and paired with a striped skirt over pants. It put a spirited spin on androgyny at a time when few on the pink carpet strayed from typical eveningwear. This was not, by any measure, methodology dressing: Her love of bowler hats, pleated pants and tuxedos lengthy outlived her “Annie Hall” period. So, too, did her penchant for extra-wide belts, assertion eyewear, cravats, pocket squares and all method of equipment that helped stamp her character onto any given outfit.
None of that is to say her style did not evolve. Often pictured attending fashion weeks and runway exhibits, Keaton clearly saved abreast of traits, incorporating them into her wardrobe. She wore Comme des Garçons and Thom Browne when she needed to push boundaries and have enjoyable with silhouettes; she sported little black attire and polka-dot skirts to remind critics she had greater than pantsuits up her impeccably tailor-made sleeve.
Her costumes developed, too. In later motion pictures like “Something’s Gotta Give,” Keaton mastered a sure form of prosperous bicoastal archetype — the best way she carried herself in cashmere, crisp shirting and white denims generally saying extra about privilege than the scripts themselves. As an actor and particular person she knew, intimately, that garments might communicate.
Yet, one factor remained constant: Keaton by no means took herself as critically as she took vogue. She devoted a complete chapter of her aforementioned guide to missteps and pretend pas, such because the 2004 suit-with-tails that landed her on a number of “worst dressed” seems. “The more we worked on the book we found humor in my choices. I mean hysterics,” she told Women’s Wear Daily. “This is probably my favorite chapter. If we can’t laugh at ourselves, what is life about?”
