That gold pendant was custom-made for our film by a wonderful jewelry designer Stuart England. Stuart makes these wonderful medallions and pendants. I wanted to use his work for a long time in films. I almost did in ' Kingsman: The Golden Circle. I just felt like Rick should have some kind of masculine jewelry and Steve McQueen was famously photographed with a medallion and I always loved that. I always thought it was sexy. So I thought Rick needed one, and Leo and Quentin responded to it.
It actually is monogrammed with a little 'R' on it. The lion pinky ring was a collaboration with Chris Call, our property master, Leo and Quentin. It's just a really cool piece of jewelry that looked right on him. Cliff's Hawaiian shirt was written into the script 'old guy in a Hawaiian shirt'. What was the inspiration behind creating that look? The Hawaiian shirt was written in the script, but the color, the pattern and what kind of shirt weren't. This is not a palm tree Hawaiian shirt.
It kind of has more of an Asian — Japanese — motif and was inspired by a vintage shirt.
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The ones that Brad wore were custom-made and digitally printed. The color, yellow, was not written in the script. Quentin, Brad and I all put our heads together on that in the fitting room. We had a lot of shirts to choose from and as we were figuring out who this guy was. The 'Champion' shirt came directly from Quentin.
It wasn't written in the script, but it was something he thought about. We see guys like this on set, the support guys, the behind-the-scenes guys, the stunt men. These guys are confident guys. Like Rick says in the movie, 'You can throw him off a building; you can have him crash a car.
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They're unique characters. He wears denim. I've worked with many, many stuntmen, and there's an ease and practicality to what they wear. He wore vintage Levi's jeans and a vintage Wrangler jacket with a zipper, for which we searched high and low. I really wanted one with a zipper, rather than a rivet — reminiscent of the  movie ' Billy Jack ,' starring Tom Laughlin. This jeans ad seems to make a case for her "right" to wear blue jeans -- at least, when she's packing a picnic lunch. In the s, denim brands started advertising to the new youth culture. Clearly, men are supposed to enjoy the smoothness, too, in this ad from As the youth movement creates a revolution in pop culture, some denim designers seize the opportunity to attract attention by creating controversy, as in this campaign by Jesus Jeans.
The company didn't last for long, but their jeans advertising — created by Oliviero Toscani, who would later generate shock value in his campaigns for United Colors of Benetton — left a memorable impression.
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Some denim brands stayed true to their classic roots in the 's. In this campaign, Lee Jeans makes an appeal to Americans craving a return to wholesome American values -- note the return of the picnic basket, and the retro Prince Charming set-up.
This is also a great example of how people used to wear double denim. In , the Calvin Klein jeans company launched its famously provocative advertising campaign, featuring year old Brooke Shields. The TV commercial had her saying, "You want to know what comes between me and my Calvins? Jordache Jeans were massively popular in the 's. The brand was popular with disco-goers for its tight-fitting jeans that showed off the wearer's backside, with distinctive embroidery on the back pockets.
It doesn't lend itself to fashion, and that is why it always looks and feels relevant.
In the s, Levi's catered for the fashion-conscious with the white Levi's and Orange Tab products, where they introduced skinny fits or flares. But with the , they kept it pure, and for me that is the beauty.
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I've been a huge fan of the '60s since I was a kid, so it was a lot of fun to put this collection together. And of course, the "anything goes" spirit of the '60s gives us a lot of freedom when it comes to colors and patterns. Also, there are a lot of amazing clothes from that period, like the fringed suede jacket we reproduced, and the Crazy Legs pants. But for me, the defining aesthetic is a pair of s, a striped T-shirt, and some desert boots.
They are just classic pieces that were designed very well originally, so they didn't really need to change over time. Over the past 50 years, the and the trucker jacket have kept the same aesthetic and have been adopted by nearly every subculture—from rockers and hippies, to punks and hip-hop kids. When you look at a photo from the past 50 years of someone wearing a trucker jacket or a pair of s, it's usually something else in the photograph that reveals the time period, as the trucker and remain consistent.
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