The Style of Trainspotting
A cult classic of British Cinema, Danny Boyle’s Trainspotting is widely remembered for its dark humour, timeless soundtrack and grimey aesthetic, but it is the film’s sartorial style which has cemented its enduring legacy.
Centred around a group of hopeless heroin addicts living in Edinburgh, Scotland during the height of unemployment and drug abuse, Trainspotting reimagined the typical “junkie” by creating humanised and relatable characters. Capturing the cultural zeitgeist of the era through the musical and stylistic choices allowed audiences to become invested within the story, a huge factor behind the immense success of the film during the late 90s.
Renton, Sick Boy, Spud and Begbie are all their own very unique and distinctive characters, albeit whilst sharing the common bond of heroin. Although their clothing isn't important to them, their respective styles perfectly epitomise their personalities. Renton is a rebel by nature, displayed from his opening “Choose Life” monologue. His tattered and worn wardrobe stands as a middle finger to the conventional 9-5 lifestyle which he so openly rejects, whilst his antithesis that is Begbie is adorned in typically casual wear; loafers, sweaters and suits. Spud and Sickboy on the other hand display the balance between the two attitudes, dressed in mismatched suits alongside skinny jeans and boots.
Costume designer Rachael Fleming masterfully conveyed the traits of each individual character within Trainspotting through her meticulous selection of garments. When discussing her inspiration behind the stylistic choices made within the film, Fleming cited reference to the Punk bands of the 60s and 70s such as The Clash with their carefree and wild aesthetic matching the characters perfectly.
To see the influence of Trainspotting you need look no further than the Fashion industry. The film may have reinvented the skinny jean for men, but it would be years later that the likes of Hedi Slimane would introduce the silhouette to the runway making it part of the norm, whilst other notable labels including Vetements and Balenciagia have channelled their inner Renton for their recent menswear collections.
Cav Empt’s Grime Influence
Japanese label Cav Empt has become a staple of both Western & Eastern streetwear over the past 12 years. Widely recognized for their complex graphics and signature red badge, Cav Empt’s technical design has always been influenced by its founders love for the dystopian sci-fi novels of Philip K. Dick. However, if you look a little closer at much of the brand’s aesthetic it is clear to see another notable influence: Grime.
Cav Empt was founded in Tokyo, Japan by creatives Toby Feltwell, Sk8thing, and Hishi Yutaka in the wake of the 2011 Tōhoku earthquake and tsunami. Whilst Sk8thing had previously designed for the likes of Bape, Undercover, and Neighbourghood, amongst others, and Hishi had worked for Billionaire Boys Club, Feltwell’s path to streetwear with Cav Empt was far more unorthodox.
Born in 1974 in Northamptonshire, England, Toby Feltwell initially began visiting Japan in the 90s. As an avid skater, Feltwell had always admired the style and culture of Japan which he often saw in magazines growing up. It was this passion for skating which actually led to his first career as a music A&R for British record label Mo’ Wax, due to their relationship with Slam City Skates. During his time working in the music industry, Feltwell was responsible for signing a then 17-year old Dizzee Rascal as well as other members of Roll Deep to XL Recordings.
Many years later, when developing Cav Empt, Toby tapped into his past experiences working in and around Grime during its rise to prominence. The rugged sportswear-inspired style of early 2000s London fitted perfectly with the aesthetic that the trio were trying to achieve for the brand. To further show his admiration for British street culture, Feltwell even brought in grime legend D Double E to model for many of the brands early lookbooks.
Fast forward to the present day, the current crop of UK rappers and artists have also embraced the Japanese label with the likes of Skepta and Slowthai consistently donning its garments. Cav Empt can now be seen across the streets of Britain with its prominence in London, Manchester, and Bristol presenting a rise in both the brands popularity and streetwear in general.
Daft Punk’s Anonymous Appeareance
Daft Punk’s robotic design is universally recognized, even by those who are unfamiliar with their electronic sound. This unorthodox appearance stemmed from the duo’s desire to remain anonymous and out of the public eye, whilst positioning their music at the forefront of their act.
Thomas Bangalter and Guy-Manuel were just two friends from Paris, bonded by a shared love of music and films, when they first started making music together. They emerged from the French house movement of the 90’s with their electronic disco-infused style of music becoming highly popular. Daft Punk, as they were now known, released their debut album ‘Homework’ to widespread acclaim, reaching previously unforeseen heights in the process. As a result, the two men began to hide their faces in media appearances, photoshoots and performances, often using cheap masks to conceal their identity.
With their fame and their spotlight growing, Daft Punk would make the decision which would ultimately come to define their career. Just before the release of their second album ‘Discovery’, they debuted their classic robotic designs. Both men now wore metallic silver suits, fitted with customisable LED light screens on their helmets. Originally designed by Paul Hahn of Daft Arts and French directors Alex & Martin, these helmets reportedly cost around $65,000 to produce.
For the release of their next album, ‘Human After All’, the duo decided to alter their appearance once more. Gone were the bright colours and LED lights, and in their place both men were dressed in black leather jumpsuits designed by Hedi Slimane. Both helmets now featured black visors, with Thomas’s losing its smile. This new iteration of Daft Punk would appear as the two central characters in their 2007 film ‘Electroma’. Over the following decade, the duo would continue their growth as artists, releasing multiple albums to critical and commercial success.
In 2021, Daft Punk would announce their decision to part ways after 28 years of working together. They stand as defining musical artists of the 21st century, highly influential both in their craft and in their approach to the industry.
The Sadie Brothers Signature Style
Josh and Benny Safdie are widely viewed as two of the most promising filmmakers currently working today. Over the past decade, the duo have cemented themselves as auteurs of American cinema through their distinctive and uncompromising filmmaking style.
Film enthusiasts from an early age, the Safdie brothers have credited their fathers love for cinema as a key influence on their careers. Growing up bouncing between his house in Queens, and their mothers house in Manhattan, the brothers were raised amidst the the chaos of New York City. During their formative years, the duo would create countless short films and videos ranging in style, form, and tone, whilst trying to find their own voices.
They would develop their style significantly with their second feature, Daddy Longlegs. Inspired by their own upbringing, the film would portray many of the filmmaking techniques that the brothers would later become synonymous for. Shot on the streets of New York City, the duo used long lenses and handheld filming to create a documentary-like tone.
This would continue with the brothers next picture, Heaven Knows What. Based on the life and experiences of lead actress Arielle Holmes, the film would again use the streets of New York as the backdrop to an almost autobiographical story.
After receiving a call from Robert Pattinson, the Safdie’s quickly set about writing and casting him in their next film, Good Time. The crime-thriller would star Pattinson alongside Benny as two brothers after a bank-robbery gone wrong. The film would further develop the Safdie’s gritty stylized cinematography.
The Safdie brothers would revisit their long term passion project, Uncut Gems, next after more than a decade of development. Inspired by their fathers time working in the Diamond District, the brothers cast Adam Sandler as Howard Ratner, after initially pursing him for the role back in 2009. The film would continue the brothers use of casting non actors, such as Julia Fox and Kevin Garnett amongst many others. Uncut Gems also featured another outstanding score by electronic musician Daniel Lopatin, aka Oneohtrix Point Never.
Apocalypse Now: Production Hell
During the 1970’s the landscape of Hollywood shifted dramatically. Gone were the days of the old studio system, and in its place was a new wave of auteur filmmakers set on challenging the conventions of what cinema could be. At the forefront of what would become known as the New Hollywood movement was a young Italian-American director: Francis Ford Coppola.
Coppola emerged from the famed UCLA Film School before working his way into the industry by starting from the ground up. Having worked as an assistant for numerous productions throughout the 1960’s, alongside directing a couple of his own low-budget feature-length films, Francis received his big break when he was tasked by Paramount to adapt Mario Puzo’s novel The Godfather for the big screen. Whilst the production was difficult due to the studio’s relentless interference, Coppola managed to maintain his vision for the film, with The Godfather released to widespread critical and commercial acclaim.
Francis had now become one of the most sought after directors almost overnight, with his next two films, The Conversation and The Godfather Part II, continuing his unprecedented success. With the backing of the studio and near creative freedom, the stage was set for his next picture, Apocalypse Now. Adapted from Joseph Conrad’s novel Hearts of Darkness, the script had originally been written by John Milius, with George Lucas set to direct, but after years of failed attempts to get the film made, it remained in production limbo. With Lucas off directing his own film, Star Wars, Coppola decided to take the burden upon himself and bring his own vision of Apocalypse Now to life.
To capture an authentic interpretation of Vietnam, Francis planned for a four-month shoot to take place in the Philippines. Due to this arduous production, casting for the picture proved to be a real issue with many notable actors including Steve McQueen, Al Pacino, and Jack Nicholson all turning the renowned director down. Eventually, Harvey Keitel was cast in the lead role of Willard, but after a week of shooting Coppola decided that he wasn’t right for the part and replaced him with Martin Sheen. 3 months into principal photography, the production was devastated by a Typhoon, with the majority of the sets and equipment destroyed. Already 6 weeks behind schedule and $2 million over budget, Francis and the crew pushed on.
Aside from the challenging weather conditions of the Philippines, the location also brought with it multiple other issues. The standard health and safety checks which would ordinarily take place on an American film production were often ignored. This led to controversial scenarios such as a water buffalo being slaughtered on-camera by an indigenous tribe, as well as real human corpses being brought to the set by a local man, shortly before the police intervened. The on-set chaos would continue when Martin Sheen, only 36 at the time, suffered an unsuspecting heart attack, once again sending the production into disarray. Fearing that the studio would pull the rug out from underneath them if word got back about his condition, Sheen decided to lie and claim that the incident was caused by heart stroke rather than expose the truth. Unlike Sheen, some of the other cast members were not so selfless.
The casting of Marlon Brando in the role of Colonel Kurtz was a major factor in getting Apocalypse Now green-lit by the studio. Despite his damaged reputation, Brando was still a major draw in the film industry, and having worked with him on The Godfather, Coppola believed he could get the best out of the actor once again. However, when Brando arrived on set in the Philippines he was overweight, underprepared, and intoxicated. Alongside this, Marlon would feud with fellow cast member Dennis Hopper during their small time filming together. Francis persisted with the award-winning actor, working around his numerous limitations in order to maintain the mystic of Kurtz within the final film. After 238 days, having shot nearly 1.5 million feet of film and with the budget now over $25 million, shooting wrapped on Apocalypse Now. The mammoth task of cutting the film was entrusted by Coppola to four editors, with the process taking over a year to complete.
Ultimately, all the trials and tribulations would eventually pay off. Upon debuting at the Cannes Film Festival in 1979, a three-hour unfinished cut of Apocalypse Now would receive a standing ovation, whilst also earning the top prize: the coveted Palme d’Or. At the subsequent press conference, Coppola would say “We had access to too much money, too much equipment, and little by little we went insane…My film is not about Vietnam, it is Vietnam”.