Film Fashion: Dangerous Liaisons

Based on the novel of the same name by Pierre Choderlos de Laclos which was published in 1782. The novel - and movie - focuses on the diabolical couple of the Marquise de Merteuil and the Vicomte de Valmont whose mind games and utter lack of compassion cast their other companions' lives into turmoil. Eventually, however, the two get what is coming to them.

The movie was released exactly 206 years after the book and features Glenn Close, John Malkovich, Michelle Pfeiffer and Uma Thurman. Although the original book was released in the final decade of the ancien regime but the costumes in the movie points to a somewhat earlier date - most likely in the mid-18th century.

Without a doubt, this movie contains some of the most accurate and beautiful costumes for a movie set in the 18th century.

Marquise de Merteuil

This pink/peach robe à la Française is a perfect example of the sort of fashion, a woman from the aristocracy would wear for a soirée at her own estate. It has just enough of the elaborate decorations - i.e. the bows and the pleated ribbons - but is kept in an overall discreet tone. In comparison, some of the contemporary gowns worn for court were often in bold patterns or brighter colours.

Another costume which corresponds perfectly with the scenario it is intended for. The yellow silk set consists of a caraco jacket and a silk skirt with contrasting gloves, fastenings and hat in black. Notice that the caraco and the skirt are not made of the same fabric - instead they are kept in matching tones.

There is a distinct resemblance between this gown and the turquoise/pink gown worn by Madame de Pompadour in her famous portrait. Another robe à la Française in deep blue silk with pink details and a stunning pearl parure. Like in the pink gown above, the bodice is dominated by three bows increasing in size. The roses on the ribbons are quite an unusual choice but complements the gown very nicely.

Usually, the dressing-scenes of 18th century films shows a chemise and often a rather plain corset. In contrast, the costume department for this movie has applied a sense of realism in the toilette of the Marquise de Merteuil. Notice the pannier which is based on actual, surviving pieces from the 18th century. Likewise, the corset in a bright blue - possibly silk - fabric is not unlike those housed by museums today. Everything in this scene reflects the character's wealth: the three servants helping her get dressed, the lavish amount of lace and the expensive silks.

Compared to the other gowns worn by the Marquise this one is remarkably muted in colour. The white is quite unusual since white gowns would normally be adorned with colourful details such as embroidered flowers or pleated ribbons - or perhaps more bows. This one is rich in adornments but they are kept in either white or champagne and therefore does not provide the usual colour contrast. 

Personally, this is my least favourite of the marquise's costumes but it cannot be denied that it is beautifully executed. The bodice is quite unusual; it does not appear to be a separate piece but simply created by putting a sheer fabric over the fabric beneath and lining the edges with a contrasting green fabric. The bows on the arms are made from the same green fabric.

Vicomte de Valmont

A beautiful example of a male courtier's clothing - lush velvet and very elaborate silver embroideries and buttons. The colour is remarkably hard to discern correctly. On some photos it looks bluish with a purple tone but in others it is clearly dark green. Either way, the coat's colour is accented by the embroidery on the waistcoat.

This pink suit matches the colour of the marquise's dressing gown seen in the beginning of the movie almost perfectly. While the coat in itself is rather simple, the waistcoat adds a layer of luxury to the ensemble with its delicate embroidery in what appears to be metallic thread.

The floral pattern is somewhat unusual in that the flowers are quite large. At this point in time, fashion tended more towards smaller flowers - usually done in embroidery. The suit itself is quite dark which is also a tad odd compared to the brighter costumes of the time. However, the scene in which this suit is worn is very melodramatic and as such the costume neatly underlines the atmosphere.

A grey coat with a fine pattern in white and matching breeches. The waistcoat is most likely the same as is worn in the costume beneath. Again, the buttons are quite large and appears even more so when contrasted with the delicate embroidery on the waistcoat and the pattern of the coat.

Another one of the vicomte's suits where the design is focused primarily on the waistcoat and edges of the coat - all of which have been heavily embroidered with golden and champagne-coloured thread.

Cécile de Volanges

Céline's dresses are generally more modest and more neutral in their colours. This particular gown is typical of the type of fabric that became fashionable in the 1770's - particularly the small flowers. This robe à l'Anglaise is really quite simple with no adorned bodice or contrasting petticoat. The only show of extravagance is the layered lace at her elbows.

Another white gown worn by Uma Thurman in her role as Cécile, this one looks like a less elaborate version of the white gown worn by the Marquise de Merteuil - perhaps reference to Cécile coming more and more under the control of the marquise? Of course, the colour symbolism should not be disregarded either; at this point in the movie she is still an innocent, virtuous young lady.

Madame de Tourvel

A rather neutral beige dress with small pink flowers, this gown would be suitable for a woman of her rank: not quite as extravagant as an aristocrat's but suited for the wife of a statesman. While the gown itself does not have the otherwise typical ribbons or bows, the ruffles at the neck provides a modest piece of accessory.

The only one of Madame de Tourvel's gowns to have a more bright colour-scheme, this outfit is also a caraco combined with a contrasting skirt. The pattern on the blue caraco almost looks like chinoiserie which became very popular in the 1770's.

Again, the bodice has been framed with ribbons rather than being its own separate piece of clothing. This robe à la Française is neatly topped off with a straw-hat - also adorned with flowers to match those on the gown itself. Note that pleats hanging from the shoulders.

Others

Madame de Rosemonde (played by Mildred Natwick) wears predominantly dark colours associated with widowhood. As such, her clothing stands in stark contrast to the occasionally very flamboyant colours of her co-stars. It was not unusual for women to discard the lightest colours as they grew older - for instance, Marie Antoinette ceased wearing pink when she turned 30.

The mother of Cécile, Madame de Volanges, wears this bright fuchsia gown with a green petticoat - and an impressive array of pearl jewellery. Note that the bodice has been arranged in a scallop pattern in ruffled ribbons.

Peter Capaldi stars as the valet of the Vicomte de Valmont, Azolan, and as such is primarily seen in his livery. Therefore, it is practical but not entirely devoid of embellishments as this would have been an outward symbol of his employer's wealth.

And finally, Laura Benson portrays Émilie who is one of the vicomte's more mercenary mistresses. She is seen wearing a bright yellow robe à la Française with red bows on her bodice - perhaps it is not a coincidence that the shade of red is exactly that of Azolan's? After all, they are both in the vicomte's pay.