Prêt-à-Placement: Why High-End Fashion Labels are Increasingly Turning to Product Placement

The relationship between fashion and film has been important to both since the early 20th century. It is a relationship based on mutual respect and inspiration, and it continues to grow to this day.

You only have to glance at the titles of pop culture favourites Breakfast At Tiffany’s (1961), The Devil Wears Prada (2006), and From Prada to Nada (2011) to see that designer fashion in particular has been film’s loyal muse and leading lady over the years. The industries are so intertwined that many top names have even designed costume themselves, from Christian Dior in Hitchcock’s Stage Fright (1950) to Miuccia Prada in Baz Luhrmann’s The Great Gatsby (2013). It is well known that Tom Ford is James Bond’s tailor of choice, designing suits for Daniel Craig’s incarnation of the character since 2008, and he has inserted himself still more firmly in the world of film since turning director with the critically-acclaimed and of course very stylish A Single Man (2009).

Films and TV shows rely on costume to convey key messages about their characters. Namely, who they are or who they want to be. Presenting a character as chic and successful may require luxury labels whose status is widely regarded by audiences as aspirational. Product placement is often key in this. On a practical level, the gifts and discounts provided by product placement are welcomed by costume departments to assist with budgets.

What do the labels get in return? Primarily, exposure. Directly referencing brands as luxurious or depicting them in contexts of opulence, for example, associating them with affluent characters, reinforces their reputation for quality. Breakfast At Tiffany’s is a prime example. Whilst the Tiffany name may have lent a certain glamour to the production on its contemporary release, the film’s cult status as a Hollywood classic, bolstered by the legendary beauty and talent of Audrey Hepburn, has since reinforced the glamorous associations of Tiffany & Co. in mainstream culture. Today, Ridley Scott’s biographical crime film House of Gucci is increasing the cultural capital of its eponymous brand by provoking discussion on social media even before its release, largely due to the starring role of popstar-turned-actor Lady Gaga.

Darryl Collis, Director of Seesaw Media, has worked with leading costume designers for 20 years, dressing many iconic characters including James Bond, Ethan Hunt, and Lisbeth Salander in his clients. He has seen the direct impact that a fictional character’s style can have on the real-world brand they wear, noting that “When an aspirational or fashion forward character wears an item, whether that be a watch, jacket or sunglasses, it’s a very powerful statement and audiences notice. They will either go directly to the brand’s website if they know what it is or to social media to track down what that must have brand is resulting in a purchase.”

Film is no longer the main platform for designers to promote their latest collections, however. Now, TV shows are recognising the gravitas which high-end labels can bring to production, and vice versa. Sex and the City is credited with pioneering fashion-forward television in the 90s and early 00s, so that in 2021 we are seeing big names in fashion across small screens, whether terrestrial or SVOD. The costume of Emily in Paris (also designed by SATC’s Patricia Field) exemplifies this – rarely is Emily seen without a Chanel logo or Dior monogram. Whether you loved it or hated it, the bold, often clashing costume of the first series had everyone talking, and before the second series has even finished shooting, people are already asking what Emily will be wearing and where audiences can buy her looks. Such is the power of fashion placement and the longstanding influence of SATC over the industry, brands are clamouring for a feature in the show’s upcoming spin-off, And Just Like That.

With the partnership between fashion retail and costume design now so strong, let’s take a look at some of the most memorable designer placements of recent film and TV…

 

1. Sex and the City (New Line Cinema, 2008) – Manolo Blahnik

It would be remiss to not start with Sex and the City. Carrie Bradshaw’s devotion to Manolo Blahnik throughout the TV series undoubtedly helped make him a household name – according to The Guardian, it’s where fashion designer Harris Reed (famed for that Harry Styles Vogue cover) ‘learned the word “Manolo”’. It is only right, then, that long-time love Mr. Big proposes to Carrie in the SATC movie with Manolo’s iconic blue satin Hangisi pump in one of the most iconic movie proposals of all time.

 

2. Killing Eve (BBC, 2018-) – Molly Goddard

Killing Eve engrossed audiences in 2018 with not only the killer nature of lead, assassin Villanelle, but also her killer style. The dress pictured, epitomising the soft tulle silhouette which has become fashion designer Molly Goddard’s signature, perfectly juxtaposes Villanelle’s ruthless character and hard emotional façade. This led to meme-worthy notoriety when the show first aired, boosting Molly Goddard’s own brand recognition and launching a trend in vivid mesh smock dresses that took the high-street, as well as the runway, by storm.

3. The Wolf of Wall Street (Paramount Pictures, 2013) – Tag Heuer

He may throw it into a crowd of employees as if it’s worth no more than a Chupa Chup, but that watch moment in Wolf of Wall Street has become so memorable that it is, in retrospect, an incredibly valuable placement for Tag Heuer. Claiming that it’s worth $40,000, Jordan Belfort, played by Tag Heuer ambassador Leonardo DiCaprio, somewhat exaggerates the value of his gold-plated watch. However, this only serves to make the brand appear even more desirable to viewers, reinforced by the motivational words of Belfort’s ‘I have been a rich man and I have been a poor man and I choose rich every…time’ speech.

 

4. Hustlers (STX Entertainment, 2019) – Christian Louboutin

A gift-giving Christmas scene in Hustlers provides Christian Louboutin with a prime opportunity for product placement. Not only does it imply that their product is premium – that they are a brand for the special occasion – it also allows for their branding to appear clearly centre-frame, as the gifted shoes are presented in a branded shoebox.

 

5. Kingsman: The Secret Service (Twentieth Century Fox, 2014-) – MR PORTER

For the first two films of the Kingsman franchise, MR PORTER partnered with Costume Designer Arianne Phillips and collaborated with a range of high-end brands such as George Cleverly, Turnbull & Asser, and Bremont to bring the style of the films’ costume to real wardrobes. Now, ahead of the third instalment of the franchise, The King’s Man (a prequel set in the 1910s), MR PORTER is taking customers back in time with classic wartime silhouettes. Creating buzz around the film’s release whilst using the Kingsman name, MR PORTER’s menswear line is undoubtedly a success for both production and brand.

 

6. Crazy Rich Asians (Warner Bros., 2018) – Mouawad

Crazy Rich Asians is a love story negotiating class and economic difference, necessitating the depiction of great wealth and impeccable taste. It was, therefore, a ‘no-brainer’ for Mouawad when the luxury designer was asked to be involved and lend their jewels for filming, according to the South China Morning Post. The brand is even woven into the plot as we see style icon Astrid browsing in one of their stores.

 

7. 6 Underground (Netflix, 2019) – Belstaff

Belstaff gained substantial screen time in Netflix’s 2019 blockbuster 6 Underground. Ryan Reynolds stars as a billionaire vigilante who fakes his own death in order to hunt down the world’s darkest criminals undisturbed, showcasing Belstaff’s resilient, battle-ready styles with no fewer than four of their jackets in his wardrobe.

 

8. The Duchess (Netflix, 2020) – Victoria Percival

Katherine Ryan’s character in The Duchess may be slightly chaotic, even a diva, but her outfits are always well put together, and her headbands are a testament to this. At once stylish and statement, the chunky, embellished headbands which appear throughout the series are all by accessories designer Victoria Percival, who even created a few custom pieces for the show. Signifying her own regal sense of self-worth, these glittering head pieces are the crowning glory of Ryan’s many expensive looks and give Percival’s brand a starring role onscreen.

 

9. Emily in Paris – Off-White (Netflix, 2020-)

As previously mentioned, the loud and consciously clichéd style of Emily in Paris has had tongues wagging since its 2020 release. If we believe the maxim ‘all press is good press’, then Emily’s bold looks, such as this Off-White co-ord, have provided their brands with some incredible exposure.

 

10. Zoolander 2 (Paramount Pictures, 2016) – Valentino

Valentino features heavily in the costumes of Zoolander 2, even featuring a Valentino-clad character named Valentina. Cementing this relationship between label and production, the film’s leads Ben Stiller and Owen Wilson took to the Valentino runway at 2015 Paris Fashion Week as ex-models Derek Zoolander and Hansel. Zoolander 2 is a tongue-in-cheek portrayal of the designer world and by inviting its title characters to the most important event of the fashion industry’s calendar, Valentino made sure that the industry was in on the joke. Capturing the attention of social media worldwide, this was a publicity stunt that served some serious ‘blue steel’ and excellent exposure for both Valentino and Zoolander 2.

 

HONORABLE MENTION:
The Gentlemen (STX Entertainment, 2019) – Lonsdale

Whilst Lonsdale may not first come to mind as a high-end label, it must be included in this list because of the success of its placement in Guy Ritchie’s 2019 film The Gentlemen. With 16 minutes of screen time and an audience of over 58 million, Concave Brand Tracking valued this placement at $16.5M, earning Seesaw Media the award for #1 Single-Movie Placement of 2020. Lonsdale even produced and marketed a bespoke range of plaid tracksuits based on the distinctive styles worn by Colin Farrell and his crew in the film. Priced at around £75 a tracksuit, these products are placed at the higher end of the Lonsdale range, showcasing the audience’s willingness to pay more for brands that have appeared on screen.

 

Film and TV are, undeniably, in vogue. The fashion world has taken notice, and it is wisely making use of the increased non-traditional avenues in brand promotion. As both industries continue to grow rapidly, this promises ever greater opportunity in product placement. The future certainly looks promising for high-end fashion in film, and we can’t wait to see the creative collaborations coming to our screens in the coming months.