#Charles Jourdan

[kitsunetsuki]

Guy Bourdin - Charles Jourdan Ad, Spring 1978, from Guy Bourdin by Gilles de Bure (2008)

[hannahleah]

Photo by Guy Bourdin for Charles Jourdan, Autumn 1977

[disease]

GUY BOURDIN for CHARLES JOURDAN [AW70]

[chicinsilk]

L'officiel Décembre 1959

Evening pumps signed: Charles Jourdan, Roger Vivier for Dior, & Durer.

Escarpins pour le soir signés : Charles Jourdan, Roger vivier pour Dior, & Durer.

Photo Philippe Pottier

[featherstonevintage]

Nina Ricci Shoes: Charles Jourdan

Marie France, December 1991

Photographed by Jean-Baptiste Leroux

[margaretcruzemark]

Charles Jourdan campaing by Guy Bourdin

[ghw-archive]

English model Jean Shrimpton wearing a Polly Peck dress and Charles Jourdan shoes, photographed at Cleeve Lodge (42 Hyde Park Gate, home of Sir Edward Hulton, of Hulton Archive fame) for Queen editorial, ‘Summer 62’, 1962 / Photographer: Norman Parkinson

[pop-art-sixties-seventies]

Guy Bourdin pour Charles Jourdan, 1967.

[lovelybeautifulsleep]

Guy Bourdin, Nudes Wearing Charles Jourdan Shoes, ca. 1971. Models Pat Cleveland and Donna Jordan.

[lamaisongaga]

FASHION CREDITS: "JOKER: FOLIE À DEUX"

In "Joker: Folie à Deux", director Todd Phillips brings a new, musical twist to Gotham's most notorious characters, with Lady Gaga taking on the role of Harley Quinn.

The film’s visual storytelling is further elevated by renowned costume designer Arianne Phillips, whose intricate designs blend classic Hollywood glamour with dark, psychological undertones. Hair by Frederic Aspiras and makeup by Sarah Tanno-Stewart.

Harley is introduced in custom marigold and blue mohair cardigans, crafted by the movie’s costume team, and subtly woven with diamond patterns. These diamonds, a nod to her harlequin origins, quietly foreshadow her dark journey. Phillips’ design choices blend symbolic elements with a grounded, human realism, allowing the audience to connect with Harley before her madness fully surfaces.

Phillips, whose contributions are essential to bringing this new vision of Harley to life, draws upon the delicate balance between whimsy and tragedy. Her mastery is evident in every layer of Gaga’s costumes, capturing the tension between Harley’s identity as Quinzel and her gradual shift into Joker’s lover and accomplice. This collaboration continues Phillips’ tradition of injecting meaning into every piece, creating a visual narrative that complements the film’s psychological depth.

Lee’s cozy sweaters set a backstory for the character, according to Phillips: "The idea is that maybe she found it in a thrift store or it belonged to her father".

Her scruffy vintage Capezio ballet slippers (a reference to Amy Winehouse — who sported a visibly worn-in pair on more than one occasion — and director Todd’s idea) also convey vulnerability. And an origin story.

"There’s a little infantilizing of her in the beginning", says Phillips. "She has this bravado — a fearlessness that you really experience in a young person — and then you see her as her determination grows over time."

A particularly striking piece is the white silk bias-cut gown Harley wears during the rooftop dance sequence. Created in collaboration with Gaga’s sister, Natali, under her label Topo Studio NY, the dress features criss-cross embellished straps.

Phillips designed the look to evoke the elegance of classic silver-screen icons, blending Harley’s dreamlike fantasy with a cinematic nod to vintage Hollywood.

"Totally Ginger Rogers and Fred Astaire", says Phillips, "and [the dress inspiration] was in the script, so I leaned into that".

Harley also wears a pair of vintage 1938 Bvlgari platinum and diamond ear clips, now part of the Bvlgari Heritage Collection in Rome.

She completed the look with a silver version of these Bloch Chord T-strap dance heels.

"The early ‘80s was the time when the East Village scene and CBGB on the Bowery were starting up", says Arianne about the inspiration for Lee’s supposedly thrifted, ‘70s "babydoll, Biba-esque dresses" worn with discordant oversize cardigans and chunky punk rock outerwear. "She has a fake fur jacket and a thrift store men’s sweater. She would have cobbled these looks together, but, still, there’s a vulnerability and bizarre innocence — she’s this sycophant who’s obsessed with Joker. That mix, to me, shows that".

For her casual attire, Lee wore this vintage 1960s faux fur double-breasted peacoat in teal and black, along with vintage floral dresses underneath!

Her necklace in the shape of a diamond, custom-made by Michael Schmidt Studios, shows the Hermetic Seal of Light: "This symbol, often referred to as the synthesis of alchemy or the Hermetic Seal, hearkens back to ancient Pythagorean philosophy, wherein the square, circle, and the triangle are the emblems of the material body, the soul, and the spirit, the three elements believed to be necessary for alchemical transformation."

Harley‘s 70s-style brown patchwork leather chevron hobo bag, now lovingly named the "Harley", is a one-of-a-kind piece made by Kilner Goods who uses upcycled materials for her designs.

"I sort of saw it and I didn’t know if it was some sort of a joke or a scam or something. I sort of forwarded it to my friends and family and said ‘Wow, this is cool if it is real'" Nicole Loewen states.

Arika Nerguiz is actually a primarily dance shoe designer, and the Gaia is a dedicated tango shoe. But Lee makes use of it here as an adorable day shoe while out and about in Gotham City.

For the Joker & Harley Show bit, Lee dons a striking marigold two-piece set with a smattering of delicate Swarovski crystal and bugle bead strings assembled by Western Costume Co. that references Bob Mackie’s work for Cher.

This one’s designed by Arianne who had it custom-made by her costume team. She also wore custom rainbow-striped platform heels.

Out of Arkham, Lee gradually shows her support of (or fixation on?) Arthur and his Joker persona by moving up the gallery to sit front row at his trial.

For the courtroom fantasy segment, Lee wears a custom sheer crimson tunic dress with burnout black velvet triangles all over, made by the costume team.

Back in the courthouse, Lee (Harley) Quinzel wears a vintage Biba-esque navy, flower-print "church"-type dress with an exaggerated Peter Pan collar in contrasting white.

The white diamond-patterned 20/60 dernier tights are the Losanges tights by Emilio Cavallini, who renamed them into the Harlequin tights ($38) after seeing Gaga in them!

Lee walks down the aisle toward Joker in a custom white bridal V-neck mini dress with a delicate diamond trapunto pattern and gleaming ribbons streaming down the shoulders — "playing into what Arthur would be attracted to," says Arianne. "In her fantasy, and his fantasy, what would that look like?"

Phillips referenced ‘60s icons like Jacqueline Kennedy Onassis for the block-heel Mary Janes, plus Doctor Zhivago-era Julie Christie and the late ‘60s/‘70s silhouettes of Ossie Clark and Biba. "The dress is pretty inspired by my aunt, who got married in the ‘70s," she adds. "I was a flower girl".

The adorable white patent leather Mary Jane pumps with double buckled straps are the Alice by Carel ($510).

The nuptials transition into a raucous jazz performance at the ill-fated (and ominously named) Pogo’s comedy club. Lee smashes the keys on a baby grand as she belts out a banger, wearing a silver metal mesh dress that sways with her bombastic movements, bringing to mind...well, Lady Gaga.

Arianne collaborated with Michael Schmidt Studios on the sparkly stage-wear. "I made a diamond-shaped collar that just gave a certain energy to that scene" she says.

You‘ll find the diamond shape somehow always in everything Harley wears. Here, it appears in her custom Michael Schmidt Studios drop earrings!

Arianne whispered to me that Lee also donned a pair of Gianvito Rossi heels in this scene. Even though her feet are mainly hidden by the piano she plays on, I believe that it‘s the Crystelle sandals that sparkle vividly in the shadows.

We can see Lee getting ready for Arthur‘s final trial, wearing the Kit Undergarments organic cotton triangle soft bra in "Darling" floral print!

Lee strides into court in full Harley Quinn regalia: a red silk blazer with raised diamond patterns and pleated ruffle cuffs, a theatrical corset and graphic tights.

"Along with embracing her determination, she has taken on this persona inspired by Joker," says Arianne. She imagines that Lee thrifted the red jacket from an old circus uniform, ripped the muslin and ruffle-trimmed corset off a period costume gown, and maybe copped the leather mini from the Gotham outpost of Trash and Vaudeville. "You see the diamond pattern throughout," she adds.

The costume was created using fabrics from International Silks & Woolens which were then custom tucked and pleated by Twins Pleating & Smocking.

Previously worn in white, Lee also chose the Harlequin black 20/60 dernier tights ($38) by Emilio Cavallini!

Lee completed her dramatic ensemble with a vintage leather bag and these Charles Jourdan Cecil patent leather ankle boots with decorative elastic bands!

Last but not least, we see Harley Quinn one more time, dressed in her custom black and white ruffle-trimmed corset and custom black chevron jacquard peacoat with red silk lining.

"My idea was that the black and white corset was something that she ripped out of perhaps a proper costume, like an 18th-century dress. We made it out of muslin which is never what you use on the outside of a costume because the texture is unfinished and ragged on the edge." says Arianne.

The look was completed with the Converse All Star low-topcanvas lace-up sneakers in black mono.

[strathshepard]

Monica Bellucci for Charles Jourdan, 1989

[kitsunetsuki]

Boots by Charles Jourdan & by Pierre Cardin (L’Officiel 1973)

[hannahleah]

Photography by Guy Bourdin. Vogue Paris, February 1967. Photoshoot for Charles Jourdan.

[disease]

"CHARLES JOURDAN" GUY BOURDIN | AUTUMN, 1979 [fujiflex crystal archive | 13 × 19 1/2"]

[chicinsilk]

L'Art et la Mode Septembre 1958

Jeanne Lanvin/Castillo Haute Couture Collection Fall/Winter 1958-59. Ball gown in fine lace, silk background, white with silver thread. Pumps by Charles Jourdan.

Jeanne Lanvin/Castillo Collection Haute Couture Automne/Hiver 1958-59. Robe de bal en fine dentelle, fond soie, blanche à fil d'argent. Escarpins de Charles Jourdan.

Photo Georges Saad

[featherstonevintage]

Skirt/pareo: Kenzo Swimsuit: Erès Espadrilles: Charles Jourdan

Marie Claire, May 1994

Photographed by Patrick Demarchelier