You might not immediately recall the first line Annie Hall speaks, but it’s hard to forget the way she appears. The outfit is nothing like a typical leading lady’s wardrobe, as if she just put on what she had without much thought. Yet, that look left a lasting impression on us.
There was something about her appearance that completely had us hooked. Even before Annie’s personality fully revealed itself, the outfit hinted at someone untraditional, laid-back, and something unique. So, was it all planned? You’ll be surprised to know!
How the ‘Annie Hall’ Look Came to Life
Diane Keaton was already recognised for her work in ‘The Godfather’ series before Annie Hall in 1977, but that film introduced a character defined by her personality rather than the costume. Annie Hall’s clothes were loose, layered, khaki trousers, oversized vests, button-down shirts, and men’s ties.
What’s most surprising is that Keaton herself revealed in her 2011 memoir Then Again that these outfits were largely her own. Yes, you heard that right. Woody Allen had told her simply, “Wear what you want.” She took that instruction literally, pulling elements from her existing wardrobe and borrowing from styles she observed on women in New York’s Soho.
In fact, one of the hats she wore had been borrowed from French actress Aurore Clément during the filming of The Godfather Part II, long before Annie Hall existed.
Although Keaton often downplayed her involvement and credited the “street chic” women of New York, the visual identity of Annie Hall came from her. Rather than acting around a costume, she acted through it, adjusted hats when nervous, and slipped her hands into pockets when unsure. And, no costume can teach you these!
Larger Impact Of Keaton’s Look
Keaton’s look, however, had a larger impact on-screen as it introduced a completely different kind of femininity. It wasn’t the usual female actresses we were used to seeing on-screen, and instead, it mirrored her contradictions. She was self-conscious yet sincere, slightly awkward yet appealing.
In case you missed it: Top 10 Cult Classic Films
Not long after the film’s release, Annie Hall’s look moved beyond the screen. Other actresses, such as Meg Ryan in When Harry Met Sally, adopted similar elements, blazers, loose trousers, and layered shirts, trying to capture the same effortless sensibility. Designers and stylists recreated variations for red carpets and editorials. But it never looked the same.
On others, the style appeared styled. But on Keaton, it all looked so natural. Maybe that’s because that was a part of Keaton’s natural self. She didn’t change herself to please the audience. She wore high necklines, wide trousers, and jackets without adjusting them, and that effortless style made it so recognisable and difficult to replicate.
The same approach followed her into later roles. In Something’s Gotta Give, she played a playwright who spent much of the film in turtlenecks, even in summer. When Jack Nicholson’s character questioned the choice, she replied simply, “I like them. I’ve always liked them. I’m just a turtleneck kind of gal.”
In Keaton’s work, her fashion choices functioned almost as a signature. They resisted change for the sake of appeal. Even when characters around her evolved or adapted, her wardrobe didn’t. Maybe Keaton was the first of her kind to introduce the idea in Hollywood that a female lead did not always need fitted silhouettes or over-the-top styling to be memorable.
