Originally Published in Print, April 2022.
Art by Meghan Flood.
“I don’t want to repeat my innocence. I want the pleasure of losing it again.”
― F. Scott Fitzgerald, This Side of Paradise
It almost seems like director Anthony Minghella pulled the character of Dickie Greenleaf right out of a Fitzgerald book. Played by the gorgeous Jude Law, Greenleaf is the second lead in the British filmmaker’s 1999 adaptation of Patricia Highsmith’s novel, The Talented Mr. Ripley. Dickie is the personage Matt Damon’s Tom Ripley aspires to. In this film, clothes are not simply costumes, but the very skins of the characters and the literal fabrics of society.
I find it interesting that Dickie first appears in a mere swimsuit. This scantily attired figure is then clothed by the film and firmly established in terms of his personality, moral outlooks and social context. Ultimately, it is Tom Ripley who will be dressed in these very clothes. Ripley and Greenleaf’s wardrobes are built in antithesis to each other. Scattered throughout the film are moments where Tom wears Dickie’s clothes in an attempt to become him. In the narrative, Dickie is incessantly tethered to his attire, so much so that it is through his knitted shirt that Tom remembers him.
Designers Ann Roth and Gary Jones carefully tailored Dickie Greenleaf’s ensembles for the film. For them, it was not only about an authentic representation of the 50s, but also an acute distinction between American and European styles. Dickie’s portion of the film is set entirely in Italy, with a big chunk of it being in the fictitious town of Mongibello on the Amalfi Coast. Combining the zeitgeist of the times with the geographical context, while distilling the essence of his character, Roth and Jones stitched each and every detail to absolute perfection.
Dickie dawns on Riviera chic with a nonchalance characteristic of old money. “Just wear some of my things. Wear anything you want. Most of it’s ancient,” he tells Tom. His clothes are comfortable and carefree, but do not compromise on style and quality. Easy but well-fitted, baby pink shorts and beige polos with Italian collars make frequent appearances. His relaxed demeanour is reflected in his often-cuffed white linen pants and knitted shirts that he leaves mostly unbuttoned. At the Jazz club in Naples, he is seen in a cream coloured jacket with a bold tie. These patterned ties are to become a signature of his ensembles. The minutiae of his costume lie in the accessories – a gold ring on the middle finger of the right hand and a green signet ring on the little finger of the left, his steel watch, the iconic porkpie hat and a brown Gucci belt. Albeit little things, they throw light on his upper-class upbringing, maintain the tone of his opulence and balance his blasé attitude with tailored charm.
It is in Rome that this charm reaches heights of sophistication. Rome gives Dickie the opportunity to shine in suits of sartorial excellence. He retains the hat and Gucci belt, wearing them with an elegant navy dupioni silk jacket and a white shirt with double French cuffs and gold cufflinks. An all-time favourite fashion and cinematic moment of mine is his dark monochromatic suit. In a scape of solid Prussian blue – polo, jacket and pants – with the gold-buckled brown Gucci belt and black hat, he is the epitome of a debonair rake.
At the time of his murder, his final scene in the film, Dickie is dressed in black, as is his culprit, Tom. Roth and Jones yet again bring in their subtle genius by giving the two black shirts different textures. It is this attention to the small, seemingly unimportant details that gives their costumes such character. Dickie’s style is suave and flattering but also easy and casual. He repeatedly sports a pair of dirty white loafers and cannot be bothered to wear socks. Moreover, matching his unbuttoned shirts, he hastily pushes his feet into these shoes, bending and folding their backs, revealing his bare heels. Minghella, Roth and Jones, gave as much thought to what is clothed as to what is not. From Dickie’s first appearance in a swimsuit, to the chess game played naked in the bathtub, his nudity was a garment in itself.
A combination of Amory Blaine and the tragic Jay Gatsby (especially given his prominent green ring), Dickie exudes confidence in his wide-cut suits, unbuttoned polos, and audacious prints and textures (one of his shorts has maroon fish all over it). A briefly worn black and gold bathrobe is the peak of his luxury. His approach to clothes is the perfect blend of flair and leisure, resulting in irresistible charm. He is certainly one of the best and most intelligently dressed characters in cinematic history.
