\t\t\t\t\tDiane Keaton and Woody Allen in \u2018Annie Hall,\u2019 1977.<\/span><\/p>\n \t\t\t\t\t\t\t\t\tCourtesy Everett Collection<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n \n\tKeaton\u2019s contributions to her look in Annie Hall <\/em>caused a conflict with the film\u2019s costume designer, Ruth Morley, who initially envisioned a character who wasn\u2019t so fully formed from a style perspective. Having written both the character and the film based on Keaton and his relationship with her in the late 1960s through early \u201970s, Allen intervened and asked Morley to let Keaton control her own onscreen style during filming; the resulting wardrobe blended pieces from vintage stores and Keaton\u2019s own closet, as well as separates contributed by Ralph Lauren<\/a>.<\/p>\n \n\tIn the summer following the film\u2019s release in April 1977, The New York Times<\/em> highlighted the trend \u2014 \u201cthe Annie Hall look is now popping up on the streets with amazing frequency,\u201d it proclaimed \u2014 and included an interview with Morley. \u201cThe look was designed for a girl who didn\u2019t quite know who she was,\u201d said Morley, who died in 1991. \u201cThe girl is little confused but not a hippy; she\u2019s unusual, she\u2019s trying to find herself \u2026 [b]ut even though she didn\u2019t yet know who she was, she had originality and she was creative.\u201d<\/p>\n \t\t\t\t\t\t \t\t\t\t\tDiane Keaton and Woody Allen in \u2018Manhattan,\u2019 1979.<\/span><\/p>\n \t\t\t\t\t\t\t\t\tCourtesy Everett Collection<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n \n\tThat last quote also might apply to Keaton overall, with one exception: she knew exactly who she was, and throughout her life she often made that statement via what she wore. The actress-director-producer\u2019s signature style resulted in a 2024 book, Diane Keaton: Fashion First<\/a><\/em> (Rizzoli, $55), in which Keaton credits her mother as her style inspiration. Her parents\u2019 names? Jack and Dorothy Hall. \u201cShe was dolled up no matter what,\u201d Keaton wrote of her mother. \u201cAnd I was following right behind her, loving every minute of it.\u201d<\/p>\n \n\tLauren penned the book\u2019s foreword, noting that Keaton attended his fashion shows long before she became famous. \u201cI am often credited with dressing Diane in her Oscar-winning role as Annie Hall<\/em>. Not so,\u201d he wrote. \u201cAnnie\u2019s style was Diane\u2019s style. Very eclectic. She loved floppy hats and oversized men\u2019s jackets. She loved dangly neckties and layers of sweaters and vests and cowboy boots. Around the same time, I sent models down the runway dressed like that. We shared a sensibility, but she had a style that was all her own.\u201d\u00a0<\/p>\n \n\tSoon after Keaton\u2019s death was announced, Lauren posted a statement to his brand\u2019s social media: \u201cDiane always marched to the beat of her own drum \u2014 in the way she lived, the way she saw the world, and the way she made all of us feel,\u201d he said. \u201cShe was authentic, unique and full of heart. She was always herself\u2014one of a kind.\u201d<\/p>\n \t\t\t\t\t\t \t\t\t\t\tDiane Keaton in \u2018Baby Boom,\u2019 1987.<\/span><\/p>\n \t\t\t\t\t\t\t\t\tCourtesy Everett Collection<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n \n\tIt wasn\u2019t difficult to see Keaton\u2019s personal style in her onscreen looks. The details are all there, from menswear inspirations revealed through tailored trousers and jackets, the latter often cinched with a wide belt, to an appreciation for accessories, hats in particular. She added that self-identity to her character\u2019s corporate look in 1987\u2019s Baby Boom<\/em> and to the polished, tailored pieces she wore in 1990\u2019s The Godfather Part III<\/em> (though admittedly Milena Canonero\u2019s costumes struck many film and fashion critics as being somewhat anachronistic, feeling more current than the film\u2019s time period of late 1970s\/early 1980s).<\/p>\n \t\t\t\t\t\t \t\t\t\t\tDiane Keaton in \u2018The Godfather: Part III,\u2019 1990.<\/span><\/p>\n \t\t\t\t\t\t\t\t\tParamount\/Courtesy Everett Collection<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n \n\tMore recently, Keaton\u2019s roles also became an inspiration for women who desired to feel stylish and confident when they were no longer in their 20s and 30s, especially as fashion historically has eschewed older demographics in favor of youth. Tailoring was key to her character in films like 1996\u2019s The First Wives Club<\/em>, while in 2003\u2019s Something\u2019s Gotta Give<\/em>, a white turtleneck \u2014 another offscreen favorite piece \u2014 not only helped define her character, it also became a plot point, with Jack Nicholson cutting the sweater off her as a bit of comedic foreplay in their climactic love scene. In 2014\u2019s 5 Flights Up<\/em>, Keaton was both adorable and stylish as the wife of Morgan Freeman in this story of an older couple who must navigate decisions and the next phase of their life while selling their walk-up apartment in Brooklyn. Via an effortless blend of sweaters, tailored jackets, scarves and a kicky beret, Keaton\u2019s look might have become style goals for women decades her junior.<\/p>\n \t\t\t\t\t\t \t\t\t\t\tDiane Keaton and Morgan Freeman in \u20185 Flights Up,\u2019 2014.<\/span><\/p>\n \t\t\t\t\t\t\t\t\tJames Hamilton\/Focus World\/Courtesy Everett Collection<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n \n\tKeaton expressed her personal style most fully on red carpets<\/a>, and she was unafraid to have fun with it \u2014 indeed, \u201cquirky\u201d was an adjective style pundits employed to describe some of her event looks. When a jacket was paired with a skirt, either slim and pencil-shaped or bursting in ballerina tulle, it was always belted and worn with statement shoes. Bowler hats and berets were essential accessories, and she often wore gloves, a detail also included in the wedding scene of 1991\u2019s Father of the Bride<\/em>. Ralph Lauren designed several of her awards-show looks, including a Charlie Chaplin-inspired suit he created for her to wear at the 2004 Academy Awards, when she was nominated for best actress for Something\u2019s Gotta Give<\/em>, and a velvet tuxedo Keaton wore to the 2014 Golden Globe Awards, when she accepted the Cecil B. DeMille Award for Allen, who famously has avoided awards ceremonies throughout his career.<\/p>\n \t\t\t\t\t\t \t\t\t\t\tWearing Ralph Lauren, Diane Keaton speaks onstage during the 71st Annual Golden Globe Awards at The Beverly Hilton Hotel on Jan. 12, 2014, in Beverly Hills, California.<\/span><\/p>\n \t\t\t\t\t\t\t\t\tPaul Drinkwater\/NBCUniversal\/Getty Images<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n \n\tWhen Keaton won the best actress Oscar for Annie Hall<\/em> at the 1978 Academy Awards, she wore a look by Giorgio Armani<\/a>. Today Armani is considered a mainstay of awards-show style<\/a>, but his look for Keaton, a tan double-breasted jacket layered over a striped ankle-length skirt, was the first time the legendary Italian designer had dressed a star for the red carpet. In 2020, Armani noted in an interview with Grazia<\/em> that Keaton \u201chad a completely different idea of what the image of stardom should be \u2014 she wanted to be a relatable person first, a star second,\u201d he said. \u201cYou can see how Diane makes a tailored jacket \u2014 in a style normally associated with a man\u2019s suit \u2014 look thoroughly modern and individual.\u201d In a 2021 Instagram post, the house of Armani also noted that the designer, who died in September 2025, contributed to the costumes Keaton wore in Father of the Bride<\/em>.<\/p>\n![\"\"](\"https:\/\/www.hollywoodreporter.com\/wp-content\/themes\/vip\/pmc-hollywoodreporter-2021\/assets\/public\/lazyload-fallback.gif\")
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