Hi Glamour, I'm Brooke Shields and today,
I'm going to be breaking down some of my iconic looks
from film and television.
[bright upbeat music]
Louis Malle directed Pretty Baby.
Agh, the costumes were by Mina Mittelman.
It was 1910, the film, the wardrobe was,
And in a brothel in New Orleans.
Every single article of clothing
from the underwear to the petticoat,
to the socks, to every undergarment,
all the gloves, every single thing,
nothing was made new.
All of the items, no matter what they were,
were from that original time.
I played Violet, and I was the youngest girl in the brothel.
The one outfit that was supposed to be
my special sort of, coming out party, if you will,
it was made out of the finest hand-woven lace.
And the whole thing was just layers and layers and layers.
The stockings weren't that comfortable. [laughs]
I remember the shoes,
I got a terrible, terrible allergy from the shoes.
They had to tape moleskin underneath my feet.
But the corsets were amazing.
And the little lace camisoles,
I then, in later years, wore them with jeans.
It definitely inspired some of my looks in the later 80s.
So the next one is Blue Lagoon,
which was in 1980 that it came out.
And Randal Kleiser was the director of it.
And Jean-Pierre Dorléac, I think his name was,
was the costumes.
If you wanna call them costumes,
that would be very generous actually.
Because if you look at them, [chuckles]
there's a lot of things wrapped around me and tea-dyed gauze
to look like really aged cotton and lace.
And we just had to tie it around me in different ways
to hide certain parts of my body.
Mostly all of the clothing was either stuck down with tape
or tied with twine.
So my hair is quite short at the time
because I had just done Wanda Nevada.
So they had to put a,
half of the hair was all fake.
It was a fake wig; it was like a fall.
So they just would wrap something around my bottom path,
tie it, and then just take my hair
to my non-existent chest at the time. [laughs]
Sahara, which was 1983, Andrew McLaughlin was the director,
and he was like a old-time director from like westerns.
But like John Wayne westerns.
I dressed for a good portion of the movie as a boy.
I was incognito because I wanted to enter into this race
that raced across the Sahara desert.
Alan Flusser was one of the premier nail designers.
And so he did beautiful, beautiful men's suits for me
to fit me perfectly.
We shot the whole film in Israel.
I got to wear a lot of really traditional wedding outfits
from that time, which were very long,
very, in depth, very detailed, very ornate,
lots of beads and metal, and heavy, really heavy.
I had to wear this headdress, which was made out of metal,
but almost full length.
The thing weighed maybe 100 pounds. [laughs]
And it was very hard to walk around and look graceful
and then get on a horse and ride off into the sunset.
Suddenly Susan.
Between years, 1996 to 2000.
And Clyde Phillips was the original creator.
And then we had different showrunners.
And Judith Curtis was our wonderful customer.
You know, when you're starting a show,
and you're not yet all that successful,
you kind of just have to pull from what the budget is.
And I remember Hush Puppies
were sort of coming back into the zeitgeist.
And they had me in all these really nineties business suits.
And then I'd get to where really comfortable Hush Puppies.
So it was sort of, I don't know if it was the best look,
but it was definitely more comfortable than wearing heels.
They wanted me in a lot of color at NBC
and the palette was always very, very, very bright.
But you know what I learned about wardrobe
so clearly from doing Suddenly Susan
is as we got better and we got more episodes ordered
and we became more successful,
we got to wear better designers.
They had such a brilliant seamstress wardrobe department
that I don't care who made,
it could have been the best designer at the time.
They could do something that made it look better on you,
whether it was to raise the belt loop a little bit,
or lower the belt loop to pull it up a little bit
to give you more of a shape.
Or take something in at the waist
and maybe take it out in the bud or the hips or something.
And it really struck me as, you know,
torture ourselves about how we don't fit into certain sizes
and almost nobody fits perfectly into the sizes
that are out there, and it was such a relief for me
to not feel that somehow I wasn't fitting into anything.
Because they could take the best designer in the world
and somehow make it just a little bit better looking on you.
The Middle, 2010 to 2018.
Created by Eileen Heisler and DeAnn Heline.
Costumes by Julia Gaston.
And there's nothing appealing or glamorous,
or sexy, or chic about anything that my character wore.
And I had names of guys
I had gone out with tattooed on my arm.
And then when they'd run out of town or run off
and leave me, I'd have to just get their name tattooed
through with the line.
Lots of Daisy Dukes,
lots of smoking, and high-heeled wedges.
The costumes made you hold your body a very specific way.
The way that wedge heels or the high top, wedge, sneakers,
and the really tight, tight, tight, stretchy jeggings,
all of that just put my body into these, just,
it was just a very, very different feel to it.
Castle for Christmas, soon to be released.
Created by Mary Lambert.
And the costumes were by Oana Draghici.
It was all beautiful Scottish Tweed, and wax coats,
and boots, and riding boots, and very Outlander,
but more on the modern era, just very Scottish.
Lots of tartan; lots of through the richness of these.
Men wore a lot of kilts.
These kilts were so beautifully made
and they went to the customer
who did all the Royal family's kilts and everything.
The last dress in the sort of fantasy of this rom-com
was crafted by Vivienne Westwood.
She designed one of the most beautiful multi-tartan
bustier gorgeous fantasy dresses.
The corset was extremely tight.
There was no way around it.
They were just too beautiful to be fully comfortable in.
And it was just so tight.
The bones from the corset just bruised my,
bruised my whole rib cage.
Dancing was not, [chuckles] was not easy,
but we figured it out.
Well, thank you very much, Glamour.
It's been really a lot of fun just to revisit
all these favorite looks with you
and reminisce about all the fun that I've had
wearing different wardrobe throughout the years.
So, thanks for having me.
