Wardrobe as uniforms; bloom of first love; more tell-tale signs who's in director's chair
In Wes Anderson's world, what people wear speaks volumes about their internal life so much so that they rarely change their clothes. (And when they do, it's a clear sign of a radical interior change.) Anderson's most cosplay-ready film remains The Royal Tenenbaums, with each character modeling a vaguely fantastical uniform of ennui.
In Anderson's more recent work, this ''uniform'' concept is literalized but also flipped: The filmmaking squad in The Life Aquatic With Steve Zissou and the Khaki Scouts of Moonrise Kingdom demonstrate their solidarity with matching outfits, while the post-Victorian Ruritania of The Grand Budapest Hotel imagines a modernizing world overflowing with uniforms that express old-fashioned values (like the colorful all-star concierges) or encroaching modernism (the vaguely fascist soldiers dressed all in black.)