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The fashions of John Hughes movies

Clustered in a small window of the mid-'80s are the John Hughes films that stick with you, the angst-ridden, modernized incarnations of “Rebel Without a Cause” that resonate so well with those born around the time of Watergate (or even as late as the Carter or Reagan years, if they had good babysitters).

Just as immortal as the plots and catch phrases: the leggings, the taffeta and the sweater vests. Though Hughes didn’t costume his characters, these films capture the essence of an era that’s still shimmering its way thorough fashion. Just take a look at the Fall 2009 runway shows. Here, a sampling some of those classic Hughes movie looks.

Sixteen Candles
One of many movies that helped secure Molly Ringwald’s place as a fashion icon, the film helped make accessories like her chunky bracelets and wide-brimmed hats closet staples. (Universal Studios)
The Breakfast Club
This film was about how others see a brain, an athlete, a basket case, a princess and a criminal. Why not have them dress to fit those stereotypes?

Pictured: Judd Nelson, left, Emilio Estevez, Ally Sheedy, Molly Ringwald and Anthony Michael Hall. (Universal Studios)
Pretty in Pink
An outsider in high school, but not in the fashion department: All that Molly Ringwald could layer over leggings used to be the go-to look for anyone wanting to wear an “ ’80s outfit” to a costume party. These past few years, it’s just been the go-to outfit.

Pictured: Andrew McCarthy, left, Molly Ringwald and Jon Cryer. (Paramount Pictures)
Ferris Bueller’s Day Off
Save Ferris, who else could get away with a dual-colored leather jacket with a sweater vest and a beret? (But we know you tried it.) Let’s not forget that Sloane, Ferris’ girlfriend, was all too hip with that cropped, fringed leather coat.

Pictured: Mia Sara, left, Matthew Broderick and Alan Ruck, back seat. (Handout)
Some Kind of Wonderful
Why do bad girls look so good? Watts (Mary Stuart Masterson) wore her hard-edge pixie cut and biker clothing with just the right amount of sensitivity.

Pictured: Eric Stoltz and Mary Stuart Masterson. (Joyce Rudolph / Paramount Pictures)