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Jill Burgess analyses how the glamorous fashions of the 1930s thread their way through dual love stories in W.E (2011, directed by Madonna). Wallis’ look for daytime comprises fitted suits, blouses and skirts, and dresses, sometimes narrow, sometimes with a circular skirt.
As Wally’s home situation worsens — she wants to raise a child but her husband does not, plus he is lying to her about his nightly whereabouts — Wally imagines more of Wallis’ life with Edward in the months leading to his abdication. Obsession reaches its peak with a trip to Paris where Wally requests Mohammed Al Fayed (Haluk Bilginer), who purchased the Paris house belonging to the Duke and Duchess, permit her access to Wallis’ private letters. As Wally slowly escapes her unhappiness, subtle amendments become apparent, her hair is worn low to the shoulders and trenchcoat alters from austere black to beige. By: ContributorFiled under Clothes from 1930s, Clothes from 1990s, Girls in Films, Guys in Films, Premium. She wears patterned skirts with belted cardigans, a black Burberry trenchcoat and black pumps. Black and white is present, though by introducing floral prints and shades of blue for both day and night, her palette remains less severe than Wally’s. Wally’s black dresses, marking her an elegant and feminine New Yorker, could just as easily be read as mourning clothes; she is grieving for the love and life she desires yet cannot have. Wallis was famously gifted some of the most glorious jewellery ever created, the bulk of which was made by Cartier.

Simpson.” Bringing the cup to her lips, Wallis discovers instead of tea a jeweled cross at the bottom.
For much of the film she wears diamond stud earrings and a gold “W” pendant with pave diamonds. Wally is now a dead ringer for Wallis, wearing a black open weave cardigan over sleeveless white dress or black dress with white collar, centre placket and side panels. Wally becomes fascinated with Wallis and Edward during the Sotheby’s auction of their estate in 1998. As Wally becomes more fixated on Wallis, she replicates the lean thirties silhouette, incorporating blouses with graphic patterns.
Wallis’ hair is worn up with finger waves framing the face, and her nails and lips are red. The 1930s is echoed in a vintage wristwatch with black leather strap, similar to Wallis’ own, and the pearl necklace and earrings chosen when bidding at Sotheby’s for an assortment of white kid gloves belonging to the duchess. She is now capable of focusing on her own happiness, willing to embrace what she already has. She visits the exhibit leading up to the auction every day, wandering among the Duke and Duchess of Windsor’s possessions, taking solace from her own shaky marriage.
Wally’s hair is pulled back and styled around the face with soft finger waves, occasionally accessorised with jewellery, as Wallis often wore hers.

Evening gowns are frequently of metallic fabrics such as the silver and gold lame dress worn when she first dances with Edward.
Receiving its own movie montage is one of Wallis’ most famous pieces, the Cartier bracelet incorporating nine jeweled Latin crosses dangling from a platinum and diamond bracelet. Wally soon attracts the attention of Sotheby’s security guard Evgeni (Oscar Issac), who is intrigued by why she visits the exhibit so often. Sparks fly between them and she evolves from Edward’s acquaintance to romantic interest, to woman he is willing to give up his kingdom for. Each of the crosses was set with different stones and engraved with a date special to Wallis and Edward. One scene takes place in the Cartier workshop, showing a cross crafted by the artisans, followed with Edward gazing through a loupe at the finished article.
Showstoppers include the black and cream-colored chevron-patterned suit she wears with a black hat and netting over her face, a blue and white-striped dress with full skirt and a diamond bow brooch at the throat, and the blue and silver velvet Elsa Schiaparelli evening ensemble, complete with matching fabric diadem.

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