She is the most adorable thing since the beginning of time. Her style is modern, nostalgic, feminine and fun. She mixes total madness that shouldn’t work (and totally does) with sophistication. Emilia Clarke gives her character warmth, sensitivity and genuineness -her wardrobe only makes you love her more. She is quirky, imperfect and determined, qualities which all come through in her clothing choices.
There are definite hints of 50’s styling in Lou’s wardrobe, right from her tootsies to her midi cut, but there is always a little twist taking the traditional to a new, unique level. She rocks nautical looks, neck scarves, Hawaiian dresses, t-bar heels… But her looks are never cliched or dated; she is a new vintage kind of girl. She’s as goofy as Lucy Ball and as smooth as Lauren Bacall but as utterly original as either of them.
Part of Lou’s overall appeal is her dedication to her own sense of self. Her clothes are bright, bold and unabashed – they don’t really fit in her small home-town. At the beginning of the film she is in a suffocating relationship with someone who does not understand who she is or what she wants, however good looking he may be (played by Matthew Lewis). She has a strong sense of duty and works hard to help her family make ends meet, but there is a continuous strain between her loyalties to her family and to herself. Despite a difficult beginning, Lou grows close to her employer, Will (Sam Claflin), for whom she is a caregiver, following a motorcycle accident which has left him quadriplegic. She helps him to live, rather than to just exist in his own body. They go on trips, to the races (for which she has an equestrian ensemble) and on an exotic holiday. Her optimism, however infectious, cannot go so far as to change Will’s mind or his decision to end his own life.
In a bittersweet kind of way, the end of Will’s life is the kick-start of Lou’s. He gives her and her family the financial freedom to move forward, and frees Louisa to focus on her own ambitions, rather than the minutiae of staying in the black. Lou brings Will out of his, understandably, self-absorbed way of thinking with a not-so-subtle ‘you don’t have to be an arse’. Will shows Lou the realms of possibility that she has started to turn her back on – french cinema, university etc. They may be as clashing as some of Lou’s pattern heavy outfits, but they compliment each other well.
Sometimes, you just need someone to let you know that they do make bumblebee tights for adults. And, sometimes, you need a film to be so bittersweet that you can cry, smile and feel hopeful all at the same time.
See also: Flavour of the Month: Brooklyn