Since the term teenager was first coined in the post-depression US, it seems that every generation of these youths have had their own media representation that has voiced their rebellion and angst. In the fifties, there was Holden Caulfield and James Dean. The nineties had Clueless and 10 Things I Hate About you. The sixties saw themselves reflected in The Beatles and Bob Dylan. But teens in the eighties had John Hughes.
As someone born in the mid-eighties, I experienced these movies in a slightly different way. I remember watching Cher Horowitz and thinking she was the coolest, even though I did not catch on to the sexual undertones of the film until later on. But then one day, when I was twelve, there was a John Hughes marathon on TV. It was during Sixteen Candles that I discovered that Molly Ringwald was the queen of awkward moments and mumbling.
But when The Breakfast Club came up, I realized that Ally Sheedy’s Allison was my spirit animal. As an awkward preteen, her kooky behavior and dark eyeliner were basically a mirror of my own unravelling outsider personality. But then, as the movie’s end came, she was transformed into a princess with her headband and plucked eyebrows. Emilio Estevez’s character was somewhat intrigued but un-attracted until her makeover. The message was clear then: no boy will ever like you until you look like that. Who cares that you shared a moment regarding your feelings of being ignored or misunderstood? What you really need is some mascara and tweezers.
As for Ringwald’s Claire, my younger self learned that the more a guy sexually harasses, assaults, and shames you over being a virgin, the more he actually likes you. Let’s be honest, John Bender doesn’t actually change throughout the whole movie. He just manages to tire Claire into accepting his advances.
This film will forever be embedded in our cultural history for both its stereotypes as well as its use of sexist ideas. Think about this: if the tables were turned, and Bender’s character was female, the posh guy forcing himself on her would be seen as a predator. But because he’s presented in such a charismatic way, where we need to empathize with the fact that his father is abusive, then we can kind of understand his own violent tendencies.
I could also make a comment for the fact that, as much as Hughes wanted us to root for the outsider and the little guy, that’s the one person who doesn’t actually make it romantically. Just like Ducky in Pretty in Pink, Brian Johnson is a good guy that is not smooth enough to get the girl. Because having the geeky boy get with the freaky funny girl would just be too real. And these movies are all about putting opposites together, despite the two people not sharing much in common. But how has this movie managed to survive the years with all these clichés? Well, I think that we look past them because of romantic nostalgia.
The film plays out over the course of one day, as the characters are stranded in detention. Yet despite the costume changes being nonexistent, you could say that the outfits worn by the female leads have aged way better than the movie’s plot.
Molly Ringwald’s Claire’s midi skirt and knee high boots is more runway than hallway. You can totally see a city girl running out of the subway stairs to her job in this get-up. The style is made to prove the character’s upper class status. However, to me, it’s a reminder that you can’t go wrong with the classics.
If you can’t get a hold of the exact skirt length, or you’re worried that it will look too long on you, a pencil skirt or above the knee will do. As for the boots, go for ones that match your own style. Whether they’re slouchy, mid-calf, ankle, or over the knee, go for a neutral color that will make your skirt stand out.
As I mentioned before, Allison is my fave. When you see pictures of Ally Sheedy, it’s amazing how contemporary her outfit looks. The oversized sweater and accessories, the monotone palette, even the sneakers with the full skirt. There’s something effortless and chic about the so-called weird girl.
Comfort and not being too matchy-matchy are the rules when going for a look like this. Think about Allison’s demeanor the whole movie, that is, until her unnecessary transformation.
The Breakfast Club is a classic, but not without its problems. We can’t pretend the sexist and classist undertones are not there. However, these can become initiations of dialogue and conversation about why certain attitudes and behaviors are not appropriate or acceptable. We can challenge social constructs by facing them, even those perpetuated through media. In other words, we can see the beauty and esthetic while still understanding and decoding the context behind some of the problematic narratives it presents.
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