**This is our weekly series on stylealchemy, titled Cinema Aesthetic, which explores the importance of wardrobe and set design within film (mostly) but may include music video and television**

To me, Rosemary’s Baby is the one classically defined horror movie without any specific horror on the screen. There is no malfunctioning cell phone coming to get you or an escaped mental patient hiding in your backseat waiting to slit your throat.

You’re not going to jump out of your seat screaming because you’ve been surprised. Everything that makes Rosemary’s Baby deliciously creepy and suspenseful is in the way the film is shot. Director Roman Polanski had the impressive job of translating this story onto the screen.

This look through the peephole is a classic shot.

A newlywed couple, Rosemary and Guy Woodhouse (Mia Farrow and Guy Cassavetes) move into a New York apartment and encounter an interesting group of neighbors including the elderly and eccentric Roman and Minnie Castevets (Sidney Blackmer and the fantastic Ruth Gordon) which takes them on a series of interestingly strange events culminating in the arrival of Rosemary’s little bundle of joy.

This is a film steeped in paranoia and suspense, is it all real? Or is it all part of Rosemary’s imagination?

One of the best things about this movie is the setting. With New York City as a backdrop there is a lot of to play with and gives a certain stamp of approval to the strange characters that live there in sharp contrast to Rosemary’s MidWestern roots. However, the Dakota building stands out as it’s gothic exterior lends to the creepy mystique of the film. This building and the apartments within become another important character in the film.

The costumes in this movie are a perfect reflection of the end of the 1960’s. There’s beautiful babydoll dresses worn by Rosemary in bright patterns and pastel colors and the older women in the film are decked out in pearls and garish make-up. Also, Rosemary’s infamous pixie haircut. This is a moment in time perfectly captured and preserved on film.

Here is the original trailer for the movie.

♥ the alchemist

**This is our weekly series on stylealchemy, titled Cinema Aesthetic, which explores the importance of wardrobe and set design within film (mostly) but may include music video and television**

This week we’re going to jump into the world of the music video which is essentially a short film set entirely to music.

The Bird and the Bee’s Again and Again video is adorable. There are certain points and shots of the video that are constantly repeated as if on a constant loop, hence playing into the ‘again and again’ theme.

Director, Autumn de Wilde has a certain sensibility that is found throughout her portfolio and she has worked with artists and other creatives including Beck, Rodarte, Miranda July and Rilo Kiley/Jenny Lewis. She was also the photographer on the infamous Zooey Deschanel shoot for issue four of Lula Magazine.

The stylist that you always see associated with Autumn de Wilde is Shirley Kurata who has such a cool sensibility with clothes and aesthetics. The de Wilde and Kurata team work heavily with many indie artists in both the photography and film mediums. Here these two worked their magic on musicians Greg Kurstin and Inara George for “Again and Again.” I’m loving the mod, ’60s styling and the eclectic setting. It’s an entertaining 2:51 minutes well spent.

This dress is out of control!

Here is the video.

♥ the alchemist