Vitals

Alain Delon as Tom Ripley, charming American con artist

Italy, Summer 1959

Film: Purple Noon
(French title: Plein soleil)
Release Date: March 10, 1960
Director: René Clément
Costume Designer: Bella Clément

WARNING! Spoilers ahead!

Background

French screen and style icon Alain Delon died one year ago this week on August 18, 2024. One of the actor’s most celebrated and stylish roles remains his portrayal of Tom Ripley in Purple Noon, René Clément’s adaptation of Patricia Highsmith’s psychological thriller The Talented Mr. Ripley.

The French/Italian co-production (released in France as Plein soleil) was the first cinematic adaptation of Highsmith’s novel, followed by Anthony Minghella’s 1999 film The Talented Mr. Ripley and Steven Zaillain’s 2024 Netflix miniseries Ripley. Clément was inspired to cast Delon after spotting the young actor in the 1959 comedy Women are Weak, and his enigmatic performance as Tom Ripley eventually launched him to wider global recognition.

Highsmith’s own opinion about the film ranged from cheers for Henri Decaë’s stunning cinematography to jeers against Clément’s bastardized ending, though the author fully praised Delon’s “excellent” portrayal of her devious creation.

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What’d He Wear?

We’re introduced to Delon’s Tom Ripley in Rome, where he’s killing time with his playboy pal Phillippe Greenleaf (Maurice Ronet)—ostensibly intending to make good on the $5,000 that Phillippe’s father paid him to send him home to San Francisco.

Tom’s wardrobe balances Ivy casual with continental flair, from his all-American blue oxford-cloth button-down (OCBD) and cream jeans to the suede bit loafers he wears sockless.

Tom’s oxford shirt visually communicates his informed Americanism—particularly his claims to have known Phillippe at Princeton, as these button-down collared shirts had become what Josh Sims describes in Icons of Men’s Style as “an essential part of the smart-but-preppy uniform of students” on Ivy campuses through the 20th century. The phenomenon began around the turn of the century, when Brooks Brothers’ then-president John E. Brooks borrowed the button-down collar from English polo players—transforming it from a purely functional detail into a comfortable yet presentably bohemian alternative to the era’s more structured shirts. This naturally appealed to the young men on prestigious college campuses who wanted to project youth and ease without compromising quality.

Tom’s shirting is basket-woven from blue and white threads that present an overall light-blue finish, perhaps the most classic color for oxford shirts. His shirt is detailed with the requisite button-down collar as well as a wide rear box pleat, barrel cuffs with the single button positioned farther back toward each wrist, and a front placket that Tom eventually wears with the top few buttons undone, flashing Delon’s gold necklace with its round gold pendant.

Tom’s favorite trousers from the start are his cream-colored Levi’s button-fly jeans, configured with the conventional five-pocket layout of two patch pockets over the seat, two curved front pockets, and a watch/coin pocket inset on the right. The brand can be identified by the white tab sewn along the back-right pocket, with the white typically denoting corduroy cloth or women’s fashions (despite these jeans being neither) in lieu of the classic red tab.

Tom holds the jeans up with a black leather belt that closes through a silver-toned squared single-prong buckle.

Tom rakishly self-cuffs the bottoms of his jeans, keeping the hems considerably clear from the burnished chestnut-brown suede uppers of his moc-toe horsebit loafers. This style was pioneered by Gucci in the early 1950s, named for the gold horsebit-style link attached to the straps over each instep. Between the shoe’s Italian origins and the way Tom wears them without socks, these add a decidedly European twist to his otherwise American Ivy outfit.

In addition to the ornately detailed gold open-face pocket watch that he pulls from his trouser pocket, Tom wears a simple steel wristwatch on a dark navy strap. The watch has a silver dial marked with non-numeric hour indices.

Already wearing on Phillippe’s patience, Tom solidifies that he’s overstayed his welcome at Mongibello by literally wearing Phillippe’s clothes—specifically pulling on the distinctive navy, red, and gold-striped boating blazer with a striped repp tie and white loafers. Phillippe is not amused, but Tom eventually gets the chance to wear the blazer again.

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