Banana Republic Takes on Anna Karenina

This winter's set to feel a little more sumptuous, thanks to Banana Republic's Anna Karenina-inspired capsule. The film's Oscar-nominated costume designer, Jacqueline Durran, worked with the brand's creative director, Simon Kneen, to turn frocks, coats, and accessories into a 75-piece offering that speaks of a less frilly, more architectural, Russian Imperialism. "We were working on fabrics and colors for holiday and there was a lot of brocade, velvet, lace, and faux fur," says Kneen. "[Then] the possibility of working with Jacqueline and the film came along, and it felt like a perfect match. They shared some stills and outtakes from the film with us, and we were feeling the same things. It was a kismet moment."

Durran's goal was to translate the movie's wardrobe into functional pieces, and the results are supremely wearable: Structured black coats and rich ruby frocks were among those being shown at the brand's preview last night. One note-worthy accessory stood out: "Keira [Knightley, who stars in the film] wears a big gray hat and that's directly referenced—it's actually my favorite piece in the collection. But we've done it as a scarf, so you can wear it wrapped up like a hat, as a regular scarf, or stylized with a bit hanging down the back." Durran spoke to reports that her designs were influenced by Dior's era-defining mid-20th century styles. "It's not strictly New Look," she insists. "Post-war couture became very architectural with Dior and Balenciaga, and when you take away all the surface details, you're left with the shape." It was that same stripped-down approach that echoes most in her creations. "The shapes aren't particularly '50s, and they're not very 1870s because there are no ruffles. It's really about the silhouettes, [not] trimmings." One thing the creative process didn't involve: tons of hours spent in book club discussions. Durran said she only read the original Leo Tolstoy novel once, while Kneen spoke of the importance of avoiding getting caught up in literal representation since it can stymie free thinking. "If you get too directly involved with [the source] you can lose your inspiration, and it becomes more of an interpretation. Sometimes your imagination is more inspiring than the reality," he explains. "You have to know what the roots are, but then take it to a whole different level. Otherwise, we become historians."