By Elizabeth McLaughlin...

What does the woman on the bench in Barbie have to do with the 2004 movie The Stepford Wives?

They’re both Ann Roth—an iconic American costume designer.

From Mamma Mia to 9 to 5, White Noise, and The Birdcage, Roth’s career spans from 1964 to 2023. In Barbie, Margot Robbie tells her, “You’re beautiful.” Roth replies, “I know!”

One film that puts Roth’s skill and talent on full display is The Stepford Wives (2004). To appreciate its significance, it’s important to understand that this movie is a remake of the 1975 film of the same name, which itself is based on Ira Levin’s 1972 novel.

The 1975 version stars Katharine Ross as Joanna Eberhart, a young wife and aspiring photographer.

Katherine Ross as Joanna Eberhart

In the 2004 version, Joanna—now played by Nicole Kidman—is the most successful TV executive on the planet. I won’t give away any spoilers, but if you haven’t seen these films yet, I’d bet you’ll love them.

Nicole Kidman as Joanna Eberhart

For Joanna, life takes a turn when she and her family move to Stepford, Connecticut.

Stepford Style: What Costume Design Reveals

In Stepford, “all the women are sex-kitten bimbos. All the men are drooling nerds.”

The costume design in the 1975 Stepford Wives is understated and reserved, while the 2004 version is eye-catching and exaggerated. Despite these differences, both reflect the film’s broader themes. The original book, classified as feminist horror, explores consent, the female role in the nuclear family, and the male perception of feminism.

If you’ve seen The Godfather, then you’re already familiar with Anna Hill Johnstone—the costume designer not only for Coppola’s 1972 classic but also for The Stepford Wives (1975). She also worked on The Swimmer (1968), another film critiquing the American Dream in a suburban setting.

While the 1975 Stepford Wives has a moody, subdued aesthetic, the 2004 version leans into its over-the-top satire. This shift from simple silhouettes to extravagant ballgowns—each requiring 70 yards of silk tulle—is a reflection of the cultural differences between the two eras. If 1975 was the era of sitcoms, 2004 belonged to reality television.

Reality TV and the 2004 Stepford Wives

The 2004 film sets the stage with two fictional reality TV shows produced by Joanna’s network: I Can Do Better and Battle of the Sexes. In I Can Do Better, Mike White plays Hank, a contestant in a Survivor-style competition where couples are separated and tempted by attractive strangers before deciding whether to stay with their partner or move on.

Many of the longest-running reality TV shows, such as Survivor and Big Brother, began in the early 2000s, making the 2004 Stepford Wives a product of its time. The women of Stepford are excessively polished—wearing cocktail dresses and heels to their workout classes. It’s reality, not real, and that’s the point.

Ann Roth intentionally designed the costumes to be ambiguous: “It could’ve come from Manolo Blahnik or Sears.” Only one character, Roger Bannister—one of Stepford’s two gay men—wears recognizable brands like Tom Ford’s Gucci. This ambiguity reinforces the film’s theme: when women are forced into a rigid domestic role, they lose individual identity, blending into the idealized archetype of the Stepford Wife.

Joanna’s wardrobe evolution further illustrates this transformation. When she first arrives in Stepford, she wears all black. But as one Stepford wife reminds her, “Only high-powered, neurotic, castrating, Manhattan career bitches wear black. Is that what you want to be?” Joanna’s deadpan reply: “Ever since I was a little girl.”

Fashion as a Tool of Oppression and Expression

The Stepford Wives story is a battle for power between men and women, with one gender ultimately winning (I won’t spoil which). The dynamic between Bobbie (Bette Midler) and her husband Dave (Jon Lovitz), a new Stepford couple with four kids, captures the core conflict: men expect women to conform, while women crave autonomy.

But in Stepford, where there is “no crime, no poverty, and no pushing,” there’s little room for individuality. While the women’s hyper-feminine outfits certainly cater to the male gaze, they may also be the only outlet for self-expression available to them—albeit within strict constraints. (Think: coquette, ballerina, milkmaid = in; streetwear, Rick Owens-core, dark colors = out.)

You can’t discuss the complexities of female identity without addressing fashion. It can be both an expression of freedom and a tool of oppression, depending on how you look at it. Both versions of The Stepford Wives masterfully balance satire and psychological thriller elements, while also being visually stunning and thoroughly entertaining.

You can watch the original Stepford Wives for free on YouTube and the 2004 version on Pluto. Or, if you’re lucky, you might find the DVD at a thrift store—like I did, for just $2.99.