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Her type is epitomized by Catherine Deneuve dressed in pilgrim shoes and patent leather trench in “Belle de Jour,” or the racy, expensively clad models in any number of Helmut Newton photographs. The model Binx Walton telegraphs more than a hint of that slatternly upmarket allure in a Tom Ford fall 2017 eyewear campaign. Wearing little more than outsize shades, a pumpkin-colored fur and glossy boots, she parts her legs suggestively to reveal a wedge of thigh. A Balmain ad is more overtly aggressive, the model, predatory in form-fitting snakeskin and a black patent leather, prowling a dimly lit Parisian back street. In a current Balmain ad, photographed by the brand’s creative director Olivier Rousteing, a predatory female prowls a back street. Credit Olivier Rousteing/Balmain What’s so compelling about these images? They hint, among other things, at invulnerability. “Designers make reference to sex workers to communicate toughness,” said James Kaliardos, a founder of Visionaire. There is an understanding, he said, that their client can be a mother, teacher or other professional and still want to armor herself in fetish wear.
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They created “the strongest images of Diana,” said Ms. D’Huys, who found many of the pieces in vintage shops, including the hip Retro Woman in the Notting Hill area of London, and in the National’s own costume stores to keep the look within budget — and believability. That whittling process helped Ms. Dockery create her character. “I’ve never done a play before where are you in costumes from the very first day,” the actress wrote in an email, “so I was in character from the start.” Thus platform peep-toe heels were swapped for simple black leather round-toe court shoes from Selfridges, because the first style hurt Ms. Dockery’s feet and “it’s important to be comfortable to show strength,” Ms. D’Huys said. Ms. Dockery agreed, adding that the physical demands of playing an executive in today’s media world mean that lower heels are the modern power shoes.
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