Woody Allen’s Annie Hall (1977) defined Diane Keaton, who died last week at 79, in the American moviegoer’s mind. The film similarly set the fashion tone for the rest of Keaton’s career — a legacy that mimics the days of Old Hollywood but that has been long gone, unfortunately.

I first got to know Diane Keaton as a young boy utterly obsessed with fashion. She was, for me at least, the floppy hat lady, the power dresser who never gave up the boxy suits quintessential to a working woman’s wardrobe in the 1980s and early 1990s.

It wasn’t until 1991’s Father of the Bride that I’d even seen Keaton in a movie. My siblings had probably rented it from Blockbuster sometime in the latter half of the 1990s with my parents’ approval.

From then on, Keaton would pop up in films throughout my ch

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