For many contemporary designers, movies were an introduction to the power of fashion. And whereas most children were focused on the plot, they were often more interested in the visuals and — in particular — the clothes. Maximilian Davis, the Milan-based creative director of Ferragamo, for example, remembers being fixated on the color palette of the 1999 Stanley Kubrick drama “Eyes Wide Shut” when he watched it as a preteen; Willy Chavarria, who designs his namesake brand in New York, first saw the 1973 horror classic “The Exorcist” when he was 12 and was entranced by a khaki dress. As adults, both men have watched these films again and again, weaving elements from the big screen into their collections. Here, they and seven other designers talk about the cinematic fashion moments that continue to inspire them.

Among national universities, Princeton was ranked No. 1 again, followed by the Massachusetts Institute of Technology and Harvard. Stanford, which tied for third last year, fell to No. 4. U.S. News again judged Williams College the best among national liberal arts colleges. Spelman College was declared the country’s top historically Black institution.

It’s the quintessential fashion movie. Faye Dunaway’s clothes, by the legendary costume designer Theoni Aldredge, are remarkable, and watching Dunaway,pnxbet official as the fashion photographer Laura Mars, shoot Lisa Taylor, the model of the moment, in Columbus Circle wearing slit culottes was my first introduction to a photo shoot. The disco soundtrack, the Barbra Streisand theme song and the fact that it featured the top hair and makeup people of the time — John Sahag and Joey Mills — made the whole thing seem like an actual slice of the New York fashion world. Plus how many movies have a cameo by Calvin Klein in the opening credits? The film’s version of big-city glamour will always be a part of my fashion vocabulary.

When I was in college at Central Saint Martins, someone shared a still from the film’s wedding scene and I fell in love with it. The movie is loosely based on the life of an Armenian poet, depicting the rituals of his daily life, and every shot looks like a Renaissance painting. The very first frame is of juice bleeding from pomegranates onto a beige tablecloth, and it’s incredibly rich but also natural; that’s how I like to work with colors. There are a lot of really gorgeous reds, pink and purples, which are in my palette, too. It’s a good reminder of the universal nature of colors and how they live in our subconscious: white as purity, red as passion and so on. In showing the evolution of a character, they’re really important.

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