The Original Costume Designers Behind Lili Reinhart’s Iconic Rom-Com Homages

True to her character in “The Love Hypothesis,” a vigilant PhD student studying pancreatic cancer detection, Lili Reinhart studied up on rom-com source material for her latest press tour—and the result is a movie in itself. The actress’ stylist, Ib Abdel Nasser, looked toward iconic female leads of rom-coms past to inspire a series of tribute dresses to the genre, referencing everything from period pieces like “Atonement” to girlhood classics like “Uptown Girls.” Below, we take a closer look at the costume designers behind the original looks that inspired Reinhart's press tour.

Karen Patch: “How to Lose a Guy in 10 Days” (2003)

To kick off the press tour, Reinhart paid homage to the iconic yellow dress worn by Kate Hudson’s Andie Anderson in “How to Lose a Guy in 10 Days.” For the original gown, Patch collaborated with Carolina Herrera to create a dress that wouldn't overpower the Harry Winston Isadora diamond while still being showstopping in its own, elegant regard. Reinhart’s made-to-order replica was crafted by the red carpet dressmaker Tatiana the Tailor. 

Jenny Beaven: “Ever After” (1998)

For the most theatrical moment of the press tour, Reinhart wore a custom Rodarte gown inspired by Jenny Beaven’s Renaissance-style gown designed for Drew Barrymore in the nineties retelling of Cinderella. The original dress, custom-sewn for the film in London and France and paired with wire-framed wings, sold for £20,800 at a Kerry Taylor Auction in 2024. “I was given free rein in terms of design. The costumes were loosely based on early 1500s silhouettes, but I wanted them to be magical rather than slavishly realistic with more of a fairytale feel,” Beaven said to the auction house. 

Jacqueline Durran: “Atonement” (2007)

In 2025, Tory Burch recreated a version of Jacqueline Durran’s iconic green silk dress in “Atonement” for the Vogue World fashion show. The fashion brand graciously lent the recreation to Reinhart for “The Love Hypothesis” press tour, paying homage to the custom ’30s-inspired dress Durran designed for the period drama. Knightley auctioned off the original dress in 2009 and it sold for around $35,000.

Susie DeSanto: “13 Going on 30” (2004)

If the jacket Reinhart wore in her ode to “13 Going on 30” looked eerily similar to the film’s original Nanette Lepore number, that is because Nasser sourced the exact piece. The stylist reached out to Lepore’s daughter, Violet Savage, who regularly shares archival pieces from her mother’s collection on social media, to secure permission, and access, from the designer. Nasser paired the original polka dot trench with a plum Fleur du Mal slip, in keeping with the original costume designer Susie DeSanto’s pairing. Reinhart wore the archival ensemble as a cheeky nod to her 30th birthday on September 20.

Susie DeSanto: “Miss Congeniality” (2000)

In another homage to Susie DeSanto, Reinhart strutted down the street in a custom Herve Leger bandage dress based on Sandra Bullock’s lavender look from “Miss Congeniality.” “I pretty much knew I didn’t want to use pink. There was a lot of conversation, because it needed to be something—whether it be a color, a style, a silhouette, a look—that Gracie, as an FBI agent, would never go near. It had to be that big before-and-after picture,” DeSanto told Glamour for the film’s 25th anniversary. Chosen for its cutting-edge modernity at the time, the dress now functions as a nostalgic blast from the past.

Sarah Edwards: “Uptown Girls” (2003)

While many fans confused an Elie Saab haute couture dress for an “Uptown Girls” reference earlier in Reinhart’s press tour, the real homage—which took place days later—was impossible to mistake. Nasser sourced the exact Blumarine dress worn by Brittany Murphy’s Molly Gunn for Reinhart, who was only seven when the original film came out. Sarah Edwards designed the original costumes for the early-aughts classic, dressing Murphy in an eclectic mix of maximalist designer and mall brands that defined the era.