Audrey Hepburn Funny Faces Capri Pants
Funny Face wasn't taken especially seriously upon its release in 1957. Critics were unconvinced by the May-December romance between Fred Astaire and Audrey Hepburn (Astaire, then 58 and evidently still light on his anxiety, had xxx years on his gamine co-star), and for New York Times picture show critic Bosley Crowther, though he was charmed by the musical'southward "visual style" and "fine outdoor shots of Paris", it amounted to "a lovely phantasm made upward of romance, tourism and chic". But despite all the talk of frolicking and froth – and the ludicrous notion that there was anything "funny" nigh Audrey's exquisite visage – its legacy has far outlasted that of other, arguably more heavyweight cinematic fare of the time.
Defended fashion fans were e'er destined to fall for Stanley Donen's film, a Cinderella story that charts Jo Stockton's journey from shy bookseller to rail model following a fateful coming together with photographer Dick Avery. Insiders immediately recognised Kay Thompson'southward Maggie Prescott every bit a thinly-veiled version of legendary magazine editor Diana Vreeland (just watch as she summons her underlings for an editorial coming together and her subsequent rendition of "Call back Pink" – Miranda Priestly could never). And Vogue photographer Richard Avedon didn't simply inspire Fred Astaire'due south graphic symbol, he actually contributed to the film: the images that announced in the title sequence are his.
Funny Confront as well formalised Hepburn's working relationship with the French couturier Hubert de Givenchy. The fashion-obsessed histrion (she'south said to accept splashed some of her Roman Vacation pay bank check on a Givenchy coat), first approached the bemused designer to create costumes for her part in Sabrina (1954), simply too pressed for time, he permit her choose from his collections instead. The motion-picture show later snagged an Oscar for Best Costume Blueprint, and when Edith Head neglected to mention Givenchy's contribution in her acceptance oral communication, Hepburn insisted that the designer create all of her screen looks from and so on… starting with Funny Face. The upshot was a wardrobe that remains a fashion touchstone almost 70 years later.
Whisked to Paris from Greenwich Village to model the collections, the influence of the outfits Jo Stockton wears both on the runway and off in the musical tin can be spied everywhere from the Duchess of Sussex's wedding clothes, to Lily Collins's Emily in Paris wardrobe, to Bella Hadid'due south chamber walls. Countless contemporary red-carpeting looks have their roots in the dresses Jo modelled on screen, be it the the ruddy strapless gown that featured on film posters, or the sleek ivory cavalcade dress overlaid with a pink cape, both finished with elegant elbow-length gloves.
Just the Funny Face outfit that actually cemented Hepburn's fashion muse status was far simpler: blackness cigarette pants, flats, and a black polo neck so widely imitated it actually warrants that overused word, iconic. "Blackball the blackness!" editrix Prescott decreed in the motion picture. Thanks to Audrey and her polo neck, nobody listened to her.
Most recently, Jo Stockton fabricated the moodboard for Angelina Jolie's March 2021 British Vogue encompass. While capturing a modern mean solar day motion picture idol at home for the issue, editor-in-chief Edward Enninful had the enduring paradigm of another one in listen: Hepburn as the chicest crackpot in Funny Face. On the cover, a feline Jolie sits cross-legged on her lawn in a Burberry polo neck, slim-fit Max Mara trousers and Chanel ballet pumps. Like everything else about the story, shot at Jolie's 1913 home in one case owned by the legendary filmmaker Cecil B DeMille, it'southward classic Hollywood.
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Source: https://www.vogue.co.uk/fashion/article/funny-face-fashion
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