A Collection of Photos Feat. Audrey Hepburn Wearing Givenchy

Audrey Hepburn and Hubert de Givenchy first met in 1953. Givenchy was meant to design the costumes for Hepburn’s film, Sabrina. At the time, Givenchy was still a new designer. He had opened the House of Givenchy in Paris in 1952, and at 25 years old, was the youngest fashion designer on the Paris fashion scene at the time. Hepburn, too, was just starting her career at the time. When Givenchy was told that “Miss Hepburn” would be coming to see him about the film costumes, he was expecting to meet Katherine Hepburn (an already-established actress, with no relationship to Audrey Hepburn).

Givenchy had later reflected on that first meeting with Hepburn saying, “there, framed in the doorway, was this beautiful, tiny, skinny person who appeared very fragile, with huge doe eyes, wearing a small pullover, trousers in fabric from Vichy.” Her attire intrigued him, as did her frame, which was unusually small compared to most fashion models of the time. Givenchy was in the middle of designing a collection and was unsure whether he could make the wardrobe for Sabrina. But after Hepburn tried on a few of the dresses he had already made, Givenchy knew he had to design for her. He continued to design the costumes for almost every one of Audrey Hepburn’s future films, at Hepburn’s request (source).

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Audrey Hepburn and Mel Ferrer attend the Netherlands’ premiere of Sabrina, November 1954. For their first official film collaboration, Givenchy knew his sketches needed to impress. The result was a whole wardrobe of stunning costumes including this embroidered organza evening gown via

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Audrey Hepburn wearingin the same Givenchy ball gown that she wore in the film Sabrina. Photograph by Jack Garofalo via

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At the Academy Awards, 1954 Audrey Hepburn won best actress for her first major film role, as Princess Ann in 1953’s Roman Holiday. To collect the gong, she recycled her costume from the film, asking her new friend Givenchy to alter it for the red carpet via

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It was also the first time audiences saw Audrey wearing a Givenchy gown but definitely not the last. The actress and couturier developed a friendship that lasted over 40 years via

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Hubert and Audrey during a dress fitting for the quintessential wedding gown Audrey wore in Funny Face directed by Stanley Donen, 1956 via

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The dress started the trend for tea length wedding dresses via

The “Ostentatious” Photos of Evita Perón in Life Magazine (1950)

In 1950 Gisèle Freund´s photocoverage of a bejewelled Eva Peron for Life Magazine caused a diplomatic stir between the United States and Argentina and upset many of Peron’s supporters—the ostentatious photographs went against the official party line of austerity; Life Magazine was blacklisted in Argentina, Freund had to escape the country with her negatives.

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Evita Perón, on national holiday, Buenos Aires, 1950
Black-and-white photograph; Fiber Base Silver Gelatine Print; white outline borde via

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Evita Perón, preparing for National Holiday, Buenos Aires, 1950
Black-and-white photograph; Fiber Base Silver Gelatine Print; white outline borde via

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Evita Perón, plays with her two poodles, Buenos Aires, 1950
Black-and-white photograph; Fiber Base Silver Gelatine Print; white outlin via

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Evita Perón, shows her hat collection, Buenos Aires, 1950
Black-and-white photograph; Fiber Base Silver Gelatine Print; white outline border via

Debutante Ball (1958)

Debutante ball, 1958

A debutante is a young woman of an aristocratic or upper-class family who has reached maturity and, as a new adult, comes out into society at a formal “debut”. Originally, the term meant the woman was old enough to be married, and part of the purpose of her coming out was to display her to eligible bachelors and their families with a view to marriage within a select circle.

Grace Kelly & Rainier III, Prince of Monaco Wedding (1956)

Invited at Cannes’ Film Festival, in 1955, Grace Kelly meets the prince of Monaco and in 1956, the American actress becomes a princess while she settles in Monaco after a sumptuous wedding. News of the engagement was a sensation, even though it meant a probable end to Kelly’s film career.

The Napoleonic Code of Monaco and the laws of the Roman Catholic Church necessitated two ceremonies – both a civil ceremony and a religious wedding.

The 16-minute civil ceremony took place in the Palace Throne Room of Monaco on April 18, 1956, and a reception later in the day was attended by 3,000 Monaco citizens. To cap the ceremony, the 142 official titles that she acquired in the union (counterparts of his) were formally recited.

The following day the church ceremony took place at Monaco’s Saint Nicholas Cathedral, before Monaco’s Bishop Gilles Barthe. 

The wedding was estimated to have been watched by over 30 million viewers on live television, and was described by biographer Robert Lacey as “the first modern event to generate media overkill.” 

Her wedding dress, designed by MGM’s Academy Award–winning Helen Rose, was worked on for six weeks by three dozen seamstresses. The bridesmaids’ gowns were designed by Joe Allen Hong at Neiman Marcus.

The 700 guests included several famous people, including Aristotle Onassis, Cary Grant, David Niven and his wife Hjördis, Gloria Swanson, Ava Gardner, the crowned head Aga Khan III, Gloria Guinness, Enid, Lady Kenmare, Daisy Fellowes, Etti Plesch, Lady Diana Cooper, Louise de Vilmorin, Loelia Lindsay, and Conrad Hilton.

She and Rainier left that night for their seven-week Mediterranean honeymoon cruise on his yacht, Deo Juvante II.

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Grace Kelly & Rainier III, Prince of Monaco Wedding Day, April 19, 1956 via

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Grace Kelly & Rainier III, Prince of Monaco Wedding Day, April 19, 1956 via

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Grace Kelly & Rainier III, Prince of Monaco Wedding Day, April 19, 1956 via

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Grace Kelly & Rainier III, Prince of Monaco Wedding Day, April 19, 1956 via

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Grace Kelly & Rainier III, Prince of Monaco Wedding Day, April 19, 1956 via

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Grace Kelly & Rainier III, Prince of Monaco Wedding Day, April 19, 1956 via

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Grace Kelly & Rainier III, Prince of Monaco Wedding Day, April 19, 1956 via

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Grace Kelly & Rainier III, Prince of Monaco Wedding Day, April 19, 1956

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Grace Kelly & Rainier III, Prince of Monaco Wedding Day, April 19, 1956 via

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Grace Kelly & Rainier III, Prince of Monaco Wedding Day, April 19, 1956 via

In April 19th 1956, the world watched as Prince Rainier of Monaco wed Hollywood actress Grace Kelly at the Cathedral of St Nicholas.

Lee and Jackie at a Debutante Ball (1951)

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Jackie Kennedy Onassis and Lee Radziwill by Cecil Beaton for Vogue at a debutante ball, 1951 via

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Lee Radziwill and Jackie Kennedy Onassis by Cecil Beaton for Vogue at a debutante ball, 1951 via

by Cecil Beaton, 10 x 8 inch bromide contact print, January 1951

Jacqueline Kennedy-Onassis by Cecil Beaton for Vogue, 1951 via

NPG x40347; Princess Lee Radziwill (nÈe Bouvier) by Cecil Beaton
by Cecil Beaton, bromide print, January 1951

Lee Radziwill by Cecil Beaton for Vogue at a debutante ball, 1951 via

Marilyn Monroe in LIFE Magazine 1952 by Philippe Halsman

Marilyn Monroe´s  first cover shoot for LIFE magazine, in April 1952, made by the great Philippe Halsman, remains as one of the most famous and collectible covers in the magazine´s history (source)

Philippe Halsman: US actress Marilyn Monroe posing for a cover photograph for LIFE Magazine, 1952.

Marilyn Monroe posing for the cover photograph for LIFE Magazine, 1952 via

Marilyn Monroe, 1952 via

Richard Avedon & His Amazing Stylish Muse Dovima

Dovima (1927-1990) was reputed to be the highest-paid model of her time. Richard Avedon (1923 – 2004) was an American fashion and portrait photographer. An obituary published in The New York Times said that:

“his fashion and portrait photographs helped define America’s image of style, beauty and culture for the last half-century”

Dovima was the muse of Richard Avedon who depicted her, in a legendary photograph posing in a Christian Dior evening dress with elephants from the Cirque d’Hiver, Paris, in 1955.

In 2010, a record price of £719,000 was achieved at Christie’s for a unique seven-foot-high print of the photo. This particular print, the largest of this image, was made in 1978 for Avedon’s fashion retrospective at the Metropolitan Museum of Art in New York, and was bought by Maison Christian Dior.

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Richard Avedon, Dovima with elephants,

evening dress by Christian Dior, Cirque d Hiver, August 1955 via

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Richard Avedon, Dovima with elephants,

evening dress by Christian Dior, Cirque d’Hiver, August 1955 via

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Dovima, dress by Claire McCardell, Great Pyramid of Giza, Egypt, January 1951 via

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Richard Avedon, Dovima dress by Claire McCardell, Egypt, January 1952 via

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Richard Avedon, Dovima, evening dress by Jacques Fath, Paris, August 1950 via

Monroe Photographs: Eve Arnold & Marilyn visit Bement (1950s)

Eve Arnold, OBE, Hon. FRPS (née Cohen; 1912 – 2012) was an American photojournalist. She joined Magnum Photosagency in 1951, and became a full member in 1957.

Eve Arnold photographed many of the iconic figures who shaped the second half of the twentieth century, yet she was equally comfortable documenting the lives of the poor and dispossessed, “migrant workers, civil-rights protestors of apartheid in South Africa, disabled Vietnam war veterans and Mongolian herdsmen.” For Arnold, there was no dichotomy: “”I don’t see anybody as either ordinary or extraordinary,” she said in a 1990 BBC interview, “I see them simply as people in front of my lens.” She also photographed Queen Elizabeth II, Malcolm X, and Joan Crawford, and traveled around the world, photographing in China, Russia, South Africa and Afghanistan

 

Arnold’s images of Marilyn Monroe on the set of The Misfits (1961) were perhaps her most memorable, but she had taken many photos of Monroe from 1951 onwards. She said about photographing Marilyn:

I found myself in the privileged position of photographing somebody who I had first thought had a gift for the camera, but who turned out had a genius for it. She had a naive quality, but she also had a great sense of showmanship and self-promotion. She was very clever. She was able to assess each photographer. Even if it was only an amateur with a box camera, she worked with the same intensity and diligence that she would have if she were working with a top professional. She would photograph ten pounds lighter which is against every rule in the book. The smile was brilliant. Her skin was translucent, white, luminous. She was always sort of golden-looking, and because she had a down of just very fine golden hairs on her face it trapped the light and caused an aureole to form, giving her a faint glow. It was extraordinary. I’ve never seen it before. It was a nimbus, so that she looked almost angelic.

Arnold left the United States and moved permanently to England in the early 1960s with her son, Frank Arnold. While working for the London Sunday Times, she began to make serious use of colour photography. Her previously unseen photos of Monroe were shown at an Halcyon Gallery exhibition in London during May 2005.

Photo by Eve Arnold, 1955 via

Photo by Eve Arnold, 1955 via

Photo by Eve Arnold, 1955 via

Photo by Eve Arnold, 1955 via