'Audrey Hepburn in Paris' offers a window into the chic style of the actress and honorary Parisienne in the city of love and light
Whether it be Ferragamo and Valentino in Rome, Ralph Lauren and soft cashmere in the Swiss Alps or the luxe stylings of longtime friend Hubert de Givenchy in Paris, Audrey Hepburn will forever go down in history as a fashion icon with a one-of-a-kind style.
Just over 30 years after her death on Jan. 20, 1993, at 63, the world continues to remember and imitate the iconic looks of Audrey Hepburn.
In Audrey Hepburn in Paris, available Feb 13. from HarperCollins, readers can learn the stories behind the styles. Meghan Friedlander, the creator of the Instagram account Rare Audrey Hepburn, and Hepburn's younger son Luca Dotti, joined forces to offer a look at rare photos and behind-the-scenes secrets of the actress's life and style in the City of Light.
The City of Light and Love
When filming in Paris, Hepburn and her first husband Mel Ferrer (shown here in 1955) would meet at the Bois de Boulogne movie studio at the end of the day and walk three miles back to their favorite hotel.
Filming 'Funny Face'
Givenchy designed 13 costumes for the star (pictured here, with a makeup artist in 1956), “but she only asked to keep her character’s black slacks and fleece-lined raincoat,” says Friedlander.
“My mother never lived in Paris,” says Dotti of Hepburn (shown here in 1962), “but much of her career revolved around Paris: her look, her best friends were all Parisian.”
Height of Fashion
The star’s signature updo was augmented with lacquered hair pieces for a 1963 Vogue shoot with Givenchy’s gowns. “I want to make some dream choices,” she said of the look, “as if I was in a candy store.”
Rising Star on the Riviera
“She wanted to be an actress, not just a princess dressed in Givenchy,” says Dotti of his mom, pictured here in 1951 in Monte Carlo just as her film career began to take off.
It was Hepburn’s idea to wear a lace eye mask in How to Steal a Million in 1965. “At first Givenchy disagreed and thought it was ‘too carnival,’ ” says Friedlander, “but she insisted.”
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