'Style Icon | Audrey Hepburn The Magic Of Audrey Hepburn was noted for her fashion choices and distinctive look, to the extent that journalist Mark Tungate has described her as a recognisable brand. When she first rose to stardom in Roman Holiday (1953), she was seen as an alternative feminine ideal that appealed more to women than to men, in comparison to the curvy and more sexual Grace Kelly and Elizabeth Taylor. With her short hair style, thick eyebrows, slim body and \"gamine\" looks, she presented a look which young women found easier to emulate than those of more sexual film stars. In 1954, fashion photographer Cecil Beaton declared Hepburn the \"public embodiment of our new feminine ideal\" in Vogue, and wrote that \"Nobody ever looked like her before World War II ... Yet we recognize the rightness of this appearance in relation to our historical needs. The proof is that thousands of imitations have appeared.\" The magazine and its British version frequently reported on her style throughout the following decade.Alongside model Twiggy, Hepburn has been cited as one of the key public figures who made being very slim fashionable. Added to the International Best Dressed List in 1961, Hepburn was associated with a minimalistic style, usually wearing clothes with simple silhouettes which emphasised her slim body, monochromatic colours, and occasional statement accessories. In the late 1950s, Audrey Hepburn popularized plain black leggings. Academic Rachel Moseley describes the combination of \"slim black trousers, flat ballet-style pumps and a fine black jersey\" as one of her signature looks alongside little black dresses, noting that this style was new at the time when women still wore skirts and high heels more often than trousers and flat shoes. Hepburn was in particular associated with French fashion designer Hubert de Givenchy, who was first hired to design her on-screen wardrobe for her second Hollywood film, Sabrina (1954), when she was still unknown as a film actor and he a young couturier just starting his fashion house.Although initially disappointed that \"Miss Hepburn\" was not Katharine Hepburn as he had mistakenly thought, Givenchy and Hepburn formed a lifelong friendship.She became his muse,and the two became so closely associated with each other that academic Jayne Sheridan has stated \"we might ask \'Did Audrey Hepburn create Givenchy or was it the other way around?\'\". In addition to Sabrina, Givenchy designed her costumes for Love in the Afternoon (1957), Breakfast at Tiffany\'s (1961), Funny Face (1957), Charade (1963), Paris When It Sizzles (1964) and How to Steal a Million (1966), as well as clothed her off screen. According to Moseley, fashion plays an unusually central role in many of Hepburn\'s films, stating that \"the costume is not tied to the character, functioning \'silently\' in the mise-en-scène, but as \'fashion\' becomes an attraction in the aesthetic in its own right\". Hepburn herself stated that Givenchy \"gave me a look, a kind, a silhouette. He has always been the best and he stayed the best. Because he kept the spare style that I love. What is more beautiful than a simple sheath made an extraordinary way in a special fabric, and just two earrings?\" She also became the face of Givenchy\'s first perfume, L\'Interdit, in 1957. In addition to her partnership with Givenchy, Hepburn was credited with boosting the sales of Burberry trench coats when she wore one in Breakfast at Tiffany\'s, and was associated with Italian footwear brand Tod\'s. Subscribe to our channel for more Famous Biography videos https://www.youtube.com/channel/UCJgjXOfYuHrA05CzTvSbTUg?sub_confirmation=1'
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