Grace Kelly
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scriptgirl
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One of the funniest things ever
ebay
ebay
RandomlyKeira
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I've always loved this woman. She was just so extraordinarily stunning.
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aci
Welcome to the fashion spot
thats exciting that you were able to see the exhibit twice. I was going to try to go to the Paris one but unfortunately the exhibit closes tomorrow and I will not be in the city then. Its too bad because I was looking forward to seeing her personal belongings, especially her clothes and jewelry!
ebay
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scandinavian mags
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From the exhibit in Philly re her wedding dress-the wedding manual Grace carried down the aisle
ap
ap
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From the same exhibit-her wedding shoes
ap
ap
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International Herald Tribune
By Caroline Matthews
Until August 16th, the Hôtel de Ville in Paris is hosting “Les Années Grace Kelly, Princesse de Monaco,” a free exhibition that explores the life the MGM star actress who later became the “Peoples Princess.” The exhibition is a must do for anyone nostalgic for the simple elegance of an era studded with stars like Ingrid Bergman, Audrey Hepburn and gallant heart throbs like Cary Grant and Humphrey Bogart.
Walking into the exhibit, one gets a glimpse into Grace Kelly’s childhood in Pennsylvania and the source of her confidence. Her father was a former gold medal Olympic rower whose bricklaying business became the biggest on the East Coast; her mother was the first director of the Physical Education department at the University of Pennsylvania. Against that muscular background, the young Grace Kelly was attracted to fashion shows with her mother and sisters, and starred in school plays.
The exhibition elegantly catalogues her acting career. In the 1940s, Grace signed a contract with MGM, and within five years she did eleven movies, receiving several Golden Globe and Academy Award nominations. A striking wall of magazines, including the cover of Life and Time, showcases her budding celebrity. Scenes from her films, such as “Rear Window” and “The Country Girl,” for which she won the academy award for Best Actress, are projected on the walls. Her only Oscar is displayed alongside head shots, letters she exchanged between with the director Alfred Hitchcock, descriptions of her relationships with other actors like Jimmy Stewart, David Niven and Ava Gardner, and the outfits worn in her most popular films.
The exhibition makes another transition to the time after Grace Kelly met Prince Rainier of Monaco at the Cannes Film Festival in 1955 and describes their short courtship and marriage proposal. It would be a life-changing decision for America’s sweetheart. Images of the future princess leaving the United States line the walls as well as the press conference announcing her decision to abandon her acting career for her prince. Telegrams are displayed in which the Prince admits his elation with her imminent arrival and what will come with their new life together. Wedding invitations lie under glass in front of a great window featuring the princess’s exquisite Helen Rose wedding gown.
The exhibition then delves into Princesse Grace’s contribution to Monaco, how she revived state balls and invigorated culture in her adopted country. You learn about her love for writing poetry, gardening and her children Caroline, Albert II, and Stephanie — home videos that she filmed are projected. Not all connections with her homeland are lost as you learn from the display of correspondence with political contemporaries such as letters between the princess and Jackie Kennedy after the assassination of JFK.
By combining film clips, pictures, letters, clothing and purses, the exhibition not only gives insight into one of Hollywood’s iconic leading ladies, whose style and grace carried onto the royal stage, but, in a summer of special affects and comic book heroes, it makes one nostalgic for the elegance of black and white Hollywood. The exhibition, entered at the rear of the Hôtel de Ville, is open from 10 a.m. to 7 p.m. everyday but Sunday. Because the entrance is free, lines are inevitable.
By Caroline Matthews
Until August 16th, the Hôtel de Ville in Paris is hosting “Les Années Grace Kelly, Princesse de Monaco,” a free exhibition that explores the life the MGM star actress who later became the “Peoples Princess.” The exhibition is a must do for anyone nostalgic for the simple elegance of an era studded with stars like Ingrid Bergman, Audrey Hepburn and gallant heart throbs like Cary Grant and Humphrey Bogart.
Walking into the exhibit, one gets a glimpse into Grace Kelly’s childhood in Pennsylvania and the source of her confidence. Her father was a former gold medal Olympic rower whose bricklaying business became the biggest on the East Coast; her mother was the first director of the Physical Education department at the University of Pennsylvania. Against that muscular background, the young Grace Kelly was attracted to fashion shows with her mother and sisters, and starred in school plays.
The exhibition elegantly catalogues her acting career. In the 1940s, Grace signed a contract with MGM, and within five years she did eleven movies, receiving several Golden Globe and Academy Award nominations. A striking wall of magazines, including the cover of Life and Time, showcases her budding celebrity. Scenes from her films, such as “Rear Window” and “The Country Girl,” for which she won the academy award for Best Actress, are projected on the walls. Her only Oscar is displayed alongside head shots, letters she exchanged between with the director Alfred Hitchcock, descriptions of her relationships with other actors like Jimmy Stewart, David Niven and Ava Gardner, and the outfits worn in her most popular films.
The exhibition makes another transition to the time after Grace Kelly met Prince Rainier of Monaco at the Cannes Film Festival in 1955 and describes their short courtship and marriage proposal. It would be a life-changing decision for America’s sweetheart. Images of the future princess leaving the United States line the walls as well as the press conference announcing her decision to abandon her acting career for her prince. Telegrams are displayed in which the Prince admits his elation with her imminent arrival and what will come with their new life together. Wedding invitations lie under glass in front of a great window featuring the princess’s exquisite Helen Rose wedding gown.
The exhibition then delves into Princesse Grace’s contribution to Monaco, how she revived state balls and invigorated culture in her adopted country. You learn about her love for writing poetry, gardening and her children Caroline, Albert II, and Stephanie — home videos that she filmed are projected. Not all connections with her homeland are lost as you learn from the display of correspondence with political contemporaries such as letters between the princess and Jackie Kennedy after the assassination of JFK.
By combining film clips, pictures, letters, clothing and purses, the exhibition not only gives insight into one of Hollywood’s iconic leading ladies, whose style and grace carried onto the royal stage, but, in a summer of special affects and comic book heroes, it makes one nostalgic for the elegance of black and white Hollywood. The exhibition, entered at the rear of the Hôtel de Ville, is open from 10 a.m. to 7 p.m. everyday but Sunday. Because the entrance is free, lines are inevitable.
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Columbus Dispatch
Museum shows Grace Kelly?s gown
Fifty years ago, film star Grace Kelly married Prince Rainier III of Monaco, head of Europe?s oldest ruling family. The wedding on April 19, 1956, brought together the worlds of monarchy and celebrity. Of special interest was the silk and lace bridal gown designed for Kelly by Academy Award-winning designer Helen Rose. To commemorate the anniversary of the royal wedding, the Philadelphia Museum of Art is presenting "Fit for a Princess: Grace Kelly?s Wedding Dress" through May 21.
Museum shows Grace Kelly?s gown
Fifty years ago, film star Grace Kelly married Prince Rainier III of Monaco, head of Europe?s oldest ruling family. The wedding on April 19, 1956, brought together the worlds of monarchy and celebrity. Of special interest was the silk and lace bridal gown designed for Kelly by Academy Award-winning designer Helen Rose. To commemorate the anniversary of the royal wedding, the Philadelphia Museum of Art is presenting "Fit for a Princess: Grace Kelly?s Wedding Dress" through May 21.
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Vogue
marriage of the century; She was a rising young reporter devoted to her career.
Byline: John Seabrook
When I was very young, I listened to the story of how my parents met as if it were the story of the creation. I suppose it was, in a way, the story of my creation, but that wasn't what I found so enthralling. Listening to my mother tell it, watching the sapphire in her engagement ring sparkle as she gestured, and hearing my father, if he was around (he wasn't very often), lower the flap of his newspaper to embellish the tale-all this transformed mere coincidence into fait accompli. I believed in the romance of the story and think I believed that a marriage could never go wrong as long as the story came out right.
Later, when I was old enough to think of marrying, I assumed I would meet my wife under equally romantic circumstances. Later still, when I did meet her (she was the copy editor on a piece I wrote about Dan Quayle-not exactly the stuff of fairy tales), I tried to use what I knew of my parents' meeting and courtship as a guide in my own blind leap into marriage. But their story kept leading me astray, and finally I had to forget about it and find my own way.
Now I've been married for twelve years, and maybe I'm ready to tell the story myself, putting in what they told me and imagining some things that might have been left out, hoping it will still come out right in the end.
It begins, as it always began, on a crisp but springlike day-April 4, 1956. The SS Constitution, an ocean liner, is waiting at Pier 84 in New York City, ready to carry Grace Kelly and her family, along with 60 friends and a small press contingent, to "The Wedding of the Century" in Monaco. Among the ticketed passengers are my parents, although they haven't yet met. My father is one of the wedding guests, and my mother is a reporter covering the wedding for the United Press, later rechristened United Press International. They're waiting for fate, in the form of a ship, to carry them down the Hudson River and into the ocean of possible destinies.
But the deck was still crowded with unticketed visitors who had to go ashore before the ship could leave. Some were society people, raising glasses in one last toast to the glorious 26-year-old bride, "Gracie" to her friends, who wore a beige tweed suit with white gloves and a small white hat and was holding her French poodle, Oliver, in her arms. There were dozens of journalists who had not been lucky enough to secure tickets onboard and were hoping for a photo or an item to run in the evening papers, because ever since the news of the movie star's engagement to the prince had become official, around Christmastime, the public's demand for the story had been insatiable. For the society reporters, used to having their work consigned to the back of the newspaper, the Kelly-Rainier wedding was a chance to bask in the light of the front page. Photographers were rushing from the gangplank to the deck, despite the ship's officers' attempts to stop them. John B. Kelly, Grace's bull-in-a-china-shop father, had reputedly gotten into a scuffle with one photographer. The wedding was becoming something of a circus, which Grace and her family had been hoping to avoid, and they hadn't even left the dock yet.
Standing by the ship's railing, taking notes on the scene, was Elizabeth Toomey, a single, 32-year-old UP staff reporter who was, along with her colleague Helen Thomas, perhaps the best-known female byline on the UP's news service. Her daily column, "Woman's View," ran in the New York World-Telegram and Sun and dozens of other papers around the country. She had got the taste for real news reporting shortly after graduating from the University of Missouri's Columbia School of Journalism twelve years earlier, when many of the men who would have been in her class were away at war and she was given opportunities that a woman ordinarily wouldn't have received. But when the war ended and the men came back, she returned to the women's beat-weddings, food, clothes, and the occasional feature story on an actress. Apart from a couple of interviews with Margaret Truman and several vivid pieces on Marilyn Monroe, her stories rarely made news.
Just before Christmas, Liz had heard a rumor that Grace was planning to marry the prince of Monaco. There's no way that's going to happen, she had argued to the reporter who had passed along the rumor during lunch at the Pen and Pencil, a reporters' hangout at Forty-fifth and Third Avenue, up the street from the UP offices on Forty-second Street, because Grace Kelly was an independent, self-reliant, modern American woman, and the princess of Monaco would necessarily be a slave to old-world conventions, a mere adjunct to the prince. Grace Kelly would never even play that role in a movie, to say nothing of real life.
What if they're in love? her colleague asked.
Love-oh, pooh.
marriage of the century; She was a rising young reporter devoted to her career.
Byline: John Seabrook
When I was very young, I listened to the story of how my parents met as if it were the story of the creation. I suppose it was, in a way, the story of my creation, but that wasn't what I found so enthralling. Listening to my mother tell it, watching the sapphire in her engagement ring sparkle as she gestured, and hearing my father, if he was around (he wasn't very often), lower the flap of his newspaper to embellish the tale-all this transformed mere coincidence into fait accompli. I believed in the romance of the story and think I believed that a marriage could never go wrong as long as the story came out right.
Later, when I was old enough to think of marrying, I assumed I would meet my wife under equally romantic circumstances. Later still, when I did meet her (she was the copy editor on a piece I wrote about Dan Quayle-not exactly the stuff of fairy tales), I tried to use what I knew of my parents' meeting and courtship as a guide in my own blind leap into marriage. But their story kept leading me astray, and finally I had to forget about it and find my own way.
Now I've been married for twelve years, and maybe I'm ready to tell the story myself, putting in what they told me and imagining some things that might have been left out, hoping it will still come out right in the end.
It begins, as it always began, on a crisp but springlike day-April 4, 1956. The SS Constitution, an ocean liner, is waiting at Pier 84 in New York City, ready to carry Grace Kelly and her family, along with 60 friends and a small press contingent, to "The Wedding of the Century" in Monaco. Among the ticketed passengers are my parents, although they haven't yet met. My father is one of the wedding guests, and my mother is a reporter covering the wedding for the United Press, later rechristened United Press International. They're waiting for fate, in the form of a ship, to carry them down the Hudson River and into the ocean of possible destinies.
But the deck was still crowded with unticketed visitors who had to go ashore before the ship could leave. Some were society people, raising glasses in one last toast to the glorious 26-year-old bride, "Gracie" to her friends, who wore a beige tweed suit with white gloves and a small white hat and was holding her French poodle, Oliver, in her arms. There were dozens of journalists who had not been lucky enough to secure tickets onboard and were hoping for a photo or an item to run in the evening papers, because ever since the news of the movie star's engagement to the prince had become official, around Christmastime, the public's demand for the story had been insatiable. For the society reporters, used to having their work consigned to the back of the newspaper, the Kelly-Rainier wedding was a chance to bask in the light of the front page. Photographers were rushing from the gangplank to the deck, despite the ship's officers' attempts to stop them. John B. Kelly, Grace's bull-in-a-china-shop father, had reputedly gotten into a scuffle with one photographer. The wedding was becoming something of a circus, which Grace and her family had been hoping to avoid, and they hadn't even left the dock yet.
Standing by the ship's railing, taking notes on the scene, was Elizabeth Toomey, a single, 32-year-old UP staff reporter who was, along with her colleague Helen Thomas, perhaps the best-known female byline on the UP's news service. Her daily column, "Woman's View," ran in the New York World-Telegram and Sun and dozens of other papers around the country. She had got the taste for real news reporting shortly after graduating from the University of Missouri's Columbia School of Journalism twelve years earlier, when many of the men who would have been in her class were away at war and she was given opportunities that a woman ordinarily wouldn't have received. But when the war ended and the men came back, she returned to the women's beat-weddings, food, clothes, and the occasional feature story on an actress. Apart from a couple of interviews with Margaret Truman and several vivid pieces on Marilyn Monroe, her stories rarely made news.
Just before Christmas, Liz had heard a rumor that Grace was planning to marry the prince of Monaco. There's no way that's going to happen, she had argued to the reporter who had passed along the rumor during lunch at the Pen and Pencil, a reporters' hangout at Forty-fifth and Third Avenue, up the street from the UP offices on Forty-second Street, because Grace Kelly was an independent, self-reliant, modern American woman, and the princess of Monaco would necessarily be a slave to old-world conventions, a mere adjunct to the prince. Grace Kelly would never even play that role in a movie, to say nothing of real life.
What if they're in love? her colleague asked.
Love-oh, pooh.
scriptgirl
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Western Mail
Why 'Hitchcock Heroine glamour' is top of the fashion tree this winter.(Features)
From: Western Mail (Cardiff, Wales) Date: November 10, 2005 | Copyright information COPYRIGHT 2005 MGN Ltd. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan. All inquiries regarding rights should be directed to the Gale Group.
Byline: By SARAH DREW JONES Western Mail
Grace Kelly - the princess of film and fashion - is THE style inspiration for women today. Sarah Drew Jones reports THERE'S a very select group of women whose names have transcended the usual levels of fame and become bywords for a classic look, an enduring image and a particular style.
Audrey Hepburn, Marilyn Monroe, Jackie Kennedy Onassis, even Bianca Jagger - but there's one style icon whose beauty, serenity and natural 'X factor' has catapulted her back to the very top of the fashion tree this season: Grace Kelly.
Why 'Hitchcock Heroine glamour' is top of the fashion tree this winter.(Features)
From: Western Mail (Cardiff, Wales) Date: November 10, 2005 | Copyright information COPYRIGHT 2005 MGN Ltd. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan. All inquiries regarding rights should be directed to the Gale Group.
Byline: By SARAH DREW JONES Western Mail
Grace Kelly - the princess of film and fashion - is THE style inspiration for women today. Sarah Drew Jones reports THERE'S a very select group of women whose names have transcended the usual levels of fame and become bywords for a classic look, an enduring image and a particular style.
Audrey Hepburn, Marilyn Monroe, Jackie Kennedy Onassis, even Bianca Jagger - but there's one style icon whose beauty, serenity and natural 'X factor' has catapulted her back to the very top of the fashion tree this season: Grace Kelly.
scriptgirl
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Chicago Tribune
Many will recall, with no small dose of nostalgia, this bit of promotional hyper-bole once used to flog the work of Alfred Hitchcock. It's a handy phrase to conjure up for fall clothes assembled as a paean to the director who is remembered as much for his suspense as for his mastery of iconic Wasp style.
Long before the brilliant stylist and costume designer Pat Field made fashion into what some have called a second character in "Sex and the City," there was Hitchcock. Four and five decades ago, he created the kind of celluloid world one might expect today from, say, Tom Ford, the former Gucci designer who wants to direct: elegant, stylish films in which the main characters are cool sophisticates and in which no detail of clothing -- neither handbag nor shoe -- is overlooked.
Hitchcock's films produced timeless touchstones. Polished tweeds, feminine skirts, proper brooches, chaste pearls, clutch bags, leggy suits and glossy wavy hair have all reappeared. Along-side these, the duality of the Hitchcock woman -- wh*re/Madonna, reserved/forward, good girl/bad girl -- looms provocatively.
It's an image with enduring appeal. "No matter what happens in fashion, (the Hitchcock style) that will always be some people's idea of what is icy, cool," said Michael Kors, whose final fall collection for Celine hewed closely to the style of Hitchcock women played by actresses Tippi Hedren, Grace Kelly, Eva Marie Saint and others. "His women were always affluent, always moneyed. People will always be turned on to something that's affluent without looking obvious."
Hitchcock had one of his characters in the Oscar-winning "Rebecca" utter these fighting words. They certainly did not apply to him. He cared deeply about clothes and how they could convey character. He lovingly dressed his leading ladies in the most enviable designer duds.
Well known for keeping a tight reign on every aspect of his films, Hitchcock glorified the cool blond with the carefully coiffed hair. Over the years, he employed several costume designers to perfect the look. His most celebrated collaboration was with Edith Head, the most influential designer of her time. Adept at creating the kind of sumptuous yet tasteful looks Hitchcock liked, she created costumes for Kelly, Hedren and Saint.
Head and Hitchcock first worked together in 1946 on "Notorious" where she decked out Ingrid Bergman in the toney skirts, suits and rich jewelry that would be right at home on some chic sophisticate today.
Hitchcock's clothes resonate not only because they are precise costumes, but because they are so wearable off screen. He was never afraid that clothes would upstage the action, and gave free rein to Head's fashions in "To Catch a Thief" and "Rear Window," both featuring Grace Kelly.
He often willed us to notice the clothes, making them central to the signature Hitchcockian suspense or an important plot twist. In his world, clothes could put a woman's very life in danger. A windowpane shawl caught in brambles slows Eva Marie Saint's flight from her murderous pursuers in "North by Northwest." Later, when Saint breaks the heel of her taupe pump, the mishap puts her in peril of slipping off the face of Mt. Rushmore to certain death.
Like characters played by Saint and Bergman, Hitchcock's heroines were always firmly adults. Not for him some hipless jeune fille. After years of youth-obsessed clothes, this look is refreshingly womanly. Fashion is a new means to separate the women from the girls dressed in navel-baring tops and derriere-revealing jeans.
Not coincidentally, this return to sophisticated high-fashion parallels the rise of affordable, stylish clothes for Baby Boomers and Generation Xers. Designers like Calvin Klein and Tommy Hilfiger, who heretofore balanced their names on the edges of youth culture, are paying attention to women's anatomy and life-styles. Expect a positive effect on sales, and on women's psyches.
But that doesn't mean we don't want to borrow some of the best looks from the '40s and '50s, when Hitchcock's influence on American style began to take hold.
Skirts reminiscent of these periods are significant in collections by Ralph Lauren, Oscar de la Renta and Olivier Theyskiens designing for Rochas. On display is the romance and allure of full skirts or pencil skirts on modern women. In "To Catch a Thief," Grace Kelly wears both-narrow over-the-knee looks and an exquisite full white lampshade of a skirt traced with black beading at the hip.
Diamonds are hot now in all manner of baubles-brooches, bracelets, necklaces and cocktail rings.
Who'd have thought Miuccia Prada would have the answer to Grace Kelly's aversion to cold things? Wear your jewels enmeshed in a sweater. But there's more to it than that. Rubies and pearls too are a good means to broadcast luxury and to frame beauty, as Hitchcock well knew.
For ornate necklaces worn in "North by Northwest," it's a short ride from Ingrid Bergman's lithe neck to a socialite's collarbone in 2004.
Pearls, a Hitchcock standard, have easily made the leap in time. (What better way to denote good breeding?)
This sexy reply by Ingrid Bergman to Cary Grant in "Notorious" is actually not the right answer.
Exquisite coats abound. They're like another accessory. Andrew Ng's multiple coats-some festooned with flowers, others cut close to the body and trimmed with fur-are emblematic of the possibilities. Peter Som, Valentino and Marc Jacobs for Louis Vuitton showed the importance of outerwear as fashion statement.
Coats figure prominently in "Vertigo," where Kim Novak's good-girl character dons a spectacular white unconstructed topper in sharp contrast to her bad-girl persona in a too-tight sweater.
As briskly as they reach for a coat, Hitchcock's leading ladies reach for a stole as a cover-up for naked shoulders in bare evening dresses or as a luxurious accompaniment to a ladylike skirt suit.
The choice might be a diaphanous cloud of fabric or a tactile wrap made of fur. Fur is the oversize collar on a chic rust-colored suit worn by Cary Grant's mother in "North by Northwest." Later in the same film, Eva Marie Saint carries a chestnut-brown stole as she disembarks the train in Chicago. Fur was everywhere.
Sound familiar?
Gilles Mendel and Donna Karan are just two of the designers who added sumptuous fur to suits and jackets. At Narciso Rodri-guez, Gucci and Ralph Rucci, fur stoles finish looks as diverse as red-carpet evening gowns and sporty trousers.
In fact, as any woman knows, black satin and pearls are a duet of enormous elegance, even hip. So ignore this wail uttered by a heartbroken widower whose ultra-stylish wife, now deceased, always wore the black and white combination.
Hitchcock repeatedly put his celluloid Aphrodites in black and white, adding pearls at every turn to set off suits, gowns and blouses of every shade. It's a look that the best designers agree works every time. Helmut Lang explored the concept in leather boots with frilly lace trim. Rodriguez gave graphic play to his signature fitted dresses, like Hitchcock, understanding the power of black and white to convey sharp sophistication.
This is a great moment to tour Hitchcock films for a primer on present-day fashion. And besides, watching his movies is to discerning fashion lovers what eating caviar is to greedy gourmands-delicious, indulgent and never enough.
THE CLOTHES
"DIAL M FOR MURDER" (1954)
And dial G for Grace Kelly, who played a wealthy wife threatened by playwright Frederick Knott's perfect alibi and crime.
Jean Paul Gaultier jersey pearl print mock neck sweater and cardigan, Valentino crepe trousers, ESCADA green and black fox fur wrap, jewelry by Van Cleef & Arpels and judith lieber framed alligator handbag.
"FAMILY PLOT" (1976)
Hitchcock's last blond was Karen Black, the sympathetic accomplice to suave killer William Devane, pursued by sleuth-cabbie Bruce Dern.
Lanvin belted velvet trench and velvet dress with bow, Linda Campisano green felt fedora, Optica vintage sunglasses and Bulgari white gold and diamond "Astrale" bracelet.
"NOTORIOUS" (1946)
Ingrid Bergman had a key, a bottle of champagne and the hearts of both CIA spy Cary Grant and Nazi villain Claude Rains in Francois Truffaut's favorite Hitchcock movie.
Gucci optical white silk viscose jersey halter dress with gold dragon brooch, Christian Lacroix dotted silk pumps with bows and Van Cleef & Arpels virevolt diamond and white gold necklace and plume ring.
"ROPE" (1948)
Vaguely inspired by Chicago's Leopold and Loeb murder case, Hitchcock's "one-shot" movie "Rope" was the tale of two gay roommates who kill a friend and invite guests to dine over his concealed body.
Dries Van Noten Milena wool knit vest, Jean Paul Gaultier white cotton shirt and wool trousers and Chrome Hearts sterling-silver skull keychain. Jean Paul Gaultier suit with zippered corseted jacket and wool trousers and Valentino velvet tie.
"NORTH BY NORTHWEST" (1959)
From the glass canyons of Manhattan to the woods around Mt. Rushmore, Cary Grant fled spies and chased Eva Marie Saint in this comedy-suspense classic.
Ralph Lauren Collection wool/silk Clarence jacket and wool/silk Filipa skirt, Lambertson Truex alligator framed shoulder bag, Prada mink hat and leather and velvet pointy toe pumps and Bulgari earclips and brooch in yellow gold and diamonds circa 1970.
"THE TROUBLE WITH HARRY" (1955)
Shirley MacLaine, in her bubbly debut, was the country charmer in Hitch's droll New England-set dark comedy about a wandering corpse.
Marni orange tweed jacket, Alessandro Dell'acqua powder knit Lurex tank with tie neck, Thakoon wool cropped pants, Louis Vuitton brogue leather "Balmoral" pumps and Hermes silk and cashmere shawl (used as head wrap).
"VERTIGO" (1958)
Kim Novak was the mysterious blond in the church bell-tower and the frightened brunet in Jimmy Stewart's arms in the movie many consider Hitchcock's best.
Yves Saint Laurent Rive Gauche waxed silk satin quilted jacket with pagoda shoulder, shiny jade jersey V-neck top, waxed lime satin organza panel skirt and TOD'S petrol suede "Cleo" hat.
"TO CATCH A THIEF" (1955)
Grace Kelly on the Riviera had jewels admired by retired cat-burglar Cary Grant and charms that sparked the cinema's most famous fireworks scene.
Louis Vuitton cream wool bustier dress with taffeta and tulle skirt, Tiffany & Co. platinum, diamond sunburst necklace and bracelet, and platinum, diamond and chrome tourmaline ring.
"MARNIE" (1964)
Hitchcock earmarked Grace Kelly for this movie's title role of a sexually frigid, chameleonic lady thief, whose anxiety attacks were triggered by the color red. She was then a member of the Monaco royal family; Monaco's objections forced him to settle for chic Tippi Hedren.
Yohji Yamamoto wool cashmere cape, Dior silk organza "Rosa" top and Bulgari platinum and white rose South Sea pearl earclips.
"REAR WINDOW" (1954)
From his wheelchair, New York photographer Jimmy Stewart, Grace Kelly's steady, learns the dangers of voyeurism in this masterpiece adapted from Cornell Woolrich's story.
Gucci amethyst silk chiffon long-sleeve dart dress with satin details and plum mink mini bag with dragon. Gloves by Daniel Storto.
Many will recall, with no small dose of nostalgia, this bit of promotional hyper-bole once used to flog the work of Alfred Hitchcock. It's a handy phrase to conjure up for fall clothes assembled as a paean to the director who is remembered as much for his suspense as for his mastery of iconic Wasp style.
Long before the brilliant stylist and costume designer Pat Field made fashion into what some have called a second character in "Sex and the City," there was Hitchcock. Four and five decades ago, he created the kind of celluloid world one might expect today from, say, Tom Ford, the former Gucci designer who wants to direct: elegant, stylish films in which the main characters are cool sophisticates and in which no detail of clothing -- neither handbag nor shoe -- is overlooked.
Hitchcock's films produced timeless touchstones. Polished tweeds, feminine skirts, proper brooches, chaste pearls, clutch bags, leggy suits and glossy wavy hair have all reappeared. Along-side these, the duality of the Hitchcock woman -- wh*re/Madonna, reserved/forward, good girl/bad girl -- looms provocatively.
It's an image with enduring appeal. "No matter what happens in fashion, (the Hitchcock style) that will always be some people's idea of what is icy, cool," said Michael Kors, whose final fall collection for Celine hewed closely to the style of Hitchcock women played by actresses Tippi Hedren, Grace Kelly, Eva Marie Saint and others. "His women were always affluent, always moneyed. People will always be turned on to something that's affluent without looking obvious."
Hitchcock had one of his characters in the Oscar-winning "Rebecca" utter these fighting words. They certainly did not apply to him. He cared deeply about clothes and how they could convey character. He lovingly dressed his leading ladies in the most enviable designer duds.
Well known for keeping a tight reign on every aspect of his films, Hitchcock glorified the cool blond with the carefully coiffed hair. Over the years, he employed several costume designers to perfect the look. His most celebrated collaboration was with Edith Head, the most influential designer of her time. Adept at creating the kind of sumptuous yet tasteful looks Hitchcock liked, she created costumes for Kelly, Hedren and Saint.
Head and Hitchcock first worked together in 1946 on "Notorious" where she decked out Ingrid Bergman in the toney skirts, suits and rich jewelry that would be right at home on some chic sophisticate today.
Hitchcock's clothes resonate not only because they are precise costumes, but because they are so wearable off screen. He was never afraid that clothes would upstage the action, and gave free rein to Head's fashions in "To Catch a Thief" and "Rear Window," both featuring Grace Kelly.
He often willed us to notice the clothes, making them central to the signature Hitchcockian suspense or an important plot twist. In his world, clothes could put a woman's very life in danger. A windowpane shawl caught in brambles slows Eva Marie Saint's flight from her murderous pursuers in "North by Northwest." Later, when Saint breaks the heel of her taupe pump, the mishap puts her in peril of slipping off the face of Mt. Rushmore to certain death.
Like characters played by Saint and Bergman, Hitchcock's heroines were always firmly adults. Not for him some hipless jeune fille. After years of youth-obsessed clothes, this look is refreshingly womanly. Fashion is a new means to separate the women from the girls dressed in navel-baring tops and derriere-revealing jeans.
Not coincidentally, this return to sophisticated high-fashion parallels the rise of affordable, stylish clothes for Baby Boomers and Generation Xers. Designers like Calvin Klein and Tommy Hilfiger, who heretofore balanced their names on the edges of youth culture, are paying attention to women's anatomy and life-styles. Expect a positive effect on sales, and on women's psyches.
But that doesn't mean we don't want to borrow some of the best looks from the '40s and '50s, when Hitchcock's influence on American style began to take hold.
Skirts reminiscent of these periods are significant in collections by Ralph Lauren, Oscar de la Renta and Olivier Theyskiens designing for Rochas. On display is the romance and allure of full skirts or pencil skirts on modern women. In "To Catch a Thief," Grace Kelly wears both-narrow over-the-knee looks and an exquisite full white lampshade of a skirt traced with black beading at the hip.
Diamonds are hot now in all manner of baubles-brooches, bracelets, necklaces and cocktail rings.
Who'd have thought Miuccia Prada would have the answer to Grace Kelly's aversion to cold things? Wear your jewels enmeshed in a sweater. But there's more to it than that. Rubies and pearls too are a good means to broadcast luxury and to frame beauty, as Hitchcock well knew.
For ornate necklaces worn in "North by Northwest," it's a short ride from Ingrid Bergman's lithe neck to a socialite's collarbone in 2004.
Pearls, a Hitchcock standard, have easily made the leap in time. (What better way to denote good breeding?)
This sexy reply by Ingrid Bergman to Cary Grant in "Notorious" is actually not the right answer.
Exquisite coats abound. They're like another accessory. Andrew Ng's multiple coats-some festooned with flowers, others cut close to the body and trimmed with fur-are emblematic of the possibilities. Peter Som, Valentino and Marc Jacobs for Louis Vuitton showed the importance of outerwear as fashion statement.
Coats figure prominently in "Vertigo," where Kim Novak's good-girl character dons a spectacular white unconstructed topper in sharp contrast to her bad-girl persona in a too-tight sweater.
As briskly as they reach for a coat, Hitchcock's leading ladies reach for a stole as a cover-up for naked shoulders in bare evening dresses or as a luxurious accompaniment to a ladylike skirt suit.
The choice might be a diaphanous cloud of fabric or a tactile wrap made of fur. Fur is the oversize collar on a chic rust-colored suit worn by Cary Grant's mother in "North by Northwest." Later in the same film, Eva Marie Saint carries a chestnut-brown stole as she disembarks the train in Chicago. Fur was everywhere.
Sound familiar?
Gilles Mendel and Donna Karan are just two of the designers who added sumptuous fur to suits and jackets. At Narciso Rodri-guez, Gucci and Ralph Rucci, fur stoles finish looks as diverse as red-carpet evening gowns and sporty trousers.
In fact, as any woman knows, black satin and pearls are a duet of enormous elegance, even hip. So ignore this wail uttered by a heartbroken widower whose ultra-stylish wife, now deceased, always wore the black and white combination.
Hitchcock repeatedly put his celluloid Aphrodites in black and white, adding pearls at every turn to set off suits, gowns and blouses of every shade. It's a look that the best designers agree works every time. Helmut Lang explored the concept in leather boots with frilly lace trim. Rodriguez gave graphic play to his signature fitted dresses, like Hitchcock, understanding the power of black and white to convey sharp sophistication.
This is a great moment to tour Hitchcock films for a primer on present-day fashion. And besides, watching his movies is to discerning fashion lovers what eating caviar is to greedy gourmands-delicious, indulgent and never enough.
THE CLOTHES
"DIAL M FOR MURDER" (1954)
And dial G for Grace Kelly, who played a wealthy wife threatened by playwright Frederick Knott's perfect alibi and crime.
Jean Paul Gaultier jersey pearl print mock neck sweater and cardigan, Valentino crepe trousers, ESCADA green and black fox fur wrap, jewelry by Van Cleef & Arpels and judith lieber framed alligator handbag.
"FAMILY PLOT" (1976)
Hitchcock's last blond was Karen Black, the sympathetic accomplice to suave killer William Devane, pursued by sleuth-cabbie Bruce Dern.
Lanvin belted velvet trench and velvet dress with bow, Linda Campisano green felt fedora, Optica vintage sunglasses and Bulgari white gold and diamond "Astrale" bracelet.
"NOTORIOUS" (1946)
Ingrid Bergman had a key, a bottle of champagne and the hearts of both CIA spy Cary Grant and Nazi villain Claude Rains in Francois Truffaut's favorite Hitchcock movie.
Gucci optical white silk viscose jersey halter dress with gold dragon brooch, Christian Lacroix dotted silk pumps with bows and Van Cleef & Arpels virevolt diamond and white gold necklace and plume ring.
"ROPE" (1948)
Vaguely inspired by Chicago's Leopold and Loeb murder case, Hitchcock's "one-shot" movie "Rope" was the tale of two gay roommates who kill a friend and invite guests to dine over his concealed body.
Dries Van Noten Milena wool knit vest, Jean Paul Gaultier white cotton shirt and wool trousers and Chrome Hearts sterling-silver skull keychain. Jean Paul Gaultier suit with zippered corseted jacket and wool trousers and Valentino velvet tie.
"NORTH BY NORTHWEST" (1959)
From the glass canyons of Manhattan to the woods around Mt. Rushmore, Cary Grant fled spies and chased Eva Marie Saint in this comedy-suspense classic.
Ralph Lauren Collection wool/silk Clarence jacket and wool/silk Filipa skirt, Lambertson Truex alligator framed shoulder bag, Prada mink hat and leather and velvet pointy toe pumps and Bulgari earclips and brooch in yellow gold and diamonds circa 1970.
"THE TROUBLE WITH HARRY" (1955)
Shirley MacLaine, in her bubbly debut, was the country charmer in Hitch's droll New England-set dark comedy about a wandering corpse.
Marni orange tweed jacket, Alessandro Dell'acqua powder knit Lurex tank with tie neck, Thakoon wool cropped pants, Louis Vuitton brogue leather "Balmoral" pumps and Hermes silk and cashmere shawl (used as head wrap).
"VERTIGO" (1958)
Kim Novak was the mysterious blond in the church bell-tower and the frightened brunet in Jimmy Stewart's arms in the movie many consider Hitchcock's best.
Yves Saint Laurent Rive Gauche waxed silk satin quilted jacket with pagoda shoulder, shiny jade jersey V-neck top, waxed lime satin organza panel skirt and TOD'S petrol suede "Cleo" hat.
"TO CATCH A THIEF" (1955)
Grace Kelly on the Riviera had jewels admired by retired cat-burglar Cary Grant and charms that sparked the cinema's most famous fireworks scene.
Louis Vuitton cream wool bustier dress with taffeta and tulle skirt, Tiffany & Co. platinum, diamond sunburst necklace and bracelet, and platinum, diamond and chrome tourmaline ring.
"MARNIE" (1964)
Hitchcock earmarked Grace Kelly for this movie's title role of a sexually frigid, chameleonic lady thief, whose anxiety attacks were triggered by the color red. She was then a member of the Monaco royal family; Monaco's objections forced him to settle for chic Tippi Hedren.
Yohji Yamamoto wool cashmere cape, Dior silk organza "Rosa" top and Bulgari platinum and white rose South Sea pearl earclips.
"REAR WINDOW" (1954)
From his wheelchair, New York photographer Jimmy Stewart, Grace Kelly's steady, learns the dangers of voyeurism in this masterpiece adapted from Cornell Woolrich's story.
Gucci amethyst silk chiffon long-sleeve dart dress with satin details and plum mink mini bag with dragon. Gloves by Daniel Storto.
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City Paper
Remains Graceless
There will be no Grace Kelly museum coming to Philadelphia anytime soon. Gene London,former local children's television show host and couture collector, said his hopes of a museum here for the Philadelphia-born princess have fallen by the wayside.
"There's no money in the city now," said London, citing the budget problems and Mayor John Street's decision to cut the arts and culture funding.
London showed off some of Kelly's ball gowns, including the one she wore at her wedding, at a fundraiser for the Breast Health Institute last Wednesday night. A few years ago, London had been looking for a location for a Grace Kelly museum here.
Remains Graceless
There will be no Grace Kelly museum coming to Philadelphia anytime soon. Gene London,former local children's television show host and couture collector, said his hopes of a museum here for the Philadelphia-born princess have fallen by the wayside.
"There's no money in the city now," said London, citing the budget problems and Mayor John Street's decision to cut the arts and culture funding.
London showed off some of Kelly's ball gowns, including the one she wore at her wedding, at a fundraiser for the Breast Health Institute last Wednesday night. A few years ago, London had been looking for a location for a Grace Kelly museum here.
scriptgirl
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ABC 7
This Weekend's Alfred Hitchcock festival at Hollywood Boulevard
Wednesday, October 12, 2005 | 9:49 AM
October 12, 2005 -- From Hitchcock and Chaplin to Ed Wood, Jr., and from drama and terror to droll comedy, the career of actress Tippi Hedren has been meteoric, and eclectic.
After a few weeks of filming The Birds with Rod Taylor, director Alfred Hitchcock told Associated Press reporter Bob Thomas, "Tippi Hedren is really remarkable. She's already reaching the lows and highs of terror". The former New York fashion model was making her debut as an actress in a starring role in The Birds, and such high praise from the enigmatic master of cinema shock and suspense was rare indeed. "Like a dormant volcano we know one day is going to erupt," Hitchcock described her. "Get a look at that girl, she's going to be good. I gave her the leading part in The Birds. It is a big part. I think Svengali Hitch rides again."
In a cover article about The Birds in LOOK magazine (Dec. 4, 1962), Hitchcock continued to rave, "Tippi has a faster tempo, city glibness, more humor [than Grace Kelly]. She displayed jaunty assuredness, pertness, an attractive throw of the head. And she memorized and read lines extraordinarily well and is sharper in expression."
Story continues below
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Although the critics were perplexed by the "end-less ending" of The Birds, the movie, which premiered at The Cannes Film Festival, was a sensation earning over $11,000,000 in the first few months, and is now a classic. Saturday Review's Arthur Knight wrote, "Hitchcock's newest 'find', Tippi Hedren is a decidedly lovely blonde." Her performance in the film earned her a Golden Globe award.
Hitchcock "discovered" the cover girl while viewing a commercial on NBC's "Today Show" and summoned her to Hollywood under personal contract. After the release of The Birds, he starred her in Marnie, with Sean Connery. Judith Crist wrote, "Alfred Hitchcock had given us one Grace Kelly in our generation and seems intent on giving us another in the person of Tippi Hedren, a classically beautiful, regally poised blonde". Marnie has achieved cult status as an offbeat psychological thriller, years ahead of its time.
Camille Paglia, Professor of Humanities at the University of the Arts in Philadelphia and author of several acclaimed books about women in film, and The Birds (BFI Publishing, 1998), a critical analysis of the film, wrote, "It's so unfair that Tippi Hedren has never had the credit she deserves for the two films she did with Hitchcock. I think the reason critics did not take her seriously is because she is too fashionable and therefore not 'serious'. The interplay between Hedren and [Suzanne] Pleshette in The Birds tells me more about women than any number of articles on feminist theory. Hitchcock captures the subtleties of females warring with each other; all those nuances of knives and guns conducted in looks and body language. He sculpts the human body in space. And I love the way Hedren handles cigarettes and a martini glass with such remarkable sophistication. It is gesturalism raised to the level of choreography."
The three films, back to back, were an auspicious start for the Minnesota girl of Scandinavian parentage. Between over twenty films and numerous television appearances, she's been involved in a wide variety of humanitarian and environmental causes, almost overshadowing her screen work.
As volunteer International Relief Coordinator for "FOOD FOR THE HUNGRY", she traveled worldwide to set up relief programs following earthquakes, hurricanes, famine and war. She aided "boat people" in the South China Sea from a "FOOD FOR THE HUNGRY" rescue ship. Lobbying efforts on behalf of Asian refugees have taken her before Congress and have earned her numerous awards including the "Humanitarian Award" presented to her by the B'hai Faith. She has been honored by the USO for entertaining troops in Vietnam and by the CELEBRITY OUTREACH FOUNDATION for her charitable work.
She began her long love affair with wild animals in 1969 while doing a film, Satan's Harvest, in Africa. She "met" a mellow lion, and much of her life since then has been devoted to the big cats.
Deeply involved with international conservation groups to save wildlife, and an outspoken voice against cruelty to animals, both wild and domestic, she's a board member of "The Wildlife Safari."Perhaps Tippi Hedren's most unique endeavor is being "den mother" and close friend to sixty-odd big cats - lion, tiger, leopard, cougar, and serval at The Roar Foundation's Shambala Preserve near Acton, California.
The high desert game preserve is home to the felines and pachyderms and was first established as an African-type set for the motion picture, Roar, which Tippi co-produced and starred in with her daughter, film actress Melanie Griffith. After the five year filming was completed, it became the current, non-profit center for big cat care and research.
In keeping with her outlook on the environment and conservation, many of Shambala's residents are cast-offs from private owners, zoos and circuses. "They're living out their lives in safety and comfort." The Preserve is open to the public on a reservation basis. Tippi is founder and President of The Roar Foundation and resides at Shambala in a cottage surrounded by big cat compounds. "I awaken to their roars." The story of Tippi's life and the animals "dearest to her heart" was told in Simon & Schuster's The Cats of Shambala (1985). The updated and revised edition (2003) will soon be available in paperback.
Several documentaries have been produced about the Shambala Preserve including, Lions: Kings of the Serengeti by the Richard Diercks Co, Inc. which won the Telly Award in 1995 for outstanding video documentary; and Life With Big Cats (1998), produced for Animal Planet, which won the Genesis Award for best documentary in 1999.
Tippi continues to work frequently in motion pictures, theatre, episodic and cable television, and her contributions to world cinema have been honored with Life Achievement awards in France at The Beauvais Film Festival Cinemalia 1994, and in Spain by The Fundacion Municipal De Cine in 1995. In 1999, Tippi was honored as "Woman of Vision" by Women of Film and Video in Washington, D.C., and received the Presidential Medal for her work in film from Hofstra University. And in 2000, Tippi was honored as "Best Actress in a Comedy Short" in the film "Mulligans!" at the Method Fest, Independent Film Festival, and in 2002, Tippi won "best Actress" for the short film "Tea With Grandma" from the New York International Independent Film Festival.
Alfred Hitchcock Festival
Friday- Sunday
5:30-8pm, Autograph signing
8pm, The Birds
Hollywood Boulevard
1001 W. 75th St.
Woodridge, Illinois
This Weekend's Alfred Hitchcock festival at Hollywood Boulevard
Wednesday, October 12, 2005 | 9:49 AM
October 12, 2005 -- From Hitchcock and Chaplin to Ed Wood, Jr., and from drama and terror to droll comedy, the career of actress Tippi Hedren has been meteoric, and eclectic.
After a few weeks of filming The Birds with Rod Taylor, director Alfred Hitchcock told Associated Press reporter Bob Thomas, "Tippi Hedren is really remarkable. She's already reaching the lows and highs of terror". The former New York fashion model was making her debut as an actress in a starring role in The Birds, and such high praise from the enigmatic master of cinema shock and suspense was rare indeed. "Like a dormant volcano we know one day is going to erupt," Hitchcock described her. "Get a look at that girl, she's going to be good. I gave her the leading part in The Birds. It is a big part. I think Svengali Hitch rides again."
In a cover article about The Birds in LOOK magazine (Dec. 4, 1962), Hitchcock continued to rave, "Tippi has a faster tempo, city glibness, more humor [than Grace Kelly]. She displayed jaunty assuredness, pertness, an attractive throw of the head. And she memorized and read lines extraordinarily well and is sharper in expression."
Story continues below
Advertisement
.prWrap,.prWrap DIV,.prWrap TABLE,.prWrap TABLE TBODY,.prWrap TABLE TR,.prWrap TABLE TD,.prWrap IMG{margin:0px 0px 0px 0px;padding:0px 0px 0px 0px;border:0px 0px 0px 0px;overflow:visible;direction:ltr;background:none;background-color:transparent;}
<IMG style="FLOAT: none; WIDTH: 1px; HEIGHT: 1px" height=1 width=1 name=prti>
Although the critics were perplexed by the "end-less ending" of The Birds, the movie, which premiered at The Cannes Film Festival, was a sensation earning over $11,000,000 in the first few months, and is now a classic. Saturday Review's Arthur Knight wrote, "Hitchcock's newest 'find', Tippi Hedren is a decidedly lovely blonde." Her performance in the film earned her a Golden Globe award.
Hitchcock "discovered" the cover girl while viewing a commercial on NBC's "Today Show" and summoned her to Hollywood under personal contract. After the release of The Birds, he starred her in Marnie, with Sean Connery. Judith Crist wrote, "Alfred Hitchcock had given us one Grace Kelly in our generation and seems intent on giving us another in the person of Tippi Hedren, a classically beautiful, regally poised blonde". Marnie has achieved cult status as an offbeat psychological thriller, years ahead of its time.
Camille Paglia, Professor of Humanities at the University of the Arts in Philadelphia and author of several acclaimed books about women in film, and The Birds (BFI Publishing, 1998), a critical analysis of the film, wrote, "It's so unfair that Tippi Hedren has never had the credit she deserves for the two films she did with Hitchcock. I think the reason critics did not take her seriously is because she is too fashionable and therefore not 'serious'. The interplay between Hedren and [Suzanne] Pleshette in The Birds tells me more about women than any number of articles on feminist theory. Hitchcock captures the subtleties of females warring with each other; all those nuances of knives and guns conducted in looks and body language. He sculpts the human body in space. And I love the way Hedren handles cigarettes and a martini glass with such remarkable sophistication. It is gesturalism raised to the level of choreography."
The three films, back to back, were an auspicious start for the Minnesota girl of Scandinavian parentage. Between over twenty films and numerous television appearances, she's been involved in a wide variety of humanitarian and environmental causes, almost overshadowing her screen work.
As volunteer International Relief Coordinator for "FOOD FOR THE HUNGRY", she traveled worldwide to set up relief programs following earthquakes, hurricanes, famine and war. She aided "boat people" in the South China Sea from a "FOOD FOR THE HUNGRY" rescue ship. Lobbying efforts on behalf of Asian refugees have taken her before Congress and have earned her numerous awards including the "Humanitarian Award" presented to her by the B'hai Faith. She has been honored by the USO for entertaining troops in Vietnam and by the CELEBRITY OUTREACH FOUNDATION for her charitable work.
She began her long love affair with wild animals in 1969 while doing a film, Satan's Harvest, in Africa. She "met" a mellow lion, and much of her life since then has been devoted to the big cats.
Deeply involved with international conservation groups to save wildlife, and an outspoken voice against cruelty to animals, both wild and domestic, she's a board member of "The Wildlife Safari."Perhaps Tippi Hedren's most unique endeavor is being "den mother" and close friend to sixty-odd big cats - lion, tiger, leopard, cougar, and serval at The Roar Foundation's Shambala Preserve near Acton, California.
The high desert game preserve is home to the felines and pachyderms and was first established as an African-type set for the motion picture, Roar, which Tippi co-produced and starred in with her daughter, film actress Melanie Griffith. After the five year filming was completed, it became the current, non-profit center for big cat care and research.
In keeping with her outlook on the environment and conservation, many of Shambala's residents are cast-offs from private owners, zoos and circuses. "They're living out their lives in safety and comfort." The Preserve is open to the public on a reservation basis. Tippi is founder and President of The Roar Foundation and resides at Shambala in a cottage surrounded by big cat compounds. "I awaken to their roars." The story of Tippi's life and the animals "dearest to her heart" was told in Simon & Schuster's The Cats of Shambala (1985). The updated and revised edition (2003) will soon be available in paperback.
Several documentaries have been produced about the Shambala Preserve including, Lions: Kings of the Serengeti by the Richard Diercks Co, Inc. which won the Telly Award in 1995 for outstanding video documentary; and Life With Big Cats (1998), produced for Animal Planet, which won the Genesis Award for best documentary in 1999.
Tippi continues to work frequently in motion pictures, theatre, episodic and cable television, and her contributions to world cinema have been honored with Life Achievement awards in France at The Beauvais Film Festival Cinemalia 1994, and in Spain by The Fundacion Municipal De Cine in 1995. In 1999, Tippi was honored as "Woman of Vision" by Women of Film and Video in Washington, D.C., and received the Presidential Medal for her work in film from Hofstra University. And in 2000, Tippi was honored as "Best Actress in a Comedy Short" in the film "Mulligans!" at the Method Fest, Independent Film Festival, and in 2002, Tippi won "best Actress" for the short film "Tea With Grandma" from the New York International Independent Film Festival.
Alfred Hitchcock Festival
Friday- Sunday
5:30-8pm, Autograph signing
8pm, The Birds
Hollywood Boulevard
1001 W. 75th St.
Woodridge, Illinois
scriptgirl
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New York Sun
"Your dresses should be tight enough to show you're a woman, and loose enough to show you're a lady," was the motto of the legendary costumer Edith Head, who knew a thing or two about dresses: She designed the gowns worn by Grace Kelly in "To Catch a Thief," Audrey Hepburn in "Roman Holiday" and "Sabrina," and Elizabeth Taylor in "A Place in the Sun," and in the process, created a new definition for glamour.
These dresses and hundreds of others are the subject of a new book, "The Evening Dress," by Alexandra Black (Rizzoli, 336 pages, $60). Ms. Black presents dresses from every era, in every length, style, and fabric, but all are united in one aspect: They were intended to be worn in the hours after dark. Evening fashion, she argues, is about frivolity, luxury, and sex appeal, as opposed to the practical attire of daywear. Coco Chanel, she notes, used to say, "Be a caterpillar by day and a butterfly by night. Nothing could be more comfortable than a caterpillar and nothing more made for love than a butterfly."
In charting the evolution of these "butterfly" dresses, Ms. Black focuses primarily on the 20th century, following the dress from its flapper-chic designs in the 1920s to draped satin gowns in the 1930s to the formal, feminine styles epitomized by Dior's "New Look" collection of 1947 to loose-fitting kaftans in the 1960s and '70s to the body-conscious cuts of the 1980s and beyond. Throughout the book, she demonstrates the ways in which these styles have shaped what we see on today's runways: John Galliano and Karl Lagerfeld have reinterpreted the flapper dress; a 2002 dress by Prada is strikingly similar to one worn by Katherine Hepburn in 1938; Roberto Cavalli borrows Yves Saint Laurent's 1970s animal prints in his designs; designers from Valentino to Zac Posen continue to reinterpret Dior's "New Look" dresses.
The book's 250 illustrations and photographs make it clear why these styles - as well as the fashion icons who popularized them, from Louise Brooks to Grace Kelly to Jacqueline Kennedy - continue to inspire the looks that appear each year on runways, magazine spreads, and red carpets.
"Your dresses should be tight enough to show you're a woman, and loose enough to show you're a lady," was the motto of the legendary costumer Edith Head, who knew a thing or two about dresses: She designed the gowns worn by Grace Kelly in "To Catch a Thief," Audrey Hepburn in "Roman Holiday" and "Sabrina," and Elizabeth Taylor in "A Place in the Sun," and in the process, created a new definition for glamour.
These dresses and hundreds of others are the subject of a new book, "The Evening Dress," by Alexandra Black (Rizzoli, 336 pages, $60). Ms. Black presents dresses from every era, in every length, style, and fabric, but all are united in one aspect: They were intended to be worn in the hours after dark. Evening fashion, she argues, is about frivolity, luxury, and sex appeal, as opposed to the practical attire of daywear. Coco Chanel, she notes, used to say, "Be a caterpillar by day and a butterfly by night. Nothing could be more comfortable than a caterpillar and nothing more made for love than a butterfly."
In charting the evolution of these "butterfly" dresses, Ms. Black focuses primarily on the 20th century, following the dress from its flapper-chic designs in the 1920s to draped satin gowns in the 1930s to the formal, feminine styles epitomized by Dior's "New Look" collection of 1947 to loose-fitting kaftans in the 1960s and '70s to the body-conscious cuts of the 1980s and beyond. Throughout the book, she demonstrates the ways in which these styles have shaped what we see on today's runways: John Galliano and Karl Lagerfeld have reinterpreted the flapper dress; a 2002 dress by Prada is strikingly similar to one worn by Katherine Hepburn in 1938; Roberto Cavalli borrows Yves Saint Laurent's 1970s animal prints in his designs; designers from Valentino to Zac Posen continue to reinterpret Dior's "New Look" dresses.
The book's 250 illustrations and photographs make it clear why these styles - as well as the fashion icons who popularized them, from Louise Brooks to Grace Kelly to Jacqueline Kennedy - continue to inspire the looks that appear each year on runways, magazine spreads, and red carpets.
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Hulton
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Maxxppp
your pic isn't shown kochieWelcome to the fashion spot
ebay
or only I can't see it
