Grace Kelly
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Grace on the new cover of Vanity Fair. Couldn't find a bigger photo though 
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Fashion1987
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Grace Kelly’s Forever Look
The rare beauty and stunning self-possession that propelled Grace Kelly into the Hollywood pantheon, onto the Best-Dressed List, and ultimately to Monaco’s royal palace were more than captivating—they were completely genuine. As London’s Victoria and Albert Museum unveils an exhibition devoted to Kelly’s style, which still inspires fashion from Hermès to Tommy Hilfiger to Mad Men’s costumer Janie Bryant, the author looks at the intertwined qualities of an icon: white-gloved ingénue, elegant goddess, passionate—and frankly sexual—romantic.
By Laura Jacobs
May 2010
Grace Kelly
Grace Kelly for Life magazine wearing the gown designed by Edith Head that she wore to the 1955 Academy Awards. © Philippe Halsman/Magnum Photos.
It may be the softest kiss in film history. The sun is setting over West Side rooftops, the sky persimmon. A man, his leg in a cast, sleeps near an open window, undisturbed by a neighbor singing scales. Just after the highest note is reached, a shadow climbs over the man’s chest, shoulder, and chin. We see a face: blue eyes, red lips, skin like poured cream, pearls. Then he sees it. The kiss happens in profile, a slow-motion hallucinatory blur somewhere between myth and dream, a limbic level of consciousness. The director, Alfred Hitchcock, liked to say he got the effect by shaking the camera. In truth, this otherworldly kiss comes to us by way of a double printing. Has any muse in cinema been graced with such a perfect cameo portrait of her power?
“How’s your leg?” she murmurs. “It hurts a little,” Jimmy Stewart answers. Another soft kiss, more teasing questions. “Anything else bothering you?” she asks. “Uh-huh,” he says. “Who are you?”
Who, indeed! In 1954, when Rear Window premiered, Grace Kelly had been in only four films. She was hardly known to the public, and then she was suddenly known—a star. In her first film, Fourteen Hours, she played an innocent bystander, on-screen for two minutes and 14 seconds. In her second, Fred Zinnemann’s High Noon, she co-starred as the pacifist bride of embattled sheriff Gary Cooper. In her third movie, John Ford’s Mogambo, she was the prim wife of an anthropologist (Donald Sinden) and Jane to big-game hunter Clark Gable’s Tarzan. It was a steep and impressive learning curve, straight to the top. By the time Hitchcock got his hands on her, figuratively speaking, casting himself as Pygmalion to her Galatea, Grace Kelly was ready for her close-up. Hitchcock gave her one after another, in three films that placed her on a pedestal—Dial M for Murder, Rear Window, and To Catch a Thief—enshrining her as an archetype newly minted. “A snow-covered volcano” was how he put it. She was ladylike yet elemental, suggestive of icy Olympian heights and untouched autonomy yet, beneath it all, unblushing heat and fire. By 1956, two years, six films, and one Academy Award after Rear Window—while the country was still wondering, Who are you, Miss Kelly?—she was gone, off to Europe to marry a prince, whence she would become Her Serene Highness Princess Grace of Monaco.
Plus: “The Eternal Style of Grace Kelly,” slide show.
The appearance and then sudden disappearance of gifted, beautiful blondes is not unknown to Hollywood. Before Grace Kelly’s five-year phase of radiance in the 50s, there was Frances Farmer, whose brilliance roused the industry for six years, from 1936 to 1942. Like Kelly, Farmer was intelligent, her own person, and a serious actress wary of binding contracts. In 1957, only a year after Grace Kelly’s departure, Diane Varsi took the baton, making a big impression as a sensitive ingénue in Peyton Place. Varsi, too, was both smart and skeptical of Hollywood, and fled the industry in 1959. (She returned in the late 60s, but without momentum.) Farmer and Varsi left, respectively, in mental and emotional disarray. The word “disarray,” however, would never find its way into a sentence that included the name Grace Kelly. She was always in control. Always prepared. Always well groomed and well mannered, delightful and kind. And always, eternally it seems, beautiful.
Though it is in Rear Window where Grace Kelly achieves full iconic stature, answering Stewart’s question by circling the room in her pure-white snowcap of a skirt, there is nothing “rear window” about her. She states her full name as she switches on three lights, and her picture-window, Park Avenue perfection is itself a kind of incandescence. Here was a white-glove glow to make men gallant and women swoon, and it was present whether she was dressed in dowdy daywear (her beloved wool skirts and cashmere cardigans) or in the confections of Hollywood designers and Paris couturiers. Hitchcock goes so far as to make a joke of it. “She’s too perfect,” Jimmy Stewart complains. “She’s too talented. She’s too beautiful. She’s too sophisticated. She’s too everything but what I want.” And it was true, except for that last, because at the moment when Miss Kelly left Hollywood the whole world wanted her.
The Kelly Way
The story of Grace Kelly has been told and retold by friends, journalists, historians, and hacks. This April, it will be told yet again, not in words but in artifacts, when London’s Victoria and Albert Museum unveils the exhibition “Grace Kelly: Style Icon.” It begins as her story must, in Philadelphia, where she was born on November 12, 1929. Baby pictures aside, the image that seems to set her life in motion is one that recurs in a series of vacation snapshots. It is Grace as a little girl on the Jersey Shore, being twirled in the air by her father, who looks Herculean in a tank suit as he swings her by her legs or by an arm and a leg. The photos capture an essential dynamic: Jack Kelly was the vortex of his family, and its life revolved around him—his principles, his dreams, his drive.
Jack’s goal was success in all things, pursued honestly yet relentlessly, and his drive was physical. It manifested itself both in sports—he was celebrated for winning three Olympic gold medals in sculling (one newspaper called him “the most perfectly formed American male”)—and in business, where his construction company, Kelly for Brickwork, became the largest of its kind on the East Coast. His sex drive was Herculean, too. Marriage did not limit Jack’s love life, which was discreet but busy. In many ways the Kellys were like the Kennedys—bright, shining, charismatic, Irish-Catholic Democrats, civically and politically engaged. (Jack once ran for Philadelphia mayor, losing by only a small margin.) Similarly, Kelly women were expected to be team players—outdoorsy, sporting, and supportive of their men.
Margaret Majer Kelly, Grace’s mother, was herself an impressive physical specimen. A former cover-girl model and competitive swimmer, she was the first woman to teach physical education at the University of Pennsylvania. Her German-Protestant discipline meshed nicely with her husband’s can-do spirit; when they married, she converted to Catholicism. Despite their winning energies, the Kellys were not social climbers. In the Philadelphia of those days, Irish Catholics, even rich ones, were outsiders. Thus the family never lived on the fabled Main Line, as so many Americans thought they had (because Hollywood publicists decided they had). The Kellys built a 17-room home in the Philadelphia neighborhood of East Falls, overlooking the Schuylkill River, upon which Jack rowed. And there they stayed, enviably wealthy, sailing through the Great Crash without a dip because Jack didn’t play the stock market.
“I’m Going to Be a Princess”
Grace Patricia Kelly was the third child of four and the only one without a clear definition. Peggy, extremely witty and her father’s favorite, was the eldest. John junior, born second, was the only boy. (“Kell” would become a champion rower like his father, not because he wanted to but because his father expected him to.) And Lizanne was the baby. Grace was defined by what she wasn’t: not athletic, not outgoing, not boisterously healthy (she suffered sinus trouble and asthma). A much-repeated family story has young Grace locked in a cupboard by tempestuous Lizanne; instead of crying to get out, Grace stayed quietly locked in, playing with her dolls, for hours. “She seemed to have been born with a serenity the rest of us didn’t have,” Lizanne later explained. Unfortunately, serenity didn’t particularly impress Jack. Grace was active in a place where it didn’t show: her imagination. Early on, she told her sister Peggy, “One day I’m going to be a princess.”
Make-believe was where Grace excelled, both in playing with her dolls and in class theatricals, beginning with her first big role—the Virgin Mary in the Ravenhill-convent-school Nativity pageant—and continuing through high school. Years later, as she was just gaining notice in Hollywood, the Los Angeles Times would write that she “came seemingly out of nowhere.” This was not true. Alongside the sporting blood in the Kelly clan ran a more verbal line of showmanship—the stage. Jack Kelly had two brothers who had gained fame in the theater: Walter Kelly, a successful vaudevillian, and George Kelly, a Pulitzer Prize–winning playwright. George became Grace’s mentor and confidant. It was he who encouraged her dream of acting, who warned her about Hollywood’s feudal studio system, and whose name helped her win late admission to the renowned American Academy of Dramatic Arts, in Manhattan. Grace’s parents did not want her to leave home for New York. According to close friend Judith Balaban Quine, who would be one of Grace’s six bridesmaids and later the author of The Bridesmaids: Grace Kelly, Princess of Monaco, and Six Intimate Friends, Jack Kelly thought acting “a slim cut above streetwalker”—not an uncommon view at the time. But Grace was adamant. “She got away from home early,” her brother, Kell, once said. “None of the rest of us managed to do that.”
Grace did well at the academy, and in her graduation performance played the role of Tracy Lord, the privileged heiress in The Philadelphia Story. This was the beginning of the potent, sometimes prophetic connection between life and art that would reverberate through the career of Grace Kelly. When in 1949 she won her first big part on Broadway—the daughter in The Father, with Raymond Massey in the lead—it was again a role in sync with her own situation: the loving daughter who must break away from a powerful family. Grace got good notices, which brought calls from New York television producers, but Broadway did not fall at her feet. The problem was her voice: it was too high, too flat (those sinuses), and not easily projected over the footlights. She put a clothespin on her nose and worked to bring her voice down a register, to achieve clarity and depth. The result was diction with a silver-spoon delicacy—slightly British—and the stirring lilt of afternoon tea at the Connaught. The Kellys teased Grace mercilessly, this putting on airs, but her new voice would be key.
So would her walk. Grace had studied ballet as a girl, keen on becoming a ballerina, but she grew too tall (five feet six) to be a classical dancer in that era. She never, however, lost her ballet posture or a dancer’s awareness of her limbs in space. Furthermore, she’d paid her own tuition at the academy by doing lucrative work, making more than $400 a week as a commercial model for the John Robert Powers agency, selling soap, cigarettes, whatever, in print ads. This too contributed to a poise, an inner stillness, in the way she moved. Her walk became something unique: regal above the waist, shoulders back and head high, and a floating quality below, akin to a geisha’s glide, or a swan’s. In fact, Grace developed her acting chops not onstage but in the live “playhouse” television dramas that were a new form of entertainment in the early 50s, and one of her more than 30 TV appearances was in a shortened version of Ferenc Molnár’s The Swan. In this play, Grace, as a princess, must choose between young love and a destiny tied to duty, a life where she will “glide like a dream on the smooth surface of the lake and never go on the shore.… There she must stay, out on the lake, silent, white, majestic.” It’s hard not to feel clairvoyance in this metaphor.
Add in the white gloves she wore to auditions—unheard of in the drafty, gypsy world of theater—and the neutral hose, the low-heeled shoes, the slim wool skirts, the camel-hair coat, the horn-rimmed glasses (she was nearsighted), and the less-is-more makeup. Well, Grace was her mother’s daughter, and Margaret had never approved of frippery.
“She was fun and jolly and pretty and nice to have around,” says Laura Clark, who was an editor at Harper’s Bazaar when she met Grace, in the early 1950s, still a struggling actress. Clark remembers her style of dress as “very conservative. You know, the circle pin and the white collars. The sweater-and-tartan-skirt look. Almost schoolgirlish.”
Fellow actress and close friend Rita Gam described Grace’s daytime style as that of a “small-town high-school teacher,” while fashion designer Oleg Cassini, whom Grace would begin dating in 1954 and almost marry, called it her “Bryn Mawr look.”
Maree Frisby Rambo, Grace’s best friend from childhood, says that, growing up, Grace wasn’t terribly interested in clothes. “We all wore about the same thing. Sweaters and skirts and loafers and socks. It was like a uniform. Dances and things, she’d wear a dress of Peggy’s.” That changed when Grace left home. “I remember she’d been in New York for a while,” Rambo recalls. “She came to Philadelphia, and I invited her to the Cricket Club to go swimming, and she appeared, and she just looked different. Whatever she had on was so chic, as opposed to us. She looked New York, where the rest of us looked Chestnut Hill.”
vanityfair.com
The rare beauty and stunning self-possession that propelled Grace Kelly into the Hollywood pantheon, onto the Best-Dressed List, and ultimately to Monaco’s royal palace were more than captivating—they were completely genuine. As London’s Victoria and Albert Museum unveils an exhibition devoted to Kelly’s style, which still inspires fashion from Hermès to Tommy Hilfiger to Mad Men’s costumer Janie Bryant, the author looks at the intertwined qualities of an icon: white-gloved ingénue, elegant goddess, passionate—and frankly sexual—romantic.
By Laura Jacobs
May 2010
Grace Kelly
Grace Kelly for Life magazine wearing the gown designed by Edith Head that she wore to the 1955 Academy Awards. © Philippe Halsman/Magnum Photos.
It may be the softest kiss in film history. The sun is setting over West Side rooftops, the sky persimmon. A man, his leg in a cast, sleeps near an open window, undisturbed by a neighbor singing scales. Just after the highest note is reached, a shadow climbs over the man’s chest, shoulder, and chin. We see a face: blue eyes, red lips, skin like poured cream, pearls. Then he sees it. The kiss happens in profile, a slow-motion hallucinatory blur somewhere between myth and dream, a limbic level of consciousness. The director, Alfred Hitchcock, liked to say he got the effect by shaking the camera. In truth, this otherworldly kiss comes to us by way of a double printing. Has any muse in cinema been graced with such a perfect cameo portrait of her power?
“How’s your leg?” she murmurs. “It hurts a little,” Jimmy Stewart answers. Another soft kiss, more teasing questions. “Anything else bothering you?” she asks. “Uh-huh,” he says. “Who are you?”
Who, indeed! In 1954, when Rear Window premiered, Grace Kelly had been in only four films. She was hardly known to the public, and then she was suddenly known—a star. In her first film, Fourteen Hours, she played an innocent bystander, on-screen for two minutes and 14 seconds. In her second, Fred Zinnemann’s High Noon, she co-starred as the pacifist bride of embattled sheriff Gary Cooper. In her third movie, John Ford’s Mogambo, she was the prim wife of an anthropologist (Donald Sinden) and Jane to big-game hunter Clark Gable’s Tarzan. It was a steep and impressive learning curve, straight to the top. By the time Hitchcock got his hands on her, figuratively speaking, casting himself as Pygmalion to her Galatea, Grace Kelly was ready for her close-up. Hitchcock gave her one after another, in three films that placed her on a pedestal—Dial M for Murder, Rear Window, and To Catch a Thief—enshrining her as an archetype newly minted. “A snow-covered volcano” was how he put it. She was ladylike yet elemental, suggestive of icy Olympian heights and untouched autonomy yet, beneath it all, unblushing heat and fire. By 1956, two years, six films, and one Academy Award after Rear Window—while the country was still wondering, Who are you, Miss Kelly?—she was gone, off to Europe to marry a prince, whence she would become Her Serene Highness Princess Grace of Monaco.
Plus: “The Eternal Style of Grace Kelly,” slide show.
The appearance and then sudden disappearance of gifted, beautiful blondes is not unknown to Hollywood. Before Grace Kelly’s five-year phase of radiance in the 50s, there was Frances Farmer, whose brilliance roused the industry for six years, from 1936 to 1942. Like Kelly, Farmer was intelligent, her own person, and a serious actress wary of binding contracts. In 1957, only a year after Grace Kelly’s departure, Diane Varsi took the baton, making a big impression as a sensitive ingénue in Peyton Place. Varsi, too, was both smart and skeptical of Hollywood, and fled the industry in 1959. (She returned in the late 60s, but without momentum.) Farmer and Varsi left, respectively, in mental and emotional disarray. The word “disarray,” however, would never find its way into a sentence that included the name Grace Kelly. She was always in control. Always prepared. Always well groomed and well mannered, delightful and kind. And always, eternally it seems, beautiful.
Though it is in Rear Window where Grace Kelly achieves full iconic stature, answering Stewart’s question by circling the room in her pure-white snowcap of a skirt, there is nothing “rear window” about her. She states her full name as she switches on three lights, and her picture-window, Park Avenue perfection is itself a kind of incandescence. Here was a white-glove glow to make men gallant and women swoon, and it was present whether she was dressed in dowdy daywear (her beloved wool skirts and cashmere cardigans) or in the confections of Hollywood designers and Paris couturiers. Hitchcock goes so far as to make a joke of it. “She’s too perfect,” Jimmy Stewart complains. “She’s too talented. She’s too beautiful. She’s too sophisticated. She’s too everything but what I want.” And it was true, except for that last, because at the moment when Miss Kelly left Hollywood the whole world wanted her.
The Kelly Way
The story of Grace Kelly has been told and retold by friends, journalists, historians, and hacks. This April, it will be told yet again, not in words but in artifacts, when London’s Victoria and Albert Museum unveils the exhibition “Grace Kelly: Style Icon.” It begins as her story must, in Philadelphia, where she was born on November 12, 1929. Baby pictures aside, the image that seems to set her life in motion is one that recurs in a series of vacation snapshots. It is Grace as a little girl on the Jersey Shore, being twirled in the air by her father, who looks Herculean in a tank suit as he swings her by her legs or by an arm and a leg. The photos capture an essential dynamic: Jack Kelly was the vortex of his family, and its life revolved around him—his principles, his dreams, his drive.
Jack’s goal was success in all things, pursued honestly yet relentlessly, and his drive was physical. It manifested itself both in sports—he was celebrated for winning three Olympic gold medals in sculling (one newspaper called him “the most perfectly formed American male”)—and in business, where his construction company, Kelly for Brickwork, became the largest of its kind on the East Coast. His sex drive was Herculean, too. Marriage did not limit Jack’s love life, which was discreet but busy. In many ways the Kellys were like the Kennedys—bright, shining, charismatic, Irish-Catholic Democrats, civically and politically engaged. (Jack once ran for Philadelphia mayor, losing by only a small margin.) Similarly, Kelly women were expected to be team players—outdoorsy, sporting, and supportive of their men.
Margaret Majer Kelly, Grace’s mother, was herself an impressive physical specimen. A former cover-girl model and competitive swimmer, she was the first woman to teach physical education at the University of Pennsylvania. Her German-Protestant discipline meshed nicely with her husband’s can-do spirit; when they married, she converted to Catholicism. Despite their winning energies, the Kellys were not social climbers. In the Philadelphia of those days, Irish Catholics, even rich ones, were outsiders. Thus the family never lived on the fabled Main Line, as so many Americans thought they had (because Hollywood publicists decided they had). The Kellys built a 17-room home in the Philadelphia neighborhood of East Falls, overlooking the Schuylkill River, upon which Jack rowed. And there they stayed, enviably wealthy, sailing through the Great Crash without a dip because Jack didn’t play the stock market.
“I’m Going to Be a Princess”
Grace Patricia Kelly was the third child of four and the only one without a clear definition. Peggy, extremely witty and her father’s favorite, was the eldest. John junior, born second, was the only boy. (“Kell” would become a champion rower like his father, not because he wanted to but because his father expected him to.) And Lizanne was the baby. Grace was defined by what she wasn’t: not athletic, not outgoing, not boisterously healthy (she suffered sinus trouble and asthma). A much-repeated family story has young Grace locked in a cupboard by tempestuous Lizanne; instead of crying to get out, Grace stayed quietly locked in, playing with her dolls, for hours. “She seemed to have been born with a serenity the rest of us didn’t have,” Lizanne later explained. Unfortunately, serenity didn’t particularly impress Jack. Grace was active in a place where it didn’t show: her imagination. Early on, she told her sister Peggy, “One day I’m going to be a princess.”
Make-believe was where Grace excelled, both in playing with her dolls and in class theatricals, beginning with her first big role—the Virgin Mary in the Ravenhill-convent-school Nativity pageant—and continuing through high school. Years later, as she was just gaining notice in Hollywood, the Los Angeles Times would write that she “came seemingly out of nowhere.” This was not true. Alongside the sporting blood in the Kelly clan ran a more verbal line of showmanship—the stage. Jack Kelly had two brothers who had gained fame in the theater: Walter Kelly, a successful vaudevillian, and George Kelly, a Pulitzer Prize–winning playwright. George became Grace’s mentor and confidant. It was he who encouraged her dream of acting, who warned her about Hollywood’s feudal studio system, and whose name helped her win late admission to the renowned American Academy of Dramatic Arts, in Manhattan. Grace’s parents did not want her to leave home for New York. According to close friend Judith Balaban Quine, who would be one of Grace’s six bridesmaids and later the author of The Bridesmaids: Grace Kelly, Princess of Monaco, and Six Intimate Friends, Jack Kelly thought acting “a slim cut above streetwalker”—not an uncommon view at the time. But Grace was adamant. “She got away from home early,” her brother, Kell, once said. “None of the rest of us managed to do that.”
Grace did well at the academy, and in her graduation performance played the role of Tracy Lord, the privileged heiress in The Philadelphia Story. This was the beginning of the potent, sometimes prophetic connection between life and art that would reverberate through the career of Grace Kelly. When in 1949 she won her first big part on Broadway—the daughter in The Father, with Raymond Massey in the lead—it was again a role in sync with her own situation: the loving daughter who must break away from a powerful family. Grace got good notices, which brought calls from New York television producers, but Broadway did not fall at her feet. The problem was her voice: it was too high, too flat (those sinuses), and not easily projected over the footlights. She put a clothespin on her nose and worked to bring her voice down a register, to achieve clarity and depth. The result was diction with a silver-spoon delicacy—slightly British—and the stirring lilt of afternoon tea at the Connaught. The Kellys teased Grace mercilessly, this putting on airs, but her new voice would be key.
So would her walk. Grace had studied ballet as a girl, keen on becoming a ballerina, but she grew too tall (five feet six) to be a classical dancer in that era. She never, however, lost her ballet posture or a dancer’s awareness of her limbs in space. Furthermore, she’d paid her own tuition at the academy by doing lucrative work, making more than $400 a week as a commercial model for the John Robert Powers agency, selling soap, cigarettes, whatever, in print ads. This too contributed to a poise, an inner stillness, in the way she moved. Her walk became something unique: regal above the waist, shoulders back and head high, and a floating quality below, akin to a geisha’s glide, or a swan’s. In fact, Grace developed her acting chops not onstage but in the live “playhouse” television dramas that were a new form of entertainment in the early 50s, and one of her more than 30 TV appearances was in a shortened version of Ferenc Molnár’s The Swan. In this play, Grace, as a princess, must choose between young love and a destiny tied to duty, a life where she will “glide like a dream on the smooth surface of the lake and never go on the shore.… There she must stay, out on the lake, silent, white, majestic.” It’s hard not to feel clairvoyance in this metaphor.
Add in the white gloves she wore to auditions—unheard of in the drafty, gypsy world of theater—and the neutral hose, the low-heeled shoes, the slim wool skirts, the camel-hair coat, the horn-rimmed glasses (she was nearsighted), and the less-is-more makeup. Well, Grace was her mother’s daughter, and Margaret had never approved of frippery.
“She was fun and jolly and pretty and nice to have around,” says Laura Clark, who was an editor at Harper’s Bazaar when she met Grace, in the early 1950s, still a struggling actress. Clark remembers her style of dress as “very conservative. You know, the circle pin and the white collars. The sweater-and-tartan-skirt look. Almost schoolgirlish.”
Fellow actress and close friend Rita Gam described Grace’s daytime style as that of a “small-town high-school teacher,” while fashion designer Oleg Cassini, whom Grace would begin dating in 1954 and almost marry, called it her “Bryn Mawr look.”
Maree Frisby Rambo, Grace’s best friend from childhood, says that, growing up, Grace wasn’t terribly interested in clothes. “We all wore about the same thing. Sweaters and skirts and loafers and socks. It was like a uniform. Dances and things, she’d wear a dress of Peggy’s.” That changed when Grace left home. “I remember she’d been in New York for a while,” Rambo recalls. “She came to Philadelphia, and I invited her to the Cricket Club to go swimming, and she appeared, and she just looked different. Whatever she had on was so chic, as opposed to us. She looked New York, where the rest of us looked Chestnut Hill.”
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Part 2
So the voice, the walk, the reserved bluestocking style—it all came together in a kind of crystalline equation. You couldn’t say it was calculated. Grace was well brought up, and disciplined, and cultured, and shy. She was only highlighting what she had, just as when she took the advice of her modeling friend Carolyn Reybold, who told her to stop hiding her too square jaw under a pageboy and instead accentuate her jawline. Grace pulled back her hair and pulled on her gloves. All that was left now was for the right camera to find her.
The Camera Finds the Face
‘She would never have had a career in the theater,” Don Richardson told Robert Lacey, whose definitive biography, Grace, was published in 1994. Richardson was a theater director who worked with academy students, and he was also one of Grace’s lovers. “Great looks and style, yes, but no vocal horsepower.” One day, though, Richardson was studying some photographs he’d taken of Grace, and a headshot transfixed him. “When you looked at that picture, you were not looking at her. You were looking at the illusion of her.… The camera did more than love her. It was insane about her—just like I was. When I looked at that photograph, I knew that her future would have to be in pictures.”
In The Face of the World, the photographer Cecil Beaton explains why the camera was insane for Grace Kelly. “She has, most important of all, a nice nose for photography: flat, it hardly exists at all in profile.” This meant it wouldn’t cast shadows that could trouble the cameraman. Furthermore, Beaton writes, “all photogenic people have square faces.…[Grace’s] mouth, the tip of her nose, her nostrils—all are extremely sensitive. Their beauty is effective against the rugged background of the square face.”
Grace’s first film, Fourteen Hours, was not the one that set her movie career in motion. And while 1952’s High Noon put her on the map, it was more of a spotlight than a spark. No, the touchstone was a little black-and-white screen test she shot for Twentieth Century Fox in early 1950, for a movie called Taxi, the part of a poor Irish girl. Grace didn’t get the role, but the test hung around. In 1952 it caught the eye of John Ford, who said, “This dame has breeding, quality and class.” He cast her in Mogambo. A year later, Alfred Hitchcock saw the test. He was in need of a leading lady for Dial M for Murder, having lost his previous muse, Ingrid Bergman, who’d run off with the married director Roberto Rossellini. On the basis of the Taxi audition, plus a scene or two of High Noon (in which he thought her “mousy”—a compliment), Grace was hired. “From the Taxi test,” Hitchcock explained, “you could see Grace’s potential for restraint.” He liked what he called her “sexual elegance.”
Grace’s rise in Hollywood was swift, and her self-possession was stunning. On her own, she worked out an enviable seven-year contract with MGM, one that allowed her the freedom to live in Manhattan every other year, so she could pursue the stage, which was still her dream. She had no qualms about turning down stupid scripts, and was tight-lipped when reporters asked personal questions. Financially prudent and secure, she didn’t have to accept second-rate stuff or play the publicity game. “She selects clothes and stories and directors with the same sureness,” said eminent Hollywood designer Edith Head, who dressed Grace in four films. “She’s always right.” Grace loved the feeling of family on a movie set, and was adored by her colleagues, whether they were people behind the scenes or stars such as Ray Milland, Cary Grant, and Frank Sinatra. Oddly, the brass at MGM never seemed to understand their Miss Kelly, or value what they had in her. Of the nine movies she made after signing with MGM, five were with other studios to whom MGM lent her out. The Country Girl, a serious drama for which she won her best-actress Oscar, was made at Paramount.
A Fairy Tale Takes Form
The year 1955 was a big one for Grace. She had four films in the theaters and was the year’s highest-earning female star; at the Academy Awards, not only did she win an Oscar but Bob Hope declared, “I just wanna say, they should give a special award for bravery to the producer who produced a movie without Grace Kelly.” That same year she rose to the top of the Best-Dressed List, sharing the No.1 spot with socialite and Über-Wasp Babe Paley, who wore mostly Mainbocher. That Grace, who did not wear couture, could tie with Babe, who did, attests to Grace’s discerning eye. “The stylish image of Grace Kelly was everywhere,” writes H. Kristina Haugland in Grace Kelly: Icon of Style to Royal Bride, “including department store windows. In the fall of 1955, her likeness was used to create a line of mannequins.” It was in 1955 and ‘56 that Grace ascended to something white, silent, majestic.
These were the years of her last three movies: the glorious To Catch a Thief, filmed on the French Riviera, all sea and sky; The Swan, from the play that she’d done on television in 1950, and which was now getting the lavish MGM treatment; and High Society, a musical remake of The Philadelphia Story, co-starring Bing Crosby and Frank Sinatra. Any actress would be floating with this kind of material, and Grace, almost literally, was, in fabrics that were light, airy, and ineffable (a theme that had begun with Rear Window). She wore chiffon, watered silk, unlined linen, and that most levitational textile, silk organza. The costumes that designers Edith Head and Helen Rose were making for these films show that everyone was on the same page, working in celestial alignment.
“Every few decades Hollywood finds a way to classicize the look of one of its stars,” says film and dance critic Don Daniels. “It did it with Marlene Dietrich. It did it with Katharine Hepburn. And it eventually did it with Grace Kelly. Helen Rose specialized in this sort of thing in the 50s, in films like Athena and Jupiter’s Darling. She worked on this look for Grace in both The Swan and High Society. It’s every now and then a woman and her look floats into the public consciousness and can be styled so that we remember Greek goddesses.”
The Swan was a costume drama and hews to an Empire line. But in To Catch a Thief and High Society, references abound to both classical draping and classical dance, an art form full of mythological creatures. Grace’s gowns are columnar, with waterfall pleats and cascades of fluting, sheer trains flowing from the back (where wings would be, if she had them), and sheer scarves like soft breezes around her neck. All this pleating and fluting and floating was in tune with the Hellenistic sculpting of 50s couturiers such as Madame Grès and the Greek designer Jean Dessès. Grace’s day dresses have fitted bodices and skirts blossoming from the waist—a very clever fusion of the ballerina’s tutu with the American shirtwaist, and a shape that allowed her to move freely (as she did in the sensational flowered shirtwaist of Rear Window, in which she climbed a fire escape). As for color, Grace was given her own, Apollonian palette. Wheat-field and buttercup yellows, azure and cerulean blues, seashell pink and angel-skin coral, Sun King gold and Olympus white—no one wore white like Grace Kelly. To those with a feeling for history, beauty, and style, Grace Kelly’s late-career wardrobe—the huntress Artemis during the day and Aphrodite at night—is unforgettable if not positively Delphic.
“Every time I see Grace Kelly I’m influenced by what she wears,” says Janie Bryant, the costume designer for AMC’s Mad Men. “The simplicity, it is so classic, but it’s always dramatic.”
“When I branched out into women’s wear,” says designer Tommy Hilfiger, who has an Andy Warhol silkscreen of Grace Kelly in his New York apartment, “I began to really study icons of style. Grace stood out. Style is enduring and forever. It’s something you cannot buy. There is a chic-ness to conservative style done in an elegant way. You know, we did a book called Grace Kelly: A Life in Pictures. We did this as an inspiration book, not only for ourselves. We find that the French are obsessed with her, and the Japanese are intrigued.”
“She didn’t necessarily lead fashion in a new direction,” says Jenny Lister, a curator of Textiles and Fashion at the Victoria and Albert Museum. “She’s become shorthand for a very polished and well-accessorized look. Contemporary designers like Zac Posen have talked about her timeless appeal. I think it boils down to quite ethereal ideas, because in some of her films she almost seemed like a goddess, and because they couldn’t pin her down—she was so private. That aura of mystery, she retained that. And because she stopped making films, it never changed.”
“Though Grace can be very inviting,” says Janie Bryant, “and her voice has a warmth to it, there’s also an austerity to her. It’s about the façade.”
“I think Grace Kelly was someone that came along at the right time,” says fashion historian June Weir. “If she had come along in the 60s, or in the 40s, I don’t think it would have worked. She was the perfect 1950s beauty. Pastel colors, beautiful luxury fabrics, and very pretty necklines.”
“High Society,” says Robert Lacey, “just the whole confection of that. It was just the most extraordinary way to fly out on a new cloud. Sophia Loren, Audrey Hepburn, Grace—they were all absolute archetypes of particular sorts of beauty. They’re the end of the star system and, to my mind, more beautiful than any stars of the earlier years, and more beautiful than anything since. With the newer generations we subconsciously know there’s artifice involved. And we don’t quite believe what we see. But we did believe what we saw with Grace.”
Goddess of Love
If we only had the woman Grace Kelly was in her films—the golden girl in the shirtwaist dress, the classical creature in white chiffon—it would be enough to place her in the pantheon. But with the biographies published after her untimely death, at 52, in 1982—when she was driving with her younger daughter, Stephanie, and their car flew off the road and down a mountainside—her symbology became more complicated, and certainly more fascinating. We learned that the volcano under the snowcap was surprisingly active and full of fire. Grace Kelly, the swan princess in white gloves, was neither a virgin when she married Prince Rainier III of Monaco, in 1956 (she’d lost it at 17, just before she left home for New York City), nor virginal in the way she had conducted her love life up until then. As the truth came out about Grace’s sex life as a single girl, in books ever more salacious in their details, it was a shock, sharply at odds with her pristine screen persona. Some make it sound as if she slept with every man who crossed her path. She did not. “We were together a lot,” says Maree Rambo, “and that was just not her style.” And while one biographer claims Grace had affairs with almost every one of her co-stars—Cooper, Gable, Milland, Holden, Crosby, Grant, Sinatra—others believe it was only Holden for sure, probably Milland, and maybe Gable. Grace was romantic and passionate. She followed her heart, which might or might not lead to bed. All her biographers agree that she never used sex to win roles. Judged in retrospect, not by 50s standards but by feminist ones, she was as self-possessed about her sexuality as she was about her work.
“Grace was in many ways ahead of her time,” says the writer Donald Spoto, whose biography High Society: The Life of Grace Kelly was published in November. “Her Catholic upbringing and the force of her parents’ arguments and insistence on these codes of conduct were attended to but not heeded. She had an independent conscience from her earliest years. Grace said to me, ‘I was constantly falling in love, and it never occurred to me that this was wrong or bad.’ And when social or religious issues said otherwise, my impression is that she heard it, and then said, ‘Well, thank you for your input. If you’ll excuse me, I have a date.’”
“If the testimony of her succession of boyfriends is to be believed,” says biographer Robert Lacey, “she was very modern and cool and relaxed and wasted no time. I think it was her rebellion against her father. In every other way she was such a good girl, and did what Daddy wanted, and of course brilliantly achieved in her field, just as Daddy brilliantly achieved in his. I’m sure she was devout, an absolutely sincere Catholic, but taking full advantage of the Catholic mechanisms for private misdemeanors.”
“Grace was the daughter of a very liberated woman,” says Wendy Leigh, the author of True Grace: The Life and Times of an American Princess. “Margaret was a healthy German blonde with no shame about her body. And then Grace’s father was a great philanderer, so that she had the measure very early on about male animal instinct. And rather than walk away from it, Grace basically embraced it.”
“She was shy. But physically, she was not shy,” the actor Alexandre D’Arcy, who had a monthlong romance with Grace in 1948, told Robert Lacey. “She was … very warm indeed as far as sex was concerned. You would touch her once and she would go through the ceiling.”
Gwen Robyns, who published Princess Grace in 1976 and then became a close friend to Grace, puts it simply: “She just adored sex. She made no bones about it. We were lying on the bed one day, and I said something about sex, and she said, ‘It’s heaven.’”
Grace was not unlike the ballerina Margot Fonteyn, another midcentury artist who was cherished for her aura of chastity and purity, a fairy-tale femininity girded for greater things. Fonteyn, it was later revealed, was accomplished in bed and often in bed. There is a connection between art and sex, with arousal in one realm speaking to arousal in another. Performers, like gods and goddesses, must assert themselves in space, which takes all kinds of energy pulled from all kinds of sources. While no one had a problem with this when it came to men and their muses, women of that era had to be quieter. Grace and Margot, who knew each other, were both quiet. But sex, Don Richardson remembers Grace saying, “put lights” in her eyes.
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So the voice, the walk, the reserved bluestocking style—it all came together in a kind of crystalline equation. You couldn’t say it was calculated. Grace was well brought up, and disciplined, and cultured, and shy. She was only highlighting what she had, just as when she took the advice of her modeling friend Carolyn Reybold, who told her to stop hiding her too square jaw under a pageboy and instead accentuate her jawline. Grace pulled back her hair and pulled on her gloves. All that was left now was for the right camera to find her.
The Camera Finds the Face
‘She would never have had a career in the theater,” Don Richardson told Robert Lacey, whose definitive biography, Grace, was published in 1994. Richardson was a theater director who worked with academy students, and he was also one of Grace’s lovers. “Great looks and style, yes, but no vocal horsepower.” One day, though, Richardson was studying some photographs he’d taken of Grace, and a headshot transfixed him. “When you looked at that picture, you were not looking at her. You were looking at the illusion of her.… The camera did more than love her. It was insane about her—just like I was. When I looked at that photograph, I knew that her future would have to be in pictures.”
In The Face of the World, the photographer Cecil Beaton explains why the camera was insane for Grace Kelly. “She has, most important of all, a nice nose for photography: flat, it hardly exists at all in profile.” This meant it wouldn’t cast shadows that could trouble the cameraman. Furthermore, Beaton writes, “all photogenic people have square faces.…[Grace’s] mouth, the tip of her nose, her nostrils—all are extremely sensitive. Their beauty is effective against the rugged background of the square face.”
Grace’s first film, Fourteen Hours, was not the one that set her movie career in motion. And while 1952’s High Noon put her on the map, it was more of a spotlight than a spark. No, the touchstone was a little black-and-white screen test she shot for Twentieth Century Fox in early 1950, for a movie called Taxi, the part of a poor Irish girl. Grace didn’t get the role, but the test hung around. In 1952 it caught the eye of John Ford, who said, “This dame has breeding, quality and class.” He cast her in Mogambo. A year later, Alfred Hitchcock saw the test. He was in need of a leading lady for Dial M for Murder, having lost his previous muse, Ingrid Bergman, who’d run off with the married director Roberto Rossellini. On the basis of the Taxi audition, plus a scene or two of High Noon (in which he thought her “mousy”—a compliment), Grace was hired. “From the Taxi test,” Hitchcock explained, “you could see Grace’s potential for restraint.” He liked what he called her “sexual elegance.”
Grace’s rise in Hollywood was swift, and her self-possession was stunning. On her own, she worked out an enviable seven-year contract with MGM, one that allowed her the freedom to live in Manhattan every other year, so she could pursue the stage, which was still her dream. She had no qualms about turning down stupid scripts, and was tight-lipped when reporters asked personal questions. Financially prudent and secure, she didn’t have to accept second-rate stuff or play the publicity game. “She selects clothes and stories and directors with the same sureness,” said eminent Hollywood designer Edith Head, who dressed Grace in four films. “She’s always right.” Grace loved the feeling of family on a movie set, and was adored by her colleagues, whether they were people behind the scenes or stars such as Ray Milland, Cary Grant, and Frank Sinatra. Oddly, the brass at MGM never seemed to understand their Miss Kelly, or value what they had in her. Of the nine movies she made after signing with MGM, five were with other studios to whom MGM lent her out. The Country Girl, a serious drama for which she won her best-actress Oscar, was made at Paramount.
A Fairy Tale Takes Form
The year 1955 was a big one for Grace. She had four films in the theaters and was the year’s highest-earning female star; at the Academy Awards, not only did she win an Oscar but Bob Hope declared, “I just wanna say, they should give a special award for bravery to the producer who produced a movie without Grace Kelly.” That same year she rose to the top of the Best-Dressed List, sharing the No.1 spot with socialite and Über-Wasp Babe Paley, who wore mostly Mainbocher. That Grace, who did not wear couture, could tie with Babe, who did, attests to Grace’s discerning eye. “The stylish image of Grace Kelly was everywhere,” writes H. Kristina Haugland in Grace Kelly: Icon of Style to Royal Bride, “including department store windows. In the fall of 1955, her likeness was used to create a line of mannequins.” It was in 1955 and ‘56 that Grace ascended to something white, silent, majestic.
These were the years of her last three movies: the glorious To Catch a Thief, filmed on the French Riviera, all sea and sky; The Swan, from the play that she’d done on television in 1950, and which was now getting the lavish MGM treatment; and High Society, a musical remake of The Philadelphia Story, co-starring Bing Crosby and Frank Sinatra. Any actress would be floating with this kind of material, and Grace, almost literally, was, in fabrics that were light, airy, and ineffable (a theme that had begun with Rear Window). She wore chiffon, watered silk, unlined linen, and that most levitational textile, silk organza. The costumes that designers Edith Head and Helen Rose were making for these films show that everyone was on the same page, working in celestial alignment.
“Every few decades Hollywood finds a way to classicize the look of one of its stars,” says film and dance critic Don Daniels. “It did it with Marlene Dietrich. It did it with Katharine Hepburn. And it eventually did it with Grace Kelly. Helen Rose specialized in this sort of thing in the 50s, in films like Athena and Jupiter’s Darling. She worked on this look for Grace in both The Swan and High Society. It’s every now and then a woman and her look floats into the public consciousness and can be styled so that we remember Greek goddesses.”
The Swan was a costume drama and hews to an Empire line. But in To Catch a Thief and High Society, references abound to both classical draping and classical dance, an art form full of mythological creatures. Grace’s gowns are columnar, with waterfall pleats and cascades of fluting, sheer trains flowing from the back (where wings would be, if she had them), and sheer scarves like soft breezes around her neck. All this pleating and fluting and floating was in tune with the Hellenistic sculpting of 50s couturiers such as Madame Grès and the Greek designer Jean Dessès. Grace’s day dresses have fitted bodices and skirts blossoming from the waist—a very clever fusion of the ballerina’s tutu with the American shirtwaist, and a shape that allowed her to move freely (as she did in the sensational flowered shirtwaist of Rear Window, in which she climbed a fire escape). As for color, Grace was given her own, Apollonian palette. Wheat-field and buttercup yellows, azure and cerulean blues, seashell pink and angel-skin coral, Sun King gold and Olympus white—no one wore white like Grace Kelly. To those with a feeling for history, beauty, and style, Grace Kelly’s late-career wardrobe—the huntress Artemis during the day and Aphrodite at night—is unforgettable if not positively Delphic.
“Every time I see Grace Kelly I’m influenced by what she wears,” says Janie Bryant, the costume designer for AMC’s Mad Men. “The simplicity, it is so classic, but it’s always dramatic.”
“When I branched out into women’s wear,” says designer Tommy Hilfiger, who has an Andy Warhol silkscreen of Grace Kelly in his New York apartment, “I began to really study icons of style. Grace stood out. Style is enduring and forever. It’s something you cannot buy. There is a chic-ness to conservative style done in an elegant way. You know, we did a book called Grace Kelly: A Life in Pictures. We did this as an inspiration book, not only for ourselves. We find that the French are obsessed with her, and the Japanese are intrigued.”
“She didn’t necessarily lead fashion in a new direction,” says Jenny Lister, a curator of Textiles and Fashion at the Victoria and Albert Museum. “She’s become shorthand for a very polished and well-accessorized look. Contemporary designers like Zac Posen have talked about her timeless appeal. I think it boils down to quite ethereal ideas, because in some of her films she almost seemed like a goddess, and because they couldn’t pin her down—she was so private. That aura of mystery, she retained that. And because she stopped making films, it never changed.”
“Though Grace can be very inviting,” says Janie Bryant, “and her voice has a warmth to it, there’s also an austerity to her. It’s about the façade.”
“I think Grace Kelly was someone that came along at the right time,” says fashion historian June Weir. “If she had come along in the 60s, or in the 40s, I don’t think it would have worked. She was the perfect 1950s beauty. Pastel colors, beautiful luxury fabrics, and very pretty necklines.”
“High Society,” says Robert Lacey, “just the whole confection of that. It was just the most extraordinary way to fly out on a new cloud. Sophia Loren, Audrey Hepburn, Grace—they were all absolute archetypes of particular sorts of beauty. They’re the end of the star system and, to my mind, more beautiful than any stars of the earlier years, and more beautiful than anything since. With the newer generations we subconsciously know there’s artifice involved. And we don’t quite believe what we see. But we did believe what we saw with Grace.”
Goddess of Love
If we only had the woman Grace Kelly was in her films—the golden girl in the shirtwaist dress, the classical creature in white chiffon—it would be enough to place her in the pantheon. But with the biographies published after her untimely death, at 52, in 1982—when she was driving with her younger daughter, Stephanie, and their car flew off the road and down a mountainside—her symbology became more complicated, and certainly more fascinating. We learned that the volcano under the snowcap was surprisingly active and full of fire. Grace Kelly, the swan princess in white gloves, was neither a virgin when she married Prince Rainier III of Monaco, in 1956 (she’d lost it at 17, just before she left home for New York City), nor virginal in the way she had conducted her love life up until then. As the truth came out about Grace’s sex life as a single girl, in books ever more salacious in their details, it was a shock, sharply at odds with her pristine screen persona. Some make it sound as if she slept with every man who crossed her path. She did not. “We were together a lot,” says Maree Rambo, “and that was just not her style.” And while one biographer claims Grace had affairs with almost every one of her co-stars—Cooper, Gable, Milland, Holden, Crosby, Grant, Sinatra—others believe it was only Holden for sure, probably Milland, and maybe Gable. Grace was romantic and passionate. She followed her heart, which might or might not lead to bed. All her biographers agree that she never used sex to win roles. Judged in retrospect, not by 50s standards but by feminist ones, she was as self-possessed about her sexuality as she was about her work.
“Grace was in many ways ahead of her time,” says the writer Donald Spoto, whose biography High Society: The Life of Grace Kelly was published in November. “Her Catholic upbringing and the force of her parents’ arguments and insistence on these codes of conduct were attended to but not heeded. She had an independent conscience from her earliest years. Grace said to me, ‘I was constantly falling in love, and it never occurred to me that this was wrong or bad.’ And when social or religious issues said otherwise, my impression is that she heard it, and then said, ‘Well, thank you for your input. If you’ll excuse me, I have a date.’”
“If the testimony of her succession of boyfriends is to be believed,” says biographer Robert Lacey, “she was very modern and cool and relaxed and wasted no time. I think it was her rebellion against her father. In every other way she was such a good girl, and did what Daddy wanted, and of course brilliantly achieved in her field, just as Daddy brilliantly achieved in his. I’m sure she was devout, an absolutely sincere Catholic, but taking full advantage of the Catholic mechanisms for private misdemeanors.”
“Grace was the daughter of a very liberated woman,” says Wendy Leigh, the author of True Grace: The Life and Times of an American Princess. “Margaret was a healthy German blonde with no shame about her body. And then Grace’s father was a great philanderer, so that she had the measure very early on about male animal instinct. And rather than walk away from it, Grace basically embraced it.”
“She was shy. But physically, she was not shy,” the actor Alexandre D’Arcy, who had a monthlong romance with Grace in 1948, told Robert Lacey. “She was … very warm indeed as far as sex was concerned. You would touch her once and she would go through the ceiling.”
Gwen Robyns, who published Princess Grace in 1976 and then became a close friend to Grace, puts it simply: “She just adored sex. She made no bones about it. We were lying on the bed one day, and I said something about sex, and she said, ‘It’s heaven.’”
Grace was not unlike the ballerina Margot Fonteyn, another midcentury artist who was cherished for her aura of chastity and purity, a fairy-tale femininity girded for greater things. Fonteyn, it was later revealed, was accomplished in bed and often in bed. There is a connection between art and sex, with arousal in one realm speaking to arousal in another. Performers, like gods and goddesses, must assert themselves in space, which takes all kinds of energy pulled from all kinds of sources. While no one had a problem with this when it came to men and their muses, women of that era had to be quieter. Grace and Margot, who knew each other, were both quiet. But sex, Don Richardson remembers Grace saying, “put lights” in her eyes.
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Part 3
The Clock Is Ticking
If Grace did not feel a societal pressure to bridle her passions, she did feel the clock ticking regarding marriage and children, for which she longed. On January 6, 1956, page one of The New York Times read, prince of monaco to wed grace kelly. Unbeknownst to those who knew her, Grace, during the filming of MGM’s The Swan, had glided into love with Rainier Grimaldi, whom she’d met in 1955 and had been exchanging letters with ever since. “She was playing in The Swan and she was playing a princess,” says Robyns. “Along comes this prince, and, being Grace, she was carried away by dreams and things.” Grace had also made it clear that she didn’t want to be an aging beauty in Hollywood.
“The Wedding of the Century,” as it was referred to at the time (Grace called it “the Carnival of the Century”), was arguably the first multi-media press event on a modern scale. There was a slew of reporters and photographers on the ship that took Grace and her entourage of 66 to Monaco; nearly 2,000 reporters crowded the cathedral ceremony, “more press there than guests,” remembers Maree Rambo, who was a bridesmaid; and the wedding itself was filmed by MGM and broadcast live to more than 30 million viewers in Europe. It was a marriage that seemed to embody the wedding-cake ideal of postwar, 50s culture, with its emphasis on fairy-tale fertility and prosperity. The little principality of Monaco was stepped like a wedding cake, and its palace was as pink as a petit four. Even bartenders toasted the event, serving a new drink called the Princesse Cocktail: equal parts bourbon, grenadine, and fresh cream. Grace became pregnant with that precious first child (Caroline)—the offspring who would secure the Grimaldi succession in Monaco, and hence its independence from France—on her honeymoon.
It was during that first pregnancy that Grace turned an accessory by Hermès into a much-coveted cult item. Out in public, she shielded her belly with a large square handbag made of brown pigskin, the Hermès sac à dépêches pour dames. The descendant of a 1930s Hermès saddlebag, it was simple, sensible, and superbly made, yet another example of “always.” Grace was carrying the principality’s future, and she protected it with something proven from the past. In her honor, Hermès christened this bag “the Kelly.” Where the Hermès Birkin bag, named for the actress Jane Birkin, has something more of bling about it, the Kelly remains the icon of impeccable breeding and quiet good taste.
With the same discipline, culture, and kindness that she had brought to her career as an actress, Grace fulfilled her duties as a princess. She had hoped that now and then she could return to Hollywood to make movies, because she loved and missed acting. This hope was dashed. Rainier was ambivalent, the roles on offer were problematic, and her schedule as a wife, mother, and royal was consuming. Hers turned out to be not a fairy-tale marriage but the kind of marriage anyone has, with ups and downs, joys and disappointments, and patches of marital discord. Did Rainier step out on her? Did Grace, finally, step out on him? Some of her biographers say yes and yes. Others are not so sure—as Donald Spoto cautions, “Nobody held the lamp.” Her oldest friend, Maree Rambo, says today, “I don’t know, but I don’t think so.”
As the years pulled on, Grace began to see that “disarray,” the word that didn’t apply to her, had a place in life. And “always”—so allied with perfection, and classicism, and her—was a kind of trap. It was with tears in her eyes that she said to her friend producer John Foreman, “I know where I am going to be every single day for the rest of my life.” And sometime later, when she learned that one of her six bridesmaids had been living in a shelter, she told Judith Balaban Quine that she was strangely envious. “I know it might sound awful and insensitive,” Quine remembers Grace saying, “but the thought of just getting up every day and doing what that day brings you sounds wonderful to me in certain ways.”
In tiny Monaco, half the size of Manhattan’s Central Park, it was as if Grace were locked back into that cupboard, but without her dolls to play with. Her life was laid out along narrow corridors, much like the corniche on which she took her last drive—rock on one side, open air on the other. It was a slim road full of hairpin turns that connected the family getaway, Roc Agel, to the pink palace where protocol reigned. “Strung like a slender thread across the clouds” is how Quine described one of these upper corniches. On that fateful day of September 13, 1982, Grace didn’t let the chauffeur drive, because the car was too full. She and Stephanie were up in the front, and across the backseat she’d placed dresses that needed altering for the coming season; she didn’t want them wrinkled. She was excited about new projects that were blossoming, and by all accounts she and Rainier were enjoying a renewed closeness. The best medical guess is that Grace suffered a small “warning” stroke while driving that treacherous road, which caused her to lose control of the car. A few seconds of blurred consciousness, like the kiss in Rear Window, and the clouds reclaimed their own.
Laura Jacobs is a Vanity Fair contributing editor.
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The Clock Is Ticking
If Grace did not feel a societal pressure to bridle her passions, she did feel the clock ticking regarding marriage and children, for which she longed. On January 6, 1956, page one of The New York Times read, prince of monaco to wed grace kelly. Unbeknownst to those who knew her, Grace, during the filming of MGM’s The Swan, had glided into love with Rainier Grimaldi, whom she’d met in 1955 and had been exchanging letters with ever since. “She was playing in The Swan and she was playing a princess,” says Robyns. “Along comes this prince, and, being Grace, she was carried away by dreams and things.” Grace had also made it clear that she didn’t want to be an aging beauty in Hollywood.
“The Wedding of the Century,” as it was referred to at the time (Grace called it “the Carnival of the Century”), was arguably the first multi-media press event on a modern scale. There was a slew of reporters and photographers on the ship that took Grace and her entourage of 66 to Monaco; nearly 2,000 reporters crowded the cathedral ceremony, “more press there than guests,” remembers Maree Rambo, who was a bridesmaid; and the wedding itself was filmed by MGM and broadcast live to more than 30 million viewers in Europe. It was a marriage that seemed to embody the wedding-cake ideal of postwar, 50s culture, with its emphasis on fairy-tale fertility and prosperity. The little principality of Monaco was stepped like a wedding cake, and its palace was as pink as a petit four. Even bartenders toasted the event, serving a new drink called the Princesse Cocktail: equal parts bourbon, grenadine, and fresh cream. Grace became pregnant with that precious first child (Caroline)—the offspring who would secure the Grimaldi succession in Monaco, and hence its independence from France—on her honeymoon.
It was during that first pregnancy that Grace turned an accessory by Hermès into a much-coveted cult item. Out in public, she shielded her belly with a large square handbag made of brown pigskin, the Hermès sac à dépêches pour dames. The descendant of a 1930s Hermès saddlebag, it was simple, sensible, and superbly made, yet another example of “always.” Grace was carrying the principality’s future, and she protected it with something proven from the past. In her honor, Hermès christened this bag “the Kelly.” Where the Hermès Birkin bag, named for the actress Jane Birkin, has something more of bling about it, the Kelly remains the icon of impeccable breeding and quiet good taste.
With the same discipline, culture, and kindness that she had brought to her career as an actress, Grace fulfilled her duties as a princess. She had hoped that now and then she could return to Hollywood to make movies, because she loved and missed acting. This hope was dashed. Rainier was ambivalent, the roles on offer were problematic, and her schedule as a wife, mother, and royal was consuming. Hers turned out to be not a fairy-tale marriage but the kind of marriage anyone has, with ups and downs, joys and disappointments, and patches of marital discord. Did Rainier step out on her? Did Grace, finally, step out on him? Some of her biographers say yes and yes. Others are not so sure—as Donald Spoto cautions, “Nobody held the lamp.” Her oldest friend, Maree Rambo, says today, “I don’t know, but I don’t think so.”
As the years pulled on, Grace began to see that “disarray,” the word that didn’t apply to her, had a place in life. And “always”—so allied with perfection, and classicism, and her—was a kind of trap. It was with tears in her eyes that she said to her friend producer John Foreman, “I know where I am going to be every single day for the rest of my life.” And sometime later, when she learned that one of her six bridesmaids had been living in a shelter, she told Judith Balaban Quine that she was strangely envious. “I know it might sound awful and insensitive,” Quine remembers Grace saying, “but the thought of just getting up every day and doing what that day brings you sounds wonderful to me in certain ways.”
In tiny Monaco, half the size of Manhattan’s Central Park, it was as if Grace were locked back into that cupboard, but without her dolls to play with. Her life was laid out along narrow corridors, much like the corniche on which she took her last drive—rock on one side, open air on the other. It was a slim road full of hairpin turns that connected the family getaway, Roc Agel, to the pink palace where protocol reigned. “Strung like a slender thread across the clouds” is how Quine described one of these upper corniches. On that fateful day of September 13, 1982, Grace didn’t let the chauffeur drive, because the car was too full. She and Stephanie were up in the front, and across the backseat she’d placed dresses that needed altering for the coming season; she didn’t want them wrinkled. She was excited about new projects that were blossoming, and by all accounts she and Rainier were enjoying a renewed closeness. The best medical guess is that Grace suffered a small “warning” stroke while driving that treacherous road, which caused her to lose control of the car. A few seconds of blurred consciousness, like the kiss in Rear Window, and the clouds reclaimed their own.
Laura Jacobs is a Vanity Fair contributing editor.
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27th Annual Academy Awards, in 1955.
Nights in Green Satin
At the ceremony, Kelly wore a sea-foam satin gown by Edith Head, an Oscar-winning costume designer. Not captured in our slide show are the matching coat and the two yellow roses Kelly tucked into her loose chignon. She had worn the same outfit to the film’s premiere months earlier, a sensible recycling of outfits that would be inconceivable today.
Courtesy of the Consulate General of Monaco, New York.
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Nights in Green Satin
At the ceremony, Kelly wore a sea-foam satin gown by Edith Head, an Oscar-winning costume designer. Not captured in our slide show are the matching coat and the two yellow roses Kelly tucked into her loose chignon. She had worn the same outfit to the film’s premiere months earlier, a sensible recycling of outfits that would be inconceivable today.
Courtesy of the Consulate General of Monaco, New York.
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Glory Be to Grace
A month before her big Oscar win, the Philadelphia Museum of Art awarded singer Marian Anderson, Kelly, and conductor Eugene Ormandy (to Kelly’s left) special distinctions for “giving glory to the arts.” Again, Kelly adorned herself with fresh flowers, this time in a corsage of orchids.
Pure Confection
It’s unfortunate that the designer of the Philadelphia dress is unknown; whoever dreamed up this lace number clearly ranks among the era’s greatest costumers, with Head and Helen Rose. Though the pattern here is intricate, the cut is simple and straightforward in Kelly’s characteristically elegant way.
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The Country-Club Girl
When Kelly and Monaco’s Prince Rainier III announced their engagement at the Philadelphia Country Club, in January 1956, many of Kelly’s friends were surprised: the two had only known each other for a few months.
Simple Style
The announcement of the engagement and the prospect of a famous American actress’s becoming a real-life princess set off a whirlwind of press. Rainier and Kelly made a pre-nuptial social tour, attending a ball in New York City where Kelly’s Christian Dior gown was a conversation piece. The standout from those dates, though, was this rich, easy dress, which she wore to that Philadelphia luncheon.
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High Society
Kelly stunned once again in classic lace, this time at the celebration of her civil marriage to Rainier. The main ceremony, the next day, would feature Kelly in a truly incredible full wedding gown of lace and silk faille. Her entire trousseau was designed and sewn by the costume masters at MGM.
Halcyon Lace
This close-up of the civil-ceremony dress displays the exquisite detailing that went into Kelly’s clothes. One of Kelly’s style virtues was that she appreciated and wore designs for their quality, not their cost, and wouldn’t turn up her nose at a gown lacking couture pedigree.
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