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Edith Head in an undated photo

Edith Head in an undated photo

It was summer vacation of 1924 and Edith Head, 27, wanted a new job. She was tired of making peanuts – $1500 a year – teaching French and art at the Hollywood School for Girls. She did have a husband but he was a heavy drinker. If Edith wanted to improve her quality of life, it was up to her to make it happen. However, there were few jobs open to women in the 1920s but secretarial work and teaching, and neither paid much.

One day, Edith spotted a classified ad in the Los Angeles Times. The Famous Players-Lasky Studio (later, Paramount Pictures) was looking for a sketch artist to create costumes for a new Cecil B. DeMille silent film, “The Golden Bed.” Edith wanted that job. One problem: Edith Head was no artist. She could not draw the human form.

She had exaggerated her qualifications to teach art when applying at the Hollywood School for Girls. True, she was highly educated, and was more than qualified to teach French – but not art. She had received a B.A. in Letters and Sciences with Honors in French at University of California at Berkeley (1919) and a Master’s Degree in Romance Languages at Stanford (1920) – pretty impressive for a girl who grew up in mining camps in the deserts of Mexico and Nevada. But she had no training in art. Once she had been hired at the girls’ school, she had swiftly enrolled in evening art classes at the Chouinard Art School to gain some artistic skill, learning just enough each night to keep one step ahead of the next day’s lesson for her students. So far, though, she could only draw seascapes.

Undaunted, Edith wrote the studio for an interview. She received a prompt reply, telling her to be at the studio the very next morning at 10 a.m., bringing sketches. Sketches? All she had to show of her own were seascapes.

Agnes Ayres stars in Cecil B. DeMille's 1921 film, "Forbidden Fruit." In silent films, costume was an extremely important element. DeMille's films were always lavish extravaganzas.

Agnes Ayres stars in Cecil B. DeMille’s 1921 film, “Forbidden Fruit” at Famous Players-Studio (later Paramount Pictures). In silent films, costume was an extremely important element. DeMille’s films were always lavish extravaganzas.

Edith did not know what to do but she knew that she wanted that job! Soon a light bulb went on in her brain:

That night I made the rounds at Chouinard (Art School) and collected all the students’ best landscapes, seascapes, oils, watercolors, sketches, life, art, everything.”

Some accounts say that Edith actually erased her friends’ names from their sketches and substituted her own. That next day, she appeared at the studio for her interview, a portfolio of other people’s work in hand. Howard Greer, head of the studio wardrobe department, described the interview in his memoirs:

…A young girl with a face like a pussy cat crossed with a Fujita drawing appeared with a carpetbag full of sketches. There were architectural drawings, plans for interior decoration, magazine illustrations, and fashion design. Struck dumb with admiration for anyone possessed of such diverse talent, I hired the gal on the spot.” (1)

Her salary was $40 a week, more than double what she made teaching.

The very next day, Edith reported for work. She sat at her drafting table, her canvas, blank. The jig was up. She couldn’t draw. Greer recalled:

[She] looked out from under her bangs with the expression of a frightened terrier.” (1)

Edith Head

Edith Head

Edith confessed that she had misrepresented her talent, taking credit for others’ work. Inexplicably, Greer did not fire Edith. Curiously, he took her under his wing and taught her how to sketch. Within six months, she sketched in his style and was quite accomplished. Later, when asked about misrepresenting her talent at the interview, she tossed off the fraud as “youthful and naïve indiscretion” and something she would never do again. (Two more lies!)

Whereas Edith dismissed the padding of her resume as an isolated incident, never to be repeated, designing colleague Natalie Visart did not see it that way. She commented:

Edith lied when the truth would have served her better.” (2)

Edith was to have few friends in life, among them, President Richard Nixon and wife Pat and actress Elizabeth Taylor. Biographer David Chierichetti said that

Her lies made her feel in control….Her lying – even more than her blazing ambition – was what turned people against her.”

Reportedly, director John Farrow would not let Edith work on his 1953 film, “Botany Bay,” as he had caught her in too many lies in the past.

But I digress.

Meanwhile, back to the summer of 1924, Edith was working at the bottom of the totem pole in the wardrobe design department.

My first big assignment was to do the Candy Ball costumes for Cecil B. de Mille’s film, “The Golden Bed.” I drew girls dressed as lollypops, peppermint sticks and chocolate drops….

Then came the crisis. I’d drawn very elongated girls with bodies like peppermint sticks and candy cane fingernails two feet long. Came the day of the shooting and, shortly after, came a blast from Mr. DeMille….The peppermint sticks had started cracking during the dance routine….whenever the dancers got within a half a foot of each other, the candy would stick.”

Also, under the hot lights on the set, the chocolate drops melted, and the production had to be halted. Edith went back to the drawing board and designed dresses studded with marshmallows for the peculiar film.

The "Candy Ball" scene from Cecil B. DeMille's 1924 film, "The Golden Bed." Men surround women wearing marshmallow dresses, pull off the sweets, and eat them.

The “Candy Ball” scene from Cecil B. DeMille’s 1924 film, “The Golden Bed.” Men surround women wearing marshmallow dresses, pull off the sweets, and eat them.

In another of Edith’s costume faux pas, Director Raoul Walsh had to stop production on “The Wanderer” (1925) when one of the show’s elephants began eating its costume – wreaths of flowers and grapes and anklets of rose petals.

As Greer had suspected, Edith did have a natural talent for costume design and, before long, it showed up. She began to score more hits than misses. She became a savvy politician. Although the studio maintained that the actresses were not allowed any say in what they wore in the films, Edith got around that rule. She began to talk with the stars, asking each actress what she liked to wear, what she thought she looked good wearing. Edith became known as “The Dress Doctor,” as she approached the design of each actress’s costumes with their tastes and figures in mind, how they moved, talked, and were photographed.

Costume designer Edith Head and film star Gloria Swanson. Undated photo

Costume designer Edith Head and film star Gloria Swanson. Undated photo

In this way, she developed a large and loyal following of actresses such as Barbara Stanwyck, Elizabeth Taylor, and Grace Kelly even though there were stars like Mary Martin, Hedy Lamarr, and Claudette Colbert who didn’t like to work with her.

Edith boasted that she was a magician. She took ordinary women, and, through fashion magic, transformed them into screen sirens.

Accentuate the positive and camouflage the rest,” Edith liked to say.

Edith designed costumes for almost a thousand movies including westerns, biblical epics, war movies, and dramas. Her style was not flashy but flattered the star and advanced the story line. Here are some of Edith Head’s costume designs:

mae west she done him wrong

Mae West in “She Done Him Wrong,” 1933. Costumes by Edith Head.

Dorothy Lamour wearing a new version of a sarong in "Jungle Princess," 1936. Costumes by Edith Head.

Dorothy Lamour wearing a new version of a sarong in “Jungle Princess,” 1936. Costumes by Edith Head.

 

Barbara Stanwyck and Henry Fonda in "The Lady Eve," 1941. Costumes by Edith Head.

Barbara Stanwyck and Henry Fonda in “The Lady Eve,” 1941. Costumes by Edith Head.

Veronica Lake in "I Married a Witch," 1942. Costumes by Edith Head.

Veronica Lake in “I Married a Witch,” 1942. Costumes by Edith Head.

Hedy Lamarr in "Samson and Delilah," 1949. Costumes by Edith Head.

Hedy Lamarr in “Samson and Delilah,” 1949. Costumes by Edith Head.

 

Gloria Swanson in "Sunset Boulevard," 1950. Costumes by Edith Head.

Gloria Swanson in “Sunset Boulevard,” 1950. Costumes by Edith Head.

Elizabeth Taylor in "A Place in the Sun," 1951. Costumes by Edith Head.

Elizabeth Taylor in “A Place in the Sun,” 1951. Costumes by Edith Head.

Audrey Hepburn in "Roman Holiday," 1954. Costumes by Edith Head.

Audrey Hepburn in “Roman Holiday,” 1954. Costumes by Edith Head.

Edith Head sketch for Grace Kelly suit in "Rear Window," 1954

Edith Head sketch for Grace Kelly suit in “Rear Window,” 1954

Grace Kelly in "Rear Window," 1954, wearing green suit shown in above sketch. Costumes by Edith Head.

Grace Kelly in “Rear Window,” 1954, wearing green suit shown in above sketch. Costumes by Edith Head.

Shown here with costar Jimmy Stewart, Grace Kelly wears the green suit shown in the sketch above, sans jacket. "Rear Window," 1954.  Costumes by Edith Head.

Shown here with costar Jimmy Stewart, Grace Kelly wears the green suit shown in the sketch above, sans jacket. “Rear Window,” 1954. Costumes by Edith Head.

Sketch for evening gown by Edith Head for Grace Kelly in "Rear Window," 1954.

Sketch for evening gown by Edith Head for Grace Kelly in “Rear Window,” 1954.

From sketch above, Grace Kelly wears an evening gown from "Rear Window," 1954. Costumes by Edith Head.

From sketch above, Grace Kelly wears an evening gown from “Rear Window,” 1954. Costumes by Edith Head.

Grace Kelly models sunsuit from "To Catch a Thief," 1955. Costume by Edith Head.

Grace Kelly models sunsuit from “To Catch a Thief,” 1955. Costume by Edith Head.

Grace Kelly in "To Catch a Thief," 1955. Costumes by Edith Head.

Grace Kelly in “To Catch a Thief,” 1955. Costumes by Edith Head.

Grace Kelly in "To Catch a Thief," 1955. Costumes by Edith Head.

Grace Kelly in “To Catch a Thief,” 1955. Costumes by Edith Head.

Edith Head sketch for gold masquerade gown for Grace Kelly in "To Catch a Thief," 1955.

Edith Head sketch for gold masquerade gown for Grace Kelly in “To Catch a Thief,” 1955.

As in sketch above, Grace Kelly wears masquerade gown in "To Catch a Thief," 1955. Costumes by Edith Head.

As in sketch above, Grace Kelly wears masquerade gown in “To Catch a Thief,” 1955. Costumes by Edith Head.

Anne Baxter in Cecil B. DeMille's 1956 remake of "The Ten Commandments." Costumes by Edith Head.

Anne Baxter in Cecil B. DeMille’s 1956 remake of “The Ten Commandments.” Costumes by Edith Head.

Edith Head was awarded eight Oscars and was nominated 35 times for best costume design.

Legendary costume designer Edith Head (1897-1981) displays her 8 Oscar trophies. Originally, she wore blue tinted glasses because it allowed her to view fabrics as they would look in a black-and-white movie. Smoky lenses also made her inscrutable as well as disguising a slightly-crossed right eye. Undated photo

Legendary costume designer Edith Head (1897-1981) displays her 8 Oscar trophies. Originally, she wore blue tinted glasses because it allowed her to view fabrics as they would look in a black-and-white movie. Smoky lenses also made her inscrutable as well as disguising a slightly-crossed right eye. Undated photo

Her brilliant career, that began with a con, was marred by controversy. Often economical with the truth, she sometimes claimed credit for designs that were not her own. She accepted the Oscar for “Sabrina”(1955) although two gowns and one suit wore by Audrey Hepburn – the Parisian look that dominates the movie – were truly designed by then rising French designer Hubert de Givenchy.

Audrey Hepburn wears three dresses from the movie, "Sabrina," 1954. Edith Head designed the "Cinderella" clothes that Audrey's character wears before she travels to Paris. Upon her return, she wears a wardrobe designed by Hubert de Givenchy. Edith Head accepted the Academy Award for Best Costume Design and took credit for De Givenchy's work.

Audrey Hepburn wears three dresses from the movie, “Sabrina,” 1954. Edith Head designed the “Cinderella” clothes that Audrey’s character wears before she travels to Paris. Upon her return, she wears a wardrobe designed by Hubert de Givenchy. Edith Head accepted the Academy Award for Best Costume Design and took credit for De Givenchy’s work.

Edith said the Oscar belonged to her because the costumes had been made in her department. In her acceptance speech, she did not thank de Givenchy. Worse still, when the little black dress became enormously popular, copied by the thousands by clothing manufacturers, Edith made sketches of it for books and appearances and signed them with her name. (3) Only after Edith’s death did Givenchy, a true gentleman, confirm that the black cocktail dress with the bateau neckline and ballerina skirt was his original design, and had been made under Edith’s supervision at Paramount.The Sting movie poster

In 1974, Edith Head was awarded her eighth and final Oscar for her work in “The Sting,” starring Robert Redford and Paul Newman. In her trademark bangs, bun, and tinted owl glasses, Edith flitted happily onto the stage, trilling:

“Just imagine dressing the two handsomest men in the world, and then getting this!” she said, holding out her award.

Robert Redford and Paul Newman play ping pong. Undated photo.

Robert Redford and Paul Newman play ping pong. Undated photo.

She was promptly sued by a costume illustrator who said the work on “The Sting” was hers, not Edith’s. Famous designer Bob Mackie, Cher‘s favorite, who had also worked in the Paramount costume department, said of Edith:

She got more press out of The Sting than anything she ever did and she didn’t even do it.” (4)

(1) Greer, Howard. Designing Male: A Nebraska Farm Boy’s Adventures in Hollywood and with the International Set. G.P. Putnam’s Sons, 1951.

(2) Chierichetti, David. Edith Head: The Life and Times of Hollywood’s Celebrated Costume Designer. New York: HarperCollins Publishers, 2003.

(3) Head, Edith. The Dress Doctor. Boston: Little, Brown, 1959.

(4) Jorgensen, Jay. Edith Head: The Fifty Year Career of Hollywood’s Greatest Costume Designer. New York: Lifetime Media, 2010.

Readers, for more on Edith Head and her costume design, click here.

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Audrey Hepburn as Holly Golightly in 1961 film, Breakfast at Tiffany's

Audrey Hepburn as Holly Golightly in 1961 film, Breakfast at Tiffany’s

Actress Audrey Hepburn hated Danish pastries. However, as Holly Golightly in the 1962 film Breakfast at Tiffany’s, Audrey was required to nibble one outside the New York jewelry store Tiffany’s. She asked director Blake Edwards if she could lick an ice cream cone instead, but he said no.

Author Truman Capote wanted Marilyn Monroe to play the part of Holly Golightly. Marilyn wanted the role, too, but her dramatic advisor refused to allow her to play a “lady of the evening.” Capote was busily rewriting the script to suit Monroe, but she was eliminated. Capote was bitter when “Paramount doubled-crossed me in every way and cast Audrey. She was just wrong for that part.”

Audrey considered the film her best work. When she watched it, however, she couldn’t help thinking about why her character would have abandoned her cat and that Capote really wanted Marilyn Monroe for the part.

For more on Audrey Hepburn, click here.

Source: Paris, Barry. Audrey Hepburn. New York: Berkley Books, 1996.

 

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"My Fair Lady" soundtrack poster. Miss Hepburn wears the Ascot ensemble.

“My Fair Lady” soundtrack poster

On June 19, 2011,the Ascot dress and hat worn by Audrey Hepburn in the 1964 Academy Award-winning film, “My Fair Lady,” sold at auction for an incredible $3.7 million. The ensemble was designed by Cecil Beaton and was sold from the Debbie Reynolds Collection. Originally, the actress Debbie Reynolds paid $100,000 for the outfit.

Worn by Miss Hepburn in the most memorable scene in the film, it is perhaps the most famous garment ever designed for a motion picture and, most assuredly, Mr. Beaton’s magnum opus.

Art designer Cecil Beaton checks Audrey Hepburn's Ascot costume on the set of "My Fair Lady," 1963

Art designer Cecil Beaton checks Audrey Hepburn’s Ascot costume on the set of “My Fair Lady,” 1963

 

Cecil Beaton's sketch for Audrey Hepburn's Ascot costume, "My Fair Lady" (1964)

Cecil Beaton’s sketch for Audrey Hepburn’s Ascot costume, “My Fair Lady” (1964)

Audrey Hepburn as Eliza Doolittle at the Royal Ascot horse races. In the film, Eliza is every inch a refined English lady until the horserace tightens. Then she erupts in a stream of Cockney speech that threatens to blow her cover as a Covent Garden flower girl.

Audrey Hepburn as Eliza Doolittle at the Royal Ascot horse races. In the film, Eliza is every inch a refined English lady until the horserace tightens. Then she erupts in a stream of Cockney speech that threatens to blow her cover as a Covent Garden flower girl.

For more on Audrey Hepburn, click here.

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Audrey Hepburn as Cockney flower seller in 1964 musical film, "My Fair Lady." Julie Andrews had played the lead in the Broadway play but producer Jack Warner wanted Audrey Hepburn as Eliza Doolittle for his film. Warner's film was to cost him $5 million. Audrey was well-known, talented, and her films never lost money. He wanted Audrey, not Julie. It caused quite a flap in the movie industry, with many feeling Julie Andrews should have had the role. Julie Andrew was then cast as Mary Poppins. That year, Audrey was snubbed at the Academy Awards, not even being nominated for her "My Fair Lady" performance. Julie Andrews won the Best Actress Oscar for "Mary Poppins."

Audrey Hepburn as Cockney flower seller in 1964 musical film, “My Fair Lady.” Julie Andrews had played the lead in the Broadway play but producer Jack Warner wanted Audrey Hepburn as Eliza Doolittle for his film. Warner’s film was to cost him $5 million. Audrey was well-known, talented, and her films never lost money. He wanted Audrey, not Julie. It caused quite a flap in the movie industry, with many feeling that singer Julie Andrews should have had the role. So Audrey was cast in “My Fair Lady.” Shortly Disney cast Julie Andrews in the musical spectacle, “Mary Poppins”. That year, Audrey was snubbed at the Academy Awards, not even being nominated for her “My Fair Lady” performance. Julie Andrews won the Best Actress Oscar for “Mary Poppins.”

In the 1964 Academy Award winning musical, “My Fair Lady,” linguistics professor Henry Higgins places a bet with his colleague Colonel Pickering. He boasts that, in six months time, he can transform a low-bred, disheveled Cockney flower seller named Eliza Doolittle into a duchess by teaching her to speak properly. Eliza is agreeable; she wants to speak better so she can get a job in a flower shop.

Eliza appears at Professor Higgins’ house to make arrangements for language lessons. Higgins’ housekeeper Mrs. Pearce escorts her into the library, where Higgins is discussing the possible experiment with Pickering.

Pickering: Won’t you sit down, Miss Doolittle?

Eliza (coyly): Oh, I don’t mind if I do. (She sits down on sofa.)

(Eliza offers to pay for voice lessons but Pickering wants to sponsor her.)

Eliza: Oh, you’re real good. Thank you, Captain.

Higgins (tempted, looking at her) It’s almost irresistible. She’s so deliciously low – so horribly dirty!

Eliza: Aoooow! I ain’t dirty: I washed my face and hands afore I come, I did.

Higgins: I’ll take it! I’ll make a duchess of this draggletailed gutter-snipe!

Eliza: Aoooooooow!

Higgins: (carried away): I’ll start today! Now! This moment! Take her away and clean her, Mrs. Pearce. Sandpaper if it won’t come off any other way. Is there a good fire in the kitchen?

Mrs. Pearce: Yes, but -

Higgins (storming on): Take all her clothes off and burn them. Ring up and order some new ones. Wrap her up in brown paper till they come.

Audrey Hepburn as Eliza Doolittle

Rex Harrison as Professor Henry Higgins

Wilfrid Hyde-White as Colonel Hugh Pickering

Mona Washbourne as Mrs. Pearce, Higgins’ housekeeper

Mrs. Pearce follows instructions to bathe Eliza Doolittle.

Mrs. Pearce follows instructions to bathe Eliza Doolittle.

Mrs. Pearce prepares the bath for Eliza.

Mrs. Pearce prepares the bath for Eliza.

Cecil Beaton, in charge of sets and costumes, recalls the day this scene was taped for “My Fair Lady”. He recalled it in his diary:

Wednesday, 21 August (1963)

…I wanted to congratulate Audrey (Hepburn) on her appearance, so went down on to the set for a word with her. I watched her being shot, listening to Higgins telling Pickering that, but for her appalling accent, Liza (sic: Eliza) could be passed off as a duchess. The play of expression on her face was such that one could almost see her brain at work with ideas that followed one another like a succession of pictures….

Thursday, 22 August (1963)

At lunch-time Audrey, wearing her dirty hair and face, came into my room to say ‘Ullow’. Every dawn Audrey has to have her hair covered with grease, then with a lot of brown Fuller’s Earth. The effect is really dirty, and psychologically must be very depressing. Tiring, too: it takes another hour to wash out the dirt before going home after the day’s shooting….

Audrey is remarkably disciplined: her memory never at fault, she appears on the set word  perfect, and she can give exactly the same performance over and over again. She confessed, however, that yesterday’s pea-shelling scene had been the greatest strain for she had to eat so many raw peas; at best, she does not care for them even when they are at their youngest and smallest, but having had to eat a bushel of huge Californian peas out of their inflated pods, she then went home to dinner and was served duck and green peas!

Tuesday, 27 August (1963)

On the set Audrey was still doing ‘Loverly’. Finding it difficult to work to different ‘play-backs’ she had been nervously taut most of the day. Now, by mid-afternoon, she was tired out. Her hairdresser was massaging the back of her neck: everyone sorry for her, and the atmosphere tense.

Cecil Beaton's costume design for character Eliza Doolittle in "My Fair Lady" musical film 1964

Cecil Beaton’s costume design for character Eliza Doolittle in “My Fair Lady” musical film 1964

Although Audrey practiced extensively to be able to sing in “My Fair Lady,” in the end it was decided that 90% of her vocal numbers would be dubbed with the voice of Marni Nixon. However, she did sing ‘Wouldn’t it be Loverly,’ shown in the following video:

For more on Audrey Hepburn, click here.

“My Fair Lady” movie trivia

“My Fair Lady” movie quotes

 

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Audrey Hepburn 1953

Audrey Hepburn 1953

In 1954, British photographer and creative artist, Cecil Beaton, wrote this article for “Vogue” about a rising film star named Audrey Hepburn. Miss Hepburn was 25 and the newest sensation. She had just won the Academy Award for Best Actress for “Roman Holiday.”

It is always a dramatic moment when the Phoenix rises anew from its ashes. For if “queens have died young and fair,” they are also reborn, appearing in new guises which often create their own terms of appreciation. Even while the pessimists were predicting that no new feminine ideal could emerge from the aftermath of war, an authentic existentialist Galatea was being forged in the person of Miss Audrey Hepburn.

No one can doubt that Audrey Hepburn’s appearance succeeds because it embodies the spirit of today. She had, if you like, her prototypes in France – Damia, Edith Piaf, or Juliet Greco. But it took the rubble of Belgium [sicHolland] an English accent, and an American success to launch the striking personality that best exemplifies our new Zeitgeist [spirit of the age].

French waif

French waif

Nobody ever looked like her before World War II; it is doubtful if anybody ever did, unless it be those wild children of the French Revolution whose stride in the foreground of romantic canvases. Yet we recognize the rightness of this appearance in relation to our historical needs. And the proof is that thousands of imitations have appeared. The woods are full of emaciated young ladies with rat-nibbled hair and moon-pale faces.

Heron's eyes

Heron’s eyes

What does their paragon really look like? Audrey Hepburn has enormous heron’s eyes and dark eye-brows slanted towards the Far East. Her facial features show character rather than prettiness: the bridge of the nose seems almost too narrow to carry its length, which bares into a globular tip with nostrils startlingly like a duck’s bill. Her mouth is wide, with a cleft under the lower lip too deep for classical beauty, and the delicate chin appears even smaller by contrast with the exaggerated width of her jaw bones. Seen at the full, the outline of her face is perhaps too square; yet she intuitively tilts her head with a restless and perky asymmetry.

Madame Pompadour by Amedeo Modigliani, 1914.

Madame Pompadour by Amedeo Modigliani, 1914.

She is like a portrait by Modigliani where the various distortions are not only interesting in themselves but make a completely satisfying composite.

Beneath this child-like head (as compact as a coconut with its cropped hair and wispy monkey-fur fringe) is a long, incredibly slender and straight neck.

A rod-like back continues the vertical line of the nape, and she would appear exaggeratedly tall were it not for her natural grace.

1954 Sabrina dress

Audrey appears in a Givenchy dress from the 1954 movie, “Sabrina.”

Audrey Hepburn’s stance is a combination of an ultra fashion plate and a ballet dancer. Indeed, she owes a large debt to the ballet for her bearing and abandon in movement, which yet suggest a personal quality, an angular kinship with cranes and storks. She can assume almost acrobatic poses, always maintaining an innate elegance in her incredibly lithe torso, long, flat waist, tapering fingers and endless legs.

Audrey Hepburn was an accomplished ballerina. Undated photo, ca. 1954

Audrey Hepburn was an accomplished ballerina. Undated photo, ca. 1954

With arms akimbo or behind her back, she habitually plants her feet wide apart–one heel dug deep with the toe pointing skywards. And it is more natural for her to squat cross-legged on the floor than to sit in a chair.

Fratellini Poster

Fratellini Poster

Like the natural artist that she is Audrey Hepburn is bold and sure in her effects. There is no lack of vigor in her rejection of the softly pretty. She wears no powder, so that her white skin has a bright sheen. Using a stick of grease paint with a deft stroke, she draws heavy bars of black upon her naturally full brows; and almost in Fratellini fashion, liberally smudges both upper and lower eyelids with black.

To complete the clown boldness, she enlarges her mouth even at the ends, thus making her smile expand to an enormous slice from Sambo’s watermelon. The general public, in its acceptance of such an uncompromisingly stark appearance, has radically forsaken the prettily romantic or pseudo-mysterious heroines of only two decades ago.

1953 Audrey Hepburn grins upon receiving her Oscar for "Roman Holiday."

1953 Audrey Hepburn grins upon receiving her Oscar for “Roman Holiday.”

In clothing, this ingénue Ichabod wears a “junior miss” version of highwayman coats, clergyman cassocks, or students’ pants, overalls, scarfs.

Audrey Hepburn in loafers and scarf. Undated photo

Audrey Hepburn in loafers and scarf. Undated photo

Yet she is infinitely more soignée than most students, possessing, in fact, an almost Oriental sense of the exquisite.

Audrey Hepburn in the 1954 film, "Sabrina."

Audrey Hepburn in the 1954 film, “Sabrina.”

Barnardo's Boys were orphans

Barnardo’s Boys were orphans

And she is immaculately shod, whether in pumps, sandals, or court shoes. Audrey Hepburn is the gamine, the urchin, the lost Barnardo boy.

Audrey Hepburn from the 1954 film, "Sabrina"

Audrey Hepburn from the 1954 film, “Sabrina”

Sometimes she appears to be dangerously fatigued; already, at her lettuce age, there are apt to be shadows under the eyes, while her cheeks seem taut and pallid.

She is a wistful child of a war-chided era, and the shadow thrown across her youth underlines even more its precious evanescence. But if she can reflect sorrow, she seems also to enjoy the happiness life provides for her with such bounty.

It is a rare phenomenon to find a very young girl with such inherent “star quality.” As a result of her enormous success, Audrey Hepburn has already acquired the extra incandescent glow which comes as a result of being acclaimed, admired, and loved. Yet while developing her radiance, she has too much innate candor to take on that gloss of artificiality Hollywood is apt to demand of its queens.

Audrey Hepburn winks in sunlight. undated photo, ca. 1952

Audrey Hepburn winks in sunlight. undated photo, ca. 1952

Her voice is peculiarly personal. With its unaccustomed rhythm and sing-song cadence on a flat drawl, it has a quality of heartbreak. Though such a voice might easily become mannered, she spends much time in improving its musical range.

In fact, with the passing of every month, Audrey Hepburn increases in dramatic stature. Intelligent and alert, wistful but enthusiastic, frank yet tactful, assured without conceit and tender without sentimentality, she is the most promising theatrical talent to appear since the war. Add to this the remarkable distinction she emanates, and it is not rash to say she also gives every indication of being the most interesting public embodiment of our new feminine ideal.

US Vogue, November 01, 1954

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Members of the Sadler's Wells Ballet Company leave Victoria Station, London, for a tour of Holland, May 1940

Members of the Sadler’s Wells Ballet Company leave Victoria Station, London, for a tour of Holland, May 1940. Director Ninette de Valois is on the far right.

When the Germans invaded Holland on May 10, 1940, Ninette de Valois found herself trapped in The Hague. She was the director of the Sadler’s Wells Ballet Company from England. She and her 42 dancers had been on a Dutch tour. On the day of the invasion, de Valois had been sitting at a sidewalk café with two members of the dance company. It was noon. Suddenly, a stray bullet ricocheted from the pavement, passed between their heads, and crashed through the café’s plate glass window behind them. The bullet had been fired from a German plane swooping over the city square. The diners were rushed inside to safety.

That morning, some of the dancers had flocked to the rooftop of their hotel to watch German parachutists float down and land in the area around the Hague, where Queen Wilhelmina resided.  Thousands of leaflets also fluttered down from the enemy aircraft, some landing on the rooftop, that proclaimed:

Strong German troop units have surrounded the city. Resistance is of no use. Germany does not fight your country but Great Britain. In order to continue this battle the German Army has been forced to penetrate your country. The German Army protects the life and goods of every peace-loving citizen. However, the German troops will punish every deed of violence committed by the population with a death sentence.” 1

For five days, the Dutch army fought bravely, but it was no match for the German war machine. The Netherlands had a policy of neutrality and had had no recent experience of resisting outside invading forces. Queen Wilhelmina and the Dutch Royal Family from the Royal House of Orange-Nassau refused to accept the Nazi offer of protection and sailed to England on the HMS Hereford sent by King George VI.

The Exiled Royals with the King and Queen of England, WWII (photo undated). From left to right: Queen Marie of Yugoslavia,Miss Benesj,Queen Wilhelmina of the Netherlands,Miss Raczkiewicz,King George VI of England,King Peter of Yugoslavia,King Haakon of Norway, Queen Elizabeth (The Queen mother) of England, the President of Poland, M. Raczkiewicz and Dr. Benesj, President of Tsjecho- Slovakia.

The Exiled Royals with the King and Queen of England, WWII (photo undated). From left to right: Queen Marie of Yugoslavia,Miss Benesj,Queen Wilhelmina of the Netherlands,Miss Raczkiewicz,King George VI of England,King Peter of Yugoslavia,King Haakon of Norway, Queen Elizabeth (The Queen mother) of England, the President of Poland, M. Raczkiewicz and Dr. Benesj, President of Tsjecho- Slovakia.

The Netherlands surrendered on May 15.

For the next seven weeks, the citizens of Holland did not resist the German occupation. They buried their dead and mourned their losses. They were shocked and demoralized. They felt abandoned by their queen.

Audrey Hepburn-Ruston, ca. 1941 (age 12)

Audrey Hepburn-Ruston, ca. 1941 (age 12)

Audrey Hepburn was eleven years old when the Germans took over her town of Arnhem, Holland:

“The first few months we didn’t quite know what had happened.”

But Queen Wilhelmina reached out to her subjects across the North Sea via newsreels and BBC radio broadcasts, revitalizing Dutch hope for Allied liberation, and condemning German aggression. She urged them to resist the moffen (German Huns). For the next five years, the radio voice of the Queen would be the main source of inspiration for the Dutch Resistance Movement.

Princess Juliana and Prince Bernhard celebrate their engagement 1936. Note the white carnation in the Prince's lapel.

Princess Juliana and Prince Bernhard celebrate their engagement 1936. Note the white carnation in the Prince’s lapel.

An opportunity for the Dutch citizens to protest the German occupation arrived on June 29. It was the birthday of Prince Bernhard, the Queen’s son-in-law. Since he had been a student, the Prince had worn a trademark white carnation in his lapel.

So, on June 29, the Dutch people demonstrated their loyalty to Queen and country and their defiance of Nazi rule. People participated all across the country, but the activity was strongest in Amsterdam and The Hague.

People displayed vases full of carnations in the windows of homes and stores. Women and girls wore orange skirts, orange being the national color, symbolic of the Royal House of Orange. The Dutch flag was flown. Men pinned white carnations in the buttonhole of their coats, in imitation of Prince Bernhard, a German who was anti-Nazi.  Some people rode bicycles around town all dressed in orange.

Crowds gathered at the statue of Queen Emma, Wilhelmina’s mother, in Amsterdam to lay flowers.

The Queen Emma monument is festooned with flowers on Carnation Day, 1940

The Queen Emma monument is festooned with flowers on Carnation Day, 1940

At first, only single flowers were placed on the statue’s lap. Then others arrived carrying great pots of flowers. Soon the area at the base of the statue was covered in flowers. On the nearby lawn, the letter B was formed with a clever flower arrangement. People brought cut-out pictures of the royal family and laid these beside the flowers.

A street organ began to play the national anthem. Softly at first, people began to sing. Shortly, though, more people lifted their voices in patriotic song. Emotion was running high.

Men belonging to the WA, the military arm of the Dutch Nazi organization (NSB), shoved into crowds and started fights. The WA goons wore black shirts. Many people were injured.

NSB members (Dutch Nazis or collaborators) show up at a statue of Queen Emma on Carnation Day, giving the straight arm salute.

NSB members (Dutch Nazis or collaborators) show up at a statue of Queen Emma on Carnation Day, giving the straight arm salute.

People gathered at the Queen’s residence in the Hague, the Noordeinde Palace, to lay flowers on the balcony and to sign the birthday register.  The German commander of the Wehrmacht feared a riot. He ordered German fighter planes to fly above the city, diving now and then, but not to shoot, to get the crowd to disperse.

This day became known as Anjerdag, “Carnation Day.”

German propaganda minister Joseph Goebbels is shown at the entrance to Queen Wilhelmina's residence, the Noordeinde Palace in The Hague on Carnation Day. The nonviolent protest demonstration by the Dutch citizens greatly alarmed their German occupiers. Hitler was informed and the Nazis began their crackdown on Dutch life, liberty, and the pursuit of happiness.

German propaganda minister Joseph Goebbels (center) is shown at the entrance to Queen Wilhelmina’s residence, the Noordeinde Palace, in The Hague on Carnation Day. The nonviolent protest demonstrations by the Dutch citizens greatly alarmed their German occupiers. Hitler was informed and the Nazis began their crackdown on Dutch life, liberty, and the pursuit of happiness.

The Germans were furious with this civil act of disobedience. They ordered images of the Dutch Royal Family to be removed from all public places. Street names were renamed. The Prince Bernhard Square, for example, became “Gooiplein.” The Royal Library was soon referred to as the National Library. On the first of August, the top Nazi in Holland, Reichskommissar Seyss-Inquart, announced that it was forbidden to celebrate a birthday of a member of the Dutch Royal family.

Postnote:  In early 1941, a baby girl was born to a Mr. and Mrs. Niehot of The Hague. They wanted to name their newborn baby Nelia after their midwife, Nelia Epker, but she suggested they give their child an ‘Orange‘ name. The result was announced in the newspaper in a birth advertisement: Irene Beatrix Juliana Wilhelmina Niehot.

This announcement was met with great joy. Irene and Beatrix were the young daughters of Crown Princess Juliana.

May 1940, London. Elizabeth Van Swinderen, wife of the former Dutch minister to Great Britain, points out London barrage balloons to Princess Juliana of the Netherlands. Juliana is with her children, Beatrix by her side and Irene in the baby carriage.

May 1940, London. Elizabeth Van Swinderen, wife of the former Dutch minister to Great Britain, points out London barrage balloons to Princess Juliana of the Netherlands, who is pushing the stroller. Juliana is with her children, Beatrix is by her side and Irene is in the baby carriage.

Perfect strangers sent cards, flowers, cakes and even money to the Niehot family. When the midwife Nelia Epker placed a thank-you advertisement in March 1941, listing the baby’s royal names once again, Nelia was arrested. She would not return to the Netherlands until August 1945, a survivor of Camp Ravensbrück. 2

1 Gottlief, Robert, ed. Reading Dance: A Gathering of Memoirs, Reportage, Criticism, Profiles, Interviews, and Some Uncategorizable Extras. New York: Pantheon Books, 2008.

2 Dutch Resistance Museum

 

 

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Audrey Hepburn (ca. 1935-37, perhaps in Brussels, age 6-8)

Audrey Hepburn (ca. 1935-37, perhaps in Brussels, age 6-8)

It was May 9, 1940, and Audrey Kathleen Hepburn (Ruston) had just turned eleven years old. She was living in Holland with her mother, her two older brothers, and other relatives. Her father lived in London. Her parents were divorced.

To celebrate Audrey’s birthday, her mother, Dutch Baroness Ella van Heemstra Ruston, had bought tickets for her and Audrey to see a performance by the great English dance troupe, The Sadler’s Wells Ballet. The company was touring Holland, France, and Belgium. Audrey’s town of Arnhem was to be one of their stops.

Audrey (1929-1993) had been living in Holland for only nine months. Previously, she had been in boarding school in England. But, in September 1939, Hitler invaded Poland. All at once, England was no longer a safe place for a little girl, as it had declared war on Germany. At her mother’s request, Audrey’s father scooped up Audrey from her school and put her on a big orange plane to Holland (also known as the Netherlands), where her mother’s family lived. Holland intended to stay neutral in the war with Germany and was considered a safe place for riding out the conflict.

Audrey Hepburn and her mother Ella, Baroness van Heemstra Hepburn-Ruston, ca. 1936.

Audrey Hepburn and her mother Ella, Baroness van Heemstra Hepburn-Ruston, ca. 1936.

Audrey had not seen her dad since that day at the airport. She missed him so! Her parents’ divorce had left an aching hole in her heart. But on this particular May day, Audrey was not sad. She was looking forward to the ballet! Her mother had given her more than one reason to smile:

My mother had our little dressmaker make me a long taffeta dress. It went all the way to the ground, and it rustled. There was a little round collar, a little bow here, and a little button in front. The reason she got me this, at great expense, was that I was to present a bouquet of flowers at the end of the performance to…the director of the company.”

The evening finally arrived. Audrey wore her beautiful new long dress and got to see the famous Margot Fonteyn dance in “Horoscope” and “Façade” by choreographer Frederick Ashton. It was marvelous.

Margot Fonteyn in the Polka from Ashton's Facade, 1940. Fonteyn was the principal dancer of the Royal Ballet Company for 20 years.

Margot Fonteyn as the Polka from Ashton’s Facade, 1940. Fonteyn was the principal dancer of the Royal Ballet Company (originally the Sadler’s Wells) for 20 years.

Afterwards, Audrey’s mother took the stage and gave a formal thanks to the troupe first in Dutch, then in English. Next was Audrey’s big moment. To her surprise, her bouquet of tulips and roses was hurriedly accepted. A quick supper followed, as the dancers hustled about afterward, gathering up their props and costumes, to get on their bus to leave Arnhem that very evening. According to the British consul, there was suspicious German military activity nearby. The dancers didn’t want to get stuck in Holland if the Germans did attack and closed off the borders.

As Audrey’s head lay on the pillow that night, the Germans invaded Holland, Belgium, and Luxembourg. The Dutch were totally shocked. They never dreamed Hitler would attack them, his “Dutch cousins”! Just the night before, matter of fact, Hitler had made a radio broadcast, promising to all who listened that he had no plans whatsoever of attacking Holland. For five days, the Germans came down on the Dutch with the force of Hell. They never bothered issuing a formal declaration of war either.

 German parachutists invading the Netherlands, May 10-15, 1940

This is the city center of Rotterdam, Holland, following the German Blitz of May 14, 1940. A ceasefire was already in progress but the Nazis bombed anyway.

They blasted the city of Rotterdam with an air attack that killed 1,000 Dutch civilians and left 85,000 homeless (accounts vary as to the exact number).

Incendiary bombs were dropped on the Hague. Nazi troops tore through Audrey’s town of Arnhem, looting and despoiling as they pleased. The Germans threatened to bomb every Dutch city until they were demolished until Holland surrendered. The Dutch military, though terribly outnumbered, fought back anyway, but they were no match for the conquering horde, and were forced to surrender. After five days, Holland capitulated. It would be occupied by the Nazis for five very long years. The Germans wanted to take over the world and destroy the Jewish population.

At first, Audrey’s family was allowed to remain at their regal ancestral home, Castle Zypendaal (or Zijpendaal). Audrey Hepburn’s mother’s family was of Dutch nobility.

Audrey Hepburn's mother's family was of Dutch nobility. This is one of their homes, the Castle Zypendaal in Arnhem.

Audrey Hepburn’s mother’s family was of Dutch nobility. This is one of their homes, the Castle Zypendaal in Arnhem.

Over the next ten months, the van Heemstra bank accounts, securities, and jewelry would be confiscated by the Nazis. Rations were imposed on food and fuel which were soon in short supply for the suffering Dutch people. Food became completely nonexistent during the Hunger Winter of 1944 as the Germans cut off all imports of foods to punish the Dutch Resistance (secret group that fought back against the Nazis from inside Holland). During that time, Audrey confessed to eating bread made from flour from tulip bulbs and grass to keep from starving to death like 20,000 other Dutch citizens did that winter.

The Hunger Winter, 1944-45. Wood is taken from the tram rail in Holland to burn as fuel.

The Hunger Winter, 1944-45. Wood is taken from the tram rail in Holland to burn as fuel.

The German occupiers spread anti-English sentiment, banning the import of British jams and biscuits and outlawing the Girl and Boy Scouts. The Germans hoped they could whip the Dutch into a hatred for the English and recruit them in the battle against Britain.

Audrey Hepburn-Ruston was an English name and Audrey spoke English. She carried a British passport. With the Nazis cracking down on the English, the Baroness was worried. Quickly, Audrey’s mother gave Audrey a new identity as a little Dutch girl. For the war years, the Baroness changed her daughter’s name to Edda van Heemstra. Audrey – now Edda – took Dutch language lessons so she could pass as Dutch and not be arrested for being English. Audrey did not risk speaking English for the rest of the war.

Audrey Hepburn at a dance recital, 1944, Arnhem Conservatory, Holland (age 15)

Audrey Hepburn at a dance recital, 1944, Arnhem Conservatory, Holland (age 15)

Audrey was keen to be a famous ballet dancer and her mother was the quintessential stage mom. In 1941, Ella sent Audrey to the Arnhem Conservatory to study dance. It was then that Audrey decided that she wanted to grow up to become a ballerina. Her dream was to

“wear a tutu and dance at Covent Garden.”

Her mother made her ballet slippers from scraps of felt, as materials became scarcer and scarcer, since the Nazis took the best for themselves, always.

As a child of war, Audrey learned to cope with hunger, fear, and deprivation through art, music, and dance. Soon, though, she and some other dancers began staging private, secret dance shows to raise money for the Dutch Resistance.

I designed the dances myself. I had a friend that played the piano, and my mother made the costumes. They were very amateurish attempt – but…it amused people.”

The recitals were given in houses with windows and doors closed, and no one outside knew what was going on. Afterward, money was collected and turned over to the Dutch Resistance. To keep from being discovered, the audiences did not clap.

“The best audience I ever had made not a single sound at the end of my performance.”

Audrey Hepburn during a dance recital in Arnhem, Holland, 1944

Audrey Hepburn during a dance recital in Arnhem, Holland, 1944

Sometimes at these “black performances,” resistance workers attended. They gave the young performers money and folded messages to be stuffed into the children’s shoes and transported the next day to resistance workers. The children risked death to save the lives of resistance workers and Audrey was one of these children.

One winter day, Audrey was walking along a city street when three truckloads full of German soldiers toting rifles stopped suddenly. The soldiers ordered all the girls in their sight to line up and get in the trucks. Audrey did as she was told. As the trucks drove off, Audrey kept saying the Lord’s Prayer to herself in Dutch. Then the convoy stopped unexpectedly. Some soldiers jumped out and began abusing some Jews. Audrey said:

“I remember hearing the dull sound of a rifle butt hitting a man’s face. And I jumped down, dropped to my knees, and rolled under the truck. I then skittered out, hoping the driver would not notice me – and he didn’t.”

Audrey with father, preNazi Occupation, ca. 1934-35, age 5-6

Audrey with father, preNazi Occupation, ca. 1934-35, age 5-6

And where was Audrey’s father all this time? He was arrested in England and accused of peddling Nazi propaganda for the notorious leader of the British Union of Fascists, Sir Oswald Mosley. He remained under house arrest for the duration of the war on the Isle of Man with other suspected Nazi sympathizers.

Below are some beautiful drawings Audrey made during the war.

Audrey Hepburn's childhood artwork

Audrey Hepburn’s childhood artwork

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Audrey Hepburn in her dressing room during the filming of "Green Mansions." She is feeding Ip the fawn while her Yorkshire terrier Mr. Famous looks on from the left.

Audrey Hepburn in her dressing room during the filming of “Green Mansions.” She is feeding Ip the fawn while her Yorkshire terrier Mr. Famous looks on from the left.

This is an excerpt from,”Hollywood icon Audrey Hepburn is still full of surprises“:

[The book] Remembering Audrey, features candid portraits by Bob Willoughby, a photographer on the set of many of Hepburn’s films who became close enough to the beauty to literally follow her home. His visual account of Hepburn’s private life and career is peppered with unexpected moments, such as cameos by Pippin, nicknamed Ip, the fawn. When Hepburn was making her 1959 flick “Green Mansions,” directed by then-husband Mel Ferrer, the animal trainer on the set suggested that she take her on-screen sidekick, a baby deer, home with her so that he would learn to follow her. “It was truly amazing to see Audrey with that fawn,” remembers Willoughby in the caption alongside a photo of Pippin cuddling up to Hepburn like a lap dog as she naps on the couch. (Her pet dog, Mr. Famous, is curled in a ball at the other end of the sofa.) “While Audrey’s maid had been told about the little deer, she could not believe her eyes seeing Ip sleeping with Audrey so calmly,” writes Willoughby. “She was shaking her head and just kept smiling.”

Audrey Hepburn shopping in Beverly Hills with her pet deer and costar, Pippin, known as "Ip." (1958)
Audrey Hepburn shopping in Beverly Hills with her pet deer and costar, Pippin, known as “Ip.” (1958)

In another shot, the fawn inspects a box of Honey Grahams, shopping with Hepburn in a Beverly Hills supermarket. “Beverly Hills habitués are fairly blasé about what they see,” writes Willoughby, “but Audrey being followed around town by this lovely creature stopped everyone in their tracks.”

For more on Audrey Hepburn on this site, click here.

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The iconic castle from "Sleeping Beauty," by artist Eyvind Earle for Disney
The iconic castle from “Sleeping Beauty,” by artist Eyvind Earle for Disney

Up until the release of Disney’s “Sleeping Beauty” in 1959, the Disney characters were normally drawn first for a film and then the background was drawn later to complement the characters. But this process was reversed in 1951 – causing some hard feelings – when Walt Disney Studios hired the new background painter, Eyvind Earle.

Tom Oreb's early drawings of Sleeping Beauty, influenced by Audrey Hepburn

Tom Oreb's early drawing of Sleeping Beauty, influenced by Audrey Hepburn

Walt Disney wanted the setting to have a very Renaissance Germanic look and Earle’s style fit the bill. The problem was that, when Earle joined the studio, the characters for “Sleeping Beauty” had already been drawn. Soft and round in the Disney tradition, the characters clashed with Earle’s stylized angular backgrounds. Though it was unusual to take style direction from a background painter, that’s what the character artists were forced to do. They had to go back to the drawing board and reconceive all the characters in a style that suited Earle’s design.

Although Sleeping Beauty would have blonde hair in the film, character stylist Tom Oreb based the princess’ original design on the physical geometry of  brunette Audrey Hepburn.

Audrey Hepburn

Audrey Hepburn

“The qualities of that actress’ slender, willowy physicality lend themselves beautifully to the design environment of the film,” said Disney historian Jeff Kurtti.

drawing of Sleeping Beauty by Marc Davis, redesigned for use in 1959 film

drawing of Sleeping Beauty by Marc Davis, redesigned for use in 1959 film

Originally,” said Disney animator Ron Dias, “Sleeping Beauty looked a lot like Audrey Hepburn; she was softer, rounder, more like the ‘designy’ Disney girl. Back at the drawing board, Marc Davis redesigned her. She became very angular, moving with more fluidity and elegance, but her design had a harder line. The edges of her dress became squarer, pointed even, and the back of her head came almost to a point rather than round and cuddly like the other Disney girls. It had to be done to complement the background.”

Click below to see Helene Stanley perform in the Disney Studio as the live action model for Sleeping Beauty as Disney artists sketch away. This video was part of the premiere of the Disneyland TV show.

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