A final favourite selection of Audrey Hepburn outfits from Two for the Road (1967). Again if you have not seen the film, give it go. Even if you don’t like the look of the clothes, it is like no Audrey film you have ever come across, guaranteed.
Swirly Print Dress
This is Riviera chic for a point in the film where Audrey’s character is as rich and discontent as she is ever going to be. The swirly geometric print is similar to Emilio Pucci’s signature creations from the mid-sixties onwards. His dresses were, and still are, stunningly crafted; they remain the mark of truly expensive and flamboyant elegance.
Apparently this was Audrey’s favourite outfit from the entire movie (even if Finney’s character doesn’t seem too impressed). Her adoration is not surprising as the soft jersey fabric and broad print are immensely flattering on her build.
Similar dresses can now be bought on the high street, though most are mass manufactured so appallingly made and the designs heavily replicated. For an original it has got to be Pucci, or an genuine Ken Scott like Audrey’s, so best grab your credit card(s).
Space Age Cocktail Dress
Mini-dress with high round neck and cap sleeves. Constructed from acrylic discs threaded together on thin metal chains. Dangly earrings to match.
Cold and revealing, perhaps the hautest of haute couture that Audrey wears – symbolising her glimmering party face in a piquant atmosphere of smoke, alcohol and latent sexual tension.
Paco Rabanne reworked this outfit from his line of ‘Unwearble Dresses’ as displayed on twelve barefoot models in 1964; making it available off the rack a year after his conceptual collection of ’66. With liberal use of metal and plastic materials, Rabanne literally built sixties experimentation with the contents of a toolbox.
Owing much to the fantasy modern simplicity of André Courrèges (who himself took inspiration from London’s Kings Road) this knockout Audrey number is revealing and enigmatic, a definite Paco Rabanne. He made a similar dress out of triangular strips of leather joined together like chainmail that Twiggy famously modeled, and produced much the same effect.
The marriage of Audrey’s invisible figure and an innovative, yet totally wearable high fashion dress epitomises the look of the era: less body, less dress, less in general. Less is more.
Green ‘Moon Girl’ Jacket or Dress
Green pull ring zip jacket with contrast white trim or green pull ring zip mini-dress with contrast white trim, stand up collar, in either wool gabardine or poly-jersey. Large white ‘bug eye’ sunglasses.
Looks like André Courrèges (again), though actually by Mary Quant. Less green and a lot more white and this outfit could practically be taken from his 1964 Moon Girl collection. It’d be no surprise to discover Audrey is wearing his signature flat kidskin boots too.
Ultramodern back in 1967, the simple block styling is commonly used nowadays for chain store tracksuits. The pull ring zip however is not used enough. A straightforward touch and paradoxically retro for what is touted here as a futuristic look.
As Hepburn and Finney journey their characters to an uncertain future she at least appears dressed for the part. Though the disparity with Finney’s old car is practically laughable. It was all very well being space age back then, yet you still had to wind your window down.
Albert Finney’s Cashmere Cardigan
Natural cashmere cardigan with light blue French cuff shirt and contrast tie.
A classically stylish look at the moment, but to be fair a little old hat for Albert Finney at the time, certainly compared to the trendy severity of his co-star.
Finney’s outfits were provided by Savile Row trained tailor Hardy Amies. That Finney wears a uniform of cardigan and tie, blazer and tie is appropriate being as Amies designed standardised utility suits during the Second World War.
This classy gent aboard get up is unexpectedly fitting on Finney’s broad shouldered frame. It works well on any build in fact, just don’t team the cardigan and a tie with jeans and you’ll be okay. Unless you’re in a band of course. In which case, rock on.
© 2009 – 2014, Lord Christopher Laverty.