The Bite Magazine - Autmn/Winter 2020 - Issue 28

bitefashion sheath with a striking bateau neckline, subtle, cinched waist, and crescent-shaped cutouts in the back was an influential fashion statement at the time. It was paired with elbow-length silk gloves, oversized glasses, and a necklace of pearls; a look that gained worldwide recognition. Among the elite of Hollywood actresses, de Givenchy also dressed Greta Garbo, Marlene Dietrich, Grace Kelly, Lauren Bacall, and Elizabeth Taylor. His effort- lessly chic clothes adorned European royalty as well as some of the fashionable women of that time including First Lady Jacqueline Kennedy and socialites Ra- chel ‘Bunny’ Mellon and Catherine ‘Deeda’ Blair. As fashion journalist, Dana Thomas wrote in The Washington Post in 1995, “His clothes moved with a wom- an’s body, rather than restricted it.” One of the first celebrity fragrances, L’Interdit (French for ‘forbidden’) designed by perfumer Francis Fabron in 1957 on behalf of de Givenchy was dedicated to Hepburn. The feminine aldehydic-floral perfume with a delicate powdery aroma is today, regarded as a tribute to bold femininity. According to the brand, it’s an invitation to defy convention and embrace your singularity. “A white floral cut through the dark notes unleashing a bold luminosity that flirts with obscurity. The shocking side of chic!” Some of the prominent designer’s phenomenal creations include the 1955 emerald green satin dress with matching shoes in which Marilyn Monroe would have looked a dream. This red car- pet-worthy dress in silk matelasse brocade is ankle length, with a fitted bodice, princess line panel down the front, and a slight dropped waist at the hips. The skirt is full at the hips and flat in the front and also has a draped cowl neckline and short sleeves. The shoes are high heeled pumps covered in matching silk. The 1957 baby blue silk taffeta evening cape was designed to create an unusually constructed loose-fitting full-length look. It has a double-layer of fabric, forming deep folds at the front and a drawstring taffeta ribbon at the hood that can be worn either around the head or loosely around the shoulders. Audrey Hep- burn wore a similar design in the 1957 musical comedy Funny Face; in one scene her face is shown peeping from the cape and her blue gloved hands folded beneath. Elegant and sophisticated is the 1964 black velvet coat, lined in black silk taffeta and flared with a round neck and three-quar- ter length kimono sleeves. It has four parts with side and cen- tre-back seams, and outside sleeve seams with an underarm gusset. Another excellent piece is an evening ensemble created in 1968 consisting of a dress, over-bodice, shoes, and gloves in black machine-sewn velvet and satin, with dyed black feathers glued into place. Red seemed to be the colour of the French Maison, with the 1970 silk taffeta evening outfit. This long-sleeved, fitted bodice dress is designed with a flared skirt and frilled hemline. Anoth- er hot number was the 1973 red-dyed snakeskin coat trimmed with red-dyed raccoon fur that would have turned every head when it walked into the room. You can’t escape the 1972 black organza evening ensemble that consists of a v-necked bodice and a full-length skirt decorated with a wide sash. The designer also created accessories such as the 1960 round-crowned hat in pale pink silk with a turned up scalloped brim. It has three plastic combs inside the hat and is lined in deep chocolate brown silk. There is also a 1960 cream silk hat trimmed