Audrey Style | Breakfast at Tiffany’s
On this day, the 19th October 1961, Breakfast at Tiffany’s premiered in the U.K. at The Plaza Theatre in London. So, in celebration, I thought I would take a deep dive into every costume Holly Golightly wore throughout the film, designed by Hubert de Givenchy and Edith Head, respectively.
Enjoy! x
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Hair: Holly Golightly’s hairstyles were created by Kenneth Battelle and done by Nellie Manley.
Make-Up: Holly Golightly’s makeup was done by Wally Westmore.
Immaculately Iconic:
The Little Black Dress:
Designed by Givenchy, this not-so-little black dress is viewed to be one of the most iconic in film history and of the 20th century. A black Italian satin sheath floor-length evening gown, this sleeveless style has a fitted bodice with a distinctive cut-out décolleté accentuating the back. There are only a few copies of this dress existing to date, with two distinct versions, one where the skirt, slightly gathered at the waist, had a large slit to reveal a significant amount of Hepburn’s leg. It is said that this original version of the dress was initially deemed unsuitable, and so the skirt was subtly redesigned by costume designer Edith Head, who opted instead for a more modest slit-less skirt, when creating the second version of this dress. Costume designer Renie Conley remembered observing Edith Head taking one of Givenchy’s gowns apart to create a copy. “It was full of horsehair stuffing and lead weights to make it fall a certain way.” This is the version we see in the film when we see a shot of the entire length of the dress, though, some believe that the one with the slit was also used in other shots that don’t show the skirt of the dress, as it was easier to walk in.
Later we see Holly in the same dress, just accessorised slightly differently. Gone is the glam necklace and instead a chic white scarf, worn so the ends fall gracefully down her back. You can see it draped over her arm when she is standing outside the Tiffany’s store in the beginning of the movie as well.
Jewellery:
Designed by Roger Scemama, her legendary necklace with five strings of pearls and a large diamanté cluster at the centre perfectly adorns her neck with an eye-catching touch of evening glam. Roger Scemama was a French jeweller and parure-maker who often designed jewelry for Givenchy. She also wears coordinating earrings (that look like pear-cut diamantés), and a petite tiara in her hair, which I assume are part of the matching set, or should I say, parure.
Sunglasses:
Designed by Oliver Goldsmith, these tortoiseshell frames have become synonymous with Holly and Audrey’s look. At Audrey’s request, Oliver Goldsmith created these sunglasses for her in 1956. After appearing in Breakfast at Tiffany’s, they were christened “The Manhattan” and were recognised style produced from about 1960. Nowadays, Oliver Goldsmith still produce ‘replicas’ of them for anyone wishing to add a touch of Audrey to their look!
Gloves:
Designed by Givenchy, the dress is paired with matching black elbow-length gloves for a sophisticated finish.
Footwear:
Designed by Salvatore Ferragamo, Holly wears a simple pair of black pointy kitten heeled shoes as part of this costume.
Sleepy Golightly:
A Man’s Dress Shirt:
Designed by Edith Head, Holly’s ‘pyjamas’ consist of a man’s white dress shirt. It seems this look could subtly hint at Holly’s career as a call girl, inferring that this shirt might have been left behind by one of her many ‘men’, without having to explicitly say it word for word.
Sleep Accessories:
Supposedly also designed by Edith Head, since the look was entirely hers to create, Holly’s Tiffany Blue eye mask has a quirky eyelid design, gold appliqué eyelashes, and gold brocade trims and ties. Her stylish earplugs are embellished with purple tassels for an added fun finish.
Set for Sing Sing:
LBD 2:
Designed by Givenchy specifically for the wardrobe of Holly Golightly, inspired by a model featured within his haute couture collection for Autumn/Winter 1960/61. Made from a black crepe de Chine with a matching silk taffeta liner, this sleeveless number has a scooped neckline, fitted bodice, a tie belt at the waist, and an ever so slightly flared skirt with a wide panel of fringing (black silk yarns) at the hem that sashays as she walks. You will see that this same dress appears several times throughout the movie, just accessorised differently, as a way to show that although Holly is très chic, she is not très rich, and so has to re-wear her clothes often.
Hat:
Designed by Givenchy, the iconic wide-brimmed Chapeau du Matin is made from a lightweight black silk burlap and has a cream chiffon scarf-style hatband that flows as she walks. It was part of his 1960/61 Autumn/Winter collection.
Jewellery:
Designed by Joan Joseff specially for the wardrobe of her character Holly Golightly, she wears some large black clip-on earrings adorned with little pearls and rhinestones for a glamorous finish.
Sunglasses:
Holly wears her favourite tortoiseshell sunglasses, designed by Oliver Goldsmith, which she is seen wearing at the beginning of the movie. Named ‘Manhattan’ and originally produced in 1960, Oliver Goldsmith still produce ‘replicas’ of them for anyone wanting to add them to their wishlist!
Gloves:
The dress is paired with black elbow-length gloves, likely also by Givenchy. Perhaps they are the same ones seen in the opening scene of the film, however, they do appear to be a little shorter in comparison.
Black Handbag:
Designed by Givenchy for his haute couture collection for Autumn 1960, Holly’s slim black velvet snap-shut handbag has gold-tone hardware. I have shared an image of an example that I think matches closely.
Footwear:
Designed by Roger Vivier for his Autumn/Winter 1959/60 collection, here Holly wears black alligator kitten heels with an elegantly pointed toe. These seem to be another costume item that features throughout the film.
Perfume & Lipstick:
I cannot forget to mention the perfume and lipstick we see Holly put on before leaving to catch a taxi. Enchantingly, she keeps them in her mail slot, which additionally has a perfectly placed mirror on the inside of the little door. The exact perfume that she uses is unclear. In the book, Holly is said to wear the 4711 Original Eau de Cologne, but many have speculated that in the movie, she might have been wearing Givenchy's L'Interdit, which was created by Givenchy for Audrey Hepburn in 1957.
Others have speculated that it might have been Makila by Patou (released 1961), or Chanel No.5 (released 1921). Looking at the bottle, it appears to be closer to the Givenchy’s L’Interdit Splash Eau de Toilette, just with an atomiser screwed into the cap instead of the standard lid. Perfume detectives have wondered whether it might have been Audrey’s personal bottle used in the film.
As for the iconic lipstick, I will save speaking about that until the end of the article, since it is in the final scene that the lipstick really takes centre stage!
Out The Window:
White Towelling Dressing Gown:
Another costume likely designed by Edith Head, consists of a simple white terrycloth dressing gown that hits her below the knees. Holly wears it when escaping from her own apartment to get away from a drunk beau, out the window and onto the fire escape, where seeing Paul sleeping cosily in his bed, makes her way through his apartment window to say hello. The choice of dressing gown is quite contemporary. Often, in the 1950’s and 60’s, ladies dressing gowns were quite long and feminine. This white towelling option is almost like a hotel dressing gown, a little more unisex or even masculine for its time. Could this be another instance where Holly is supposedly wearing something left by one of her many men, or perhaps something she picked up while staying at a hotel? Or is it just another signifier of Holly’s bold devil-may-care attitude to her life and the way she lives it?
Footwear:
In her hurry to escape, Holly slips on pair of simple black pointed-toe ballet flats. The exact designer of the shoes is unknown.
Preparing to Party:
Bedsheet-Sarong:
Supposedly designed by Edith Head, we see Holly, while hosting a party at her flat, appear to her guests before she has finished getting ready, nonchalantly draped in a large pale grey, or even pale beige-pink bedsheet in the style of a sarong. Apparently, a scene in which Holly is seen to be taking a bath and must improvise a makeshift ‘gown’ on the spot, was cut from the film, which provides a little more context as to why she is dressed this way than we ultimately end up getting.
Although the look doesn’t reveal all that much skin, it is another example of Edith Head’s excellent ability to bring a character to life purely through clothes. This particular outfit whispers towards Holly’s carefree and slightly wild side. She is a party girl who is unafraid to appear ‘undressed’ and draped in a bedsheet in front of her many house guests, a stunt that few would have had the gall to copy and few would have been able to pull off with such sophistication and insouciance.
Jewellery:
Designed by Joan Joseff specifically for the wardrobe of Holly Golightly, here, she is wearing a pair of eye-catching black and diamanté earrings, the same ones we see in her next costume.
Accessories:
Although not quite an accessory as such, but still iconic to the character, I couldn’t forget to mention the addition of her cigarette in this scene. Alongside her perfectly coiffed ‘do, indicating that she is in the process of getting ready, but just isn’t quite finished yet, the addition of the cigarette only goes to emphasise her unbothered attitude. There is no doubt that Holly Golightly is a character that embodies a youthful and untroubled sexiness that seems apt for the 60’s.
Fred Baby:
LBD 2:
This is the second time we see Givenchy’s crepe de Chine silk little black dress with its scooped neckline and flirty fringed hemline.
Jewellery:
Designed by Joan Joseff specifically for the character Holly Golightly, she wears a flamboyant necklace, in tones of black, silver, and diamanté, that match with the striking earrings we saw her wear in the previous costume as well.
Footwear:
Designed by René Mancini for Givenchy, this pointed-toe kitten heels in black satin appeared in the haute couture collection for Autumn/Winter 1960/61
Accessories:
Aside from her jewellery, Holly’s additional accessory with this look is her cigarette on an extra long cigarette holder for a classy finish. This subsequently has become another iconic item that memorialises Holly’s character.
Moon River à la Mode:
Crewneck & Jeans:
Another costume by Edith Head, here Holly wears a casual look consisting of a pale grey crewneck sweater and dark-wash denim jeans. However, it seems that her jeans appear to be cut more like cropped cigarette-style trousers rather than the classic denim jean design that we are overwhelmingly familiar with today. This alternative cut, though one likely very popular at the time, adds a slight touch of elegance to this heavily casual look.
Footwear:
It seems that Holly is wearing the same simple black pointed-toe ballet flats that she wore when escaping out of her apartment window in her white terrycloth robe. In some promotional photos showcasing this outfit, she appears to wear white ballet flats instead, however, in the movie, they clearly opted for the black instead. Perhaps this was because they were already paired with many of Holly’s other costumes, and so helped to show that she was a girl with a rather limited wardrobe.
Accessories:
Although in this look she is fully dressed, the addition of her hair being wrapped in a white towel like a turban, while sitting in her window singing her doleful song, further adds to the character’s easy-going charm and flair.
Reunited with Doc:
LBD 2:
This is the final time we see the crepe de Chine silk little black dress with the scooped neckline and coquettish fringed hemline, designed by Givenchy.
Hat:
Designed by Givenchy specially for Holly Golightly, this quirky black velvet pillbox hat is embellished with a white mink pom-pom-like decoration with added black feather trims for a fun and extravagant look.
Jewellery:
Designed by Joan Joseff specially for the wardrobe of her character Holly Golightly, she wears the same large black clip-on earrings that she wore with this dress at the party, however this time she is missing her flamboyant necklace. Instead, she has embellished the bodice with what seems to be a circular black cabochon and diamanté brooch for a different look.
Black Handbag:
Designed by Givenchy for his haute couture collection for Autumn 1960, here, Holly uses the same slim black velvet snap-shut handbag with gold-tone hardware that she takes to Sing Sing earlier in the film, without Paul Varjak in tow. As it is the same dress, perhaps it makes sense that it is the same bag too.
Footwear:
Holly’s iconic black pointed-toe kitten heels appear again. I assume they are her infamous black alligator one, designed by Roger Vivier for his Autumn/Winter 1959/60 collection, since it is these shoes that she pairs with this dress earlier in the film.
Farewell Doc & Lulamae:
Trench Coat:
It is said that Holly Golightly’s iconic pale beige trench coat was an authentic Burberry trench coat selected from the studio wardrobe by Edith Head. This effortlessly chic look almost gives the sense she is undercover while bidding farewell to Doc and her old identity as Lulamae.
Sunglasses:
Yet again her beloved ‘Manhattan, 1960’ Oliver Goldsmith tortoiseshell sunglasses complete this chic style.
Tapestry Bag:
This scene features Holly’s large Gobelin tapestry bag, but it isn’t Holly who is seen carrying it; it is Doc, and then Paul. Later on in the movie, when they return to her apartment, drunk, this is the same bag from which Holly retrieves money from to give Paul when they get into an argument over alcohol. The picture I have shared shows it sitting on top of some suitcases earlier in the film.
Footwear:
A pair of cream or pale beige pointed-toe kitten heels that coordinate well with her trench coat and scarf. It is likely that they were provided by the studio as it is unclear who designed them.
Accessories:
A simple cream or pale beige silk scarf is wrapped elegantly around Holly’s head, pairing perfectly with her coat and shoes to complete this cohesive and classy outfit.
Devilishly Drunk:
Trench Coat:
Again, we see Holly’s infamous Burberry trench coat selected from the studio wardrobe by Edith Head. In the second part of the movie it becomes one of her wardrobe staples.
Top & Pencil Skirt:
Under her trench coat, Holly appears to be wearing a black polo-shirt-style top with a pointed collar and a partial button placket at the neckline with black buttons. Her skirt seems to be a black and white herringbone pencil skirt. It can be assumed that this is an outfit that was provided by the studio and selected by Edith Head.
Sunglasses:
Need I say it again? Again, her same ‘Manhattan, 1960’ Oliver Goldsmith tortoiseshell sunglasses can be seen here!
Footwear:
Since this scene follows on from the previous one, Holly is wearing the same cream or pale beige pointed-toe kitten heels from before.
Perfume:
Her mysterious perfume bottle makes a comical reappearance in this scene too. I have shared a little picture, and here, the bottle shape is very similar to Givenchy’s L’Interdit Splash Eau de Toilette, as has been deduced.
Perfectly Peachy:
Peach Dressing Gown:
Another dressing gown, again, supposedly designed by Edith Head. This time it is a far more feminine option that looks to be made from a lightweight and elegant silk. Once more, Holly is not fully dressed, yet. It is in this scene that her and Paul decide to spend the day together doing things that they have never done before. I have always wondered whether the pretty peach hue of this look is a precursor to the bright orange coat we see her wear in the next scene? Or perhaps I am overanalysing!
Accessories:
Additionally, she is wearing her purple tassel earplugs featured earlier in the movie.
Outrageous in Orange:
The Orange Coat:
A Givenchy classic, this bright orange coat has many features iconic to the designer, including a high funnel neckline, bracelet-length sleeves, double-breasted buttons, and a tied detail at the back to accentuate the waist. On the release of this film, the style of this coat became very popular with many copies and inspired versions made, so viewers could get the look.
The Shift Dress:
Under the bright orange coat, Holly wears a comparatively simple black and white ‘salt and pepper’ dress with what appears to be black detailing at the waist.
Hat:
To top off this vibrant outfit, Holly wears a brown mink fur hat for a very stylish 60’s finish, since fur was still popular in this era.
Alligator Handbag:
In this scene, Holly is using a black alligator handbag with gold-tone chain handles and matching hardware. Some believe this to be the Chanel 2.55 (released in 1955), but looking closely at stills of the movie, to me, it doesn’t look the same at all.
I found out that Audrey purchased a black alligator leather handbag with gold-plated chain straps in 1961, from Cartier Ltd. London. Therefore, it is likely that the bag we see in the movie was from her personal collection, as we see with a clutch bag she uses later on. The picture shared to the right is a similar handbag by Cartier, but this one is from 1964. This handbag first appears earlier in the movie, when we see Holly wearing her Sing Sing outfit for the second time, while at Sing Sing with Paul Varjak.
Footwear:
Again we see Holly wear her black alligator kitten heels that were designed by Roger Vivier for his Autumn/Winter 1959/60 collection.
Accessories:
In other shots from this scene, we see Holly wearing her ‘Manhattan 1960’ Oliver Goldsmith sunglasses, and later on, she appears to have swapped her mink hat for that comical cat mask her and Paul pilfered from the toyshop. Of course we have to mention her very simple and elegant pearl earrings as well, which greatly contrast to her usual costume jewellery choices, but add a perfect finish for this look.
Lonely in the Library:
Top & Cardigan Ensemble:
Here, while in the library researching South America, Holly is seen wearing a dark beige knitted edge-to-edge jacket with contrasting black detailing on the high neckline and sleeves. Underneath, she appears to be wearing a black long-sleeved sweater dress. As we don’t se her feet in this scene, we can also only assume that she is likely wearing her preferred black alligator pointed-toe kitten heels too. It is likely that this outfit is another one of Edith Head’s chic contributions.
Jewellery:
Again we see her beautifully simple pearl clip-on earrings from earlier in the movie. A classy finish for a more conventional outfit.
Sunglasses:
I don’t want to bore you, but if you haven’t caught on, her sunglasses are the ‘Manhattan, 1960’ Oliver Goldsmith tortoiseshell frames.
Alligator Handbag:
Designed by Cartier, Holly’s beloved alligator handbag with gold-plated hardware can be seen here. It is another heavily repeated item in Holly’s wardrobe as it features a lot, with a variety of different outfits. This makes sense of course, because Holly is not a wealthy character, and so would only have so many handbags at her disposal.
Pink Piñata Ensemble:
Cocktail Dress & Coat:
Designed by Givenchy in a shocking pink shade, the ensemble consists of a gorgeous silk collarless coat with kimono-style half sleeves and no buttons and a sleeveless dress with lighter pink fan-shaped appliqué decorations made from silk yarn and embellished with pink rhinestones, complete with an elegant sash tied in a bow at the waist. This ensemble was part of Givenchy’s Autumn 1960 collection and requested by Audrey to be part of her Holly Golightly wardrobe.
Jewellery:
Designed by Joan Joseff, the jewellery for this look is simply earrings (that look to be pink pear-cut crystals) and an eye-catching tiara-style accessory for her hair, both created specifically for this look.
Gloves:
In promotional photos, Holly is seen to be wearing short white gloves to complete this pretty pink party outfit, however, in the film, she doesn’t seem to be wearing any gloves at all. I guess they were added in only for the promotional photoshoots.
Clutch Bag:
Designed by Sophie Gimbel for Saks Fifth Avenue, this elegant pale silver clutch is made from satin that has been embellished with rhinestone on both sides. It was part of Audrey Hepburn’s own wardrobe, having bought it in 1952.
Footwear:
The pink satin pointed-toe kitten heel shoes pair perfectly with the ensemble, meaning that we can only assume that they were designed by Givenchy, or made specifically to complete this costume.
Off-Duty Chic:
Top & Trousers Ensemble:
One of the most classically Audrey Hepburn outfits shown in the film, this costume consists of a pale grey slightly cropped sweater with a high, wide, stand-up neckline, and simple long black cigarette pants. Effortlessly stylish, this is another of Holly’s excellent off-duty look, and of course, the perfect ensemble for a night in jail.
Sunglasses:
Ok, I’ll say it again… Designed by Oliver Goldsmith, these are the ‘Manhattan, 1960’ Oliver Goldsmith tortoiseshell frames.
Alligator Handbag:
Again, we see Holly’s beloved black alligator handbag designed by Cartier. It is such a sweet and practical design for daytime, and seems to go with so many of her outfits!
Footwear:
Here her black pointed-toe ballet flats make another reappearance, now with the addition of black socks!
Goodbye Cat:
Trench Coat:
In the last scene, Holly dons her beloved Burberry trench coat for the final time as she changes her outfit in the back of a New York cab, before venturing out into the rain to find her beloved Cat.
The Outfit Underneath:
We don’t get to see much of the outfit underneath, since it is covered by the trench coat. But in the scene where she is changing in the taxi, we see her put on what seems to be a very simple black sleeveless shift dress. Looking at the neckline of this dress, it doesn’t appear to be the same as any of the other black dresses featured in the film. I guess it is another design either created or selected by Edith Head.
Footwear:
For the final time, Holly’s favourite pair of black alligator kitten heels make an appearance. As I have said before, they were designed by Roger Vivier for his Autumn/Winter 1959/60 collection.
Lipstick:
Although not an item of clothing or accessory, Holly’s infamous peachy pink lipstick shade is one of the most talked about aspects of her final look, and so, it is worth mentioning. There is a big debate into exactly what the original shade of lipstick was and who made it. Some believe it to be ‘Pink in the Afternoon’ by Revlon, however, others point out that this lipstick was released in the 1980’s in honour of Audrey, rather than in the 60’s when this film was made. Nevertheless, one of my all time favourite make-up companies, Besame Cosmetics has recreated the hue with their lipstick, ‘Holly Pink’ for anyone wishing to try it for themselves.
Accessories:
Of course I couldn’t fail to mention the adorable crackerjack ring that Paul had Tiffany’s engrave for Holly. After he gives it to her in the taxi, or should I say throws, she slips it on before leaving the taxi. Also, when putting on her lipstick, she uses a simply elegant square silver mirror. It doesn’t quite look like a compact exactly. More like a little mirror that might have slotted into one of her handbags, or something.
A Holly Golightly Wardrobe:
And there we have it! That was the entirety of Holly Golightly’s wardrobe as worn in Breakfast at Tiffany’s by the wonderful Audrey Hepburn. Below, I have created a sweet little collage outlining all her outfits and accessories as if she was a Barbie doll, just for fun!
Thanks for stopping by!
Mille tendresse
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Colour Palette:
Sources:
‘Breakfast at Tiffany’s: The Official 50th Anniversay Companion’ (2010) by Sarah Gristwood
The Breakfast at Tiffany’s film, of course!
