An enduring style icon of the 1960s, Audrey Hepburn effortlessly embodied the decade’s fashion evolution, from elegant early 60s styles to the mod sensibilities of the mid-60s. Her influence, solidified by iconic roles in 1950s films, continued to resonate throughout the following decade. In 1961, Hepburn starred as Holly Golightly in the classic film Breakfast at Tiffany’s, forever cementing her status as a fashion icon. Her collaboration with designer Hubert de Givenchy resulted in timeless pieces, including the legendary black dress from the film’s opening scene. Hepburn and Givenchy’s partnership, both on and off-screen, created a signature look that was both sophisticated and accessible, inspiring women everywhere.
In the early years of the decade, Hepburn often wore polished skirt suits reminiscent of Jackie Kennedy’s style. Like the First Lady, she accessorized with gloves and hats, completing the refined look. The green Givenchy suit she wore in the 1962 film Paris When It Sizzles perfectly exemplifies this classic aesthetic.
Hepburn’s wardrobe in the 1963 film Charade further showcased her sophisticated style, featuring ensembles that blended seamlessly with the Parisian backdrop. As the 60s progressed, Hepburn’s fashion choices evolved alongside the changing trends. By the mid-1960s, she embraced the mod movement, incorporating vibrant colors and minidresses into her wardrobe.
In the 1966 film How to Steal a Million, Hepburn sported white-rimmed sunglasses, reflecting the Space Age trend, and a chic bob hairstyle accentuated by dramatic eyeliner, capturing the popular doe-eyed look of the era. This film showcased her ability to effortlessly adapt to the evolving fashion landscape.
Even as fashion trends shifted towards Eastern influences and longer hemlines by the end of the decade, Hepburn remained true to her personal style. In 1969, she married Andrea Dotti in a pink minidress, demonstrating her enduring affinity for the iconic styles of the era. Hepburn, along with designers like Givenchy, represented a segment of society that hadn’t yet fully embraced the newer bohemian aesthetic.
