Crossing you in style, one day…

The sight of Peck and Hepburn on an Italian Vespa scooter made it an object of desire for style-conscious youth in Modern Britain. p.75  'the new black magic'
The sight of Peck and Hepburn on an Italian Vespa scooter made it an object of desire for style-conscious youth in Modern Britain. p.75 ‘the new black magic’


Tim Berners-Lee chose to name his universal computer platform, the ‘world wide web,‘ and opened up, more than just, the mathematically most enormous communications system.  He involved us with feminine notions of weaving and webs!

We can no longer survive without connections, passing references, most importantly, irony.  We need to know other things – the back story.

So to really enjoy the Audrey Hepburn Galaxy chocolate ad we have to be devoted fans of ‘Roman Holiday,’ (1953) ‘Sabrina’ (1954) and ‘Breakfast at Tiffany’s (1961).   We should see the ‘Galaxy’ recreations as homage to William Wilder, Blake Edwards and their production teams.

Scenes with Vespa scooters, open air produce markets, immediately evoke Greg Peck’s life in ‘Roman Holiday’; the chauffeur and the open top car, the lives of the Larabee brothers in ‘Sabrina,’ the music, ‘Moon River’ – ‘Breakfast at Tiffany’s.’

The ‘Framework’ crew worked tirelessly to recreate the actress’s smile, with a team of four hand-animating, carefully, posed expressions in every shot.  Yet as CG VFX Supervisor, Simon French, explains: “It is amazing how unique and how recognisable a person’s smile is. When you see it in this detail, it really needs to look perfect.”

No film fan would think they had captured the spirit, the nuances, associated with the actress, but as a paid-for promotional vehicle it’s certainly absorbing.

And so, the clever team at ‘Framework,’ creating the Audrey Hepburn, ‘Galaxy’ ad, couldn’t help catching some of the star’s charisma to entice us to their shiny firmament.  Yes, and of course, there’s a ‘but’ coming!  What happened was that Marketing won out over Cinema Art for this technological miracle.

Why did they include, ‘Why have cotton, when you can have silk?’  No connections, whatsoever, with Hollywood or Hepburn!  Separating Mars chocolate from competitors bars was unnecessary, here.  Surely just having us identify with the the pleasure, the sophistication, the fun attached to Hepburn’s most successful movies is enough.

When I meet Luca Dotti at the V&A, in a celebration of his mother’s work, next week, it will not be a good idea to discuss all this Media muddle with him.  So I’m back with the poets saying, ‘had we but world enough and time…..

Roman Holiday

Vanity Fair toasts  50th Anniversary of Breakfast at Tiffany‘s, 1962.   Gorgeous as it is B@T isn’t  the film which began Audrey Hepburn’s lasting links with Fashion, when Europe and America fell in love with her looks.

It was Roman Holiday in 1953.

Hepburn plays a maverick princess, out on the town, riding a Vespa, having on-street make-over, ice cream, river boat trip and a kiss from a gambling journalist.  The movie put Rome on the map for tourists.

Then, when Audrey’s character is transformed in Paris, ‘Sabrina,’ 1954, the real love affair with Fashion and Givenchy began.  Writing about B@T, Sabrina, Roman Holiday, and Funny Face I discover why Audrey has never lost her enchantment and reveal how Roland Barthes, reclusive gay French philosopher, was sexually excited by her image.

Image above right: ‘FASHION MEDIA PROMOTION the new black magic’:  Rome went stellar on the tourist map and Audrey Hepburn inspired ‘the look.’