It’s time for another fashion installment in an Alfred Hitchcock film. The thriller is at the forefront of Rear Window
Edith Head was the costume designer. She had previously worked with Grace and they had become good friends. Their relationship grew even closer when Hitchcock chose them both for Rear Window.
In one of the most famous close-ups in film history, we are introduced to Lisa in a scene where a drowsy James Stewart awakes to a full close-up of Lisa coming towards him for a kiss. The neckline of the dress was kept very simple so that Grace’s face was framed by it for the close-up. When the camera pulled back, Hitchcock made sure that the public knew that Lisa was a woman who came from wealth. A dress “fresh from the Paris plane” was how Lisa described it, with a fitted black bodice with an off the shoulder, deep “V” cut neckline and with cap sleeves, and a mid-calf full skirt, very New Look style, gathered and layered in chiffon tulle, with a spray bunch pattern on the hip area, a nod to Lisa’s adventurous nature. She is trying to convince Jeff that she is the right girl for him and that she can live his kind of life (it’s Hichcock after all, a man of details, and the costumes help advance the story). A black patent leather belt, a white chiffon shoulder wrap, white elbow-length silk gloves, a single strand of pearls and black high heeled strapped sandals complete the look.
Jeff: “Is this the Lisa Freemont who never wears the same dress twice?”
Lisa: “Only because it’s expected of her.”
The pleated silk organza little black dress, with translucent cap sleeves, that appears, darkly, at the pivotal point in the film, when Lisa starts to believe Jeff, that the man they are watching is a murderer.
The famous eau de nil suit. When Lisa arrives to spend the night at Jeff’s, she is wearing a midi-length jacket with stand-up collar and rounded shoulders, a style reminiscent of the designs of Cristóbal Balenciaga. Underneath, she wears a white silk halterneck, beautifully gathered at the waist (see above) with a wrapover front that sits atop a ’50s style midi skirt, but in a tubular cut this time, nipped in at the waist. The ensemble is further accessorised with a white pillbox hat with half veil, a single strand of pearls, stud earrings with glass cameo, and a gold and silver pearl bracelet with ornate lockets (that’s what I would call a classic statement piece of jewellery).
From inside her Mark Cross overnight case, Lisa produces a nightgown which she calls “a preview of coming attractions.” The dialogue is incredibly witty and entertaining in Rear Window. At some point Lisa says: “I wish I was more creative.”
Jeff: “But, sweetheart, you are. You have a great talent for creating difficult situations.”(referring to her decision of spending the night over)
Lisa: “I do?” (smiling satisfyingly).
Grace wears a print dress towards the end of the film. Edith was more liberal in her designs in the 1930s, as David Chierichetti, film historian and costumer, said. In the 50s and 60s she simply didn’t use prints, because she was worried that the picture could be delayed and the prints would look dated. “She uses a print dress here, because it serves a certain dramatic purpose.” It’s a beautiful, very feminine dress, and Lisa has high heels on. “This look makes her more vulnerable, more feminine, more foolhearty.”
The casual outfit Lisa wears at the end of the movie was Hitchcock’s way to suggest she was the sporty type, Jeff’s type, after all. Edith dressed Grace in slim indigo jeans and a pink casual men’s shirt with button-down collar and rolled-up sleeves, and dark brown loafers. I’ve rarely seen photos of Grace Kelly in jeans; I would have loved to see her emulate this modern look more often.
Grace Kelly’s costumes in Rear Window are the perfect example of the stylish and elegant fifties and one of my favourite wardrobes created by Edith Head for a film.
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photos: movie stills, captured by me, production credits
sources: the books Edith Head: The Fifty-Year Career of Hollywood’s Greatest Costume Designer
The film is great and Kelly had some amazing outfits. I have to say that the white top and the light green costume is by far my favorite. I wish women would wear veal nowadays, but who knows, maybe in the future? Have a lovely day :*
Beauty never dies and certainly Grace Kelly’s beauty is eternal, especially through the style she adopted! Hitchcock brought out the best in her and I think it was his movies that she felt the most natural in. She really loved Hitch:) Superb post, Ada!:)))
My intuition told me to have a cup of coffee ready at hand before opening you blog today, and luckily I followed.
Wonderful post, I love her last outfit. The loafers are great.
Am I awful to say that I love the lamps?!! In the first two photos I found myself viewing the lamp before the outfit! And in photo no. 10 the lamp matches the outfit of Grace. I love that outfit … and of course the lamp too, haha. I know, I’m hopeless when in comes to lamps.
It’s been so long since I saw that film that I only remember it vaguely. Now it’s on my list, which is getting longer and longer, thanks to you.
Oh, one of my faves movies… Not only for the story but for the scenes and stylish.
Such a gorgeous styling for a beautiful woman. I would love to wear that blue pleated dress now and the pattern of the sleeveless one reminded me of something from earlier Bottega Veneta collections.
Wonderful post, Ada!
x
This is one of my favourite Hitchcock movies and Grace Kelly is simply stunning! I would love to have the white top she is wearing under the pale green ensemble…Thanks for this post Ada: you fashion/cinema mix reviews are a pleasure for the eyes and you give us unique insights!
I forgot to ask you…Are you planning to see the new “Hitchcock” movie?!
Caterina, I was asking myself the same question today, and the truth is that I really don’t know. The idea is interesting, but I don’t know how good the outcome will be.
this is one of my favorite films ever. first of all i love jimmy stewart, he is the best of the best, and paired with grace kelly (who seemed so at ease with him) i just loved it. their chemistry is so perfect for the movie. my favorite is the floral dress and i loved the end where she is in jeans – i always got the impression that it meant he accepted her as a person and not just a pretty face. another reason i SO love this movie, you have made me so happy visiting it with your wonderful insight and information on the costumes! xoxoxo
LOVE it!! You know I love these Style in Movie posts you do and Rear Window is a favourite movie of mine… the dialogue so tongue in cheek and witty. I adore the silk cross over halter top that Lisa wears underneath that eau de nil suit and the ‘fresh from Paris’ gown she wears is just too beautiful. Well, everything that Grace wears is pretty gorgeous isn’t it! Thanks for making my day again:)xx
I totally forgot about this movie (I watched it a few years ago and loved it)! I have to agree with other comments and say that my favourite outfit was that soft green skirt paired with the white silk halter top – along with the swept up hair, the soft red lips and the oversized earrings, it’s just perfect! I will definitely be adding this one to my list to watch again!
No, it really does not get better than this. Everything about this film is classic and perfect. Love your detailed analysis of the costumes – it adds so much and makes me want to see it again right away! xo
The analysis of the costumes is soo detailed, we want to tell you we’ve really enjoyed. Good work! And thank you
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OK. Maybe this is the right place to ask this. You know the famous grey suit that Kim Novak wears in Vertigo . . . the one Jimmy Stewart gets so freaky about? Isn’t that the exact same, more or less, grey suit that Doris Day wore in The Man Who Knew Too Much? Am I just a cine-nerd or does that have significance viz. Hitchcock’s attempts to recycle the blonde? Talk among yourselves.
I don’t think it’s the same grey suit and I must say that I don’t see Doris Day, although a blonde, as the kind of blonde Hitchcock usually cast in his movies. She lacks that cool, icy quality (which I don’t mean as a flaw) Hitchcock heroines usually had, wouldn’t you agree?
There is no better way to flaunt beautiful clothes than with a beautiful body. Her tiny waist, small ankles, overall poise, grace and elegance… It’s unsurprising she seems to have fit her role as Princess of Monaco tremendously well. Edith Head, Helen Rose and Hubert de Givenchy are awe-inspiring and looking at their timeless pieces on the lovely ladies of the golden age always gives me a frisson of delight! Am contempulating between buying a book on Edith Head “Edith Head: 50 Years as Hollywood’s Greatest…” or Helen Rose’s “Just Make Them Beautiful”. I don’t know any books that showcase the fashion of Hubert de Givenchy, unfortunately.
A pleasure to read your posts :_
I have read and I own a copy of the book about Edith Head. Although I am not a fan of Jay Jorgensen’s writing, the book does a pretty good job at covering the costume designer’s career in the movies. So if you are passionate about costume design in classic films, then it’s worth having on your shelf. As for Helen Roses’s book, I haven’t read it, therefore I can’t recommend it. But I would like to have it in my collection one day (it’s out of print unfortunately and difficult to buy at a good price). She is responsible for dressing many important characters of Hollywood’s Golden Age and because there is no other book available about her work, I think this one is must too. I’m in a dilemma myself when it comes to Hubert de Givenchy. I don’t know which is the most complete book about the designer and his work. I will have to give it some thought and do a little research.
I am glad you like my blog posts.:)
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