I’ve dressed thousands of actors, actresses and animals, but whenever I am asked which star is my personal favorite, I answer, “Grace Kelly.” She is a charming lady, a most gifted actress and, to me, a valued friend. - Edith Head
This chilly ensemble immediately removes all trace of inner warmth from Frances and then the rest of the film is spent gradually restoring it while infusing her character with a dry and quite naughty sense of humor.
During their first meeting, dashing Robie cuts through this glacier easily enough, even receiving an unexpected goodnight kiss. Yet Frances, and by proxy Grace Kelly, has now been established as the principal object of fascination for characters and audience. Prioritizing her as so central to the narrative (directly involving her with Robie), even hints that Frances could possibly be ‘The Cat’, an idea that is subtly reinforced by several costume choices further into the film. (x)
“While other designers were busy starring their clothes in a
film, Edith was making clothes to suit a character; for her, the character
always came first,” Bette
Davis wrote in the foreword to Head’s
autobiography. During her career, she designed for some of the biggest stars of
Hollywood’s Golden Age: Elizabeth Taylor, Grace Kelly, Lucille Ball and Audrey
Edith was a UC Berkeley alum who studied French and started her
career working as a language teacher. She began taking drawing classes at night
and in 1924, she was hired by Paramount as a costume sketch artist — despite
lacking experience in design — and worked her way up.
Some people even speculate that she was the inspiration for
Edna Mode from “The Incredibles.”