It was Hubert de Givenchy's (b. 1927) collaboration with Audrey Hepburn that fundamentally changed the relationship between film and fashion. In Sabrina (1954), as in Funny Face, the distinction between the costume designer and the couturier co-opted into costume design is signaled ironically within the films' Cinderella narratives. In both, Edith Head, the films' costume designer, produced the drab, ordinary clothes that Hepburn wore as the still-immature chauffeur's daughter or bookshop assistant. In both films, Head's role as designer was usurped by Givenchy who designed the show-stopping evening gowns that Hepburn wore after her character had metamorphosed into a sophisticated, glamorous woman. The joke in Funny Face—in which Hepburn's character models clothes on a Paris catwalk—is ultimately that, for all the appeal of high fashion, Hepburn is happiest (and most iconic) when dressing down in black leggings, polo neck, and flats.
Following these films, couturiers it became far more commonplace to use couturiers alongside costume
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