Apparently there had been a power cut in her hotel as she prepared for their meeting and it was the only gown she had that didn't need ironing. Such was her fashion power by then that an ''easy to sew'' dress from a McCall's pattern book she wore the first time she met the prince was described as a ''Dior-inspired ? couture-look'' floral gown.
Interest in Kelly's wardrobe intensified with her engagement to Prince Rainier of Monaco in January 1956. As Cassini put it: ''By wearing clothes that don't get too much notice, she gets noticed herself.'' Just as interesting in this chapter are the pages dedicated to the leading costume designers of the time, including Edith Head ( To Catch a Thief, Rear Window, and Dial M for Murder) and Helen Rose ( High Society), who played an integral, though understated, role in developing the ''Grace Kelly Look'' that swept across the globe in the mid-1950s.Īs noted in the book, Kelly's ladylike style, including her trademark white gloves, were an anomaly in Hollywood at a time when many budding actresses were relying on ''too blatant curves'' and ''too tight dresses''.
In the famous attempted-murder scene in Alfred Hitchcock's Dial M for Murder, for example, it was the actress who suggested she wear the now iconic white nightgown to answer the phone, claiming it would be more ''natural'' than the velvet robe Hitchcock intended her to wear.
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