Cinema Style File Video! Grace Kelly in Alfred Hitchcock's TO CATCH A THIEF

After a month filled with cool blonde beauties, Turner Classic Movies ends their November 'Battle of the Blondes' tonight with a couple of real contenders - Hitchcock Heroines Kim Novak and Grace Kelly. Kim, of course, was wonderful in Vertigo (1958), but Grace was reportedly Alfred Hitchcock's favorite blonde. Proving the point, she appeared in three of his films and would have made another but was unfortunately required to retire when she became Her Royal Highness of Monaco. The movies that Grace did make with him - Dial M for Murder (1954), Rear Window (1954), and To Catch a Thief (1955) - are all quintessential Hitchcock and I'm thrilled to see that two will be on TCM tonight.

One of the reasons that these films are so well known and loved is their iconic style. This style was largely established by the costume design of the great Edith Head. Since seeing Rear Window for the first time nearly two decades ago, Edith's classic minimalism has been significant to my own personal style. I've celebrated several of her well known wardrobes here on GlamAmor and have been longing to add my affection for the resort collection of To Catch a Thief.

Often much of my vintage collection for GlamAmor is considered resort, so there couldn't be a better subject than Thief for the first of the Cinema Style File series in video. I'm excited about the evolution. Just as I transitioned the Out & About series to video, I similarly wanted a show for the Cinema Style File where I could better share the silver screen's best style in costumes that continue to influence fashion today. I hope you enjoy it.

With beloved film historian and host Robert Osborne returning to TCM tomorrow after a five month absence, I dedicate this to him. He continues to inspire me with his passion and presence. So sit back and watch the incredible cinema style of Alfred Hitchcock's To Catch a Thief.


Stunning at the beach in sunny yellow while Cary lounges nearby

The often duplicated pale blue chiffon goddess gown

Day dressing in salmon pink and white separates

Stunning the Cannes crowds on the way to the beach with Cary Grant

Mesmerized by Grace's beauty in this Grecian goddess gown in white chiffon

Begging forgiveness in a more subdued cream and black ensemble

Saying goodbye to a princess in this gold ballgown

Welcome Back, Robert Osborne!

After a five month absence that felt like an eternity to his many fans, Robert Osborne returns to Turner Classic Movies Thursday night.  Though Ben Mankiewicz and great guest hosts ranging from Eva Marie Saint to Leonard Maltin did an outstanding job with the primetime lineups, it will still be wonderful to welcome Bob back and have him in my home for the holidays.  I mean, Robert Osborne and December's Star of the Month William Powell...what could be better?

There are many qualities about Robert that make him so magical.  Born and raised in my own home state of Washington, he has an appealing almost Midwestern quality--much like Nebraskan Johnny Carson--that makes him so approachable.  Yet there is such an elegance and eloquence about him as well.  Some of that comes from his education and extensive career in journalism, such as his decades at The Hollywood Reporter. And some comes from his personal experience, starting his career behind the camera as an actor at Desilu Productions and segueing into an informed cinema critic.  Never truly critical, though, he always sounds as if he's simply having a conversation about the movies and stars he loves. It's that sprezzatura about Robert that makes him special.

Bob is the perfect host.  Always dressed to perfection--with the assistance of his talented wardrobe stylist, Holly Hadesty (above)--he looks the way I wish all men would.  He also channels an encyclopedic knowledge of cinema through that soothing voice of his.  Like many others in the TCM audience, Robert has given me a post-graduate education in classic cinema that I will always appreciate and treasure.  There was actually a time in my life when I was quite ill and often confined to bed, but because of the knowledge and passion that Robert shared while I watched TCM I could always feel it was time well spent.  I will never be able to thank him enough for that.

Now as I begin my own public discussions on style in cinema--both in writing and in videos in front of the camera for GlamAmor--Robert is the standard I stick to.  He frequently comes to mind.  And why not?  As his own early advocate Barbara Rush (below) described him at the last TCM Classic Film Festival, "He looked like a president and sounded like Orson Welles."  Couldn't have said it better myself.

And so...from your entire TCM family, Robert...welcome home.

Doris Day Sings to MY HEART with Her New Album!

After I completed the last article on That Touch of Mink, I was surprised to learn that Doris Day is actually just about to release her first album in 17 years.  Entitled My Heart, it is a collection of favorite songs that she recorded over that time.  With her singing career often surprisingly dissuaded by the studios in favor of acting, this was a chance for Doris to return to her roots and revisit the music she loved.   It also meant working with her beloved son, Terry Melcher, celebrated producer for The Byrds (and many others) who was instrumental to the West Coast rock movement before his passing.  His loving touch is felt on nearly every track.

Doris has been famously private since retiring from Hollywood in the late 1960s, so this release is bringing waves of well-deserved recognition for the now 87-year-old.  It will all mean a bit more time in the spotlight than she is used to, including a guest appearance on Good Morning America this Friday.  I, for one, can't wait to see her again.

There's so much to love about Doris...her talent, her timeless style, and course her heart.  She is known for her passionate advocacy of animals and all proceeds of this album go to the Doris Day Animal League.  If you're in the mood for memories of a much mellower time, these songs are quintessential Doris...sentimental and sung slowly for her to savor every meaningful note. The song "My One and Only Love" (below) just might be my favorite.  Dim the lights and have a listen.

Cinema Style File--Doris Day Dons Norman Norell in 1962's THAT TOUCH OF MINK

One of the missions of GlamAmor is to bring attention to the amount of cross over that exists between costume design in film and fashion. Since the days of Old Hollywood, inspiration has most often come from the movies to influence a trend in mainstream fashion. An example of this would be Adrian's bias-cut gowns for Jean Harlow in the 1930s (not to mention her platinum blonde hair). Some designs were such a hit that stores would simply copy costumes from the movies. Such was the case with Helen Rose's designs for Elizabeth Taylor in Cat on a Hot Tin Roof and BUtterfield 8 - both led to their iconic dresses being duplicated in the stores so that all women could wear them.

Sometimes, though, fashion designers were drawn to the film industry. Examples include Hubert de Givenchy's designs for Audrey Hepburn in Breakfast at Tiffany's or Pierre Balmain's designs for Brigitte Bardot in ...And God Created Woman. And here in That Touch of Mink, we have American designer Norman Norell creating the wardrobe for Doris Day.

Norell was a gifted designer of the highest order. His career stretched from the 1920s to the 1970s and was central to the evolution of American fashion. Known for his glamour, he studied fashion design at Parsons School of Design and then segued into creating costumes for silent film stars like Gloria Swanson and Valentino at Paramount's studios in New York. He also designed for the Ziegfeld Follies and stage shows at the Cotton Club. In 1928, he began at the the prestigious Hattie Carnegie couturier. For over a decade, he would work alongside other designers who would also work in film, such as Jean Louis and Pauline Trigère. And afterward, like many others, Norell started his own fashion line. He was a visionary - his 1946 collection, with its longer skirts and nipped in waists, pre-dated the "New Look" from Christian Dior that caused a seismic shift in both fashion and film the following year.  

Known for the quality of his construction, Norell would create collections that rivaled French couturiers. When he passed away in 1972, headlines pronounced that he had "made 7th Avenue the Rival of Paris." For these reasons, his dresses are still highly valued and quite fashionable today. In fact, First Lady Michelle Obama wore vintage Norell to one of the White House Christmas parties. Clearly she appreciated the timelessness of his designs, which is what made him such a perfect fit for Doris Day in That Touch of Mink.

Though this movie boasts both Doris and Cary Grant - both style icons - I watch Mink for Norman Norell. I would have loved to see a bit more color in the costumes overall, but Doris' slinky black gown and the movie's fashion show, including one of Norell's famous sequined mermaid gowns, more than make up for it. Also one can enjoy the delicious details in his designs, like leather and fur, throughout. It's just that perfect touch, of course. 

Movie starts with Philip Shayne (Cary Grant) making a real splash with Cathy Timberlake (Doris Day)

Recovering from the Rolls Royce run in, Cathy heads to the unemployment office 

and lunch in her black leather-trimmed cream coat and leather gloves

Angry, Cathy tells her friend (Audrey Meadows) about her morning and 

then decides to head to Philip's office to give him a piece of her mind

One look at Cary Grant would make any woman forget her troubles

and Doris Day's expression proves she is no exception

Cathy finds herself agreeing to a date that instant with Philip

A cream belted boatneck sheath dress is under Cathy's matching neck-tie jacket

Cathy gets a proposal, but not quite the one she wants -

an invitation to Bermuda for a little fun in the sun

 Cathy originally chooses a black longsleeve fit and flare dress with peter pan collar for Bermuda -

that is, until a personal shopper from Bergdorf Goodman whisks her away for a private fashion show

Let the Norman Norell fashion show begin...

One of my favorites is a black column with fur-trimmed stole and gloves

Quintessential Norell and a dream dress or me -

an emerald sequined mermaid gown with a plunging back

More quintessential Norell - a mink lined silk coat

Cathy nearly cries with joy seeing the coat 

and chooses a cream version as her own for her trip

PanAm flight from New York to Bermuda

Philip buys out the entire flight just for Cathy

Mink coat + Bermuda + Cary Grant = Heaven

Taking Cathy to their room

Unmarried Cathy starts to be paranoid that everyone knows what they're up to

Doris in my favorite dress of the movie - look at that back!

Virginal Cathy gets more than a little over anxious at Philip's expectations

So much for romance

Cathy books a flight back to Bermuda, and calls Philip to try again

while drinking a little (too much) liquid courage

Now the scheming begins to get Philip as more than just a lover -

pretending to go off with another man

Philip finally catches up with Cathy in her cute red suit (and butterfly brooch)

Now married, Philip reacts to the good news from the doctor

Of course the family lives happily ever after