‘The Kelly Cult’ sweeps London

Press, 25 July 1984, Page 16

‘The Kelly Cult’ sweeps London

In vogue

Paula Ryan

It would be difficult to forget the cool elegance of Grace Kelly, Monaco’s beloved Princess of style. Her composed, highly bred prettiness revised Hollywood’s idea of what was box office in the ’sos. And now, with her current screen revival, London is witnessing what they call “The Kelly Cult.” A mid-summer look of classical fashion that portrays all the refined elegance once injected into fashion by the graceful lady herself. Even English “Vogue” in its July issue has devoted an entire editorial to the Kelly look. So what, exactly is this revised Kelly look? Many will remember. The immaculately tailored clothes, the “Hermes” scarves tied peasant style on the head or loosely draped around the neck, gloves, real diamonds and pearls, simple, swept-up hair, and soft peaches and cream make-up. Grace Kelly had a passion for flowers, so many of her shirts and scarves were in soft floral prints. Though Grace Kelly bought most' of her wardrobe in Paris after her marriage to Prince Rainier of Monaco, in her youth she was a neat- preppie schoolgirl in Philadelphia. Later she went as a student to the American Academy of Dramatic Art in New York. Some recall her as not an oustanding beauty, but she most certainly possessed a chameleon-like ability to change her image to suit the occasion. As a young student she became known as the girl with 100. faces. At drama college all the other students girls of her year were flouncing around in the fuller-than-full new look with ankle strap shoes ... Grace wore jumpers, pearls, and “sensible” shoes. At that time it would never have occured to her that in later life she would be dressing at Christian

Dior. Dior’s successor, Marc Bohan, became her favourite designer. Her two daughters, Caroline and Stephanie, have remained faithful to his clothes. After drama school, Grace Kelly made “High Noon” with Gary Cooper, and then auditoned for the film “Taxi.” At that time the girls were wearing high heels. “I looked so terrible even my agent v was embarrassed,” she said once. Although she didn’t get the part, her screen test survived, resulting in her being chosen for “Mogambo,” the film that launched her career. She worked for Hitchcock in “Rear Window,” which has just been re-released. 1 The reappearance of this film probably has had a lot to do with the re-birth of the Kelly look, for her sensuality and the sheer brilliance of her femininity have amazed the young. Many are seeing her for the first time. The essence of her appeal was that although she was always self-controlled and elegant, she was never untouchable. Underneath the cool, seemingly aloof facade there was plainly a warm and sexy lady. It was in the spring of 1954 that Grace Kelly, in Europe to film “To Catch a Thief’ with Cary Grant, discovered fashion. She had a passion for wearing white gloves, and with Edith Head (the distinguished costume designer working on the film) she discovered “Hermes.” The day she entered the shop, she didn’t stop at gloves. They both spent almost every cent they had on the glorious items. She became such a good customer, that Hermes named one of its handbags after her, and created a colour called Kelly Green for its scarves. It was during the Cannes Film Festival where “To Catch a Thief’ was being premiered, that Grace met

Prince Rainier of Monaco. She remained a public beauty after her marriage in 1956, and always dressed in a classically feminine style. But, it’s the early Kelly style that seems to have caught the imagination of Londoners. That lady-like

look of beautifully tailored, understated separates, highwaisted trousers, and shirts, cardigans, pin-neat suits, big trench-coats, and always a big silk square and pearls. Now, it seems it’s fashionable again to be an untanned blonde instead of a sultry brunette.