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During the last days of January we will see on the big screen Audrey Hepburn movies that made us dream fashion. Equis room proposes Cycle » Cinema is Fashion I» that cuts through big with this legendary star.

En Sale of horses they want to pay tribute to the world of moda with a cycle of cinema where fashion is the main protagonist. Coinciding with the Mercedes Benz Fashion Week Madrid and the celebration of Madrid is Fashion, the recently opened place and that aims to become a key point of leisure in the capital, puts its grain of sand to the recognition and diffusion of fashion as art and culture with this cycle of cine it's fashion.

¿And what actress has managed to perfectly mix all these concepts? Audrey Hepburn presents us as a great guiding thread to start this cycle «Cinema is Fashion I: Audrey Hepburn». Five of his films will be screened (Sabrina, Charade, Breakfast at Tiffany's, Two on the road y A face with an angel).

Jesus Mateos, Sala Equis programmer, confirm that they have «numbered [the cycle] because cinema and fashion are two of our passions and we would like to expand the close relationship between these two concepts with more cycles in the future«.

Cycle projection dates «Cinema is Fashion I: Audrey Hepburn» Sala Equis.

  • Sabrina (1954) 24 enero. 22h – 28 enero. 16:30h
  • A face with an angel (1957) 25 enero. 19h – 27 enero. 16:30h
  • Breakfast at Tiffany's (1961) 24 enero. 22h – 27 enero. 19h
  • Charade (1963) 25 enero. 22h – 29 enero. 19h
  • Two on the road (1967): 26 enero. 22h – 29 enero. 22h

Las tickets can be obtained online on the Sala Equis website.

👇🏻 Here they explain the fashion reasons why these films have been chosen👇🏻

Sabrina (1954)A face with an angel (1957)Breakfast at Tiffany's (1961)Charade (1963)Two on the road (1967)
Legendary designer Edith Head, architect of the appearance of Hitchcock's films, was in charge of designing the costumes for the delicious and sophisticated romantic comedy of Billy Wilder. Sin embargo, its protagonist, Audrey Hepburn, He was the one who proposed the director of The Apartment and With Crazy Skirts to bet on a really Parisian wardrobe for his character, Sabrina Fairchild, in the first collaboration with Hubert de Givenchy. Of the six nominations the film won for the Oscars, Edith Head was the only one to get on stage receiving the controversial statuette for not recognizing the work of the French.
In the second collaboration between the two titans Edith Head and Givenchy, the credits for the costumes were shared between them and in equal parts in this film that pays tribute to fashion, with winks to icons like Diana Vreeland and Richard Avedon and in which the costumes play an essential role. The French couturier defined Audrey's body of a decade's fashion with iconic haute couture as a spectacular red strapless dress with long white gloves; or the unforgettable wedding dress with a ballerina skirt, that became the reference dress of the late fifties at the weddings of the American elite.
A first scene that pays the perfect tribute to a woman and a city. A walk through New York with coffee in hand and a little black dress by Givenchy that made Audrey a world icon. A dress that changed the canons in Hollywood, proposing an alternative image to the figure of Marilyn Monroe and the new look of Dior. A film that became a legend from the first sequence of this star walking through the big city, uniting glamor, humor and a certain nostalgic air as only she could do with her gaze hidden behind huge glasses Goldsmith Sunglasses.
Hepburn and Givenchy tandem didn't just stick with 1950s glamor, but I continue breaking barriers and marking the path of the sixties, inspiring the Mod generation with their round glasses, pillbox hats or with the cocoon coats collection. But perhaps the most characteristic trend of this film is the high bun that she wears throughout the film with hats perfectly designed to accompany it., combined with straight and solid color dresses and coats with brightly colored minimalist lines. Only with the scene in which she appears in the office of the alleged ambassador were we already hooked.
One of the best romantic comedies of the years 60 where Stanley Donen introduces us to the star, in a more mature role, being part of the best portrait of the ravages of life as a couple, where the wardrobe is key to locate ourselves on the emotional map of lovers in crisis at the hands of Paco Rabanne, Mary Quant (who wore the miniskirt for the first time in history). Rabanne, fashion metallurgist, brought futuristic art to the big screen through a silver sequin minidress strung together with tiny metal chains. Striking pop and psychedelic outfits, with retrofuturistic glasses or visors. A spectacular catwalk of the best of the late sixties and the Mod and Swinging London cinematographic catapult for the whole planet.

Inspiration or mannequin for the greatest fashion creators.

Although whenever you talk about Hepburn and fashion it is inevitable to think about Givenchy and Tiffany’s, the actress was also dressed by some of the most exalted couturiers like Paco Rabanne, André Courrèges, Michèle Rosier, Ken Scott o Foale & Tuffin; by the brightest costume designers of all time, how Ceasy beaton and the fabulous edith head (who managed to lift the precious golden statuette a couple of times for extolling the actress with her creations in Sabrina y Holidays in Rome); and his feline gaze with long eyelashes and thick eyebrows portrayed by some of the greatest photographers of the golden age of the fashion press as Norman Parkinson, Douglas Kirkland, Richard Avedon o Irving Penn.

Coco Chanel already said it: “Fashions change, the style remains”. And the Sala Equis team reaffirms that this sentence is one of the best «summarize why Audrey Hepburn remains an icon thanks to her charm, talent and beauty» An icon that does not go out of style and that is far above it. As Audrey Hepburn herself said: «To have beautiful eyes, look out for the good of others. To have beautiful lips, utter only words of kindness. And for balance, walk with the certainty that you are never alone«.

Coco, Audrey, Hubert and Sabrina.

They tell me from the living room when I asked them about the Cinema is Fashion cycle that there is a very curious anecdote that unites Coco Canel with Audrey. Both legends of elegant twentieth-century feminism were closely linked by their careers and personalities. Chanel pioneered thelittle black dress que, thirty-five years after his first sketch, Hepburn immortalized with Hubert de Givenchy's design in front of the Tiffany’s jewelry store window in the filmBreakfast at Tiffany's. But this was not the first time that the art of Hubert and Hepburn merged before a camera.

Several years before, the actress appeared at theone piece of the dressmaker to prepareSabrina. When Givenchy went to meet Miss Hepburn, he was disappointed to see that it was not the great diva Katharine Hepburn but the young Audrey. Sin embargo, that anecdote would be the beginning of a great friendship between muse and artist that would be immortalized in history with other masterpieces of film and fashion such asMy Fair Lady oA face with an angel.