Tea at Trianon: Audrey Hepburn’s Pearl Necklace In 'Breakfast At Tiffany’s'

John Wilson Croker on Marie-Antoinette

"We have followed the history of Marie Antoinette with the greatest diligence and scrupulosity. We have lived in those times. We have talked with some of her friends and some of her enemies; we have read, certainly not all, but hundreds of the libels written against her; and we have, in short, examined her life with– if we may be allowed to say so of ourselves– something of the accuracy of contemporaries, the diligence of inquirers, and the impartiality of historians, all combined; and we feel it our duty to declare, in as a solemn a manner as literature admits of, our well-matured opinion that every reproach against the morals of the queen was a gross calumny– that she was, as we have said, one of the purest of human beings."

~from History of the Guillotine by John Wilson Croker, 1844

Edmund Burke on Marie-Antoinette

"It is now sixteen or seventeen years since I saw the queen of France, then dauphiness, at Versailles; and surely there never lighted on this orb, which she hardly seemed to touch, a more delightful vision. I saw her just above the horizon, decorating and cheering the elevated sphere she had just begun to move in, glittering like a morning star full of life and splendor and joy. Oh, what a revolution....Little did I dream that I should have lived to see such disasters fall upon her, in a nation of gallant men, in a nation of men of honor and of cavaliers! I thought ten thousand swords must have leaped from their scabbards, to avenge even a look which threatened her with insult. But the age of chivalry is gone; that of sophisters, economists, and calculators has succeeded...."

~Edmund Burke, October 1790

Monday, April 13, 2026

Audrey Hepburn’s Pearl Necklace In 'Breakfast At Tiffany’s'

From British Vogue:

Under the lavender light of dawn in New York City, a yellow taxi stops in front of Tiffany & Co. on Fifth Avenue. A slender figure emerges, dressed in a sleeveless black Givenchy dress, her arms covered by elbow-length gloves. She moves slowly towards the shop window. The camera lingers first on her back: her hair swept into an elegant updo, almond-shaped diamanté clips at her ears, and the open cut of the dress revealing her shoulders. Above the black straps of her dress runs a five-strand pearl necklace, luminescent and striking. As the camera pans, the delicate features of Audrey Hepburn’s face come into view. Her eyes are hidden behind dark sunglasses; a small diamanté coronet crowns her hair. As Holly Golightly, Hepburn elegantly bites into a croissant and sips coffee from a paper cup.
The opening frames of 1961’s Breakfast at Tiffany’s are some of the most memorable – and most stylish – in cinematic history. Lily Collins (taking a break from playing Emily in Paris, Rome and potentially Greece), is set to star as Hepburn in a film about the making of the adaptation of Truman Capote’s novella. While Hepburn’s Hubert de Givenchy gown remains one of the most iconic dresses ever captured on film (she and the French couturier had a 40-year friendship, with him also designing her costumes for 1953’s Funny Face and 1957’s Sabrina), the pearl necklace she wears – which closes at the front with a sparkling clasp – is also one of the most memorable jewellery pieces in film history. Poignantly, the most famous pearl necklace in the history of cinema was not made of pearls at all. Rather it is non-precious costume jewellery, created by the French jewellery designer Roger Scemama.
To begin with, the film faithfully echoes the look described in Capote’s story, in which Golightly is introduced wearing “a slim cool black dress, black sandals, a pearl choker”. The multi-strand pearl necklace complements the architectural simplicity of the dress. On set, a necklace made of real pearls and precious stones would have been an impractical costuming choice: it would have taken longer to produce – and of course cost far more. But most importantly of all, it would not have been right for Holly Golightly – a young woman in the process of inventing her identity and her place in New York society. As her supposed talent agent, OJ Berman, memorably tells Paul Varjak (the “kept man” and struggling writer played by George Peppard): “She is a phoney.” Costume jewellery, therefore, becomes a perfect metaphor for a character whose glamour is largely performative. (Read more.)

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