But they don't have even a passing relationship with current fashion. Based on the quality of the fabric, the details and the construction, the clothes are clearly expensive. Nancy Marchand, as the Larrabee matriarch, wears dresses and suits that only the Queen Mother could love. It definitely tries to tell what these people represent."Īnd most of the folks in "Sabrina" represent money. But the fashion absolutely speaks to society. "My fear is that a lot of people are going to go looking for fashion, especially in the ladies' clothes," Pollack says. It's about wealth," says costumer Bernie Pollack, who also is the director's brother. But, according to one of the film's costumers, the new "Sabrina" was not meant to be a fashion feast. Ormond wears no particularly fabulous clothes. There probably won't be any sighs from the audience as women envision themselves in some particularly stunning ensemble. She has learned to do fashion on a budget. Instead of returning from Paris with a suitcase full of John Galliano duds - after all, he's the new head designer at the house of Givenchy - Ormond seems to have returned with nothing more interesting than a new haircut, some dark sunglasses and an oft-used tube of deep red semi-matte lipstick. And the plot is pretty much the same.įashionwise, though, it's a whole different story. In the new version, Julia Ormond plays Sabrina, who this time returns from Paris after two years as a low-level assistant at French Vogue. Older brother Linus (Humphrey Bogart) intervenes, hoping to end the new relationship, and winds up falling in love with Sabrina himself. David now returns her affections, creating consternation in his old-moneyed family. She goes off to a Parisian cooking school for two years and returns with a sophisticated short hairstyle and a trunkload of Givenchy duds. She pines for him he has no feelings for her. In the original film, a chauffeur's young daughter, Sabrina Fairchild (Hepburn), falls in love with David Larrabee (William Holden), the youngest son of her father's employer. From a fashion point of view, there is no contest between the 1954 Billy Wilder "Sabrina" and the 1995 Sidney Pollack "Sabrina." The former had clothes by Hubert de Givenchy and style by Audrey Hepburn.
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