![]() ![]() ![]() Filmmakers were working in the Hitchcock style when he was operating at his peak, and they’re still doing so today. That dominance led to two of the highest compliments imaginable: an adjective (“Hitchcockian”) and scores of imitators. As she explained, “Hitchcock is a director who dominates every single scene of his pictures.” “Hitchcock thinks in terms of color,” she wrote in her memoir The Dress Doctor, noting “every costume is indicated when he sends me the script.” She simply had to adjust to his granular, all-encompassing style of filmmaking. Among the ten films in their partnership after Notorious are masterpieces like Rear Window (1954) and Vertigo (1958), Hitchcock’s swan song Family Plot (1976), and the movie Edith named as her own favorite, To Catch a Thief (1955). Edith swiftly became one of his most valued collaborators. Several years later, Hitchcock pitched his tent at Paramount. Publicly, Edith was circumspect about the work, saying, “The job was tricky.” In private, though, she found the director demanding, asking her colleague Adele Balkan, who was designing costumes for the other women in the cast, “Is he giving you as much trouble as he is giving me?” I call her Edith because she’s one-half of the detective duo in the Golden Age Hollywood mysteries that I write with my wife Rosemarie under the pen name Renee Patrick.) Edith certainly understood the assignment a daring midriff-baring, zebra-striped top immediately establishes Bergman’s Alicia Huberman as a self-destructive party girl who can be molded into a spy by intelligence agent Cary Grant. She had been loaned out by her home studio, Paramount Pictures, at the request of star Ingrid Bergman, with whom Edith had developed a rapport. The storied costume designer Edith Head initially met Alfred Hitchcock during preproduction of his film Notorious (1946). Maybe we shouldn’t put so much stock in first impressions.
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