How To Travel In Style: Elizabeth Taylor

Hôtels et Cinéma

   From the Carlton in "To Catch a Thief", to the Chateau Marmont in "Somewhere" and the Hotel Bristol in "Midnight in Paris", hotels in cinema are much more than mere backdrops. A major source of inspiration for filmmakers over the years, some of the most celebrated hotels in the world have played major roles in cinema classics. 

The Park Hyatt in Lost in Translation

Sofia Coppola fell in love with Tokyo's Park Hyatt hotel when she was promoting her film The Virgin Suicides in Japan, so much that the American director went on to film Lost in Translation there in 2003: a five-star skyscraper that overlooks the sprawling city. The hotel's anonymous luxury fits perfectly with the story of the disenchanted actor (Bill Murray) and lonely young American, played by Scarlett Johansson, who explore the city together in an attempt to rid themselves of their suffocating boredom. Through their eyes, we visit the hotel's empty bar, never-ending corridors and the sultry elegance of the rooms. Who can forget the image of Scarlett stretched out on her hotel bed in her pink cotton shorts, paralyzed with boredom?

The Carlton in To Catch a Thief

With refined charm and a luxe interior, the Carlton was a natural choice for Alfred Hitchcock's classic jewelry heist thriller. The director admitted to having a soft spot for the Côte d'Azur, and generations of cinema-goers will remember a radiant Grace Kelly locking lips with Cary Grant outside one of the hotel bedrooms... perhaps it was number 623, now known as the Alfred Hitchcock suite.

The Château Marmont in Somewhere

Sofia Coppola's Somewhere was the first film ever allowed to shoot at the Château Marmont. If those elegant white walls could speak, they would tell decades of star secrets; so exclusive and shrouded in mystery is the Sunset Boulevard hotel. Much more than plot dressing, it inspired a whole script around the complex relationship between a successful Hollywood actor and his daughter, Cleo. The movie is partly autobiographical - Sophia Coppola herself lived at the hotel for a time and the waiter and valet that appear in the film are real-life Château Marmont staff.

The Chelsea Hotel in Chelsea Girls

Like an underground Villa Medicis, the Chelsea Hotel has long-time been an artist bolt-hole, with famous guests including Charles Bukowski, Janis Joplin and Andy Warhol, who filmed his experimental flick Chelsea Girls there in 1966. Centered around the lives of a group of young people living in the hotel, the film was his first commercial success and used a split-screen technique that allowed to plot to unfurl in both color and black and white at the same time. With a soundtrack by the Velvet Underground, the movie plunges us into the art scene of 1960s New York.

Le Bristol in Midnight in Paris

One of Paris' most legendary palace hotels starred in several scenes in Woody Allen's Midnight in Paris, a humorous exploration of the many clichés surrounding the City of Lights. There's no better destination than le Bristol for timeless Parisian decor, with its impeccable interior design and unbeatable service working perfectly to create the ultimate image of French elegance.

Hotel del Conorado in Some Like it Hot

Hotel del Conorado - "The Del" to those in the know - is the glamorous San Diego retreat for Tony Curtis, Jack Lemmon and Marilyn Monroe, when they decide to escape their respective lives. The cosy, Victorian-style hotel looks out onto long beaches where the trio spend time relaxing in the sun. The hotel's clapboard architecture, wooden structure and Art Deco interior has made it a favourite with VIPS, from film stars to presidents.

Vintage Adornments

1860's woman wearing a crinoline; being dressed with the aid of long poles to lift her dress over the hoops. Photo by London Stereoscopic Company.

Edward Alfred Cucuel

Born in San Francisco, Edward Alfred Cucuel (1875-1954) was an Impressionist painter of genre and figures in landscapes, often using his family members for models rather than professionals. A specialty was using a vibrant palette and rich impasto to depict women in sun-dappled landscape settings.
At the young age of 14 Edward Alfred Cucuel already worked as an illustrator for The Examiner. He attended the Academy of Art in San Francisco and then studied at the Académie Julian, the Académie Colarossi and the Académie des Beaux-Arts under Jean-Léon Gérôme in Paris. From 1896 onwards Cucuel worked as a newspaper illustrator in New York and later traveled to Europe to study the Old Masters.
In Munich, he joined the artist group ‘Die Scholle’ and was particularly influenced by one of its members, Leo Putz, and his plein air works. During the First World War Cucuel had settled in Bavaria where he painted his famous and popular ‘Row Boat’ paintings with young ladies. The American Edward Cucuel (1875-1954) and the Tyrolean Leo Putz (1869-1940) must have been in ecstasy when they painted outdoors together in Bavaria over several summers in the early 20th Century. In the environs of a secluded lake, Putz was a mentor to the younger painter as they practiced their juicy, impasto brushwork on cheerful paintings of healthy young women dressed in paint-friendly summer whites or dressed not at all. They posed their models in rowboats or just lolling around on the shore or in the surrounding forest. In 1939 he returned to the U.S. and settled in California. 
Edward Alfred Cucuel is primarily known for his nudes and portraits of women in the manner of the French Impressionists. A painter of young beauties, Cucuel’s glamorous portraits of women on the lakefront, dock or boat signify the beginnings of modern art.

Audrey Hepburn: Cheveux Fabuleux

Looking classically elegant with her pixie crop and floral ivory dress, the image of Audrey Hepburn winning her Best Actress Oscar for Roman Holiday in 1954 is certainly an iconic one. A humanitarian, actress, Givenchy muse and mother, Audrey Hepburn will always be remembered for her kindness, style and grace.

Whether captured in one of her famous film looks, or as she arrived at the airport after a long flight, Hepburn's hairstyles epitomised each of the decades in which she graced our screens - from coiffed bobs in the Fifties to sleek up-dos in the Eighties, via the chic Sixties beehives she became famous for. Here's a look back through the hairstyles that accompanied Hepburn's memorable outfits - from androgynous crops to the much-copied chignon she wore for her role in Breakfast At Tiffany's.

1951 - Feminine curls were the required look for her turn on the Broadway stage.

1953 - Hepburn covered up with a headscarf as she arrived in London after a flight from New York.

1954 - For her role in Sabrina, Hepburn kept her hair pulled tightly back in an elegant up-do.

1957 - In the studio portraits for Love in the Afternoon she wore her hair center-parted and curled.

1959 - Minimal make-up and a sleek centre-parted style comprised Hepburn's late Fifties look.

1961 - For a film premiere she chose a beehive style, which perfectly epitomised a key trend of the moment.

1961 - In her most famous role, as Holly Golightly in Breakfast at Tiffany's, she wore her hair in an elegant - and much-copied - chignon.

1964 - Plenty of volume and a sweeping fringe confirmed Hepburn as the perfect Sixties icon

1967 - With her hair piled on top of her head in a stylish up-do, she accessorised with pretty drop earrings at the Academy Awards Presentation.