Wilson, Elizabeth. "Audrey Hepburn: fashion, film, and the 50s." in Women and Film: a Sight and Sound Reader, Eds. Pam Cook and Philip Dodd. Philadelphia: Temple University Press, 1993.

Elizabeth Wilson's piece is mainly a reflection on the admiration and fascination that the author felt for Audrey Hepburn as she was coming of age in the 1950s and 1960s. Wilson expands on this by asking why she felt this for Hepburn, rather than the Marilyn Monroes or Elizabeth Taylors of Hollywood. She traces this back to Hepburn's fashion, particularly as her style reflected her characters. Hepburn was the antithesis to the artificial, confined American domesticity promoted by Hollywood in that era, as evidenced by her aura of European sophistication. The apparel (and attitude) evident in her films, Wilson argues, were the forerunners of a new movement of minimalist and free youth fashion: a revolution, almost.
Transformation was a key theme in many of Hepburn's films, such as the chauffeur's-daughter into society-princess story of Sabrina. Even when these changes are visually represented by upgraded fashion, such as in Sabrina, Wilson holds that there is still an air of freedom surrounding Hepburn: her Givenchy dresses seemed modern, not matronly, and the fact that this actress had the choice of being outfitted by a true Parisian designer was a testament to the power Hepburn's style held over her audiences. Though many of her films may end with Hepburn's free-spirited characters succumbing to "adult life," Wilson contends that Hepburn showed young women of the era that they had more choices than simple domesticity, and created an entire style to prove it.

Handyside, Fiona. "`Paris isn't for Changing`Planes; it's for Changing your Outlook': Audrey Hepburn as European Star in 1950s France." French Cultural Studies 14.3: 288

Fiona Handyside’s article follows the path of Audrey Hepburn’s career that resulted in her image as the quintessential “European star” to the American audience. In the 1950s, she was the antithesis of “busy contemporaries” such as Marilyn Monroe, with her generically “European” accent, slender frame, and air of confidence. This became the ultimate portrayal of a European woman as Americans wanted to believe it. Hepburn’s image as such was the product of two different forces: Hollywood studios, and European couture houses, namely that of Givenchy. Beginning with Sabrina, Givenchy and Hepburn formed a life-long partnership, and his clothing was present in many situations throughout her life. This made promotion for Sabrina and other films seamless, as the ties between designer and muse stretched across cinema, journalism, and advertising. Hepburn wore Givenchy in her 1954 wedding to Mel Ferrer, enabling further personification of her own “star style.”
The focus of Sabrina is the transformation of a young girl via Paris and Givenchy designs, culminating in a happy marriage. The progression of this plot uses not only narrative, but also the visual imagery of wardrobe to convince the viewer. In the famed scene at the train station, Hepburn’s Givenchy-designed gray suit owns the screen, as the unrecognized sophisticate stops William Holden’s character dead in his tracks. The clothing is placed above the narrative at this point, defining a character in a way that words could not. Sabrina was the beginning the association between Hepburn, Paris, and Givenchy: the city itself is the symbol of style, transformation, and the revelation of a new kind of femininity.