At a private show in a lavish Parisian mansion, guests viewed ten ornate and plunging creations in black and light beige.
When "Monsieur Hubert" originally designed Hepburn's 1960s dress, it was all about simplicity of form. The garment — alongside Coco Chanel's — is among history's most iconic little black dresses.
Here, 50 years after Blake Edwards' romantic comedy, the look is far more eccentric.
Designer Riccardo Tisci gave the famous designs a gypsy-infusion at this show, taking bohemian foulard print to inspired intricate reliefs of bonded leather. Several piece owed their column form not to Hepburn's highly fitted silhouette but to the sheer weight of the ornate detailing.
It was a master class in craftsmanship. Lashings of black laser cut Nappa leather ribbon accompanied myriad degrade beading and sparkling ruby-red crystals.
According to Givenchy assistant designer Alessandro Sellaretti, one small lace top "had to be the perfect pattern, so we used 30 metres (yards) worth of material."
The result: magnificent, arty pieces worthy of the Louvre museum.
There was only one problem: a model got tangled in some long, heavy fringing by simply lifting her arm.
Though they may share a surname, Katharine and Audrey Hepburn couldn't be more different. One was an all-American icon whose work spanned decades from the '30s-'90s, the other elegantly personified the '50s-'60s.
Below, two editors debate which Hepburn is the real style icon. Read their arguments and tell us -- Katharine or Audrey?