Like Jimmy Stewart’s character, I’m a bit obsessed with Kim Novak’s wardrobe and look in the mesmerizing 1958 psychological thriller Vertigo. Appearance is everything in this haunting tale of obsessive love from Alfred Hitchcock – and this black and white ensemble not only reflects the simple elegance of the woman for whom our hero falls; it also suggests her split personality. Novak’s clothes were designed by the great Edith Head – but she had a very specific remit from the notoriously hands-on Hitchcock. Here’s the sumptuous evening gown Madeleine wears – with antique jewellery – when she knows she’ll be seen for the first time by Scottie (Stewart).
The redoubtable Edith Head once said: “To be a good designer in Hollywood, one has to be a combination of psychiatrist, artist, fashion designer, dress-maker, pin cushion, historian, nurse maid and purchasing agent too.” For Vertigo, her inner psychiatrist had a good work-out as Kim Novak wasn’t the most compliant of stars and was particularly unhappy with some of the clothes she had to wear while playing Madeleine. In particular, she hated the dove grey suit which Head designed according to Hitchcock’s instructions. Head later said that she hoped that Novak would be so taken with the evening gown that she would agree to compromise on the grey suit. Here’s how that contentious suit started life .. 
This suit (which Novak wore without the hat) is what Madeleine is wearing during the most crucial scenes at the beginning of the film – and it is this ensemble which the pathologically obsessed Scottie recreates for the Madeleine look-alike, Judy, whom he makes over in Madeleine’s image. Novak hated the grey suit, believing that the colour washed her out and claiming that the style was very restrictive (she didn’t like wearing a bra and this suit required the correct upholstery..) She even objected to the footwear – “I don’t wear black shoes,” she explained. Head promptly referred her to Hitchcock.
Hitchcock asked Novak what her problem was with the black shoes. According to Jay Jorgensen’s excellent book Edith Head – The Fifty-Year Career of Hollywood’s Greatest Costume Designer (Running Press), she said: “Black shoes always sort of make me feel I’m pulled down . I’ve always felt that your feet should be the same as the top of your head, so that you’re connected. Wearing black shoes would make me feel as if I’m disconnected.” Hitchcock listened and allowed her to ditch the shoes when playing Judy, but insisted that she wear them as Madeleine. Novak agreed. Hitchcock wanted the suit to be grey because it was washed-out and he was keen that the character look as if she had just emerged from the San Francisco fog.
Novak is quoted in Jorgensen’s book saying: “I thought, ‘I’ll live with the grey suit.’ I also thought, ‘I’m going to use this. I can make this work for me. Because it bothers me, I’ll use it and it can help me feel like I’m having to be Madeleine, that I’m being forced to be her. I’ll have it as my energy to play against.’ It worked. That suit and those shoes were a blessing. I was constantly reminded that I was not being myself, which made it right for Madeleine.” It seems that Novak did win on the shoes front when it came to famous black and white ensemble that Madeleine wears when she and Scottie share their first kiss… Check out the neutral (tres 2012) footgear:
Winter white coats are so chic – and this outfit is the one which seems to best represent the elegant Madeleine. Here’s another shot: 
Ironically, given the usual stereotype of the brassy blonde, Madeleine is a class act while it is the brunette Judy – the other character played by Novak – who is the more vulgar of the two women, in terms of personal style. 
Once Scottie has moulded Judy into a Madeleine doppel-ganger, they decide to launch her “new” look with a night out. For the final scenes of the movie, Judy slips into this gorgeous black chiffon halterneck dress, the deep neckline of which evokes the 19th century fashions worn by Carlotta, the subject of the portrait which so fascinated Madeleine. Confused? You will be – but I don’t want to give anything away in case you’re going to go and watch this beautiful film for the first time.
The single-most influential aspect of Kim Novak’s appearance in Vertigo wasn’t one of her outfits, however: it was her pinned-up hair – which, as Scottie realised, helped define her look. 
Text (c) Alison Kerr (2012)
