You know the image. It’s early morning on Fifth Avenue. A yellow taxi pulls up, and out steps a woman in a black Givenchy gown, clutching a paper bag with a pastry and a coffee cup. She stares into the window of Tiffany & Co. through a pair of massive, dark frames.
That single shot of Audrey Hepburn in sunglasses basically invented the concept of "cool" for the next sixty years.
But honestly? Most people who try to recreate that Breakfast at Tiffany’s look end up buying the wrong thing. For decades, fashion blogs and even some "expert" retailers have claimed she was wearing Ray-Ban Wayfarers. They weren't. They aren't even close if you look at the bridge.
The Manhattan Mystery: It Wasn't Ray-Ban
If you’ve ever bought a pair of Wayfarers hoping to channel your inner Holly Golightly, I’ve got some bad news. You were probably misled by the internet's obsession with tagging every pair of thick plastic frames as "Wayfarers."
The real deal was a frame called the Manhattan, designed by the British eyewear house Oliver Goldsmith.
Phillip Oliver Goldsmith started the company back in 1926, and by the 1960s, they were the go-to for anyone who mattered. When Audrey needed shades for her role as Holly, she didn't just grab something off a rack. The Manhattan was a custom-made masterpiece.
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What makes them different?
- The Shape: They have a slight "butterfly" lift, but they aren't quite a full cat-eye.
- The Lenses: They were actually a very dark green, not black. In the film’s lighting, they look opaque, but if you see high-res stills, you can see the slight emerald tint.
- The Rivets: Look closely at the corners. There are these little silver "rhombus" or diamond-shaped rivets. Ray-Bans have horizontal ovals. It’s a tiny detail, but for a purist, it’s everything.
Why Audrey Hepburn in Sunglasses Changed How We Dress
Before the 1950s, sunglasses were mostly functional. You wore them at the beach or if you were driving an open-top car. They were medical devices for sensitive eyes.
Audrey changed that. She used them as a shield. In Breakfast at Tiffany's, those glasses aren't just for the sun; they’re a mask for a girl who’s been up all night and doesn't want the world to see her vulnerability.
She had this incredible ability to peer over the top of the frames. It became her "move." It added a layer of mystery and sophistication that made every woman in 1961 want a pair. Sales of oversized frames skyrocketed after the movie premiered.
It Wasn't Just One Movie
While the Manhattan is the most famous, Audrey’s relationship with Oliver Goldsmith spanned her entire career.
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In the 1963 thriller Charade, she wore the HEP (named after her, obviously). These were even bigger, blockier, and more sculptural. They were meant to complement the Givenchy pillbox hats and fur collars she wore while running around Paris.
Then came How to Steal a Million in 1966. If you want to see peak 60s mod, look at her in those white-rimmed, wrap-around shades. They were bold, futuristic, and totally different from the "classic" Audrey look. She wasn't afraid to experiment with geometry.
The Tech Behind the Style
Most people think vintage glasses were heavy and uncomfortable. Kinda true. Back then, they used cellulose acetate, which is a plant-based plastic. It’s much higher quality than the injected plastic used in cheap modern shades.
Oliver Goldsmith frames were handmade. This meant they had a "saddle bridge"—that smooth, U-shaped part that sits on your nose—without those annoying little nose pads that get stuck in your hair.
The lenses in the original Breakfast at Tiffany’s frames were also surprisingly light in tint. If you watch the opening scene carefully, you can actually see her eyes through the glass. This was a deliberate choice by the director, Blake Edwards. He wanted her expressions to stay visible even when she was "hiding."
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How to Get the Look Today (Without the Fluff)
If you’re looking for that specific Audrey Hepburn in sunglasses vibe, you have a few options.
- The Authentic Route: You can still buy the "Manhattan" directly from Oliver Goldsmith. They re-released it in 2011 for the film's 50th anniversary. It’s pricey—usually around $400 to $500—but it’s the exact specs.
- The "Close Enough" Version: If you don't want to drop half a grand, look for "oversized butterfly" shapes. Avoid Wayfarers if you want the movie look; go for something with a thicker, more rounded bottom rim.
- Color Matters: Don't go for solid jet black. The "Dark Tortoiseshell" or "Burnt Toffee" colors are much closer to what she actually wore. They soften the face and look more expensive.
Actionable Steps for Your Next Pair
Choosing the right "Audrey" frame depends mostly on your face shape. She had a very narrow, delicate face with high cheekbones, which is why those oversized frames worked so well—they created contrast.
- Measure your face width: If you have a small face, look for the "HEP" style which is slightly more tapered.
- Check the bridge: If you have a low bridge, you might struggle with the classic saddle bridge of the Manhattan. Look for "Asian Fit" or versions with slight internal padding.
- Look for the rivets: If a brand claims to be "Audrey-inspired" but has cheap-looking hinges or no rivets at the temples, skip it. The weight of the acetate is what gives that 1960s luxury feel.
Investing in a high-quality pair of acetate frames isn't just about the "look." These materials can be adjusted by an optician using heat, whereas cheap plastic will just snap.
Start by identifying whether you want the 1961 Manhattan (sophisticated/classic), the 1963 HEP (mystery/glamour), or the 1966 Yuhu (mod/bold). Each one tells a different story about how you want to be seen.