Movie star and philanthropist Audrey Hepburn was known for her signature look: carefully lined doe eyes, flawless skin, and luscious coral lips. The makeup artist behind this iconic look was Alberto de Rossi, a favorite of Hepburn and other legendary actors of the time like Elizabeth Taylor, Maria Callas, and Ava Gardner. Although de Rossi passed away in 1975, his work lives on in classic films like War and Peace (1956), Cleopatra (1963), and Charade (1963).
Makeup artist and historian Erin Parsons recently uncovered one of De Rossi’s interviews with Vogue from 1972. “The first time I did Audrey Hepburn’s makeup was for Roman Holiday and since then I’ve done her makeup for films and photo shoots,” he told Vogue. “Women have always wanted to imitate her. They still do. They always will.”
On that last point, De Rossi wasn’t wrong—whether it be in the ’60s, ’70s, or in the midst of 2024— there’s something magnetic about Hepburn’s beauty that is still magnetizing.
Audrey Hepburn’s Skin-Care and Makeup Routine
De Rossi always started with a clean face. “Soap and water. Some complexions can be very dry, but there are certainly special soaps for that type of skin,” the Italian makeup artist explained for Vogue in the story (Parsons says a modern-day choice would likely be the Dove moisturizing soap). Then he opened his Louis Vuitton makeup case, tied a red bandana to hold back his hair, and got to work.
For foundation, De Rossi always chose to apply a layer across the face and neck, describing it as a “light patina.” For a finish similar, go for something with a dewy finish like the Chantecaille Future Skin Gel Foundation or the Danessa Myricks Beauty Yummy Skin Foundation.
Next, a layer of powder is gently dusted across the entire face—before De Rossi goes and “spray[s] on Evian spray, leaving it for two minutes before blotting with Kleenex. Then the skin is glowing.” Consider this the world’s first setting powder.
De Rossi’s technique for makeup application was unheard of before him—and certain sounds unusual in 2024, too. “First, I have my subjects photographed with flat light, lens in the center of the face, without makeup,” he says. “Then I order a huge blow-up and start redesigning the face on the photograph. I believe [makeup] is not a painting, but a sculpture. Colors are not the only element.”
With Hepburn, that means using different shades of powders to create depth—aka contouring before it had the name. “I mix colored powders and I shadow the face like a sculpture, the temples to avoid a flat forehead, the cheekbones, the jawline, the nose, the chin, depending on the planes of the face.” While all of De Rossi’s powders and products were custom-mixed for his clients by the makeup artist’s son, that no longer has to be the case. This Ilia Baked Palette mixes shades in a cream format and the Anastasia Beverly Hills Contour Palette.
When it comes to those iconic doe eyes and strong brows, De Rossi knew he was working with an icon. “An important face must have eyebrows,” he says. “Even if they are out of fashion a little.” It’s comforting to know that even Hepburn needed a bit of brow powder or pencil—which De Rossi used more sparingly as she aged.
“I get so emotional when I work!” De Rossi says, especially when it came to the magic he made with Hepburn.
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