Audrey Hepburn muse, and the two became so closely associated with each other that academic Jayne Sheridan has stated "we might ask 'Did Audrey Hepburn create Givenchy or was it the other way around?'". In addition to "Sabrina", Givenchy designed her costumes for "Love in the Afternoon" (1957), "Breakfast at Tiffany's" (1961), "Funny Face" (1957), "Charade" (1963), "Paris When It Sizzles" (1964), and "How to Steal a Million" (1966), as well as clothed her off screen. According to Moseley, fashion plays an unusually central role in many of Hepburn's films, stating that "the costume is not tied to the character, functioning 'silently'
Audrey Hepburn romantically pursued his. The film turned out to be a positive experience for him; he said, "All I want for Christmas is another picture with Audrey Hepburn." The role earned Hepburn her third, and final, competitive BAFTA Award, and another Golden Globe nomination. Critic Bosley Crowther was less kind to her performance, stating that, "Hepburn is cheerfully committed to a mood of how-nuts-can-you-be in an obviously comforting assortment of expensive Givenchy costumes." Hepburn reteamed with her "Sabrina" co-star William Holden in "Paris When It Sizzles" (1964), a screwball comedy in which she played the young assistant of a Hollywood screenwriter,