'Highlights of the Kelly wardrobe are now on display in Rome. They include some of her most famous outfits, if you know the movies, yet without her inflection they are dead shells; in the Kelly universe, the soul needs the body as the body needs Edith Head, who dressed her for “Rear Window” and “To Catch a Thief.” They also demonstrate, beyond doubt, that nothing about Kelly was more stylish than her decision to quit the movies just in time, before the gods of fashion lost the plot—or, at any rate, the reliance on line and structure that had flattered and fortified her particular poise... If you want to see Hollywood at the last gasp of its otherworldliness, before the old glory gave way, consult the photograph of Kelly and her fellow-presenter, Audrey Hepburn, backstage at the Academy Awards in 1956. (Kelly had returned to present an award.) Both are in profile, gazing in expectation, and both wear white gloves. They could be at their first Communion.'
— Anthony Lane, reviewing “Gli Anni di Grace Kelly, Principessa di Monaco”, at the Fondazione Memmo in Rome, for The New Yorker