Dressing - Maillot de bain deux pièces rayé de Catalina
Maillot de bain deux pièces
rayé de la marque Catalina
Two-piece swimsuit
striped of brand Catalina
Maillot de bain deux pièces rayé multicolore (avec des bandes de couleurs jaune, marron, orange et bleu), noué par un noeud au croisement de la poitrine sur le soutien-gorge et sur la culotte shorty. Il est possible que ce maillot de bain faisait parti de la garde robe personnelle de Norma Jeane Dougherty (future Marilyn Monroe), qui l'a porté à plusieurs séances photos publicitaires en 1945 et 1946. C'est un maillot de la marque américaine Catalina.
Multicolored striped two-piece swimsuit (with bands of colors yellow, brown, orange and blue), tied with a knot at the crossing of the chest on the bra and on the shorty panties. It is possible that this swimsuit was part of the personal wardrobe of Norma Jeane Dougherty (future Marilyn Monroe), who wore it to several advertising photo shoots in 1945 and 1946. It is a swimsuit from the American brand Catalina.
La première photographie où l'on voit Norma Jeane porter ce maillot a été prise en 1945, où elle pose en tant que mannequin dans les studios Farr-Hueth et H Maier basés à Los Angeles, du nom des photographes de studios (Potter Hueth, Bob Farr); elle y est vêtue de deux maillots de bain deux pièces de la marque Catalina: un maillot bicolore et ce maillot à rayures. Ces photographies sont destinées à former un genre de book portfolio professionnel de Norma Jeane, afin de lui permettre de se faire engager comme modèle pour poser dans des catalogues de mode.
(voir l'article 1945 - Norma Jeane mannequin pour maillots de bain ).
The first photograph showing Norma Jeane wearing this swimsuit was taken in 1945, where she posed as a model at the Farr-Hueth and H Maier studios in Los Angeles, named by the studio photographers (Potter Hueth, Bob Farr); She is dressed in two two-piece swimsuits from the Catalina brand: a two-tone swimsuit and this striped swimsuit. These photographs are intended to form a kind of professional book portfolio for Norma Jeane, in order to allow her to be hired as a model to pose in fashion catalogs.
Le photographe Potter Hueth fait rapidement d'autres séances de poses de Norma Jeane, des portraits classiques en studio mais aussi de superbes prises de vues en couleur prises à l'extérieur. Sans doute au dernier trismestre de l'année 1945, les cheveux lissés, elle pose vêtue du bikini rayé avec un chien à la Villa de Leon (construite par Leon Kauffman), surplombant le littoral de Topanga en Californie.
(voir l'article 1945 - Norma Jeane par Potter Hueth )
Photographer Potter Hueth quickly did more Norma Jeane posing sessions, from classic studio portraits to stunning color shots taken outdoors. Probably in the last quarter of 1945, with straightened hair, she posed in the striped bikini with a dog at Villa de Leon (built by Leon Kauffman), overlooking the coastline of Topanga, California.
Ces poses de style pin-up d'après-guerre feront la couverture de deux magazines:
These post-war pin-up style poses will do the covers of two magazines:
Laff, 06-1946, USA & Damernas Varld, 1947, Suede
C'est en étant chez le dentiste que Norma Jeane rencontre le photographe Bruno Bernard qui possède son propre studio "Bernard of Hollywood" sur Sunset Boulevard. Bernard l'engage pour poser pour des poses publicitaires (notamment pour un produit pharmaceutique et pour les studios de Don Lee Television) prises vers le printemps 1946. Il s'agit des premières photographies que Bruno Bernard prend de Norma Jeane / Marilyn (ils retravailleront ensemble sur plusieurs années). Norma Jeane porte son bikini rayé avec des chaussures à talons noires ouvertes aux doigts de pieds.
(voir l'article 1946, Première séance avec Bernard of Hollywood )
It was while at the dentist that Norma Jeane met photographer Bruno Bernard who has his own studio "Bernard of Hollywood" on Sunset Boulevard. Bernard hired her to pose for advertising poses (notably for a pharmaceutical product and for the Don Lee Television studios) taken around the spring of 1946. These were the first photographs that Bruno Bernard took of Norma Jeane / Marilyn (they would work again together over several years). Norma Jeane wears her striped bikini with black heeled shoes open to the toes.
Inscrite à l'agence de mannequin Blue Book (elle a signé son contrat le 02 août 1945), Norma Jean se fait engager comme modèle par plusieurs photographes. C'est ainsi que le photographe Joseph Jasgur fait plusieurs séances avec elle en mars 1946 sur la plage de Zuma Beach à Malibu, en Californie. Pour les séances de poses, Norma Jeane porte plusieurs tenues, dont ses deux maillots de bain de la marque Catalina: le rayé et celui du motif de l'oiseau.
(voir l'article Mars 1946, Malibu - Norma Jeane en maillot de bain "rayé" par Jasgur )
Registered with the Blue Book modeling agency (she signed her contract on August 2, 1945), Norma Jean was hired as a model by several photographers. This is how the photographer Joseph Jasgur did several sessions with her in March 1946 on Zuma Beach in Malibu, California. For the posing sessions, Norma Jeane wears several outfits, including her two swimsuits from the Catalina brand: the striped one and the one with the bird motif.
Enfin, c'est toujours dans le cadre de son activité de mannequinat, que Norma Jeane fait une séance photo sur la plage Castle Rock State Park de Californie, une journée d'été 1946 avec le photographe William Carroll. Là encore, elle pose avec ses propres vêtements, dont ses maillots de bain deux pièces de la marque Catalina, pour des portraits en couleur. Elle porte un foulard à rayures dans ses cheveux.
(voir l'article Août 1946, Castle Rock - Norma Jeane par William Carroll)
Finally, it is still within the framework of her modeling activity, that Norma Jeane does a photo shoot, on the Castle Rock State Park beach in California, one summer day in 1946 with the photographer William Carroll. Again, she poses with her own clothes, including her two-piece Catalina swimsuits for color portraits. She wears a striped scarf back in her hair.
Le maillot porté par d'autres
The Swimsuit worn by others
Ce maillot deux pièces à rayures est de la marque Catalina, spécialisé dans les maillots de bain et date de l'année 1945 comme en atteste cette publicité.
This striped two-piece swimsuit is from the Catalina brand, specialized in swimwear and dates from 1945 as evidenced by this advertisement.
- Publicité avec le maillot que porte Marilyn -
Plusieurs personnalités porteront ce maillot:
Several personalities will wear this swimsuit:
- Myrna Dell, 1945 - 
- Daun Kennedy, magazine Yank, 19/10/1945 - 
- Inconnue, 1940's - 
Inspirations
D'autres maillots de bain deux pièces du même style
Other two-piece swimsuits of the same style
- Betty Grable, 1935 -
- Rochelle Hudson, 1935 - 
- Inconnues, 1945 / 1950s - 
- Mannequins (4ème en partant de la gauche) -
- Models (4th from the left) - 
- Cindy Garner, magazine Laff, 11/1946 -
- Joan Vohs, magazine Laff, 10/1947 - 
- Cleo Moore, 1950's - 
Même style
La jeune mannequin Norma Jeane portera d'autres maillots de bain
deux pièces à rayures en 1946 et 1947
The young model Norma Jeane would wear other
striped two-piece swimsuits in 1946 and 1947
© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.
Le style de Marilyn dans "Ladies of the Chorus": la garde-robe
Les looks de Marilyn au cinéma
Marilyn's looks at the cinema
Les reines du music-hall
La garde-robe de Peggy Martin
The wardrobe of Peggy Martin
Aucune indication sur le styliste ayant créé les costumes pour le film ne figure au générique. Néanmoins, bon nombre de biographes déclarent que les tenues sont l'oeuvre du styliste Jean Louis (de son nom Jean Louis Berthault), qui travaillait pour les studios de la Columbia. En effet, les vêtements portés par les actrices ne sont pas des créations originales faites pour le film mais des emprunts de costumes déjà portés dans d'autres films de la Columbia et pour lesquels les stylistes étaient Irene (de son nom Irene Lentz), John Orry-Kelly et Jean Louis qui avait intégré le département costume de la Columbia en 1943, en travaillant en collaboration avec Orry-Kelly.
Marilyn Monroe travaillera avec les deux créateurs plus tard dans sa carrière: Jean Louis créera les tenues qu'elle porte dans "Les désaxés" (1961), son dernier tournage "Quelque chose va craquer" (1962) et surtout la robe moulante qu'elle porte pour chanter "Happy Birthday" au Président Kennedy (le 19 mai 1962); quand à Orry-Kelly, il créera les costumes du film "Certains l'aiment chaud" (1959).
Pour "Les Reines du music-hall", Marilyn Monroe tient le second rôle (après Adele Jergens), apparaissant ainsi dans une grande partie à l'écran et elle porte 15 tenues différentes tout au long du film.
No indication of the stylist who created the costumes for the film appears in the credits. However, many biographers claim that the outfits are the work of designer Jean Louis (real name Jean Louis Berthault), who worked for Columbia studios. Indeed, the clothes worn by the actresses are not original creations made for the film but have been borrowed from costumes already worn in other Columbia films and for which the costume designers were Irene, John Orry-Kelly and Jean-Louis who had joined the costume department of Columbia in 1943 and worked in collaboration with Orry-Kelly.
Marilyn Monroe will work with the two creators later in her career: Jean Louis will create the outfits she wears in "The Misfits" (1961), her last shoot "Something's got to give" (1962) and especially the tight dress that she wears to sing "Happy Birthday" to President Kennedy (May 19, 1962); as for Orry-Kelly, he created the costumes for the film "Some like it hot" (1959).
For "Ladies of the Chorus", Marilyn Monroe takes the second role (after Adele Jergens), thus appearing in a large part on the screen and she wears 15 different outfits throughout the film.
* Les tenues showgirl de scène *
The Stage showgirl outfits
5 tenues de showgirl - 5 showgirl outfits
- L'ensemble pailleté pull et jupon à volant -
- Glitter outfit of sweater and ruffled skirt -
La 1ère tenue de scène portée par Peggy / Marilyn correspond à la 1ère scène du film (avec le générique d'introduction) et la scène de la chanson de groupe "Ladies of the Chorus" où les actrices / chanteuses portent toutes la même tenue: une sorte de pull à longues manches paillettés de sequins brodés, agrémenté d'une large collerette en voile, assorti d'une jupe très courte volantée bouffante (jupe typique de danseuse). Il est même assez étonnant pour l'époque (film tourné en 1948) de voir de jeunes actrices vêtues si court, car on voit quasiment l'intégralité de leur jambes. Sans doute le thème du film (comédie musical montrant aussi les dessous et coulisses d'un théâtre du burlesque) étant un prétexte de découvrir les jambes des jeunes actrices.
The 1st stage outfit worn by Peggy / Marilyn corresponds to the 1st scene of the movie (with the introductory credits) and the scene of the group song "Ladies of the Chorus" where the actresses / singers all wear the same outfit: a sort of long-sleeved jumper spangled with embroidered sequins, embellished with a wide veil collar, matched with a very short puffy ruffled skirt (typical dancer's skirt). It is even quite surprising for the time (film shot in 1948) to see young actresses dressed so short, because you can see almost all of their legs. Undoubtedly the theme of the film (musical also showing the underside and backstage of a burlesque theatre) being a pretext to discover the legs of young actresses.
- La longue robe au voilé transparent -
- The long dress with transparent veil -
La 2ème tenue de scène portée par Peggy / Marilyn apparaît quand elle se trouve en coulisses (et se bagarre avec Marjorie Hoshelle); les actrices portent toutes de longues robes au fin voilage. Celle de Marilyn est très transparente (on aperçoit sa culotte portée sous le voilage de la robe). On ne peut qu'imaginer qu'un aussi fin tissu puisse être fait de soie. La robe comporte une bretelle en lanière (à l'épaule gauche) et pour l'autre épaule, le voilage de la robe remonte formant ainsi une autre bretelle large, donnant ainsi un aspect asymétrique au niveau du buste. Il y a aussi une lanière dorée autour de la poitrine gauche et qui retombe à la taille. La robe laisse apercevoir la peau sur un seul côté, au niveau de la taille. C'est une robe d'inspiration de style empire, par le retombé fluide de sa longueur.
L'ensemble des robes portées par les actrices dans cette scène ont été créées par Jean Louis pour le film "L'Etoile des Etoiles" en 1947 (dans lequel jouait aussi Adele Jergens). Les robes sont toutes de couleurs différentes (Marilyn porte la robe verte de Dorothy Hart et Adele Jergens est en robe rose portée à l'origine par Rita Hayworth).
The 2nd stage outfit worn by Peggy/Marilyn appears when she is backstage (and fighting with Marjorie Hoshelle); the actresses all wear long dresses with fine veiling. Marilyn's is very transparent (you can see her panties worn under the veil of the dress). One can only imagine that such a fine fabric could be made of silk. The dress has a thin strap (on the left shoulder) and for the other shoulder, the veil of the dress goes up thus forming another wide strap, thus giving an asymmetrical appearance at the level of the bust. There is also a gold strap around the left chest that falls to the waist. The dress reveals the skin on only one side, at the level of the waist. It is an empire style inspired dress, by the fluid fall of its length.
All of the dresses worn by the actresses in this scene were created by Jean Louis for the film Down To Earth in 1947 (in which Adele Jergens also played). The dresses are all in different colors (Marilyn wears the green dress of Dorothy Hart and Adele Jergens wears a pink dress originally worn by Rita Hayworth).
- VIDEO extrait "Down To Earth" -
- La longue robe au buste pailleté et jupe voilée -
- The long dress with a sequined bust and veiled skirt -
La 3ème tenue de scène portée par Peggy / Marilyn correspond à la scène où elle chante sur scène "Anyone Can See I Love You" où elle s'amuse à faire virevolter la longue jupe voilée. La robe semble former comme deux tenues bien distinctes: le haut du corps moule le buste, comme une sorte de body avec de fines bretelles et rempli de sequins dorés brillants et étincelants, avec des formes géométriques apparaissant autour de la poitrine en forme circulaire et redescendant en forme de losange jusqu'à la taille. Le bas du corps, à partir du bas des hanches, est constitué d'une longue jupe blanche bouffante faite de divers voilage.
The 3rd stage outfit worn by Peggy / Marilyn corresponds to the scene where she sings "Anyone Can See I Love You" on stage where she has fun twirling the long veiled skirt. The dress seems to form like two very distinct outfits: the upper body hugs the bust, like a kind of bodysuit with thin straps and filled with shiny and sparkling golden sequins, with geometric shapes appearing around the chest in a circular shape and descending diamond-shaped to the waist. The lower body, from the bottom of the hips, consists of a long puffy white skirt made of various veils.
- La longue robe de mousseline noire et paillettes -
- The long dress of black chiffon and sequins -
La 4ème tenue de scène portée par Peggy / Marilyn correspond à la scène où elle chante sur scène "Everybaby Needs a Da-Da-Daddy" où elle laisse découvrir ses jambes. C'est une longue robe de mousseline noire au buste seyant, aux manches et à la poitrine transparentes, à la taille haute, et à la jupe pailletée et ouverte jusqu'en haut des jambes; laissant ainsi découvrir presque totalement les jambes (Marilyn porte des bas résille noirs) accentuant ainsi sur le côté sexy de la tenue.
La robe a déjà été portée par une choriste dans la comédie musicale "The Dolly Sisters" en 1945 dont les costumes de scène ont été créés par Orry-Kelly.
- blog: Dressing - Robe de mousseline noire et paillettes de Jean Louis
The 4th stage outfit worn by Peggy / Marilyn corresponds to the scene where she sings on stage "Everybaby Needs a Da-Da-Daddy" where she reveals her legs. It is a long black muslin dress with a flattering bust, transparent sleeves and chest, high waist, and sequined skirt open to the top of the legs; thus leaving the legs almost totally uncovered (Marilyn is wearing black fishnet stockings) thus accentuating the sexy side of the outfit.
The dress was already worn by a chorus girl in the musical "The Dolly Sisters" in 1945, from which the stage costumes were created by Orry-Kelly.
- Le body et son boléro brillants -
- The shiny dress and bolero -
La 5ème tenue de scène portée par Peggy / Marilyn apparaît quand elle se trouve en coulisses et reçoit une orchidée en cadeau. C'est un ensemble brillant composé d'un body et une veste courte coordonné de style boléro.
C'est une tenue empruntée du film de 1946, "Le roman d'Al Jolson", portée dans une scène d'un numéro musical par Evelyn Keyes. Le créateur de cette tenue est Jean Louis. Le film tourné en couleur permet de découvrir l'extraordinaire rendu visuel de cette tenue brillante d'or.
The 5th stage outfit worn by Peggy/Marilyn appears when she is in backstage and receives an orchid as a gift. It's a brilliant ensemble made up of a becoming dress (whose length cannot be determined because in the scene, Marilyn is filmed by a tight frame) and a coordinated short bolero jacket.
It's an outfit borrowed from the 1946 film "The Jolson Story" worn in a scene of a musical number by Evelyn Keyes. The designer of this outfit is Jean Louis. The film shot in color allows to discover the extraordinary visual rendering of this shiny gold outfit.
* Les tenues de ville *
The city outfits
5 tenues de ville - 5 city outfits
- Le chemisier à carreau et la jupe droite -
- The checkered blouse and the straight skirt -
La 1ère tenue de ville portée par Peggy / Marilyn est dans la scène où elle rentre avec sa mère le soir à leur appartement. Bien que son personnage soit d'une condition modeste, elle porte ici une tenue très chic et classique: un chemisier à carreaux avec de gros boutons (apparent aussi sur les pochettes au buste), dont les manches et le col large sont noirs, pour faire échos à la jupe droite noire de type crayon.
Cette tenue a été portée par l'actrice Ellen Drew dans le film "Sing While You Dance" de 1946 et pour lequel aucun nom de styliste ne figure dans les crédits.
The first city outfit worn by Peggy / Marilyn is in the scene where she goes back home with her mother to their apartment in the evening. Although her character is of modest condition, here she wears a very chic and classic outfit: a checkered blouse with large buttons (also visible on the pockets at the bust), whose sleeves and wide collar are black, for echo the straight black pencil-type skirt.
This outfit was worn by actress Ellen Drew in the 1946 film "Sing While You Dance" and for which no designer's name is listed in the credits.
- Le chemisier uni et la jupe longue -
- The plain blouse and the long skirt -
La 2ème tenue de ville est portée par Peggy / Marilyn dans plusieurs scènes: d'abord dans les coulisses du théâtre quand elle reçoit une orchidée. On ne voit que son buste et le haut de sa taille laissant ainsi apercevoir un chemisier uni à manches courtes, fermé par une petite lanière au niveau du cou; et une jupe noire à la taille haute avec une fine ceinture à la taille. Dans les autres scènes (chez la fleuriste et en loge du théâtre), elle porte une veste rayée blanche par dessus le chemisier; c'est une veste très courte, à l'encolure dont les rebords sont très larges (typique des années 1940s), fermée par quatre gros boutons et au décolleté prononcé puisqu'on y voit aisément le chemisier en dessous.
The 2nd city outfit is worn by Peggy/Marilyn in several scenes: first backstage at the theater when she receives an orchid. We only see her bust and the top of her waist, revealing a plain blouse with short sleeves, closed by a small strap at the neck; and a high-waisted black skirt with a thin belt at the waist. In the other scenes (at the florist and in the theater backstage), she wears a white striped jacket over the blouse; it's a very short jacket, with a very wide neckline (typical of the 1940s), closed by four large buttons and with a pronounced neckline since you can easily see the blouse underneath.
- Le tailleur à jupe droite et le sous pull noir -
- The suit with a straight skirt and the black under-sweater -
La 3ème tenue de ville est portée brièvement par Peggy / Marilyn dans son appartement, pendant qu'elle prépare ses valises. C'est un tailleur typique des années 1940s: veste longue, au col très large, assorti d'une longue jupe droite; l'ensemble d'une couleur claire, faisant ainsi contraste avec le sous pull noir qu'elle porte en dessous.
The 3rd city outfit is worn briefly by Peggy/Marilyn in her apartment, while she is packing her bags. It is a typical 1940s suit: long jacket, with a very wide collar, matched with a long straight skirt; all of a light color, thus contrasting with the black sweater she wears underneath.
- La robe droite sans manches et le chemisier blanc -
- The straight sleeveless dress and the white blouse -
La 4ème tenue de ville est portée par Peggy / Marilyn est sobre et chic car elle la porte dans la scène où elle rencontre la mère de son fiancé. Un jeu de contraste est fait entre la robe noire sans manches, à la jupe droite, portant les initiales brodée "PM" sur le buste - correspondant au nom du personnage Peggy Martin - et le chemisier blanc au col large et aux longues manches, resseré aux poignets.
Cette tenue a été portée par Rita Hayworth dans le film "Ô toi ma charmante" en 1942 pour lequel c'est la styliste Irene à l'initiative de la création des vêtements. Les initiales brodées étaient alors "MA", correspondant au nom du personnage interprété par Rita: Maria Acuña.
The 4th city outfit worn by Peggy / Marilyn is sober and chic because she wears it in the scene where she meets her boyfriend's mother. A game of contrast is made between the black sleeveless dress, with the straight skirt, bearing the embroidered initials "PM" on the bust - corresponding to the name of the character Peggy Martin - and the white blouse with the wide collar and the long sleeves, tightened at the wrists.
This outfit was worn by Rita Hayworth in the film "You Were Never Lovelier" in 1942 for which it was the stylist Irene who initiated the creation of the clothes. The embroidered initials were then "MA", corresponding to the name of the character played by Rita: Maria Acuña.
- Le chemisier blanc et la longue jupe noire -
- The white blouse and the long black skirt -
La 5ème tenue de ville est portée brièvement par Peggy / Marilyn dans la maison de la mère de son petit-ami, avant la fête de fiançailles; une tenue qu'elle porte pour des portraits publicitaires du film. Elle coordonne un chemisier blanc, au col large et manches ressérées, agrémenté au buste d'une lanière circulaire faisant l'effet d'un long collier que l'on retrouve aux manches, avec une longue jupe noire au bas évasé.
The 5th city outfit is worn briefly by Peggy/Marilyn at her boyfriend's mother's house, before the engagement party; an outfit she wears for publicity portraits for the film. She coordinates a white blouse, with a wide collar and tightened sleeves, embellished at the bust with a circular strap giving the effect of a long necklace that is found at the sleeves, with a long black skirt with a flared bottom.
* Les tenues de soirées / en sortie *
The Evening / Outing Outfits
2 tenues de sorties - 2 outing outfits
- La longue robe au veston noir et jupe voilée -
- The long dress with the black jacket and veiled skirt -
La 1ère tenue de sortie est portée dans la scène où Peggy / Marilyn est en rendez-vous galant et embrasse son prétendant puis quand elle rentre chez elle. On y retrouve le style de la robe de scène portée pour la chanson "Anyone Can See I Love You" car c'est une tenue "deux en un": le buste ressemble à une veste noire à longues manches, au décolleté triangulaire (on l'on y devine le soutien gorge noir en dessous), et la longue jupe blanche à l'effet un peu bouffant contient des motifs noirs demi circulaires en haut de la taille, tel un prolongement de la veste noire.
The 1st evening outfit is worn in the scene where Peggy / Marilyn is on a date and kisses her suitor then when she returns home. We find the style of the stage dress worn for the song "Anyone Can See I Love You" because it is a "two-in-one" outfit: the bust resembles a black jacket with long sleeves, with a triangular neckline (on the black bra underneath could be guess), and the long white skirt with a slightly puffy effect contains semi-circular black patterns at the top of the waist, like an extension of the black jacket.
- La longue robe à la jupe à motifs de fleurs -
- The long dress with the patterned flowers skirt -
La 2ème tenue de sortie est portée par Peggy / Marilyn dans la scène finale de fête de fiançailles. Le haut du corps est seyant, de forme bustier, au tissu blanc orné de motifs à fleurs noires, agrémenté d'un très large voile transparent qui retombe aux épaules, au décolleté triangulaire autant au buste que dans le dos, menant à une taille marqué d'un large bandeau noir satiné, et par une longue jupe à effet de volant, d'un tissu blanc orné de larges motifs représentant des fleurs noires.
Cette robe est une création de Jean Louis pour Betty Grable qui la porte dans le film "L'Homme de mes rêves" en 1947.
The 2nd evening outfit is worn by Peggy/Marilyn in the final scene of engagement party. The upper body is becoming, bustier in shape, with white fabric adorned with black flower patterns, embellished with a very large transparent veil which falls to the shoulders, with a triangular neckline both at the bust and in the back, leading to a marked waist a wide black satin headband, and a long skirt with a flounce effect, a white fabric adorned with large patterns representing black flowers.
This dress is a creation by Jean Louis for Betty Grable who wears it in the film "It Had To Be You" in 1947.
* Les peignoirs et chemise de nuit *
The Bathrobes and Nightdress
2 peignoirs et 1 chemise de nuit - 2 bathrobes and 1 nightdress
- Le peignoir blanc éponge au rebord satiné -
- The white terrycloth bathrobe with a satin edge -
Le 1er peignoir que porte par Peggy / Marilyn dans sa loge quand elle reçoit une orchidée en cadeau, est blanc, en éponge, au rebord satin et avec une grande ceinture de satin nouée à la taille.
The 1st bathrobe worn by Peggy / Marilyn in her dressing room when she receives an orchid as a gift, is white, in terrycloth, with a satin edge and with a large satin belt tied at the waist.
- Le peignoir blanc en coton à motifs -
- The white cotton bathrobe with patterns -
Le 2ème peignoir que porte par Peggy / Marilyn dans sa loge est aussi blanc, mais semble être en coton, avec de petits motifs qui parsèment le tissu, et une grande ceinture nouée à la taille. Les manches sont larges aux poignets.
The 2nd bathrobe worn by Peggy / Marilyn in her dressing room is also white, but seems to be cotton, with small patterns dotting the fabric, and a large belt tied at the waist. The sleeves are wide at the wrists.
- La longue chemise de nuit -
- The long nightdress -
La chemise de nuit est portée par Peggy / Marilyn dans la scène où elle se retrouve dans la chambre qu'elle partage avec sa mère, dans la maison de la mère de son petit-ami. C'est une très longue chemise de nuit au retombé fluide, laissant à peine découvrir les bouts des pieds, avec un revers de forme arrondi et dentellé au col assez serrant, faisant échos aux petites pochettes au buste dentellées. La chemise est fermé par des boutons au niveau du buste et noué par une ceinture à la taille. Les manches sont longues et ressérées aux poignets par des boutons.
The nightdress is worn by Peggy / Marilyn in the scene where she finds herself in the bedroom she shares with her mother, in her boyfriend's mother's house. It is a very long nightgown with a fluid fall, barely revealing the ends of the feet, with a rounded and lace-up lapel with a fairly tight collar, echoing the small lace-up chest pockets. The shirt is closed with buttons at the bust and tied with a belt at the waist. The sleeves are long and tightened at the wrists by buttons.
VIDEO - Marilyn Monroe and Ladies of the Chorus: the re-use of Rita Hayworth costumes!
A suivre dans un prochain post:
coiffures et accessoires (chapeaux et chaussures)
© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.
Poses photographiques - Focus sur l'accessoire de l'étole de fourrure blanche
Portraits en étole de fourrure blanche
Portraits in white fur stole
Marilyn Monroe a posé à plusieurs reprises lors de séances photos - des portraits pris en studio - vêtue d'une étole en fourrure blanche, véhiculant ainsi l'image absolue du glamour hollywoodien. Petit tour d'horizon de ses séances photos:
Marilyn Monroe has posed several times during photoshoots - portraits taken in the studio - wearing a white fur stole, thus conveying the absolute image of Hollywood glamor. A brief overview of her photoshoots:
- 1950, Portraits de Edward Clark pour "Quand la ville dort" pour la Fox -
- 1950, Portraits by Edward Clark for "The Asphalt Jungle" for Fox Studios - 
- 1950, Portraits de Gene Kornman / Frank Powolny pour "Eve" pour la Fox -
- 1950, Portraits by Gene Kornman / Frank Powolny for "All about Eve" for Fox - 
- 1951, Portrait de Don Ornitz pour la presse magazine -
- 1951, Portrait by Don Ornitz for press magazine -
- 1953, Portraits publicitaires pour la Fox de Frank Powolny -
- 1953, Publicity portraits for the Fox Studios by Frank Powolny -
- 1953, Portraits de Gene Trindl pour "Comment épouser un millionnaire" pour la presse -
- 1953, Portraits by Gene Trindl for "How to marry a millionaire" for the press - 
- 1953, Portraits de John Florea pour "Comment épouser un millionnaire" pour la presse -
- 1953, Portraits by John Florea for "How to marry a millionaire" for the press -
- 14 septembre 1954, coulisse de la séance de Richard Avedon, par Sam Shaw pour la presse -
- 1954, September, 14, backstage of the sitting of Richard Avedon, by Sam Shaw for the press -
- septembre 1958, coulisse du tournage de "Certains l'aiment chaud" par Jon Whitcomb pour Cosmopolitan -
- 1958, September, backstage of the filming of "Some like it hot", by Jon Whitcomb for Cosmopolitan -
Marilyn porte aussi des étoles en fourrure blanche lors de ses sorties médiatiques (gala, premières de films, remises de prix); mais elle ne pose plus en portraits typiques glamour en studio avec une étole blanche. Ce type de portraits représentant le glamour hollywoodien semble ne plus intéresser Marilyn. Elle travaille avec des photographes qu'elle sélectionne et qui renvoie une image plus naturelle d'elle: Milton Greene, Sam Shaw, Richard Avedon, Philippe Halsman, Earl Gustie, Eve Arnold, Douglas Kirkland et Bert Stern sont les photographes qui la prendront en studio de 1956 à 1962 et ne travaillant non plus pour les studios de cinéma, mais pour la presse (à travers les agences de presse ou des contrats publicitaires signés avec des magazines). Sans doute par ce choix, Marilyn semble signifier vouloir s'éloigner du diktat des studios et gagner en indépendance pour mieux contrôler son image véhiculée dans les médias.
Marilyn also wears white fur stoles during her media outings (gala, film premieres, awards ceremony); but she no longer poses in typical glamorous studio portraits with a white stole. This type of portrait representing Hollywood glamor seems no longer interests Marilyn. She works with photographers that she selects and who gives a more natural image of her: Milton Greene, Sam Shaw, Richard Avedon, Philippe Halsman, Earl Gustie, Eve Arnold, Douglas Kirkland and Bert Stern are the photographers who will take her in studio photos from 1956 to 1962 and no longer working for film studios, but for the press (through press agencies or advertising contracts signed with magazines). No doubt by this choice, Marilyn seems to signify wanting to move away from the diktat of the studios and gain independence to better control her image conveyed in the media.
La ville d'Hollywood est la mecque du cinéma américain et ce, depuis les années 1910s. Pour faire rêver les spectateurs et le public international, l'industrie cinématographique - à travers les diverses compagnies de studios (Universal, Paramount, 20th Century Fox, RKO, MGM, Warner, Goldwyn Mayer...) emploie des photographes pour sublimer et magnifier ses acteurs et ses actrices. Il faut vendre du rêve, de l'inaccessible, du glamour et les actrices d'Hollywood sont alors notamment photographiées en studio par des portraits en noir et blanc, jouant sur les ombres et lumières des éclairages, vêtues d'une fourrure en étole, un accessoire qui représente à lui seul le glamour, la grâce et le chic. Ces photographies qui sont à but publicitaires, sont ainsi destinées à être publiées dans la presse magazine afin de "vendre" ce rêve au public à travers le monde. Les actrices ne sont pas des personnes lambdas que l'on croise au hasard d'une rue, elles deviennent ainsi par ces images des icônes mystifiées et iréelles.
Et chaque studio a son photographe portraitiste attitré, petite liste (non exhaustive) des noms les plus connus et répandus des photographes, par ordre alphabétique: Kenneth Alexander, Ted Allan, Virgil Apger, Max Munn Autrey, Ernest Bachrach, Russell Ball, Clarence Sinclair Bull, Eric Carpenter, Robert Coburn, Otto Dyar, John Engstead, Tom Evans, Bud Fraker, Jack Freulich, Elmer Fryer, Edwin Bower Hesser, George Hurrell, Ray Jones, Eugene Kornman, Irving Lippmann, Gaston Longet, Ruth Harriet Louise, John Miehle, Frank Powolny, Eugene Robert Richee, AL Whitey Schaefer, Bert Six, Laszlo Willinger.
Les photographes "stars" renommés étant George Hurrell, Clarence Sinclair Bull, Robert Coburn, Eugene Robert Richee et Frank Powolny, qui à eux seuls, ont bien photographié l'ensemble des acteurs et actrices d'Hollywood entre 1930 et 1960.
Ces portraits font partis de la machine à rêve véhiculée par les studios d'Hollywood et se déploie dès les années 1920s (quand les acteurs et actrices du cinéma muet deviennent des stars aux yeux du public) trouvant son apogée dans les années 1940s et 1950s. Mais dans les années 1960s, ce type de photographies s'essoufle, les moeurs changent et les nouvelles idoles veulent transmettre une image plus naturelle (la culture hippie et son esprit de liberté est passée par là); ces images suivent d'ailleurs aussi la tendance cinématographique avec l'arrivée du mouvement de la nouvelle vague en France et ses répercussions dans le cinéma international et américain et les nouveaux réalisateurs d'alors (les années 1970s avec Scorsese, Spielberg, Coppola) mettant en scène un cinéma plus vrai et balayant le glamour de leur prédécesseurs. Alors les paillettes et le glamour est récupéré par le mouvement musical qui bat son plein dans les années 1970s: le disco. Mais ce type de photographies n'est plus en vogue et finit par s'éteindre totalement: les portraits des actrices sublimées et glamourisées avec une étole de fourrure s'inscrivent alors dans une époque bien déterminée, considérée aujourd'hui comme le "classique du vintage hollywoodien".
The city of Hollywood is the mecca of American cinema since the 1910s. To make the spectators and the international public dream, the film industry - through the various studio companies (Universal, Paramount, 20th Century Fox, RKO, MGM, Warner, Goldwyn Mayer ...) employs photographers to sublimate and magnify its actors and actresses. They have to sell dreams, the inaccessible, glamor and Hollywood actresses are then photographed in the studio with black and white portraits, playing on the shadows and lights, dressed in a fur stole, an accessory that alone represents glamor, grace and chic. These photographs, which are for advertising purposes, are thus intended to be published in the magazine press in order to "sell" this dream to the public throughout the world. Actresses are not ordinary people that one crosses at random on a street, they thus become, through these images, mystified and unreal icons. And each studio has its own portrait photographer, a small (non-exhaustive) list of the most famous and widespread names of photographers, in alphabetical order: Kenneth Alexander, Ted Allan, Virgil Apger, Max Munn Autrey, Ernest Bachrach, Russell Ball, Clarence Sinclair Bull, Eric Carpenter, Robert Coburn, Otto Dyar, John Engstead, Tom Evans, Bud Fraker, Jack Freulich, Elmer Fryer, Edwin Bower Hesser, George Hurrell, Ray Jones, Eugene Kornman, Irving Lippmann, Gaston Longet, Ruth Harriet Louise, John Miehle, Frank Powolny, Eugene Robert Richee, AL Whitey Schaefer, Bert Six, Laszlo Willinger.
Renowned "star" photographers are George Hurrell, Clarence Sinclair Bull, Robert Coburn, Eugene Robert Richee and Frank Powolny, who alone have photographed all of Hollywood's actors and actresses between 1930 and 1960.
These portraits are part of the dream machine conveyed by Hollywood studios and unfold from the 1920s (when silent film actors and actresses became stars in the eyes of the public) reaching their peak in the 1940s and 1950s. But in the 1960s, this type of photography lost its breath, customs changed and the new idols wanted to convey a more natural image (the hippie culture and its spirit of freedom has passed through this); these images also follow the cinematographic trend with the arrival of the new wave movement in France and its repercussions in international and American cinema and the new directors of the time (the 1970s with Scorsese, Spielberg, Coppola) putting in scene a cinema more true and sweeping the glamor of their predecessors. Then the glitter and the glamor is recovered by the musical movement which is in full swing in the 1970s: the disco. But this type of photography is no longer in vogue and ends up being completely extinct: the portraits of sublimated and glamorized actresses with a fur stole are then part of a well-defined period, considered today as the "classic of vintage hollywood ".
Les années 1920s
Esther Ralston / Joan Crawford / Marian Marsh
Heather Angel / Bebe Daniels / Zofia Lindorfówna
Clara Bow, 1927 
Margaret Livingston / Lya De Putti / Marie Prevost 
Claudette Colbert, 1927 / Phyllis Haver, 1928 / Evelyn Brent, 1929
Les années 1930s
Carole Lombard / Dorothy Arnold / Irene Dunne
Barbara Stanwyck / Bette Davis / Fay Wray
Jean Harlow
Greta Garbo / Kay Francis / Lilyan Tashman
Mae West
Mabel Hariot / Deanna Durbin / Gloria Stuart
Marjorie Woodworth / Pauline Garon / Martha Raye 
Lupe Velez / Wera Engels / Marlene Dietrich
Joan Crawford, 1930 / Mae Clark, 1931 / Paulette Goddard, 1932 (x 2)
Norma Shearer, 1934 / Claudette Colbert, 1935 / Rochelle Hudson, 1936 
Betty Grable, 1936 / Madeleine Carroll, 1936 / Loretta Young, 1937
Toby Wing, 1937 / Laurie Lane, 1938 / Patricia Morison, 1939
Les années 1940s
Lucille Ball / Ginger Rogers / Paulette Goddard
Helen Twelvetrees / Mae West / Veronica Lake
Joan Crawford / Marilyn Maxwell / Vivien Leigh
Michelle Morgan
Ann Miller / Frances Gifford / Jane Wyman
Ann Sheridan / Anne Baxter / Eleanor Powell
Gene Tierney 
Ava Gardner
Lana Turner
Hedy Lamarr, 1941 / Barbara Stanwyck, 1942 / Lana Turner, 1945
Olivia De Havilland, 1942 / Rosalind Russell, 1943 / Elaine Shepard, 1944
Janet Blair, 1944 / Bonita Granville, 1945 / Vera Allen, 1945
Janis Paige, 1948
Ilona Massey, 1946 / Rita Hayworth, 1947 / Ava Gardner, 1947
Rita Hayworth, 1948
Maria Riva, 1948 / Ava Gardner, 1949 / Judy Holliday, 1949
Les années 1950s
Barbara Stanwyck / Carroll Baker / Maureen O Hara
Esther Williams / Marla English / Angela Lansbury
Susan Hayward 
Eartha Kitt / Marlene Dietrich / Yvonne De Carlo
Eva Gabor / Lana Turner / Mae West 
Betty Grable
Joan Collins / Joan Crawford / Zizi Jeanmaire
Evelyn Keyes / Gloria Grahame / Dolores Gray 
Ava Gardner, 1952
Claire Bloom, 1952 / Gloria Grahame, 1953 / Shelley Winters
Leslie Caron, 1952 & 1953
Janet Leigh / Tippi Hedren / Kim Novak 
Grace Kelly, 1954
Vera Allen, 1954 / Jeanne Crain, 1955 / Gena Rowlands, 1955 
Liz Taylor, 1955
Diana Dors / Mamie Van Doren / Cleo Moore
Jayne Mansfield, 1956, 1957 & 1958
Anita Ekberg, 1955 / Judy Garland, 1956 / Betty White, 1957
Rhonda Fleming, 1957 / Martha Hyer / Sophia Loren, 1957
Liz Fraser, 1959 / Dorothy Dandridge, 1958 / Sophia Loren, 1958
Les années 1960s
Judy Garland (x 2) / Sophia Loren
Donna Reed / Gina Lollobrigida 
Senta Berger / Vivien Leigh, 1962 / Carroll Baker 
Romy Schneider, 1962
Dalida / Natalie Wood / Kim Novak
Les années 1970s
Dalida / Diana Ross 
Les années 1980s - 1990s
Madonna, 1986 / Joan Collins / Sharon Stone
Les années 2000s
Kate Moss : Vogue 2004 & 2009
Claudia Schiffer , 2010
> lectures web :
article John Kobal "The Hollywood Portrait Photographer" sur lenscloud
biographies "The Hollywood Portrait Photographer" sur lenscloud
extraits du livre "Hollywood Glamour 1926-1956" sur Books Google
© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.
Marilyn & Friends: Happy Halloween 2021
Norma Jeane Dougherty - future Marilyn Monroe - en 1945
photographie d'André De Dienes
Pour le prochain week-end d'Halloween 2021 le dimanche 31 octobre,
quelques photographies d'actrices qui ont données la réplique à Marilyn Monroe.
For the next weekend of Halloween 2021 Sunday October 31,
some photographs of actresses who gave the replica to Marilyn Monroe.
June Haver
partenaire de Marilyn dans "Scudda Hoo ! Scudda Hay !" en 1947
partner of Marilyn in "Scudda Hoo! Scudda Hay!" in 1947
Colleen Townsend
partenaire de Marilyn dans "Scudda Hoo ! Scudda Hay !" en 1947
partner of Marilyn in "Scudda Hoo! Scudda Hay!" in 1947
Barbara Stanwyck
partenaire de Marilyn dans "Le démon s 'éveille la nuit" en 1952
partner of Marilyn in "Clash by night" in 1952
Jane Russell
partenaire de Marilyn dans "Les hommes préfèrent les blondes" en 1952
partner of Marilyn in "Gentlemen prefer Blondes" in 1952
Betty Grable
partenaire de Marilyn dans "Comment épouser un millionnaire" en 1953
partner of Marilyn in "How to marry a millionaire" in 1953
Ethel Merman
partenaire de Marilyn dans "La joyeuse parade" en 1954
partner of Marilyn in "There's no business like show business" in 1954
Cyd Charisse
partenaire de Marilyn dans "Quelque chose va craquer" en 1962
partner of Marilyn in "Something's got to give" in 1962
© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.
Timbres de S Tomé E Principe, 2021
"95e aniversario de Marilyn Monroe"
© All images are copyright and protected by their respective owners, assignees or others.
Marilyn & Friends: Happy Halloween 2020
Norma Jeane Dougherty - future Marilyn Monroe - en 1945
photographie d'André De Dienes
Pour ce week-end d'Halloween 2020,
quelques photographies d'actrices qui ont cotôyées Marilyn Monroe.
For this weekend of Halloween 2020,
some photographs of actresses who have rubbed shoulders with Marilyn Monroe.
Adele Jergens - 1947
partenaire de Marilyn dans "Les Reines du Music-Hall" en 1949
partner of Marilyn in "Ladies of the Chorus"in 1949
Ava Gardner - 1944
est sortie avec Marilyn dans les soirées hollywoodiennes fin des années 1940s
goes out with Marilyn in Hollywood parties end of 1940s
Zsa Zsa Gabor - 1950s
partage l'affiche de "Cinq mariages à l'essai" avec Marilyn en 1952
features with Marilyn in "We're not married" in 1952
Joan Crawford - 1930s
critique la robe lamée or de Marilyn à la remise du prix "Photoplay" en 1953
+ est présente aux salutations à la Reine Elizabeth à Londres en 1956
criticizes Marilyn's gold lamé dress at the "Photoplay" award ceremony in 1953
+ is present at greetings to Queen Elizabeth in London in 1956
Betty Grable - 1938
partenaire de Marilyn dans "Comment épouser un millionnaire" en 1953
partner of Marilyn in "How to marry a millionaire" in 1953
Judy Garland - 1941
présente à la soirée d'anniversaire de Sammy Davis en 1954
+ présente à la projection de "La joyeuse parade" en 1954
+ arrive avec Marilyn à la soirée pour Khrouchtev en 1959
+ discute avec Marilyn à la soirée des Golden Globes de 1962
+ sa chanson "Over the rainbow" est écoutée aux funérailles de Marilyn en 1962
is present at Sammy Davis' birthday party in 1954
+ is present at the screening of "There's no business..." in 1954
+ arrives with Marilyn at the party for Khrushtev in 1959
+ discusses with Marilyn at the 1962 Golden Globes party
+ her song "Over the rainbow" was heard at Marilyn's funeral in 1962
Debbie Reynolds - 1950s
présente à la soirée pour Khrouchtev en 1959
is present at the party for Khrushtev in 1959
Janet Leigh - 1950s
présente à la soirée pour Khrouchtev en 1959
+ mariée à Tony Curtis partenaire de Marilyn dans "Certains l'aiment chaud"
is present at the party for Khrushtev in 1959
+ married to Tony Curtis, partner of Marilyn in "Some like it hot", 1959
© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.
Timbres S. Tomé E Principe, 2017
© All images are copyright and protected by their respective owners, assignees or others.
Timbres République Centrafricaine, 2013
- Série Betty Grable
- Série JFK
- Série Marilyn Monroe & Elvis Presley
source site officiel timbres postes République Centrafriquaine: car.post-stamps
© All images are copyright and protected by their respective owners, assignees or others.
'Icons and Idols Hollywood' 11/2013 Vêtements et Objets
Vêtements
lot 1263: MARILYN MONROE BROWN BLOUSE
A Marilyn Monroe brown button-down blouse from her personal wardrobe. The long-sleeved blouse has a "designed by Jax" label.
PROVENANCE Partial Lot 103, "The Personal Property of Marilyn Monroe," Christie's, New York, Sale number 9216, October 27-28, 1999
Estimate: $2 000 - 4 000
lot 1259: MARILYN MONROE COTTON NIGHTGOWN
A cotton nightgown owned by Marilyn Monroe, embroidered at the collar "Marilyn." Short sleeved, two-button closure, pocket at left breast. No label or size.
PROVENANCE Lot 300, "The Personal Property of Marilyn Monroe," Christie's, New York, Sale number 9216, October 27-28, 1999
Estimate: $15 000 - 20 000
lot 1171: BETTY GRABLE HOW TO MARRY A MILLIONAIRE HAT
A violet silk faille hat worn by Betty Grable in How to Marry a Millionaire (20th Century, 1953). The hat has a bow to back, piping and artificial horsehair to interior. A bias label reads "1-39-1-4694 Betty Grable A703-47." Costume design by Travilla. Travilla received an Oscar nomination for outstanding achievement in Color Costume Design for his work on this film. Accompanied by a copy of the film.
Estimate: $300 - 500
Maquillage
lot 1261: MARILYN MONROE MASCARA
A gold-toned metal tube of Helena Rubinstein mascara.
4 1/2 inches
PROVENANCE Partial Lot 264, "Property from the Estate of Marilyn Monroe," Julien's Auctions, Los Angeles, June 4, 2005
Estimate: $300 - 500 
Divers Objets
lot 1258: MARILYN MONROE REDBOOK AWARD
A 1952 Redbook Award presented to Marilyn Monroe. Inscribed "1952/Best Young Box Office Personality/ Marilyn Monroe" and on reverse "Redbook Magazine/ Award For Distinguished Contribution/ To The/ Art Of The Motion Picture." The double-handled bell-shaped loving cup trophy is stamped on the bottom “Sterling 9553 6 IN Black Starr & Gorham.” Accompanied by original Christie’s receipt.
Height, 4 inches
PROVENANCE Lot 353, “The Personal Property of Marilyn Monroe,” Christie’s, New York, October 27-28, 1999
Estimate: $20 000 - 40 000
lot 1262: MARILYN MONROE SNUFF BOTTLE
A snuff bottle of jade and coral owned by Marilyn Monroe. The bottle face is carved with an image of a bird in relief; the reverse is carved with four Chinese characters that read "fortune and longevity fill your doors." Affixed to a wooden stand.
3 by 1 3/4 inches
PROVENANCE Lot 370, "The Personal Property of Marilyn Monroe," Christie's, New York, Sale number 9216, October 27-28, 1999
Estimate: $1 000 - 2 000
'Icons and Idols Fashion' 11/2013 Robes & Gants
Lot 403: Marilyn Monroe Gentlemen Prefer Blondes Inspired Gown
A Travilla white satin sunburst pleated halter gown inspired by the iconic gown Travilla designed for Marilyn Monroe in Gentlemen Prefer Blondes (20th Century, 1953). The gown has rhinestone, bead, and artificial pearl embellishment to the plunging neckline. A label reads "Travilla." Size 6.
PROVENANCE From the Estate of William Travilla
Estimate: $400 - 600
Lot 404: Marilyn Monroe Inspired Travilla Gown
A shimmering ivory Travilla pleated gown circa 1980s inspired by the iconic gowns he designed for Marilyn Monroe. The gown has a square halter neckline and piping to the waistline with a rosette embellished with white rhinestones. There are a Travilla label and a hang tag. Size 6.
PROVENANCE From the Estate of William Travilla
Estimate: $400 - 600
Lot 405: Marilyn Monroe Inspired Pleated and Beaded Gown
A white pleated silk chiffon Travilla gown inspired by the gowns he designed for Marilyn Monroe. The halter neck gown has a set-in waist embellished with bands of silver beads and flower-shaped crystals.
Estimate: $400 - 600
Lot 410:Marilyn Monroe Gentlemen Prefer Blondes Inspired Gown
A burnt orange satin sunburst pleated halter gown circa 1970s inspired by the iconic gown Travilla designed for Marilyn Monroe in Gentlemen Prefer Blondes (20th Century, 1953). The gown has a bow embellishment to the plunging halter neckline, mesh lining to the bodice, and some hand finished work. No label or size present. Possibly used as an unidentified costume.
Estimate: $500 - 700
Lot 411:Marilyn Monroe Gentlemen Prefer Blondes Inspired Gown
A crystal pleated gold lamé Travilla gown inspired by creations he designed for Marilyn Monroe. The gown has a crisscross bodice with spaghetti straps and slender-fitting skirt. There is a Travilla label. Size 6.
Estimate: $400 - 600
Lot 412: Marilyn Monroe Inspired Travilla Blue Gown
A baby blue Travilla gown circa 1980s inspired by the iconic gowns he designed for Marilyn Monroe. The sunburst pleated halter gown has a circular ring at the raised waistline with a teardrop rhinestone set in metal dangling in the center. There is a Travilla label. Size 6. Accompanied by a matching stole.
Estimate: $400 - 600
Lot 413: Marilyn Monroe Gentlemen Prefer Blondes Inspired Travilla Gown
A Travilla vermilion chiffon fitted gown circa 1980s inspired by a gown Travilla designed for Marilyn Monroe in Gentlemen Prefer Blondes (20th Century, 1953). The ruched gown has a petal-like ruffle front, spaghetti halter straps, center front slit, center front zip, and three tiers of petal-like ruffles to the hem. There is a Travilla label. Size 8. Throughout his fashion career, Travilla would reference past costume designs he created for Monroe and many other Hollywood starlets. Accompanied by a copy of the film.
Estimate: $600 - 800
Lot 414: Marilyn Monroe Gentlemen Prefer Blondes Inspired Gown
A Travilla kelly green chiffon fitted gown circa 1980s inspired by a gown Travilla designed for Marilyn Monroe in Gentlemen Prefer Blondes (20th Century, 1953). The ruched gown has a petal-like ruffle front, spaghetti halter straps, center front slit, center front zip, and three tiers of petal-like ruffles to the hem. There is a Travilla label. Size 6. Throughout his fashion career, Travilla would reference past costume designs he created for Monroe and many other Hollywood starlets.
Estimate: $600 - 800
Lot 423: Marilyn Monroe Gentlemen Prefer Blondes Inspired Gown
A Travilla gold lamé sunburst pleated halter gown inspired by the iconic gown Travilla designed for Marilyn Monroe in Gentlemen Prefer Blondes (20th Century, 1953). The gown has a bow embellishment to the plunging neckline, under wiring near the bust to hold the dress in place, sheer black lining and a back zipper. The halter neck has added fabric with a Velcro closure. A label reads "Travilla." The size label has been removed. Photo credit: Getty Images
Estimate: $2 000 - 4 000
Lot 426: Marilyn Monroe Gentlemen Prefer Blondes Travilla Reproduction Gown
A scarlet red embellished crepe gown designed by Travilla and inspired by the iconic gowns Travilla designed for Marilyn Monroe and Jane Russell in Gentlemen Prefer Blondes (20th Century, 1953). The figure-hugging gown has a plunging V neckline with a center front nude illusion panel, small clear red paillettes in a vermicelli pattern throughout, a high slit to the left leg, a rhinestone necklace sewn to the neckline, a large rhinestone brooch to the slit, and breast pads. The gown has a label that reads "Travilla." Size 6. "CT" is inscribed on the back of the "professional dry clean only" label. Photo credit: Getty images
Estimate: $8 000 - 10 000
Lot 431: Marilyn Monroe Gentlemen Prefer Blondes Inspired Gown
A Travilla salmon pink chiffon fitted gown inspired by a gown Travilla designed for Marilyn Monroe in Gentlemen Prefer Blondes (20th Century, 1953). The ruched gown has a petal-like ruffle front, spaghetti halter straps, center front slit, center front zip, and three tiers of petal-like ruffles to the hem. Label and size removed. Throughout his fashion career, Travilla would reference past costume designs he created for Monroe and many other Hollywood starlets. Accompanied by a matching chiffon stole.
Estimate: $600 - 800
Lot 432: Marilyn Monroe Inspired Travilla Gown and Fox Stole
A white satin gown and fox fur stole designed by Travilla and inspired by a gown he originally designed for Marilyn Monroe's personal appearances. Monroe wore the original gown to gossip columnist Walter Winchell's birthday party at Ciro's on May 13, 1953. The strapless gown has boning to the bodice, a separate belt, a slender-fitting trained skirt with a half bow to the right side. No labels or size present. Accompanied by a fox fur trimmed stole with a silk satin lining, hook and eye closure, and a Travilla label. Photo credit; Getty Images
Estimate: $10 00 - 20 000
Lot 433: Marilyn Monroe "Diamonds are the girl's best friend" Inspired Gown
A carnation pink satin gown designed by Travilla and inspired by the iconic gown Marilyn Monroe wore while performing "Diamonds Are a Girl's Best Friend" in Gentlemen Prefer Blondes (20th Century, 1953). The strapless figure-hugging gown is belted at the waist and has a large bow to the back. Accompanied by a copy of the film.
Estimate: $10 000 - 20 000
Lot 434: Marilyn Monroe / Andy Warhol Lavender Tribute Dress
A lavender Travilla tribute dress honoring Marilyn Monroe and Andy Warhol. The sheer crepe sunburst pleated halter dress was inspired by the white dress Monroe made famous in The Seven Year Itch (20th Century, 1955) and attributed by the Travilla estate as being re-created for an Andy Warhol memorial service at The Beverly Hilton in the colors of his iconic "Marilyn" silkscreen images. A label reads "Travilla." No size present.
Estimate: $4 000 - 6 000
Lot 435: Marilyn Monroe / Andy Warhol Green Tribute Dress
A pale green Travilla tribute dress honoring Marilyn Monroe and Andy Warhol. The sheer crepe sunburst pleated halter dress was inspired by the white dress Monroe made famous in The Seven Year Itch (20th Century, 1955) and attributed by the Travilla estate as being re-created for an Andy Warhol memorial service at The Beverly Hilton in the colors of his iconic "Marilyn" silkscreen images. A label reads "Travilla." Size 6.
Estimate: $4 000 - 6 000
Lot 436: Marilyn Monroe / Andy Warhol Pink Tribute Dress
A petal pink Travilla tribute dress honoring Marilyn Monroe and Andy Warhol. The sheer crepe sunburst pleated halter dress was inspired by the white dress Monroe made famous in The Seven Year Itch (20th Century, 1955) and attributed by the Travilla estate as being re-created for an Andy Warhol memorial service at The Beverly Hilton in the colors of his iconic "Marilyn" silkscreen images. A label reads "Travilla." Size 6. "TA" is written on the back of the "professional dry clean only" label.
Estimate: $4 000 - 6 000
Lot 437: Marilyn Monroe / Andy Warhol Blue Tribute Dress
A powder blue Travilla tribute dress honoring Marilyn Monroe and Andy Warhol. The sheer crepe sunburst pleated halter dress was inspired by the white dress Monroe made famous in The Seven Year Itch (20th Century, 1955) and attributed by the Travilla estate as being re-created for an Andy Warhol memorial service at The Beverly Hilton in the colors of his iconic "Marilyn" silkscreen images. No label or size present.
Estimate: $4 000 - 6 000
Lot 438: Betty Grable How to marry a millionaire Dress
A chocolate silk dress worn by Betty Grable as Loco Dempsey in How to Marry a Millionaire (20th Century, 1953). Grable appeared with Marilyn Monroe and Lauren Bacall in this film about three New York models trying to land rich husbands. The bodice is fitted with three-quarter sleeves and a floating back yoke. The full skirt is pleated. The dress has hand finished work to the interior, hidden zip and snap closure to the front, and a bias label that reads "1-27-1-7958-A705-23 Betty Grable." William Travilla received an Oscar nomination for outstanding achievement in Color Costume Design for his work on this film. Accompanied by a copy of the film.
Estimate: $1 000 - 2 000
Lot 439: Marilyn Monroe How to marry a millionaire Inspired Gown
A magenta satin gown designed by Travilla and inspired by the iconic gown he originally designed for Marilyn Monroe in How to Marry a Millionaire (20th Century, 1953). The figure-hugging gown has a boned bodice with an asymmetrical strap and waistband embellished with sequins and a straight skirt with a draped panel to the left side. A label reads "Travilla." No size present. Travilla received an Oscar nomination for outstanding achievement in Color Costume Design for his work on this film. Accompanied by a copy of the film. Photo credit: Getty Images
Estimate: $10 000 - 20 000
Lot 440: Marilyn Monroe The Seven Year Itch Inspired Travilla Gown
An ivory ankle-length sunburst pleated crepe halter gown designed by Travilla and inspired by the iconic dress Travilla designed for Marilyn Monroe for the famous subway scene in The Seven Year Itch (20th Century, 1955). The gown is labeled "Travilla." The size label has been removed. Accompanied by a black and white wardrobe test shot of Monroe in the original dress and a copy of the film.
Estimate: $20 000 - 30 000
Lot 422: Marilyn Monroe Gentlemen Prefer Blondes Fashion Pattern
A Travilla fashion pattern with a cutters must form inspired by the iconic gold lamé gown designed for Marilyn Monroe in Gentlemen Prefer Blondes (20th Century, 1953). Travilla often used Monroe inspired gowns for the grand finale in his fashion shows.
Estimate: $1 000 - 2 000
Lot 427: Marilyn Monroe Gentlemen Prefer Blondes Inspired Fashion Pattern
A Travilla fashion pattern with a cutters must form inspired by the scarlet red embellished crepe gowns designed for Marilyn Monroe and Jane Russell in Gentlemen Prefer Blondes (20th Century, 1953). Travilla often used Monroe inspired gowns for the grand finale in his fashion shows.
Estimate: $800 - 1 000
Lot 428: Marilyn Monroe How to Marry a Millionaire Inspired Fashion Pattern
A Travilla fashion pattern with a cutters must form inspired by the magenta satin gown designed for Marilyn Monroe in How to Marry a Millionaire (20th Century, 1953). Travilla often used Monroe inspired gowns for the grand finale in his fashion shows.
Estimate: $800 - 1 000
Lot 429: Marilyn Monroe "Diamonds are the girl's best friend"
Inspired Fashion Pattern
A Travilla fashion pattern with a cutters must form inspired by the carnation pink satin gown designed for Marilyn Monroe for the performance of "Diamonds Are a Girl's Best Friend" in Gentlemen Prefer Blondes (20th Century, 1953). Travilla often used Monroe inspired gowns for the grand finale in his fashion shows.
Estimate: $800 - 1 000
Lot 430: Marilyn Monroe Gentlemen Prefer Blondes Inspired Fashion Pattern
A Travilla fashion pattern with a cutters must form inspired by a gown designed for Marilyn Monroe in Gentlemen Prefer Blondes (20th Century, 1953). Travilla often used Monroe inspired gowns for the grand finale in his fashion shows.
Estimate: $800 - 1 000
Lot 442: Marilyn Monroe The Seven Year Itch Inspired Fashion Pattern
A Travilla fashion pattern with a cutters must form inspired by the iconic halter dress designed for Marilyn Monroe for the famous subway scene in The Seven Year Itch (20th Century, 1955). Travilla often used Monroe inspired gowns for the grand finale in his fashion shows.
Estimate: $1 000 - 2 000
