Norma Jeane Mortenson Norma Jeane Baker Norma Jeane Dougherty Marilyn Monroe Marilyn DiMaggio Marilyn Miller Jean Norman Mona Monroe
Joan Newman Zelda Zonk
Séance "Cape Noire et Fourrure" Black Cape and Fur Sitting
Marilyn Monroe photographiée par Milton H Greeneet son assistant Hal Berg, le 21 février 1955 ; Connecticut.
MarilynMonroephotographed byMiltonHGreene and his assistant Hal Berg, in February, 21, 1955 ; Connecticut.
"BC": "Black Cape"
Marilyn porte une cape noire en laine qui arrive à la taille, coupée par un ruban vert enfilé. Doublée par une blouse noire en crêpe aux épaules, avec des pompons de 15 cm suspendus, avec des volants et des fronces au col. Création de Norman Norell.
Marilyn wears a black wool waist length cape, slashed with green ribbon threaded through. Lined with a black crepe blouse on the shoulders, with six-inch tassels suspended, with ruffles and ruching at the collar. Creation of Norman Norell.
Marilyn porte la robe noire à bretelles spaghettis de Norman Norell, qu'elle portera à la conférence de presse au Plaza Hotel le 09 février 1956 pour annoncer le tournage du "Prince et la danseuse" avec Laurence Olivier, et durant laquelle la bretelle de la robe va craquer.
Marilyn wears a Norman Norell's black dress with spaghetti straps, which she will wear to the press conference at the Plaza Hotel on February 09, 1956 to announce the filming of "The Prince and the Showgirl" with Laurence Olivier, and during on which the strap of the dress will crack.
En Fourrure Noire
Crédit: Milton H Greene / Hal Berg
- Magazines -
Modern Screen , 06/1955 - USA American Weekly, 25/09/1955 - USA L'Europeo, 25/01/1961 - ITALIE
Foto Video , 12/2010 - Republique Tcheque
* Dates différentes dans les sources officielles:
- Photos datées de février 1955 sur le site officiel du photographe (archivesimages.com)
- Photos datées du 21 février 1955 à la vente aux enchères de Profiles in History (juillet 2013)
- Photos datées de octobre 1955 dans le livre "Marilyn inédite" de Milton Greene (2017)
* Different dates in official sources:
- Photos dated February 1955 on the photographer's official website (archivesimages.com)
- Photos dated February 21, 1955 at the Profiles in History auction (July 2013)
- Photos dated October 1955 in the book "The essential Marilyn Monroe by Milton Greene" (2017)
All photos are copyright and protected by their respective owners. copyright text by GinieLand.
Le 15 février 1954, Marilyn interrompt son voyage de noces au Japon avec le joueur de base-ball Joe DiMaggio pour aller chanter en Corée auprès des GI. Cette tournée dans les montagnes situées à la frontière entre la Corée du Sud et celle du Nord durera quatre jours. Que racontent les images tournées par les cameramen de l'armée américaine?
Le magazine américain Life du 20 avril 1959 consacrait sa couverture à Marilyn Monroe "A comic Marilyn sets movie aglow" et un article intérieur de 4 pages, consacré à la sortie du film "Some like it Hot" (Certains l'aiment chaud).
Laurette Luez (1928 - 1999) . actrice américaine amie avec Marilyn en 1946-1949 . American actress
Marilyn's friend in 1946-1949 .
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Laurette Luez est née sous le nom de Loretta Mary Luiz, le 19 août 1928 à Honolulu, Hawai. Elle est la deuxième des trois enfants de Frank et Francesca Luiz, des chanteurs et danseurs traditionnels de la musique hawaïenne et espagnole. Le père de Loretta était hawaïen d'origine portugaise et sa mère était australienne et fille d'un acteur. La première fois que Laurette se produisit sur scène, elle n'avait que trois ans.
En juillet 1935, la famille quitte Honolulu pour s'installer à Los Angeles. Cette même année, Loretta, âgée de six ans, se produisit sur scène pour le sultan Ibrahim de Johor, qui était alors l'un des hommes les plus riches du monde. Elle part en tournée avec ses parents et la famille parcourt le monde pour se produire sur scène en Chine, au Japon, en Indonésie, en Birmanie. .
Laurette Luez was born Loretta Mary Luiz on August 19, 1928, in Honolulu, Hawaii.She was the second of three children of Frank and Francesca Luiz, traditional Hawaiian and Spanish singers and dancers.Loretta's father was a Hawaiian of Portuguese descent, and her mother was an Australian and the daughter of an actor.Laurette first performed on stage when she was only three years old. In July 1935, the family moved from Honolulu to Los Angeles.That same year, Loretta, at the age of six, performed on stage for Sultan Ibrahim of Johor, who was then one of the richest men in the world.She went on tour with her parents and the family traveled the world to perform on stage in China, Japan, Indonesia and Burma. .
A la fin des années 1930, alors qu'elle se promène sur Hollywood Boulevard, un publicitaire conseilla la jeune artiste, qui n'avait que dix ans, de changer son nom en Laurette Luez. Elle travailla alors comme mannequin pour des campagnes publicitaires.
En 1944, Cecil B. DeMille voit sa photographie et la convoque pour passer le casting du film L'Odyssée du Docteur Wassell. En octobre de la même année, sa photo est publiée dans le magazine populaire Esquire. En 1945, elle signe un contrat d'une durée de cinq ans avec la 20th Century Fox et n'obtient que de petits rôles, où elle n'est même pas créditée au générique: Anna et le roi de Siam (de John Cromwell) et Margie (de Henry King) en 1946, Le Charlatan (de Edmund Goulding) en 1947, Infidèlement Vôtre (de Preston Sturges) en 1948.
Avec ses faux airs d'Ava Gardner, elle devient, à la fin des années 1940, une mannequin célèbre, posant pour les photographes célèbres (comme Bruno Bernard) et travaillant pour de grandes marques comme le savon Lux. .
- Portraits de mannequin et pin-up -
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In the late 1930s, while walking down Hollywood Boulevard, an advertising executive advised the ten-year-old artist to change her name to Laurette Luez.She then worked as a model for advertising campaigns. In 1944, Cecil B. DeMille saw her photograph and called her to audition for the film The Story of Dr. Wassell.In October of that year, her photo was published in the popular magazine Esquire.In 1945, she signed a five-year contract with 20th Century Fox and only got small roles, where she was not even credited in the credits: Anna and the King of Siam (by John Cromwell) and Margie (by Henry King) in 1946, Nightmare Alley(by Edmund Goulding) in 1947, Unfaithfully Yours (by Preston Sturges) in 1948. With her resemblance to Ava Gardner, she became a famous model in the late 1940s, posing for famous photographers (such as Bruno Bernard) and working for major brands such as Lux soap. .
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A l'âge de 21 ans, en 1949, elle joue dans Mort à l'arrivée qui lui offre une certaine célébrité (pour les studios de la United Artists). En 1950, sa popularité grimpe, partageant l'affiche avec des acteurs comme Roddy McDowall (dans Les requins du Pacifique) et Errol Flynn (dans Kim, tourné en Inde pour la MGM) et avec le film Femmes Préhistoriques. Certaines vipères d'Hollywood (comme le journaliste à potins Jimmy Fidler) ont déclaré que Luez avait certes la beauté, le charisme et l'ambition, mais qu'elle manquait cruellement d'expérience en tant qu'actrice, allant jusqu'à prendre des cours de diction après ses journées de tournage.
C'est à partir de ce moment qu'on offra à Laurette que des rôles de personnages ethniques et exotiques au cinéma et à la télévision. .
- Portraits de la MGM pour Kim -
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At the age of 21, in 1949, she starred in D.O.A.which brought her some fame (for United Artists studios).In 1950, her popularity soared, sharing the screen with actors such as Roddy McDowall (in Killer Shark) and Errol Flynn (in Kim, shot in India for MGM) and with the film Prehistoric Women.Some Hollywood vipers (such as gossip columnist Jimmy Fidler) said that Luez certainly had the beauty, charisma and ambition, but that she was seriously lacking in acting experience, going so far as to take diction lessons after her filming days. From this point on, Laurette was offered only roles as ethnic and exotic characters in film and television. .
- Portraits pour Prehistoric Women -
. - Portraits pour African Treasure -
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N'obtenant que de maigres participations et n'obtenant pas le succès tant espéré, elle stoppe sa carrière cinématographique en 1965 et part vivre en Floride.
Durant les années 1950s, sa vie privée était plus connue que ses interprétations d'actrices. Laurette a en effet été fiancée au producteur Samuel Goldwyn Jr. et mariée quatre fois: avec l'acteur Philip Sudano (en 1947-1948), avec qui elle a eu son premier fils, Alexander Eden. Ensuite, avec le réalisateur grec Gregg Tallas (1950: le mariage ne dura que trois mois). Puis, avec l'investisseur Ed Harrison (1951: mariage annulé en 1952, car il n'était pas divorcé de sa précédente femme!). Enfin, avec Robert Creel (1956 à 1983), avec qui elle a eu deux enfants (un garçon Craig T. né en 1962 et une fille Claudette M. née en 1968).
Dans les années 1990, Laurette vivait avec sa soeur Lei, et un de ses neveux à Los Angeles. Elle décède le 12 septembre 1999 à Milton, en Floride, à l'âge de 71 ans. Elle a été incinérée et ses cendres dispersées dans le Golfe du mexique par son petit-fils Matthew. .
- Portraits pour la MGM -
. - Portraits de Clarence Sinclair Bull (MGM) -
. - Portraits pour United Artists -
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Obtaining only meager participations and not achieving the success she had hoped for, she stopped her film career in 1965 and moved to Florida.
During the 1950s, her private life was better known than her acting performances.Laurette was in fact engaged to producer Samuel Goldwyn Jr. and married four times: with the actor Philip Sudano (in 1947-1948), with whom she had her first son, Alexander Eden.Then, with the Greek director Gregg Tallas (1950: the marriage lasted only three months).Then, with the investor Ed Harrison (1951: marriage annulled in 1952, because he was not divorced from his previous wife!).Finally, with Robert Creel (1956 to 1983), with whom she had two children (a boy Craig T. born in 1962 and a girl Claudette M. born in 1968). In the 1990s, Laurette lived with her sister Lei, and a nephew in Los Angeles.She died on September 12, 1999, in Milton, Florida, at the age of 71. She was cremated and her ashes scattered in the Gulf of Mexico by her grandson Matthew.
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- Couvertures de magazines: Modern Man (01/1954), Night and Day (01/1954), Cinemonde (12/01/1952) -
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Enregistrer
. Marilyn & Laurette .
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Laurette a croisé Marilyn à diverses reprises à la fin des années 1940s. Elles fréquentent les mêmes studios: la 20th Century Fox (pour qui elles signent leur premier contrat: Laurette Luez en 1945 et Marilyn en 1946) et la United Artists (pour qui Laurette et Marilyn tournent chacune un film la même année, en 1948). Leur carrière d'actrice ne décolle pas et elles n'obtiennent que de petits rôles, alors elles posent comme mannequins pour des publicités et comme pin-up, notamment pour le photographe Bruno Bernard. . Laurette crossed paths with Marilyn on several occasions in the late 1940s.They frequented the same studios: 20th Century Fox (for whom they signed their first contract: Laurette Luez in 1945 and Marilyn in 1946) and United Artists (for whom Laurette and Marilyn each made a film the same year, in 1948).Their acting careers did not take off and they only got small roles, so they posed as models for advertisements and as pin-ups, notably for the photographer Bruno Bernard. .
- Portraits de Laurette Luez par Bruno Bernard -
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Pendant leur carrière, elles croisent les mêmes personnalités: L'acteur Elliot Reid (il donne la réplique à Laurette en 1947 dans le film "L'Odyssée du Docteur Wassell; et à Marilyn en 1952 dans "Les hommes préfèrent les blondes"); L'acteur Alan Young (il joue avec Laurette en 1946 dans "Margie"; et participe avec Marilyn en 1946 et 1947 à des événements publicitaires); Le réalisateur Frederick Hugh Herbert (réalisateur en 1946 de "Margie" avec Laurette; en 1946 de "Scudda Hoo Scudda Hay" avec Marilyn); L'acteur Roddy Mac Dowall (il joue avec Laurette en 1950 dans "Les requins du Pacifique"; il accompagne Marilyn en 1949 à une soirée promotionnelle); L'actrice Jean Peters (avec Laurette en 1950 dans "Ma brute chérie"; avec Marilyn en 1952 dans "Niagara"); L'acteur Mickey Rooney (Laurette apparaît en 1954 dans son Mickey Rooney Show; il joue avec Marilyn en 1950 dans "The Fireball" et croise Marilyn à des événements médiatiques à une première en 1948, à la Ray Anthony Party et un match de baseball en 1952); L'acteur Donald O'Connor (Laurette apparaît en 1955 dans son Donald O'Connor Show; il joue avec Marilyn en 1954 dans "La Joyeuse Parade"). .
- Roddy Mac Dowall avec Marilyn / avec Laurette -
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During their career, they crossed paths with the same personalities: Actor Elliot Reid (he played with Laurette in 1947 in the film "The Story of Doctor Wassell"; and with Marilyn in 1952 in "Gentlemen Prefer Blondes"); Actor Alan Young (he played with Laurette in 1946 in "Margie"; and participated with Marilyn in 1946 and 1947 in advertising events); Director Frederick Hugh Herbert (director in 1946 of "Margie" with Laurette; in 1946 of "Scudda Hoo Scudda Hay" with Marilyn); Actor Roddy Mac Dowall (he played with Laurette in 1950 in "Killer Shark"; he accompanied Marilyn in 1949 to a promotional evening); Actress Jean Peters (with Laurette in 1950 in "Love that Brute"; withMarilyn in 1952 in "Niagara"); Actor Mickey Rooney (Laurette appeared in 1954 on his Mickey Rooney Show; he starred with Marilyn in 1950 in "The Fireball" and saw Marilyn at media events at a premiere in 1948, the Ray Anthony Party and a baseball game in 1952); Actor Donald O'Connor (Laurette appeared in 1955 on his Donald O'Connor Show; he starred with Marilyn in 1954 in "There's no Business"). .
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. Laurette Luez déclara qu'elle fut l'instigatrice du changement de nom de Norma Jeane en Marilyn Monroe; ce qui porte à croire qu'elles se connaissaient alors dès 1946. Elles se seraient rencontrées dans une classe d'art dramatique et Laurette aurait alors suggéré à Norma Jeane de changer son nom, en choisissant un prénom et un nom d'un personnage célèbre: l'une aurait opté pour le nom de Monroe, en référence au President James Monroe, et l'autre aurait choisi le prénom de Marilyn, en référence à Marilyn Miller.
En réalité, c'est quand elle signe son contrat avec la Fox - le 26 juillet 1946 - que Norma Jeane change son nom sur les conseils de Ben Lyon pour devenir « Marilyn Monroe », le prénom Marilyn serait inspiré par l'actrice Marilyn Miller et le nom de Monroe étant celui de sa mère (Gladys). . Laurette Luez stated that she was the instigator of Norma Jeane's name change to Marilyn Monroe;which suggests that they had known each other since 1946. They met in a drama class and Laurette then suggested that Norma Jeane change her name, choosing a first and last name of a famous person: one opted for the name Monroe, in reference to President James Monroe, and the other chose the name Marilyn, in reference to Marilyn Miller. In fact, it was when she signed her contract with Fox - on July 26, 1946 - that Norma Jeane changed her name on the advice of Ben Lyon to become "Marilyn Monroe", the first name Marilyn would be inspired by the actress Marilyn Miller and the name Monroe being that of her mother (Gladys). .
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Elles sont photographiées ensemble à deux reprises: They are photographed together twice: .
Pour le casting de Sitting Pretty en 1948 (avec Clifton Webb) For the casting of Sitting Pretty in 1948 (with Clifton Webb)
Jeudi 19 août 1953: Marilyn Monroe invite le photographe John Vachon dans sa chambre d'hôtel. S'étant blessée sur le tournage de River of no return, elle portait un plâtre à son pied gauche. Le photographe la prend en photo en compagnie de Joe DiMaggio. A cette période, la relation entre Joe et Marilyn n'était encore qu'officieuse et Joe refusait de poser en photo avec Marilyn. C'est donc ici les premières photographies officielles du couple.
Le même jour, John Vachon disposa de deux heures pour photographier Marilyn dans sa chambre d'hôtel. Il en résultera une série de portraits.
Lot 282: Marilyn Monroe gown w/ hat for Gentlemen Prefer Blondes
Marilyn Monroe "Lorelei Lee" signature red-sequined "Two Little Girls from Little Rock" showgirl gown with feathered hat by Travilla for Gentlemen Prefer Blondes. (TCF, 1953) This iconic costume was worn by Marilyn Monroe as "Lorelei Lee" in the number "Two Little Girls from Little Rock." Made of a heavy silk crepe with thousands of hand-sewn sequins spiraling in every direction starting small at the top and finishing in large singular sequins around the bottom to allow them to catch the light from all angles. A deep split to high above the thigh caught by a diamond brooch added to the drama of this dress. The slightly risqué bust area once again fooled the censors by including a shear body-toned fabric from the neck right down to the waist giving the impression of nudity without showing a thing. Dress has handwritten label "1-25-1-4286 A698-67 Marilyn Monroe." Hat has handwritten label "1-25-1-4286 A698-67 M. Monroe." Acquired by Debbie Reynolds directly from Twentieth Century-Fox during the "pre-sale" when she bought all of the Marilyn Monroe wardrobe from the studio prior to the auction in 1971.
Lot 286: 1952 red MG TD used in Monkey Business
1952 red MG TD used by Marilyn Monroe and Cary Grant in Monkey Business. (TCF, 1952) This car was acquired by Debbie Reynolds directly from Twentieth Century-Fox during the "pre-sale" when she bought all of the Marilyn Monroe wardrobe from the studio prior to the auction in 1971. It was bought in running condition and was placed in storage until Debbie's daughter, Carrie Fisher, took a shining to it when she started to drive (ca. 1974). Unfortunately, Carrie never really mastered the manual transmission and Debbie took the keys away to avert impending disaster, and the car was placed back in storage where it has remained ever since. In 2011 the engine and transmission were rebuilt and the car has been rejuvenated with new chrome and remains in nice running condition. The car has its original paint which exhibits light scratches in areas. The dent in the radiator, occurring from Cary Grant crashing in the fence in the film, was kept in its original condition. The car comes with the original folding convertible top and frame, but it was not installed during filming so it has been kept aside for the future owner. This is the only known film-used Marilyn Monroe car!!
Lot 313: Marilyn Monroe saloon-girl gown from River of No Return
Marilyn Monroe "Kay Weston" gold charmeuse saloon-girl gown by Travilla for River of No Return. (TCF, 1954) Gold charmeuse gown covered with bugle beading, red fringe accents, and gold velvet train with red netting. Handwritten label "38733 Grable" and stamped "1 25 1 1748 1900." Created by Helen Rose for Betty Grable as "Kate Farley" in the "Cuddle Up a Little Closer" number in Coney Island (TCF, 1943). Travilla added the red beading and train for Marilyn Monroe as "Kay Weston" in the final scene of the film singing "The River of No Return" in River of No Return. Acquired by Debbie Reynolds directly from Twentieth Century-Fox during the "pre-sale" when she bought all of the Marilyn Monroe wardrobe from the studio prior to the auction in 1971. Marilyn wore this dress to sing the title song in The River of No Return. The gold silk is covered in tiny gold bugle beads. Inside is yards and yards of red tulle edged in gold and sewn into layers. At the back, fabrics of pale gold velvet and a stiff lame' are pulled and pleated together to make a rough bustle, both fabrics falling into a train. The dress is trimmed in swirled patterns of red beaded tassels attached to netting then sewn onto the dress. The left shoulder has handmade silk flowers.
Lot 314: M.Monroe costume There's No Business Like Show Business
Marilyn Monroe "Vicky" tropical print pink, black and white skirt, black halter top and hat from "Heat Wave" number by Travilla for There's No Business Like Show Business. (TCF, 1954) The design started with a hat. A skull cap in black with a huge plated straw hat, the ends left raw to give the hat movement, and silk flowers attached. It was only after the hat was completed that Travilla took it to another level and added the flowers that hung around her face. The top is a sheath of black raw silk, tied in the middle by a vivid pink and black chiffon scarf that crosses the chest and drapes down the back and large black sequins attached. Handwritten label "1-25-1-4693 A729-48 M. Monroe." The skirt starts with an extremely tight band of black raw silk that gathers around the bottom at the back and pulls round to the front in a deep sexy "V" with black sequins sewn to it; the undergarment is attached to this. From the front "V" travelling round to below her bottom is a voluminous skirt of hand printed white raw silk with huge black flowers. Attached to these flowers are hundreds of large sequins scattered randomly. The interior of the skirt is the same fabric as the scarf, a plain pink chiffon. Gathered and attached in many layers travelling from top to bottom. These layers also have hundreds of scattered sequins but this time in opaque. Handwritten label "1-25-1-4693 A729-48 M. Monroe." Acquired by Debbie Reynolds directly from Twentieth Century-Fox during the "pre-sale" when she bought all of the Marilyn Monroe wardrobe from the studio prior to the auction in 1971.
Lot 316: There's No Business Like Show Business original poster
There's No Business Like Show Business original 14" x 36" insert poster for Marilyn Monroe film. (TCF, 1953) Linen-backed Fine to Very Fine U.S. insert-sized poster depicting Marilyn Monroe two times. Appears to have had normal light folds prior to backing, and shows only modest background retouching.
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Lot 354: Marilyn Monroe "Subway" dress, from The Seven Year Itch
Marilyn Monroe "The Girl" ivory pleated "Subway" dress by Travilla, the most recognized costume in film history, from The Seven Year Itch. (TCF, 1955) Ivory rayon-acetate halter dress with pleated skirt. Handwritten label "1-27-1-8171 M. Monroe A-734-12." Worn by Marilyn Monroe as "The Girl" in one of the most iconic images of film history in The Seven Year Itch, when she stood above the subway grate and uttered that famous line, "OOOH isn't it delicious?" The Seven Year Itch storyline, unlike some of Monroe's earlier films, held no promise as a costume showcase. It was not a period piece and had no dance routines. Yet this was to become the vehicle for Travilla's most famous dress design, in bias-cut crepe with a halter top and sunburst pleats. "So I wondered what could I do with this most beautiful girl that Marilyn was to play to make her look clean, talcum-powdered, and adorable," Travilla mused. "What would I give her to wear that would blow in the breeze and be fun and pretty? I knew there would be a wind blowing so that would require a skirt." [Hollywood Costume Design by Travilla, Maureen Reilly]. The fabric Travilla chose was an ivory colored rayon-acetate crepe, heavy enough to flow beautifully as Marilyn walked but still light enough to blow up in an interesting way. A fabric very hard if not impossible to get now, the closest is georgette. Travilla never normally used man-made fabric but this posed a challenge with pleating as 100% natural fabric would not hold such stiff pleats, so for all his pleated creations a special fabric had to be made with just a small amount of man-made fiber in it to maintain the structure. Acquired by Debbie Reynolds directly from Twentieth Century-Fox during the "pre-sale" when she bought all of the Marilyn Monroe wardrobe from the studio prior to the auction in 1971.
Lot 355: The Seven Year Itch poster for Marilyn Monroe film
The Seven Year Itch original 14" x 36" insert poster for Marilyn Monroe film. (TCF, 1955) Linen-backed Very Fine to Near Mint U.S. insert-sized poster depicting Marilyn Monroe's famous subway skirt-blowing scene. Appears to have had only one very light center fold prior to backing, and shows only minimal border retouching.