Showing posts with label Marilyn Monroe. Show all posts

Tuesday, October 7, 2014

Cinema Style - All About Costume Designer Jean Louis

UPDATE: Sometimes life just takes you in a different direction. As of July 2019, publisher GoodKnight Books invited me to write Film Noir Style: The Killer 1940s. Thankfully I was able to use all the research I did for Jean Louis' biography in this new book instead. He appears three times - for Gilda (1946), Dead Reckoning (1947), and The Lady from Shanghai (1948). I hope you'll enjoy it!

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This week we celebrated the birthday of legendary costume designer Jean Louis and I am thrilled to announce that I have been invited by his family to write his authorized biography.

For the past few years, it has been my great pleasure to get to know the family of Jean and Loretta Young (they were married late in life) and am proud to now call them friends. They respect my commitment to shining a light on the work of costume designers from the Golden Age of Hollywood and know of my deep affection for Jean. As a result, they have asked me to preserve Jean's legacy by writing the first biography on his life and career. I will be given their full cooperation on the project and unrestricted access to his photos, sketches, and more. I am honored to do so as Jean is one of the greatest designers of all time and responsible for some of the most iconic costumes in film. Countless designers--both in film and fashion--have been influenced by Jean Louis, yet far too few even know his name. Obviously, I plan to right that wrong.

Many know that I am deep into writing my first book--THE STYLE ESSENTIALS: HISTORY OF FASHION IN FILM 1920s-1980s--and I will continue to do so. But I began to understand the need to start Jean's biography sooner rather than later due to the number of people who are still with us that I'd like to speak to about his incredible life. I plan to work on both books together.

If you have some connection Jean Louis and would like to share pictures, personal experiences, or know the location of his designs, please do not hesitate to contact me at Kimberly@GlamAmor.com.

It truly feels like the stars are in alignment because this month we celebrate Jean's birthday (October 5th) as well as one of his great stars Rita Hayworth (October 17th). For those who would like to watch their films, the recently launched classic film channel getTV is putting the spotlight on Rita this month. And, because getTV's programming comes from the Columbia library, you can always find films that feature the work of the studio's longtime costume designer.

But first, I offer you this brief illustrated introduction to the great Jean Louis.

From Paris to New York

Jean Louis Berthault was born in 1907 in the style capital of the world--Paris. There he attended the prestigious École nationale supérieure des Arts Décoratifs (School of Decorative Arts). After graduation, he started his career in the early 1930s as a sketch artist for the Agnes-Drecoll couturier. In 1935, he used settlement money from an auto accident to fly to New York City. While on holiday, he was encouraged by friends to share some of his sketches with the best fashion designers in the city. It was Hattie Carnegie who saw the greatness of his talent and hired him.

At that time, Hattie Carnegie (real name: Henrietta Kanengeiser, below) was America's reigning fashion queen and beloved coast to coast. She began as a couturier with hats and custom-made clothing, but in 1928 she prophetically decided to start an affordable ready-to-wear line of clothes for the masses. As a result, her business not only survived the Great Depression, but thrived throughout it. Every woman wanted to be fashionable no matter what her budget during these challenging years and Hattie Carnegie made this possible. She was at her height in the 1930s and by the 1940s, her store had grown and had different departments for furs, hats, handbags, jewelry, vintage furniture, china and glass, cosmetics, and perfume. The brand became known for being able to dress women "hat to hem." The only thing she didn't sell was shoes.

Hattie never could sew, but she was a great editor and able to spot and cultivate talent. Many legendary designers trained under her. Norman Norell was one of the first and became the head of her new ready-to-wear line. Others who started their careers at Hattie Carnegie include Travis Banton, Pauline Trigere, James Galanos, and Jean Louis. Interestingly, all of them spent time as costume designers for film. Even with this incredible collection of talent, Jean was well known among the designers at Hattie Carnegie. One reason for this was his design of the 'Carnegie suit' in 1937. Hattie's slogan was that "the woman should wear the clothes, not the clothes wear the woman," and Jean's design for the 'Carnegie suit' perfectly captured this. It worked for anyone who wore it and allowed for each woman's personal style. It also transcended the eras--it was as popular in the 1950s as it was when it first came out in the 1930s.

Wallis Simpson, Duchess of Windsor, in the 1930s in what looks to be a Carnegie suit (above)

and the suit still wowing women in the 1950s

At Hattie Carnegie, Jean developed a loyal clientele. This included royal style icon Wallis Simpson, Duchess of Windsor, who frequently wore his designs. It also included Hollywood royalty, such as Constance Bennett and Joan Crawford. It was Irene Dunne who bought one of his first designs--a blue satin evening gown--and remained a customer the rest of her life. Another was Joan Cohn, wife of Columbia president and production director Harry Cohn. In 1944, she suggested that Harry put Jean under contract at Columbia as an assistant costume designer. Jean readily accepted the position, especially because it allowed him to work again with his mentor and former Carnegie colleague Travis Banton. Banton briefly worked at Columbia after his time at 20th Century Fox, and taught Jean the distinct differences between designing for life and designing for film. Jean's first work at Columbia would be for friend Irene Dunne in the appropriately named Together Again (1944). The film world would never be the same.

The Columbia Years

Once Banton departed for Universal in 1945, Louis was made the head costume designer at Columbia. He was then given the rare honor of full screen credit for his "Gowns by Jean Louis." His overarching style was sleek and simple, but very elegant. Superfluous details never complicated his designs. It's for these reason that his clothes remain so timeless today. During his career, he would help establish the style of several actresses. One of the first at Columbia was Rita Hayworth, who he worked with in 1945's Tonight and Every Night. But it was their next movie, the the now iconic Gilda (1946), that turned her into an international superstar. As that character and in Jean's gowns, Rita became known as the "Love Goddess" all over the world. Her black satin strapless "Put the Blame on Mame" gown, in particular, is widely considered one of the ten best costumes of all time. It is also one of the most influential on fashion designers--you would be hard-pressed to find an awards show red carpet today that doesn't have at least one dress that owes some of its design to Gilda. Jean's next movie with Rita The Lady from Shanghai (1947) was another film noir with a stunning wardrobe for the screen siren. They would go on to do 10 pictures together.

After Rita decided to depart from Columbia (and then even America so she could marry a prince), the seductive Kim Novak stepped up as the studio's new star. Jean was with her from the very beginning, even designing a special wardrobe for her screen test at the request of head Harry Cohn. Bell, Book and Candle (1957) and Pal Joey (1958, with Rita) are just two of the films that Jean and Kim did together, and her clothes reflect both the sweet and sultry sides of her personality. Both movies were Oscar nominated for their chic costume design along with ones he did for Judy Holliday, who was another star at Columbia. Louis transformed her into dancer "Billie" Dawn for the Oscar nominated Born Yesterday (1950), a particular triumph as Judy was not naturally glamorous and seemed "completely disinterested" when she was dressed for the costume tests. Yet onscreen, in Jean's gorgeous clothes, she found the character and "even he was amazed at the changes." Perhaps it's an especially sweet victory then, after 14 nominations, that Jean finally hit the jackpot with Judy's film Solid Gold Cadillac (1956) and won his one and only Oscar.

Iconic film noir style for Rita Hayworth in Gilda (1946)

and The Lady from Shanghai (1947)

Transforming Judy Holliday for Born Yesterday (1950)

and the Oscar-winning The Solid Gold Cadillac (1956)

Kim Novak in her favorite color purple for Pal Joey (1957)

and ever seductive in Bell, Book and Candle (1958)

The Universal Years and Beyond

In 1958, Jean followed Banton's example once again and went to head the costume design department at Universal. There he immediately met another star who he would help define her signature style--Doris Day. Pillow Talk (1959) was the first of their films together along with her three-time co-star Rock Hudson. This marked a turning point for her. "He created a sophisticated allure for Doris that launched a new phase of her career," wrote journalist Tom Vallance. With this wardrobe, Jean highlighted her phenomenal figure with colorful tailored wiggle dresses and brought out the sexuality in her virginal onscreen persona. Friend James Garner--who starred with her in The Thrill of It All (1963, also designed by Jean Louis)--said Doris "exuded sex" while still maintaining her image of the All American Girl. Pillow Talk is so influential that I have chosen it as one of The Style Essentials and it is one of my personal favorites as well. It started a look she would continue in subsequent films, no matter what costume designer was assigned to the production. Irene (Lover Come Back), Morton Haack (Please Don't Eat the Daisies), and Ray Aghayan (Glass Bottom Boat) all followed Jean's lead with her. Jean would return to work with Doris again on her third picture with Rock Hudson Send Me No Flowers (1964).

Another actress he loved and worked with while at Universal was Lana Turner. Next to Rita, Lana is perhaps the best example of Jean Louis style. In an era when costumes were becoming more realistic in film, Jean continued to be known for glamour and frequently designed for Lana. Costumes in these lavish films--particularly those by producer Ross Hunter, which included Pillow Talk--really showed Jean's gift with color. It was one of his great talents and something that drew me personally to his designs. "He had the most amazing discerning eye for color," recalls his daughter-in-law Linda Lewis. "It was a 6th sense for him." Another of my favorite movie wardrobes is Jean's colorful confections for Lana in Imitation of Life (1959).

In addition to his time at Universal, he also started to freelance for other studios around 1960 and would continue to do so until 1973. This included the costume design for blonde bombshell Marilyn Monroe for her last films The Misfits (1960) and the sadly unfinished Something's Got to Give (1962). But his best known costume for Marilyn--and indeed one of the most iconic of all time--is not from film at all.

Jean Louis helps Doris Day find her signature style in Pillow Talk (1959)

and The Thrill of It All (1963)

Giving Lana Turner glamour in Ross Hunter productions

Imitation of Life (1959, above) and Madame X (1966)

With Marilyn Monroe in her last productions The Misfits (1961)

and the unfinished Something's Got to Give (1962)

Acts of Illusion

Jean was not only known for his glamorous costumes onscreen, but offscreen as well. He was a genius for creating drama for actresses on the stage. First, in 1950, he designed Dorothy Lamour's stage costumes at the London Pallidum where a subtle striptease revealed her signature sarong underneath. But his most famous moment on stage came in 1962 when he literally sewed Marilyn Monroe into a flesh-colored marquisette gown covered in 2,500 graduated rhinestones. In it she sang "Happy Birthday, Mr. President" to John F. Kennedy at Madison Square Garden in front of 15,000 people. It is an iconic gown that everyone knows today.

Marilyn's dress was inspired by stage costumes Jean created for Marlene Dietrich and her Las Vegas cabaret act during the 1950s and 1960s. Much like he did for Rita in the 1940s, Jean first created a body stocking for Marlene that perfected her figure underneath; it is one of the reasons she seemed so age-defying over the years. He then slipped a gown of nude silk chiffon with strategically placed sequins over the foundation garment. Because he matched the fabric so closely to the color of her skin, it gave the illusion of her wearing nothing at all. Eventually, Jean designed an entire wardrobe of these 'illusion gowns' for her act in various colors with sequins or beading. Her show became so popular that she would tour the world performing in Jean's custom-made costumes. His gowns for both Marilyn and Marlene have had such a lasting impact that they continue to influence many designers today.

Marilyn in her iconic "Happy Birthday, Mr. President" gown at Madison Square Garden 1962

Marlene Dietrich in one of her many illusion gowns for her Las Vegas cabaret act during 1950s and 1960s

Lovely Loretta

In addition to film, Jean also contributed to iconic television. He and his wife Maggie were both great friends with Loretta Young since he designed for her on the Columbia picture Paula (1952). She then launched The Loretta Young Show in 1953, which was groundbreaking at the time (she was both producer and star) and it became known for its fashion. Audiences tuned in week after week to see what she was wearing in her entrance and watch her signature 'twirl.' It is widely reported that Jean created all of her television costumes, but this is simply not true--many designers were involved, including Werlé and Travilla. Jean would not work with her again until The New Loretta Young Show debuted in 1962, and then he designed all 26 episodes of the series until it ended in 1963 (that time period is reflected in the photo below).

Then, in the late 1960s, Jean would finally step out and design his own fabulous fashion line while continuing to do films freelance at the studios. His label was called "Jean Louis, Inc." and sold through his Beverly Hills boutique as well as better department stores across the country. Not surprisingly, he was especially popular with sophisticated women in California and New York. During this decade, he also was responsible for updating the United Airlines uniforms, which made all the attendants look beautiful and set that certain Modern style we still admire today. Loretta remained one of the best models of his work, though, as you will see in the photos here. She once said, "I love his clothes because they are understated high fashion and yet seductive at the same time." I couldn't have said it better.

After his dear wife Maggie passed away, Jean and Loretta remained very close and were married toward the end of their lives in 1993. He was a loyal friend and Linda Lewis described him as "a soft-spoken and quiet man, but with a lovely sense of humor." He also had great style, which was as important to him personally as it was when dressing his stars. I frequently speak of the great partnerships between costume designers and actresses from the Golden Age of Hollywood--Adrian and Joan Crawford, Edith Head and Grace Kelly, Helen Rose and Elizabeth Taylor. Jean Louis and Rita Hayworth should be added to that elite list. Travis Banton is another with his strong partnership with Marlene Dietrich during her early days at Paramount. Interestingly Jean, his good friend, would have that kind of relationship with her in the later days of her career.

But obviously, we can't stop there as countless others owe something to Jean. As we discussed, Kim Novak, Doris Day, Lana Turner, Judy Holliday, and Marilyn Monroe are all examples of his design genius. We should also include Irene Dunne, Rosalind Russell, Joan Crawford, Judy Garland, Katharine Hepburn, Deborah Kerr, Julie Andrews, Shirley MacLaine, Shirley Jones, Ann-Margret, Gloria Grahame, and Lizabeth Scott. Just to name a few. Carol Channing, who he designed for in Thoroughly Modern Millie (1967) said, "Jean loved each one of us....He saw us as perfect as the way God made us."

Though he passed away in 1997, the legacy of Jean Louis lives on and on. His impact can be found in film as well as fashion--Jean is responsible for multiple examples of iconic costume design and it continues to influence many artists today. As I share in my Cinema Connection series, fashion designers frequently take inspiration from his work. Michael Kors, Vera Wang, Zuhair Murad, Giorgio Armani, Georgina Chapman (Marchesa), Sarah Burton (Alexander McQueen), and Zac Posen are some who have paid homage to Jean in their collections. Another is my friend Ali Rahimi, designer for the Mon Atelier couturier, who cites Jean Louis as a major influence. Jean's vision has been personally meaningful to me as well. And, to be sure, many more are inspired by his designs likely without even knowing his name.

I know that this is but a brief introduction to the greatness of Jean Louis and his vast talent, but I look forward to sharing much more with you later when I finish writing the book.

I cannot wait.

Loretta Young in Jean Louis

Jean and Loretta happily married in the 1990s

Many thanks to

Chris and Linda Lewis

Other Sources

Biography.com

DorisDay.net

DorisDayMagic.com

FilmReference.com

Hattie Carnegie--FashionEncyclopedia.com

Hattie Carnegie--OnThisDayinFashion.com

History.com

Holtzman, Will. Judy Holliday. New York: G. P. Putnam's Sons, 1982.

Independent.co.uk

JWA.org

Leese, Elizabeth. Costume Design in the Movies. New York: Dover Publications, 1991.

NYTimes.com

PrettyCleverFilms.com

Shipman, David. Judy Garland: The Secret Life of an American Legend. New York: Hyperion, 1992.

TheMarilynMonroeCollection.com

Time.com

VintageFashionGuild.org

Images as noted ©GlamAmor and thanks to Linda Lewis

Saturday, May 24, 2014

Style Essentials--Stardom Strikes Marilyn Monroe as GENTLEMEN PREFER BLONDES

In the story of the life of Marilyn Monroe, 1953 was an exceptional year. It is perhaps the greatest year of her tragically short life. 1953 began with her star on the rise from some successes of the year before; it ended with Marilyn being the biggest star in the world. Niagara premiered in January with two firsts for Marilyn—Technicolor and top billing. Though that top billing wouldn't extend to the next picture that premiered in July—Gentlemen Prefer Blondes—there is little doubt that she became the star of the show. The publicity that surrounded the film seemed to focus on her and continued through the end of the year when How to Marry a Millionaire made its debut. The public couldn’t get enough and things would never be the same for the former Norma Jeane Baker.

Gentlemen Prefer Blondes is one of those movies where everything was in alignment. At its helm was the great director Howard Hawks, one of my favorites and best known for manly movies like the original Scarface (1932), Only Angels Have Wings (1939), and the first of the Humphrey Bogart-Lauren Bacall collaborations To Have and Have Not (1944) and The Big Sleep (1946). But he was also equally adept at comedy and loved strong women--as shown in Bringing Up Baby (1938) and His Girl Friday (1940)--so he was the perfect person to take this Broadway musical onto the big screen. A signature of all his films is the strong relationship of the leads and their witty dialogue, and he couldn't do much better than he did in Gentlemen Prefer Blondes--he had the language of the great Anita Loos and Charles Lederer for stars Jane Russell and Marilyn Monroe.

Without question, another signature of any Hawks production is its style. His films feature some of the best costume design and designers of all time, including Howard Greer, (Robert) Kalloch, and Milo Anderson. Gentlemen Prefer Blondes is no different...in fact, what people seem to remember most about the movie is its style. Marilyn is luminous as lead Lorelei Lee in costumes by her longtime friend and legendary costume designer William "Billy" Travilla. Travilla was highly respected and regarded; he had already won an Oscar at Warner Brothers before coming to 20th Century Fox and was known for being a real gentlemen. Marilyn was in awe of his talent and introduced herself to him when only a contract player at Fox in 1950. She was thrilled when they were paired for her first lead in 1952's Don't Bother to Knock. Niagara would have been next if it had not been for his heavy workload and too many pictures in production at once. Their partnership would pick up again with Gentlemen Prefer Blondes and Marilyn would then never be without Travilla by her side...both on and off the screen.

Though The Seven Year Itch has THE most iconic costume design of all time with Travilla's "Subway" dress for Marilyn, Gentlemen Prefer Blondes is not far behind with three iconic looks of its own--the strapless pink column gown (for the performance of "Diamonds are a Girl's Best Friend"), the slinky gold "sunburst" gown, and the long-sleeve red sequin gown (for the performance of "Little Rock"). These designs were hugely popular with the public, and their influence began to immediately trickle down into fashion. We all know that they have had a lasting impact as well--Travilla's design legacy can be seen in red carpet fashions by designers like Badgley Mischka, Elie Saab, Zuhair Murad, Naeem Kahn, and many more today. You’ll see some examples below. The costume design from Gentlemen Prefer Blondes is so good that it’s even transcended fashion and become a part of our public consciousness. There aren't many people who won't recognize at least one of these gowns for Marilyn. And, as I've seen in person, all seem to elicit a similar awestruck response.

It is the fact that these gowns are so well known that we might feel we know everything about this film. Nothing could be further from the truth. In order to bring you an even greater appreciation of the costume design from Gentlemen Prefer Blondes, I turned to the foremost expert on Travilla--Kimberley Ashley. Ashley is an author, founder of the Ashley-Travilla Foundation, and steward of the great costume designer's legacy. With an ongoing career in couture, she is both informed and insightful in our conversations. Last year I spoke with her about Travilla’s talent, his relationship with Marilyn, and his adventurous life on and off the screen. This time I turned our talk to Gentlemen Prefer Blondes and what the year 1953 meant to Marilyn Monroe and her magician Travilla.

Costume designer William "Billy" Travilla

and expert Kimberley Ashley

Kimberley, my first question is about 1953, which was a very important year to Marilyn and of course Billy Travilla as well. She went from Niagara (released January 21) to Gentlemen Prefer Blondes (released July 18) to How to Marry a Millionaire (released November 5) all in that one year.

What was 1953 like for Marilyn and Travilla as her star ascended so quickly?

It was fascinating for them to watch the meteoric rise of her 'star.'

Billy was already famous as a designer in the film community due in part to his earlier work for Hollywood’s 'Golden Boy' Errol Flynn and Ann Sheridan. But Marilyn went from being obscure to the seemingly instant “It” girl [in 1953].

According to her most accurate biographer, Donald Spoto, Marilyn began 1953 by making a pact with her then-boyfriend Joe DiMaggio that she would not wear such “revealing dresses.” He was horrified that Billy designed such salacious costumes for Marilyn's roles. I imagine Joe was NOT a Travilla fan.

To say that 1953 was an outstanding year for Marilyn and Billy is a severe understatement. Here are even more of the events that happened that year.

February 1953--cover of Photoplay magazine

June 1953--Marilyn and Jane immortalized at Grauman's Chinese Theater (in Travilla, one month before Gentlemen premiered)

and Marilyn at Chasen's after the event with then fiance Joe DiMaggio

September 1953--her first TV appearance and it's on The Jack Benny Show in skit that promoted Gentlemen

and being touched up by her friend and makeup artist Whitey Snyder at show (gown by Travilla)

November 1953--getting ready for premiere for How to Marry a Millionaire and

leaving the Wilshire Beauty Shop to a frenzy of fans (same gown by Travilla as Jack Benny Show)

December 1953--cover of Photoplay again,

this time photographed by future business partner Milton Greene

December 1953--first issue ever of Playboy magazine, which featured Marilyn in cover photo

from 1952 Miss America Pageant parade where Marilyn was Grand Marshall (gown by Travilla)...

...and this first Playboy also featured Marilyn as the centerfold

using the now iconic photo taken years earlier for a nude calendar

Without question, Gentlemen Prefer Blondes was at the center of this remarkable year and the reason that she became such a popular star. Did she and Travilla have any kind of strategic conversation about her look in clothes, as she did with friend and makeup artist Whitey Snyder about her "Look"? Or did Marilyn simply trust Travilla to dress her (both on and offscreen) with some feedback of hers along the way?

Marilyn's only strategy was to get out of Billy's way and let him work his magic. She trusted his talent so completely that Marilyn was the ONLY actress to let him sketch his croquis for her costumes without needing approval or any input. She only broke with that tradition [once] for Bus Stop when she did, indeed, give input.

Marilyn recognized the brilliant psychology [of] Billy...as a costume designer. Although she may have blurred the lines of using costumes in real life, as an actress, she realized...they are first and foremost tools to tell the audience about the personality of that role. Marilyn trusted Billy's brilliance implicitly. Billy's strategy on all of Marilyn's films was to make her believable in that role, and yet, show her beauty. Fortunately for Billy, many of Marilyn's roles required glamour as they were that of a woman using her appearance to “catch a man.” Which, of course, was a very common theme in the 1950s.

Travilla and a costume from Gentlemen Prefer Blondes...

from sketch to his model Marilyn to the movie (look how even the jewelry is perfectly placed for the scene)

Let’s talk about the gowns now, starting with the pink “Diamonds” gown as it's probably the best known one from the film. What insights can you give us into its design origins? And how was the color pink chosen?

It is still not commonly known that the world-famous pink "Diamonds" gown was Plan B. Billy’s second most famous Marilyn Monroe costume [after The Seven Year Itch "Subway" dress] was a dramatic quick replacement...in Gentlemen Prefer Blondes. Plan A was an outfit that I consider the most stunning costume Billy ever designed for Marilyn. It was also the most costly.

During pre-production of Gentlemen Prefer Blondes, the censors inspected every costume for the film. The Plan A costume was perilously close to being over-the-line sexy. Designed to look like a showgirl outfit from the Follies Bergere in Paris, Billy knew the costume was risky. He said,

It made it appear that her body was covered by nothing more than a pair of fishnet hose that traveled up her torso to just under her breasts. Then a harness of rhinestones traveled around her hips and fell into a ponytail at her back with black Bird of Paradise feathers. Marilyn had to stand for hours while the jeweler and I shaped everything to her (nude) body. Then we soldered the jewels on. We were very strategic, there was even a jewel in front of each nipple.

The Hays Code was in full effect in 1953 and rejected this risque costume

that was originally designed for the "Diamonds are a Girl's Best Friend" number

Courtesy of Kimberley Ashley

[Ashley continues] But as strategic as Billy was with wisely placing Marilyn’s “jewels,” the $4,000 costume representing weeks of work got censored. After spending such a longtime on Plan A, Billy had just two days to replace it with something “more within the limits of good taste.” I can only imaging how disappointed Billy must have been when he was forced to scrap it. He was told in no uncertain terms to COVER HER UP!

Plan A was scrapped in a panic only days before filming that scene. [Around this same time,] Marilyn's nude calendar, which sold more than a quarter of a million copies, was raising eyebrows and wrecking havoc with puritanical audiences.

Billy very swiftly and pointedly decided upon both the color and the gown style due to the crisis that was occurring....He wisely chose pink, the color of innocence so favored by little girls, in a fabric whose name means “skin of angels” to serve as her new costume:

I took a brilliant candy-pink silk peau d'ange and flattened it to (deep) green billiard felt. I crunched the whole thing in, with a belt at the waist, and a huge bow at the back. For oomph, we added full length gloves in a matching pink and loaded her arms with diamond bracelets.

But even though Billy covered her body, Marilyn's strutting had the same effect of being undressed.

Apart from two side seams, the dress was folded into shape, rather like cardboard. Any other girl would have looked like she was wearing cardboard. But on the screen, I swear, you would have thought Marilyn had on a pale thin piece of silk. Her body was so fabulous it STILL came through!

Billy's new “Origami” costume was also designed, with its wrapped back opening, to allow Marilyn to “strut.” Choreographer Jack Cole purposely designed that dance scene to minimize dancing because he said Marilyn didn't really dance per se. Cole said she "strutted" more accurately...skipped, ran, leaped, strolled, pointed, and flung her arms about as she was pursued by a throng of male admirers while caressing long strands of diamonds.

In only two days, Travilla designed this iconic pink column gown

as a replacement for another deemed too revealing by the production code

Absolutely everything about the design of this look--from the color to the belted gown
with a bow in the back to the hair and makeup--have become iconic

Travilla was genius for choosing to create pink gowns against a red background...

it's where I learned the lesson of how great this color combination can be

Travilla perfectly designed this gown for Marilyn so she could "strut"
in her "Diamonds are a Girl's Best Friend" number

What did he think of the popularity of the pink "Diamonds" gown, in particular, and how often it is woven into popular culture?

He was amused by it considering it was such a spontaneous creation. Everybody knows that gown. He gave the credit for its fame, however, to those curves of Marilyn's that lay underneath it.

Billy was amused that it continued to be copied by others up until his death. He was NOT amused, however, that Madonna had it copied it for her "Material Girl" video and didn't hire him to create it. He felt such a gesture was disrespectful.

The gown is, of course, considered iconic, and that performance has inspired homages by many [starting with] Madonna. It has also been duplicated by Christina Aguilera, Kylie Minogue, Nicole Kidman, Anna Nicole Smith, Katie Couric, and even actor James Franco during his stint as a co-host for the Oscars. I feel Franco would have amused Billy and Marilyn the most.

Two more descendants of Marilyn's pink gown--Natalie Portman in Lanvin for 2012 Golden Globes

and Kate Beckinsale in Donna Karan (with a bow in the back) for 2012 Total Recall premiere

Of course Madonna's video for "Material Girl" (1985) is the ultimate homage,

but she wrongly didn't turn to Travilla for her gown's design

Now let's move on to the gold "sunburst" gown. In the film, the glory of the gown is largely hidden because of the way it is shot, yet everyone knows it so well. Was the gown (in its entirety) used in a ton of publicity at that time?

It is little known that the gold plunging neckline dress that Marilyn made famous was NOT designed for her. Billy designed that costume for Ginger Rogers who wore it in the 20th Century Fox film Dreamboat [1952, below].

[Ashley continues] After Marilyn saw the gown hanging in Billy's office, she had a fit and demanded to wear it. So first, Billy let her wear it for a brief scene in Gentlemen Prefer Blondes and for some publicity photos [for the film].

But when Marilyn was deciding what to wear for the Photoplay event--held in the Crystal Room of the Beverly Hills Hotel--she was set on wearing the gold dress again. To get her hands on it, she had to go through Billy. He wanted to protect her from her own ignorance of the fact that it was not designed to be worn in public.

My clothes for Marilyn were an act of love, because I adored her. I couldn't help but do my best for her. When Marilyn asked me for the dress, I told her she couldn't have it, 'IT'S A COSTUME!' [The fabric] was so delicate, it wouldn't even hold a zipper, we had to baste the back seam together by hand.

That’s why Billy refused to give it to her. Although he warned Marilyn that the fabric was too thin, too sheer, too tight on her, and that it would make her look fat, she stormed off and spoke with Fox studio head, Daryl F. Zanuck. The studio boss called Billy and said, “Let her have it.”

Billy relented and had the studio seamstresses carefully sew Marilyn into the gown. So when Marilyn went to receive the "Fastest Rising Star" award at the 1953 Photoplay ceremony in Beverly Hills, she did so wearing a Travilla costume.

When Joe saw what Marilyn was wearing that night before leaving, he stormed off and she was forced to attend the event squired by Sidney Skolsky. So much for her promise to Joe about dressing more demurely that year.

As Billy predicted, the revealing nature of her dress caused a whirlwind of controversy. Of course this story about the gold dress and the ruckus and headlines it created is now Hollywood legend. That drama actually ended up adding to the momentum of Marilyn's rising star. In 1953, Marilyn Monroe was receiving 25,000 fan letters each week at Fox, partly because of her bravado.

That gold lame pleated gown she wore is now an icon in itself.

Audiences got a sneak preview of the gold gown from Gentlemen Prefer Blondes in the press

when Marilyn won the "Fastest Rising Star" in 1953 from Photoplay magazine

Are there any secrets behind the gold gown and its incredible construction?

All of Billy’s costumes for Gentlemen Prefer Blondes are made with un-seen engineering cleverly constructed inside. To morph Marilyn’s body to perfection, those costumes contain lots of “smoke and mirrors.” [Just like] the pink “Diamonds” gown has that green billiard felt lining to stiffen the hand of the fabric, the gold lame pleated gown has wires sewn inside the edges of the plunging neckline...to keep it from gapping. And, hand-sewn into its sheer and delicate gold fabric, it has under-cups [used for] false breasts (as does Billy's famed Seven Year Itch dress).

Finally the gown is seen in color as publicity shots from Gentlemen Prefer Blondes began to circulate

This is the only way we view the iconic gold gown in Gentlemen Prefer Blondes...

and what a view

Two descendants of Marilyn's gold gown--Beyonce in Elie Saab for the 2007 Golden Globes

and one from Zuhair Murad's collection for Fall 2013

Marilyn and Jane play best friends in the film and are often on screen together. This means that the costume design must work for each of their characters as well as co-exist beautifully onscreen. How did Travilla approach that challenge?

When Billy began designing costumes on any film, he would first meet with the set designer to collaborate on set colors and patterns. He did this to make sure that colors would not clash or be swallowed up onscreen by matching the set. This is a basic part of any costume designer’s practice no matter the film. Few people outside of the industry would be aware of this.

Then, as you point out, Billy would have to consider how Marilyn and Jane looked alongside each other for shared scenes. The character roles of Monroe and Russell were different in Gentlemen Prefer Blondes. Russell played the savvy, street-wise girl who was looking for love. Marilyn’s character wanted to use her sex appeal to snag a rich man. Billy designed beautiful unique styles for each character, but Russell’s outfits are a touch less feminine, less “girly,” and more confident.

For the duo’s [onscreen stage act,] Billy designed matching outfits, such as the red sequin gowns for the film's opening musical scene of “Little Rock.” [These gowns have] a nude colored piece of fabric sewn down the front plunging neckline, although audiences think they see skin and cleavage. Billy even has those bracelets on the red sequined sleeves sewn onto the fabric so they don’t move around as Marilyn and Jane gesture and dance.

Having had the blessing of inspecting it in person, my favorite detail on the "Little Rock" red sequin gown is the way Billy designed the sequins on the skirt fabric to increase in size as they get closer to the hem. It is a stunning detail that would be completely missed on camera, but which he added with love.

Gentlemen Prefer Blondes begins with a bang...

the two stars in red sequin gowns tossing their white furs into the audience

When the ladies move and dance in their costumes,

you really begin to understand the true genius of Travilla

A shout out to Whitey Snyder for his luminous makeup on Marilyn

Here you can really appreciate the nude lining disguising the decolletage

and the tremendous detail of their outfits, including bracelets that are sewn onto the dresses

Two descendants of the red "Little Rock" gowns--Catherine Zeta-Jones in Elie Saab at the 2011 Tony's

and Pink also in Elie Saab performing "Over the Rainbow" at the 2014 Oscars

There are so many incredible gowns in the film, even beyond the three iconic ones we've already discussed. Orange is one of my favorite colors, so that gown of Marilyn's has always spoken to me. The bridal gowns are also highly influential. Did Billy have a favorite gown from Gentlemen Prefer Blondes?

Billy was asked this question many times. And at different times, he gave different answers, so it’s difficult to say today. I know that he was very proud that three of his designs for Marilyn are now considered cinema icons. At the time of his death in 1990, the white Seven Year Itch dress was valued at several thousand dollars, and he was proud of that. If he had been alive three years ago and had watched, as I did, as Debbie Reynolds sold the dress at auction for nearly six million dollars, he would have died of joy.