Shirley Temple had very few films that were made in Technicolor; the brief list includes a short sequence at the end of “The Little Colonel” (1935), “The Little Princess” (1939), “The Blue Bird” (1940), and “The Story of Seabiscuit” (1949). Even though color was becoming more of a thing by the 1940s, Shirley’s teen films were typically low budget, relying on her former starpower to bring in the bacon. “Honeymoon” (1947) was an RKO black and white comedy (which is debatable!) that just misses the mark. Joseph Cotten went on suspension for backing out of the production and was replaced by Franchot Tone. Probably the best move of Cotten’s career! While the movie wasn’t filmed in color, the fan magazines were documenting Shirley in all her Technicolor beauty! In attempting to get a marriage license in Mexico, Shirley (with Guy Madison) wore this stylish outfit with a hood designed by Edward Stevenson:
Thanks to this image taken in her dressing room, we can see it and her lovely auburn locks in full color! Yes, she knits! And check out the heels on those slingback shoes!
This simple suit was also designed by Stevenson:
It stayed in Shirley’s personal collection until it was auctioned off in 2015, one year after she died. From the catalog description:
Teal Woolen Suit with Silver Buttons Worn by Shirley Temple in the 1947 Film "Honeymoon"
Description: The two-piece suit includes a silk-lined jacket with dart shaping and long sleeves, ruffled white cuffs and collar, and with 10 silver buttons with chain design; along with matching skirt. The ensemble was worn by Shirley Temple in the 1947 film “Honeymoon.” Sold: $1,100
The September issue of Photoplay magazine deemed it pattern of the month. Those interested in sewing their own could purchase the pattern for just 35¢!
I tried oh so hard to find the pattern itself, even joining a number of vintage pattern groups on Facebook. Alas, to no avail. Here is what the cover of the Advance Pattern #4659 looked like:
In this costume, Shirley’s character states that it’s her boyfriend’s favorite color. That piece of the script is wasted on a black and white movie!
However, thanks to this image from her 18th birthday party held on set, we can see what that color looked like. The burning of the little red school house signified Shirley was now an adult!
If you think you can reveal the colors of a film by looking at vintage lobby cards and poster art, think again. They are all pretty much colorized by the artists of the day, who used a lot of creativity (?) in assigning colors to the promotional ephemera. Would Guy Madison still like this one if it was pink and blue?
Another simple suit by Stevenson was featured in this scene with Tone and Madison; Shirley is the rose between two thorns:
Once again, a dressing room shot reveals that this one is beige in color; Shirley poses with then-husband, John Agar:
See more Sbirley Temple photos at my main website.
