Marilyn, Kim, Mary, Dick, and Fred

Despite the war in the Ukraine, COVID, inflation, rising oil prices, supply shortages, and an unsettling amount of civil unrest, somehow, the Kardashians managed to break through the headlines. In case you’ve been living under a rock, you are probably aware that Kim Kardashian squeezed her curves into a dress that was custom-made for Marilyn Monroe in 1962 by Jean Louis to wear on the occasion that she sang “Happy Birthday” to President John F. Kennedy.



As you can see by the photos, this gown was designed to fit Marilyn. Not the average housewife, not soprano Maria Callas (on the left), and not Kim Kardashian.



Monroe's gown wasn’t just skin tight; it was more like a second skin and hugged every curve of the actress.  Jean Louis’ creation was an engineering feat of epic proportions that accentuated every curve but also kept those curves in place. The illusion of being nude without actually being so.



Years ago, the Franklin Mint attempted to capture that evening with a 16" doll.



Not quite the same.



This post was not designed to weigh into the controversy about whether Kim should or shouldn’t have worn the historic gown, nor will it delve into what damage may or may not have occurred because she and her handlers had to tug the delicate fabric over her rear end. But before I get to the point of the post, I will share Joan Cusack’s wise words from the film “Working Girl” (1988):



Now we get to the meat of the matter…the controversy that has been kept secret for years. Any Disney fan worth their salt will remember the “Jolly Holiday” number with Dick Van Dyke and Julie Andrews from “Mary Poppins” (1964):



Here’s Dick Van Dyke wearing his striped suit and straw hat from the animated musical sequence:



Seven years later, the TV show “Green Acres” was airing its last season.



You remember the classic comedy about a New York city socialite (Eva Gabor)



…who gives up her penthouse apartment to live in a dilapidated house so that her husband (Eddie Albert) can become a farmer.



On January 12, 1971, the season six episode “Son of Drobney” was broadcast. The premise was that the town was waiting to greet Lisa’s Hungarian war hero who was flying into Pixley to visit her. The welcoming committee was surprised to discover that he was a duck. When watching this the other night, I saw Fred Ziffel (Hank Patterson) wearing what looked to be Dick Van Dyke's jacket from “Mary Poppins.” 



If you compare the placement of the stripes, it’s a perfect match.



Here’s how the jacket looked when it came up to auction:







The ribbon on the hat does not match though; in the shots of Van Dyke from the movie, the top stripe is red; on Ziffel’s hat it’s gold. Apparently “Green Acres” used Western Costume for some of their wardrobe.

I’ll leave you with this question; why aren’t Disney fans up in arms about Fred Ziffel wearing Bert’s jacket? This information needs to be brought to the headlines!

See more Pop Culture photos at my main website.

Gilda gets dressed

A behind-the-scenes shot of costume designer Jean Louis making sure his soon-to-be-famous black sheath looked perfect on Rita Hayworth. Director Charles Vidor stands in the background watching the proceedings. Hayworth's “Put the Blame on Mame” striptease number is still a classic.

See more Classic Movie photos at my main website.

Fashion, Film, and Charleston Garden

Fashion and film have always gone together, especially during the 1950's/1960's. In the glossy 1961 Ross Hunter melodrama, "Back Street," costume designer Jean Louis created a number of sumptuous designs for star Susan Hayward to wear. Her character just happens to be a budding fashion designer. What better excuse to increase the wardrobe budget and have the star wear even MORE amazing dresses? In the first still from the film, Rae Smith (Hayward) is being told by her sister, Janey (Virginia Grey), to move to the big city and let everyone see her talent. Let's zoom in and check out those sketches...do you think she's good enough?



In this scene, Rae shows her assistant how to drape fabric.



The visual highlight of the movie is the fashion show, where Rae gets to show off her new line of clothing, including this bridal ensemble. The woman who buys it turns out to be the alcoholic wife (Vera Miles) of Paul Saxon, the man Rae has been seeing on the side (John Gavin). Saxon also happens to own a number of department stores. Are you following along?



In this publicity shot, John Gavin poses with fashion show models Melissa Weston, Joanne Betsy, Vivianne Porte, & Gertrude Felder. Obviously, Jean Louis had his hands full for this movie.



Here Vera Miles models yet another Jean Louis creation. We don't get to see too much of this gown because she wears it in the scene where she has a car crash. What a waste of a good gown.



How about this fur-trimmed set for Susan Hayward, worn in the scene where Paul Saxon's kids give her the stink-eye at the airport. Those smart little varmints are onto her man-stealing ways!



For "Back Street," Jean Louis received an Oscar nomination for Best Costume Design in a color film. He was beat out by Irene Sharaff for "West Side Story." Another famous Hollywood designer, Edith Head, was also in the running that year, having been nominated with Walter Plunkett for "Pocketful of Miracles."

In 1955, Edith appeared as herself in yet another fashion show within a film, this time for "Lucy Gallant," starring Jane Wyman as the title character. Naturally, Lucy Gallant is a talented fashion designer. Surprisingly enough, this film received no Oscar nods for its fashion; at least Edith got a nomination that year for another film she did, Hitchcock's "Rear Window." Here's Wyman posing in one of her Edith Head creations for "Lucy Gallant":



Another Head design. That is one large furry purse!



In 1953's "Let's Do It Again," Jean Louis was in charge of outfitting Wyman:



The appeal of putting so much effort into what the female leads wore in these films was because of the appeal it had for women all over America. Just like today, many are influenced by what they see the stars wear. But where would the average American Woman buy her fashion "back in the day"? One option was B. Altman's, a department store that had the foresight to move into the suburbs back in the 1930's. Going to a big city wasn't the only choice anymore for the average housewife. I remember as a little boy accompanying my mother on a few of her trips to the local B. Altman's. Here's a postcard from the New York City store's famous Charleston Garden restaurant and tearoom, which featured a southern plantation façade and murals simulating an outdoor garden...INSIDE the department store. Fashion shows were a staple of the restaurant, allowing women to both eat and shop. What a time-saver!



Here's what Mary, the sender of the postcard, had to say about her visit to the Charleston Garden:



I remember what a treat it was to eat at the St. David's location near Philadelphia with my mother. It was also my introduction to Pink Lemonade! As the years went by and the demographic of B. Altman's aged along with the store, it garnered the nickname "Menopause Manor," as it fell out of fashion with the younger set, closing down in 1989.

Have you ever been influenced to buy an outfit that you saw worn in a film?

See more classic film and television photos on my main website.

Screen Gem Saturdays: Lana Turner—Imitation of Life

"Imitation Of Life" was one of my favorite films that I studied in my genre film class back in my college days. Like any Douglas Sirk movie, there is much more going on than what you see on the surface in this tale of racial segregation. It is based on Fannie Hurst’s tearjerker novel. Lana Turner made a professional and financial comeback with "Imitation," released in 1959. Instead of taking a huge salary, she negotiated for 50% of the films profits, which ended up earning her over $2 million—well before Elizabeth Taylor's "Cleopatra" fiasco. It is everything you'd expect from a Ross Hunter production: glossy, colorful, and dramatic, with the typical classically-inspired musical score by Frank Skinner. Earl Grant did his best Nat King Cole imitation with the title song crooned over the opening credits while a plethora of jewels effortlessly drops behind the titles. Jean Louis designed the sumptuous wardrobe that Lana Turner models throughout the film.



Lana Turner and John Gavin are the romantic leads. Gavin is best known as Sam Loomis, Janet Leigh's boyfriend in "Psycho." Typically, if Rock Hudson wasn't available, Gavin would be the next one chosen for the role. Extremely handsome, he had a successful Hollywood career playing opposite some of film’s most famous leading ladies. Gavin, whose heritage was Irish and Mexican, was appointed U.S. Ambassador to Mexico by President Ronald Reagan.



Don't be fooled by the happy ending, though; Sirk gives more than enough evidence that smooth sailing is definitely not ahead. And yes, I colorized these photos myself. Had to make that green sash "pop"; however, I left the last one alone for purists!



One of my favorite scenes from the movie features a face-off between Lora Meredith (Lana Turner), the aging actress desperate for a break, and Annette (Sandra Gould), secretary to the lusty theatrical agent Alan Loomis (Robert Alda). Lora pretends that she has an appointment with Loomis, but doubting secretary Annette sees nothing penned in the book. Lora covers her tracks by stating that she has just breezed in from Hollywood and that there must be a slip-up. “I hope YOU didn’t slip up!” threatens Meredith with just enough ice behind the sweetness to cause Annette to buzz her boss immediately. Naturally, Lora gets her appointment AND the big break that she had been hoping for! Sandra Gould is best known as the 2nd Gladys Kravitz on “Bewitched.”



Many of the scenes that showed the mother-daughter conflicts between Lora (Turner) and Suzie (Sandra Dee) hit just a little too close to home for Turner’s actual daughter, Cheryl, who commented that even the fluffy pink bedroom looked an awful lot like the real thing.



For the ultimate in tear-jerking, just watch the death scene between Turner & Juanita Moore, who played Turner’s maid, Annie. Turner's acting style is pure MGM: glossy and highly emotional. On the other hand, Moore plays it with quiet restraint and dignity. Moore anchors the scene and keeps it from being ridiculous (despite the Heavenly choir singing in the background). The two actresses had excellent chemistry, making it believable that they were lifelong friends.



See more Lana Turner photos at my main website.