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“I call it the juicy dress as we built out de Armas’ body for that dress,” says Johnson. Made with netting, silk chiffon and Austrian hand-beaded crystals, the risqué 1920s-style flesh-colored dress features a heart-shaped cutout on the derriere (which gave the censors fits in 1959). Perhaps the re-creation of designer Orry-Kelly’s gold lamé number in Some Like It Hot is the most provocative. She also favored high-waisted jeans, as seen in her last film, The Misfits (1961).įor onscreen Marilyn, Johnson looked to original sketches by the star’s favorite costume designer, William Travilla, to duplicate the strapless shocking-pink satin gown with a large bow in Gentlemen Prefer Blondes (1953) and iconic white georgette crepe halter dress in The Seven Year Itch (1955). She had a relationship with Anne Klein and borrowed clothes from her that became that beautiful, elegant, almost French minimalist beatnik way of dressing in New York City,” says the designer. “Marilyn joined the Actors Studio and really wanted to be taken seriously as an intellectual. Off-camera, the actress’ wardrobe consists of her iconic black turtlenecks and capri pants (then known as pedal pushers). The costumes were a study in contrasts: There was the private, day-to-day Norma Jeane Mortenson (her given name) and the Hollywood sex symbol Marilyn. What is amazing is the film gets into her inner psyche, and you will learn more than you thought you knew.” “I thought I knew her, but when I read the script, the book, and started the research, I discovered a whole new side of her. “I wanted to get into the day-to-day, off-duty Norma Jeane and explore what felt the most authentic to her,” says the designer. Taking her cues from Joyce Carol Oates’ novel of the same name and Dominik’s script, Johnson’s goal was to convey the inner workings of the iconic screen siren (played by Ana de Armas) through the costumes.
For an offscreen Monroe look, Jennifer Johnson remade capri pants found at L.A.’s Palace Costume.
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