Tag Archives: Judy Garland

MARY ANN NYBERG: HER CINEMA SUNSET CAME TOO SOON

Mary Ann Nyberg was one of those talented young women destined for Hollywood: she was pretty, she was artistic, and by 23, she was dating movie star and singer Rudy Vallee. By that time in 1946 she was illustrating for magazines, designing fashions, and aiming to be a costume designer for movie stars.  She was already designing costumes for Vallee-Video, Rudy’s TV productions. Not bad for a girl from Tulsa Oklahoma, born February 7, 1923. She achieved many of her dreams, but her sunset came all too soon.

Mary Ann Nyberg fashion design sketch, mid 1940s.

 

Mary Ann Nyberg fashion design sketch, mid 1940s.

Mary Ann Nyberg and Rudy Vallee never married, as was rumored for years, although they were seen dancing at Ciro’s in Hollywood, and he took her to the Palm Springs Tennis Club in January, 1948. It was there that she met costume designer Jean Louis, who she would later illustrate for at Columbia Pictures. But since her affair with Vallee wasn’t going anywhere and he wasn’t getting her any roles in films, she found a job working for Arthur Freed at M-G-M in 1949. Nyberg wasn’t credited for any movies for several years, although she designed costumes for Leslie Caron in  An American in Paris, released in 1951. But then she designed the costumes for Lili, including for its star Leslie Caron, released in early 1953. Here Caron played a  teenage orphan taken in by a traveling magician and carnival troupe of puppeteers. Mary Ann Nyberg dressed Caron in simple dresses and sweaters. But Nyberg showed her talent for glamour and verve with the scene at the carnival cabaret by dressing  Caron in the imaginary dance number with Marc, played by Jean-Pierre Aumont and his wife played by Zsa Zsa Gabor. Caron is dressed here in a sexy scarlet-colored waitress/dance tutu in part of the number with Marc, but when his wife enters in a sequined gown and grabs his attention, Caron too reappears in the same burgundy and gold-trimmed sequined gown with a deep leg slit.  Nyberg also designed Mel Ferrer’s shirt with it’s shoulder straps. These have become common but at the time the film’s producer Ed Knopf loved it so much that he ordered dozens of them in various colors and took them to Paris.  Caron was told at the beginning of filming that she was foolish for taking on the role of a waif. But the film was a big hit and received several Oscar nominations – and her song “Hi-Lili, Hi-Lo,” became very popular.

Mary Ann Nyberg costume sketch for Cyd Charisse in Band Wagon “Dancing in the Dark” scene.

Nyberg’s next assignment was the one she is best known for, and, her first Oscar Best Costume nomination: The Band Wagon (1953), one of the best musicals of the classic era. Vincent Minnelli directed, featuring stars Cyd Charisse, Fred Astaire, Nanette Fabray, Oscar Levant, and Jack Buchanan.  Although it goes off on a tangent in the story about impresario Jeffrey Codova’s modernist play ideas,  all the other musical numbers and story are a delight. And Nyberg’s costumes are perfect for showing off Cyd Charisse in alluring outfits in the “Girl Hunt Ballet” and the “Dancing in the Dark” numbers. Cyd’s simple white pleated skirt from that scene was copied from one that Nyberg herself wore. But since none like it could be found off the rack, it was duplicated at a reported cost of $1000.

Mary Ann Nyberg costume sketch for Cyd Charisse in the Girl Hunt Ballet scene for The Band Wagon. The scene was cut from the movie. Note the skin showing in the sketch trough the fabric from her use of a thin wash of watercolor.

Nyberg endeared herself to Charisse by fixing her favorite “lucky” sweater. She cut squares out of colored cotton prints, hemmed the edges, and sewed them onto the worn spots in her sweater. Charisse loved the look and had her do the same to a new sweater. Fabray also had a creative and colorful costume for the “Louisiana Hayride” number.  Nyberg also designed Fred Astaire’s look of gray suit, white tie, and dark blue shirt used in the Girl Hunt Ballet.  The look was adapted by Michael Jackson for his 1988 “Smooth Criminal” music video.

Fred Astaire and Cyd Charisse in The Band Wagon

Mary Ann Nyberg next went on to design costumes for the problematical A Star is Born in 1953-54, starring Judy Garland and James Mason and directed by George Cukor. The remake of the 1937 film that had starred Janet Gaynor and Frederic March started smoothly at Warner Bros., but Judy Garland became moody and sick. Garland’s version is that she disliked the costume that Nyberg had designed for her at the Malibu party scene. Garland claimed it was not flattering to her figure. But in preparations for the previous scene for the Academy Awards, Garland had so loved Nyberg’s white gown that she decided she wanted it for her personal wardrobe. So she said to Cukor that the gown made her look like a white whale and she couldn’t wear it.* The result was that filming stopped and costume designer Jean Louis was called in as Mary Ann Nyberg’s replacement. But Nyberg also served as sketch artist for Jean Louis in designs he made for the film.  Designer Irene Sharaff did the costumes for the “Born in a Trunk” scene. All three designers were nominated for Best Costume Design Oscars.

 

Harry Belafonte, Dorothy Dandridge, and Olga James in Carmen Jones.

Mary Ann Nyberg was then hired by Otto Preminger to design the costumes for Carmen Jones, the musical based on  Carmen. Preminger reverted to the original story by Prosper Mérimée, but kept Bizet’s music. The cast consisted of all black actors, including Dorothy Dandridge as Carmen, Harry Belafonte as Joe, and Pearl Bailey as Frankie.  Diahann Carroll made her film debut as Myrt. Nyberg used pinks and orange rather than the usual red coloration for several of Dandridge’s costumes. “Red denotes passion, fire, and sex,” said Nyberg, “and I am relying on Miss Dandridge to project those qualities in her performance.” The contemporary setting used the dress of the 1950s, and a much pictured orange wrap dress and black peasant top for Dandridge. Nyberg also designed a bold look for a hotel room scene,  where Dandridge takes off her robe to reveal a black bra and zebra-striped panties, which she then covers in a pink dress. Dorothy Dandridge was the first African-American to be nominated for the Academy Award for Best Actress in a Leading Role for this movie.

Otto Preminger hired Mary Ann Nyberg for  his next movie, The Man with the Golden Arm, 1955. This movie starred Frank Sinatra as a heroin addict, with co-stars Kim Novak, Eleanor Parker and Darren McGavin. The black and white movie with a downbeat theme didn’t give much range for Nyberg.  Kim Novak was dressed in simple outfits, with one  gown decorated in gleaming sequined scallop-shaped outlines. The beautiful Eleanor Parker’s role was played in a wheelchair mostly in house robes.

The Man with the Golden Arm was Mary Ann Nyberg’s last costume designing job. For whatever reason, either because she had had enough of Hollywood, or the assignments dried-up  for her (this was happening as the studio system was coming to an end), it is not clear. In any case, she didn’t need the paycheck. She was married at the time to Don J. Koch and painted oils on canvas.  It was the world of Hollywood costume design that lost a first class talent. One of the very few whose top skill in the illustration of costumes matched her skill at designing them. After her first marriage she married the influential film critic and University of Southern California professor Arthur Knight. They lived in Malibu and had lively parties where people from from L.A.’s entertainment industry and the arts attended.

Mary Ann Nyberg died on September 19, 1979  of a cerebral hemorrhage. She was only 56 years old. Perhaps she got to see That’s Entertainment! which released in 1975, where her costumes were flashed on the screen. If only her name had been honored as well, or for that matter, any of the costume designers.

Mary Ann Nyberg fashion sketch date unknown.

 

 

 

  • James Stratton. A Star is Born and Born Again: Variations on a Hollywood Archetype.

 

 

 

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HELEN ROSE STYLE

When Helen Rose began working at MGM with its roster of stars, mogul Louis B. Mayer  told the costume designer to, “Just make them beautiful.” With her plentiful use of chiffon and her figure-flattering style, Helen Rose did just that, designing the costumes for leading ladies including Elizabeth Taylor, Grace Kelly, Ava Gardner, Cyd Charisse, Debbie Reynolds, Lana Turner, Lauren Bacall, Doris Day, Esther Williams, Leslie Caron, and many others.

Helen Rose started at MGM in September 1943 as just one more costume designer among many. World Ward II was raging but the movie business was healthy. Helen got her start designing showgirls in the cabarets and nightclubs of Chicago. She learned early how to make their costumes comfortable and especially t using chiffon for its “twirly” quality for the dancers. After coming to L.A in 1929 she had struggled but finally found jobs working as a costume designer at both 20th Century-Fox and for the Ice Follies. When Mayer found out it was the same person designing the colorful outfits for the Fox musicals and for the fantasies on ice, he had to hire her. Irene Lentz Gibbons was the executive director for designing, not only designing costumes herself but assigning designers to various films. With several designers on staff including Irene Sharaff, Barbara Karinska, Marion Herwood Keyes, and two men’s designers, Helen waited months until she got an assignment. This finally came with the big production of Ziegfeld Follies released in 1945. Helen designed the colorful “Here’s to the Ladies,” number including Lucille Ball’s pink spangled costume. Louis B. Mayer was impressed and Helen’s career was on its upward trajectory.

Lucille Ball in Ziegfeld Follies

Helen designed the costumes for Harvey Girls, the big hit of 1946. This was the first of many occasions she would dress Judy Garland. Here the styles were 1880s, with eye-catching clever lapel designs and mutton-chop sleeves. This Americana musical with Judy Garland and an all-star cast is now considered a classic.  Helen next designed most of the costumes for a big all-star cast for the musical, Til the Clouds Roll By (1948). The movie was supposed to be a bio-pic about composer Jerome Kern, but instead became a series of musical numbers of his greatest hits. Notable were Helen’s designs for her friend Lena Horne’s blue and lavender gown worn when she sings, “Can’t Help Loving Dat Man.” There was a knock-out midnight blue sequined top and deep-cut fringed skirt for Lucille Bremer’s dance outfit for the “I Won’t Dance” number, and Judy Garland’s yellow feathered skirt and sequined chiffon top in the “Who” (Who Can it Be) number, a question she seems to ask a staircase of chorus boys.  Judy Garland, pregnant with Liza at the time, related to Helen,  “What a song to sing in my present condition.”

Elizabeth Taylor in A Date With Judy

A Date With Judy in 1948 starred Jane Powell and  Elizabeth Taylor. Jane Powell was the bigger star at the time, and Elizabeth Taylor was only 16 years old. But Elizabeth stole the show, especially the way Helen Taylor dressed her. Her youthful beauty radiated from the screen, and Helen took advantage of her violet colored eyes  in her design fora knock-out evening gown of  lavender-colored chiffon with a slight décolleté. With her thick dark hair and bold eyebrows, Elizabeth Taylor became a magnet for the camera. In Helen’s “New Look” fashions she became the fashion icon for teenagers across America. In 1948 Irene launched her own fashion line and stayed on at MGM but would no longer be supervising other designers. She would design for some movies but this opened up opportunities for Helen.  Helen’s relationship with Elizabeth would grow with their next collaboration, Father of the Bride. Here Elizabeth stars as the young bride in the family with Spencer Tracy as father, Joan Bennett as the mother, and Don Taylor as the groom.  Helen designed 47 costumes for Elizabeth. including a stunning wedding gown.  Elizabeth was so impressed she had Helen design her own wedding gown.  The gown took 15 seamstresses and beaders three weeks to make.  MGM then gave her the dress as a present.  The movie was a hit, the box office smash was helped by Elizabeth’s real wedding to Conrad “Nicky” Hilton on May 6, 1950, just before the film’s release.

 

Elizabeth Taylor in Father of the Bride

 

Just as things seemed to to going so well for Helen, everything turned bad. Helen had sympathized with Judy Garland ever since they first worked together. Judy was just coming back to make Summer Stock after a three month stay at a sanitarium to cure her drug-addiction. While they began working on Judy’s wardrobe Helen was blamed for leaks to the gossip columns blaming MGM for Judy’s problems. Dory Schary had become the MGM Production Head and he took Helen off the movie. Walter Plunkett took over and designed Judy’s costumes and all the other cast members with the exception of Gloria DeHaven’s costumes.  Judy was next scheduled to make Royal Wedding with Fred Astaire after June Allyson became pregnant. This got off to a rocky start but Helen started designing costumes for Judy. After getting into one of Helen’s costumes Judy had a run-in with Arthur Freed. She left the studio and didn’t return, having gotten a notice of suspension in the mail. The “Get Happy” number from Summer Stock  ended up as Judy’s  last MGM scene after thirteen years with the studio. Helen was taken off that film as well.

When Irene left MGM to devote herself full-time to her design business: Irene LTD., MGM found itself in need of another regular designer other than Walter Plunkett. Despite Helen having been in the dog house over the Judy Garland issue, she had gotten great publicity for her designs for Elizabeth Taylor.  So she was back to designing for Elizabeth Taylor and Esther Williams at MGM through 1951,  She did complete Royal Wedding with Jane Powell in the lead, playing as Fred Astaire’s partner. Jorjett Strumme, who became a friend of Helen’s and modeled for her fashion shows, noted her extraordinary sense and use of color. One of the examples she pointed out was Jane Powell’s lavender dress and coral belt worn in the dance scene with Fred Astaire on the ship going to England. She also notes Helen’s clever use of gradations of the same color in other costumes,  “The petticoat would be purple and every layer on top of it would get lighter so that the body of the dress was lavender.”

Nineteen fifty-two turned out to be a very big year for Helen. She started out designing a big turn-of-the-19th century costume movie, The  Belle of New York, starring Fred Astaire and Vera-Ellen. Helen also designed the remake of The Merry Widow, starring Lana Turner and Fernando Lamas, using both black and cream-colored gowns that earned her a Best Costume Oscar nomination. She also designed Elizabeth Taylor’s  costumes for Love is Better Than Ever, and for Esther Williams in Million Dollar Mermaid.  Helen finished off the year by designing another wardrobe for Lana Turner, this one for The Bad and the Beautiful. Helen was nominated for another Oscar for Best Costume (black & white film), and won the award for this movie. Her friend Elizabeth Taylor was the category presenter that year and handed a stunned Helen Rose the statuette.

 

Lana Turner and Fernando Lamas in The Merry Widow

 

Lana Turner and Kirk Douglas in The Bad and the Beautiful

 

Helen Rose with her Oscar for The Bad and the Beautiful

 

Helen Rose won her Academy Award Oscar in March of 1953. She would  get another great prize that year when she designed the costumes for Mogambo, and for the first time for the fabulous Grace Kelly. She also dressed the beautiful Ava Gardner in the same film, a remake of MGM’s Red Dust. Clark Gable starred in both films.  Mogambo was set in Africa involving safaris. Helen Rose designed flattering khaki bush outfits for Grace Kelly that have influenced modern fashion for decades. Helen liked to emphasize figures so for Ava Gardner she designed  tightly belted skirts and pants that flattered Ava’s gorgeous figure, and the yellow, dusty rose, and green colors that set off her beautiful skin. Not a bad wardrobe for  the bush. The Clark Gable  and Ava Gardner characters end up romantically linked in the movie, but it was Gable and Kelly that had the affair on set.

Grace Kelly, Clark Gable, and Ava Gardner in Mogambo

 

Helen Rose costume sketch for Marge Champion in Give a Girl a Break, 1953.

 

Nineteen fifty-four was another great year for Helen Rose. Including another Academy Award. I’ll cover the rest of her MGM career in Part II of my blog post coming soon.

Christian Esquevin

 

 

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THE 10 MOST EXPENSIVE MOVIE STAR DRESSES

A new world record was set on November 17, 2016 for the most ever paid for a personal  dress. This for the “Happy Birthday Mr. President” nude illusion gown worn by Marilyn Monroe on May 19, 1962 as she sang  from the stage to President Kennedy at Madison Square Garden. The gown, designed by Hollywood costume and fashion designer Jean Louis, was auctioned for $4, 810,000 including commission and taxes. It was bought by the Ripley’s Believe it or Not Museum at Julien’s Auctions .  Marilyn Monroe had  the gown made for her for $12,000. She died three months later.

Marilyn called the gown “skin and beads,” and the audience gasped when she removed her coat on stage, thinking at first she was naked.  The gown was made of a flesh-colored souffle, and decorated with rhinestones, not beads. But Marilyn’s point was that it was tight enough to be her skin. It sold at auction at Christie’s New York for $1.2 million in 1999.  Marilyn’s film-worn “subway” dress from The Seven Year Itch actually set a higher record at auction, fetching $5.5 million dollars at the Debbie Reynolds/Profiles in History auction in 2011.

Here are the 10 most expensive movie star gowns and costumes ever sold:

1. Marilyn Monroe’s The Seven Year Itch, 1955 “Subway” rayon crepe halter dress with pleated skirt designed by William Travilla. Sold at the famous Debbie Reynolds-Profiles in History auction of June 19, 2011 for $5.5 million.

 

The Seven Year Itch (1955) Directed by Billy WilderShown: Marilyn Monroe

 

2. Marilyn Monroe’s  “Happy Birthday Mr. President” gown, made of souffle with hundreds of sewn rhinestones and designed by Jean Louis. Worn at the Madison Square Garden Democratic Party fundraiser/Birthday Party for John F. Kennedy. Sold at the Julien’s auction of November 17, 2016 for $4.8 million

Photo credit Cecil Stoughton
Photo credit Cecil Stoughton

 

 

beads-marilyn-birthday-dress-448x500

3. Audrey Hepburn’s My Fair Lady, 1964 “Ascot” white embroidered lace Edwardian gown with black trim  designed by Cecil Beaton, including the large picture hat. This was another costume sold at the Debbie Reynolds/Profiles in History auction of June 19, 2011 for $4.4 million.

My Fair Lady (1964) Directed by George Cukor Shown: Audrey Hepburn (as Eliza Doolittle)

4. Judy Garland’s Dorothy Pinafore from The Wizard of Oz. This was the costume worn by Judy Garland throughout the movie. The blue and white checked pinafore and off-white blouse with rick-rack trim was designed by Adrian. Several “test” versions were designed before this final dress was used in the film. A solid blue “test” version was sold at the Debbie Reynolds auction in 2011 for $1.1 million, although the heavy promotion for the auction had much to do with that price. The pinafore being auctioned here is one previously owned by Kent Warner, the costumer who had “liberated” many costumes from MGM including several pairs of the Ruby Slippers. He always picked the most important items, with his rationale being to either preserve them, or in the case of the 1970 MGM auction, as payment for organizing costumes for the auction. Kent Warner first had this costume up for auction at Christies in 1981.  Labels in this costume have Judy Garland’s name and the number 4461, a sure way to trace its provenance. Sold at the TCM/Bonhams auction on November 23, 2015 for $1.625 million.

wizaed-of-oz-tcm-dorothy1

 5. Marilyn Monroe’s Gentlemen Prefer Blondes, 1953, “Two Little Girls from Little Rock” sung with Jane Russell in a matching gown. Red sequin showgirl gown with deep V cut designed by William Travilla. Sold at the Debbie Reynolds auction of June 18, 2011 for $1.44 million.

Gentlemen Prefer Blondes (1953) Directed by Howard Hawks Shown: Marilyn Monroe (as Lorelei Lee), Jane Russell (as Dorothy Shaw) Song: A Little Girl from Little Rock

6. Judy Garland’s Wizard of Oz, 1939 “Dorothy” pinafore – a solid blue “test” variant designed by Adrian. This pinafore was worn for the first two weeks of shooting before the director was replaced. Sold at the Debbie Reynolds/Profiles in History auction of June 18, 2011 for $1.1 million.

Most expensinve Debbie-Reynolds- Dorothy test dress

7. Audrey Hepburn’s Breakfast at Tiffany’s, 1961 black evening gown designed for the scene where she eats a croissant while looking at the Tiffany’s window,. Sold at Christie London December 5, 2006 for $900,000. The sale was to raise money for the City of Joy – aid for India’s poor. The gown was donated by its designer Hubert de Givenchy, although it was not the gown worn by Miss Hepburn in the film.

Most Expensive Breakfast_Tiffanys_1961

8. Marilyn Monroe’s Some Like it Hot black souffle dress decorated with strands of bugle beads. It was designed by Orry-Kelly for her scene in Some Like it Hot, 1958, where she sings sitting on a piano. It sold at the Julien’s auction of November 17, 2016 for $460,00 .

 

Orry-Kelly Monroe2

9. Marilyn Monroe’s Something’s Got to Give , 1962 silk crepe large rose-print dress with deep V cut back, designed by Jean Louis and worn for the never completed film. Marilyn was fired from the 20th Century-Fox film but when co-star Dean Martin said he would walk if she was let go, she was later re-hired. She died in August 1962 before the movie could finish. Sold for $358,000  at the Julien’s auction of June 27, 2015.

Marilyn%20Monroe078

10. Marilyn Monroe’s “Diamonds Are a Girl’s Best Friend” hot-pink silk taffeta gown with the huge bow at the back worn when she sings the song  in Gentlemen Prefer Blondes, 1953. Designed by William Travilla, sold at the Profiles in History auction of June 11, 2011 for $356,500

 

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Movie costumes and gowns are fragile and rare collectibles, and few of the older ones have survived from Hollywood’s Golden Age. They command even higher prices than jewelry, and have that quality  of being the most intimate and iconic of objects. Six of the top ten were once owned and worn by Marilyn Monroe. Two were worn by Audrey Hepburn. Two of the others were worn by Judy Garland as Dorothy in The Wizard of Oz. If other Oz costumes were included, they would have made the top ten also, such as the Cowardly Lion costume and the Ruby Slippers.  One of the most expensive of costume items are Dorothy’s Ruby Slippers. There are several pairs in existence. The ones in best condition were purchased from the Profiles in History consignor in 2013 after they failed to sell for $2 million. They were purchased privately by Leonardo diCaprio and Steven Spielberg to go to the new Academy of Motion Pictures Arts & Sciences Museum. The Wicked Witch’s Hat from The Wizard of Oz, fetched $230,000 at its last auction. Some costumes came close to the Top Ten, including Kate Winslet’s “Rose” dress from Titanic at $330,000, Jennifer Lawrence’s Katniss “Fire” gown from The Hunger Games, designed by Trish Summerville, which sold at auction for $300,000 in 2013.  One of Julie Andrew’s costumes from The Sound of Music was frequently reported in the media as selling at auction for $1.56 million. These media sources failed to say that the auction was for a set of costumes from the film, not just hers, so I do not include it in the Top Ten. The prices quoted in the Top Ten includes auction house commissions, which are generally the total figures reported in the media.

The stellar prices paid for these costumes, and the fact that relatively few are in institutional hands, should mean that some will reappear at auction and set new records. This is the second Top Ten list I’ve produced in as many years.

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THE WIZARD OF OZ: COSTUMING A CLASSIC

The Wizard of Oz  movie had its 75th anniversary in August 2014, and to commemorate the milestone, Warner Brothers re-released this classic in 3-D. For the occasion the movie was digitally re-mastered, and for the IMAX and 3-D release, each frame of the film print had to be depth-mapped and rotoscoped to maximize the viewer experience. In this post the movie’s production is summarized and the backstory on the costume designs is brought to life here.  This post will cover the Adrian-designed costumes for The Wizard of Oz, and the fabrication and wearing of the costumes and the related make-up of the actors. These relics from the movie have since reached celestial values. If you’re old enough, like me, you will probably wish you had attended that historic MGM auction in 1970 to buy them when they were relatively cheap. Although the Ruby Slippers at the auction, popularly thought at the time to be the only pair, did sell for $15,000. This was the highest price for any MGM auction item. Their story since the movie was made in 1938-39 is itself fascinating.  But as Glinda the Good Witch says, “It’s always best to start at the beginning.”

 

OZ group
Photo courtesy Photofest

 

The movie is based on the classic book published in 1900, The Wonderful Wizard of Oz, written by L. Frank Baum and beloved by children long before it became a movie. It had in fact already been made into two previous movies, one in 1910 and another in 1925 which starred Oliver Hardy as the Tin Woodsman.  It had also been a popular Broadway musical in 1902 that toured the country. In all these versions, although the story might change, the look of the characters and the costumes were based on the original W.W. Denslow illustrations for the book. 

In 1935 Samuel Goldwyn bought the movie and stage rights, but never produced anything. But after Walt Disney’s Snow White and the Seven Dwarfs became a big hit in 1937-1938, the children’s fantasy became a hot property again. MGM bought the rights from Goldwyn and began producing the classic in 1938. Eyeing its potential, MGM would spare no expense in the production. 

Oz Denslow
W.W. Denslow illustration for “The Wonderful Wizard of Oz”

 

Mervyn LeRoy was assigned to produce the movie, with Richard Thorpe as the original director and Adrian creating the costume designs. Although Shirley Temple was considered ideal for the role of Dorothy, it was MGM’s own Judy Garland that got the job, and in the end it was a perfect choice. Some of the key characters began with different actors in the roles: The Tin Woodman started out with Buddy Ebsen playing the part, and indeed he was a unique dancer. The Wicked Witch was to be played by Gale Sondergaard. But early in the shooting with Buddy Ebsen, the aluminum powder on his face gave him a very serious lung problem from breathing the metallic makeup. He was hospitalized and subsequently replaced by the Vaudevillian and movie actor Jack Haley. Adrian dressed Gale Sondergaard in the iconic black gown and hat, although both pieces were adorned with sequins. Gale looked just too glamorous, and pretty, despite her make-up. A “hag” type look was deemed more suitable, and the strong-featured Elizabeth Hamilton was selected instead, her image exaggerated with facial prosthetics and green make-up. Although Ebsen was then considered to play the Scarecrow, it was Ray Bolger that got the part, a rubber-legged song and dance man ideal for the part.

Oz_DorothyWardrobeShot
Although most of the film was in Technicolor, test photos like this one were in black & white. This early dress was solid blue with accents.

 

Judy Garland as Dorothy wore only one dress for the entire movie. Still, it took several tries before that one dress was decided upon. One dress design was in a  light  blue color with no trim, another had gingham trim at the bodice and skirt, still another was a darker solid blue with tiny bows on the bodice. Judy’s hair color and style also varied in the early tests, from red to blond to her final auburn color. After a couple of weeks of filming, the results didn’t satisfy Le Roy, and so he replaced Richard Thorpe with George Cukor, who because of his prior commitment for directing Gone with the Wind, was only temporary. Victor Fleming would succeed him as director of  The Wizard of Oz.  As it turned out, Cukor would in turn be replaced by Victor Fleming as the director of GWTW. Thorpe’s chosen look for Dorothy was also changed, this in favor of the classic Adrian design of a blue and white checked pinafore with the off-white puffed-sleeve blouse. Judy’s long curled wig was also eliminated. It had been an attempt to hide her breasts (Dorothy was a young girl in the book, Judy was 17), which was accomplished by wearing a flattening bra, just one of the uncomfortable costumes worn by the cast.

Oz early wardrobehair test of Judy Garland as Dorothy Gale

The photo below shows Judy in the classic pinafore, with Toto. It was the first color scene in the movie, just as they enter Oz and she exclaims, “Toto, I have a feeling we’re not in Kansas anymore.”

Oz was one of the big Technicolor movies.  The use of this filming method created several difficulties. Technicolor cameras were owned by the Technicolor company, and their use was tightly controlled. Colors had to be approved by the Technicolor consultant, which drove Adrian mad due to the costume color modifications that had to be made. White did not work at all due to the strong glow it gave. Thus Dorothy’s white blouse had to be dyed to produce a sort of dirty white.  Technicolor also required very bright lighting, so banks of overhead arc-lights were used, as many as 150 on the biggest sets. This created intense heat which exhausted the actors in their heavy costumes and make-up. Ironically, this same intensive lighting requirement for Technicolor has made it feasible to render the movie into 3-D.

OZ judy & toto
Photo courtesy Photofest

Glinda (the Good Witch) is played by the wonderful Billie Burke. Adrian designed his favored shoulder-emphasis in her gown, with the pouffed shoulders actually resembling wings. In the book Glinda wore a white gown decorated with silver stars. Instead Adrian had to change the white to a dusty rose color in order to satisfy the demands of  the Technicolor company.

Oz Glinda & Dorothy

And then there were the Ruby Slippers. They serve a key role in the plot and are one of the most  iconic costume pieces in cinema history. In Baum’s book The Wonderful Wizard of Oz, Dorothy’s shoes are silver. Adrian thought that red shoes would have more pizzazz in the Technicolor film, and would  help to emphasize their importance to the story. Several types of red shoes were tested, including one pair with the curled-up toe that was called, the “Arabian slippers.”  Adrian believed that only red sequins gave the right sparkle. So now finding the right method of attaching sequins to shoes was experimented with. The shoes were not built from scratch. The pumps with their French heels were purchased from the Innes Shoe Company of Los Angeles, Hollywood, and Pasadena, in several pairs, and reportedly dyed red. Several pairs were necessary in order to account for wear and tear and a pair for Judy’s stand-in. In the MGM Wardrobe Department, embroiderers sewed red sequins (nearly 5000 sequins) onto shoe-formed  red sllk georgette, which was then sewed onto the red faille pumps. Somewhat later Adrian added the red bugle beaded and rhinestone jeweled bow which was also sewn onto each shoe of the regular pairs. Scarlet-colored felt was also glued onto the soles of some of the ruby slippers, most notably those seen on the dead Wicked Witch of the East, and the soles of others were painted red. The blue silk socks were also a great addition, especially as compared to the dark knee socks previously tested. The Ruby Slippers have their own crucial role as Dorothy is told by Glinda to tap her heels together three times and say, “There’s no place like home.” in order to return.

Oz Dorothy & slippers

The Tin Man was costumed in close proximity to the book’s illustrations, as was the Scarecrow except for the blue color of his jacket. Neither tin nor metal was actually used, but rather a starched and lined buckram, which was a common material used in making durable book covers. This in turn was painted silver. Jack Haley’s make-up was made up of a layer of cold-cream, white foundation, and then aluminum paint. This was modified from the disastrous first version used with Buddy Ebsen. Ray Bolger’s make-up for the Scarecrow was a partial rubber mask to simulate burlap. He went through dozens of these masks during the course of production. His costume was a green jacket and brown pants, stuffed at several places with raffia to resemble straw. Every couple of days these costumes had to be cleaned by a process of  hand-sponging them during the evening, if not replacing them altogether.

OZ Judy tin man scarecrow
Photo courtesy Photofest

The Cowardly Lion in the book was indeed a lion, so the costume was made of real lion skins and mane. Projecting ears were added, and Bert Lahr wore a prosthetic lip and jowls, and separate lion mittens. The costume also had interior padding, which made it weigh about 50 pounds. The tail was manipulated during the filming by a wire attached to a sort of fishing rod, handled by a crewman from above. All the heavily made up and costumed characters suffered because of the heat. Bert Lahr complained the most, saying he could only eat his lunch using a straw.

Oz Lion

As a starting point, the Art Department envisioned the world of the tiny Munchkins as being close to the ground. Thus Adrian incorporated the theme of flowers for their costumes: appliqued and embroidered flowers; flower-pot hats; leaf decorations, and the like. And all the Munchkins’ costumes would be made of felt for softness. He emphasized their smallness by designing over-sized collars and large vests and hats. As in the book, various Munchkins had titles and defined jobs: the fiddlers, the heralds, the soldiers, the First Townsman, the Coroner, the Mayor, and others. For the Commander of the Army, Adrian used a rose for his spurs and a birdcage hat. 

The characters were played by dwarfs (little people as they liked to be called), with some child actors used as well.

OZ munchkins
Photo courtesy Photofest

The costumes in the Emerald City of Oz were of course all green. Thus shoes, stockings, dresses, and coats were green. This gave much extra work for the Wardrobe Department since stockings, shoes, and coats were not available in green, and so these costume parts all had to be dyed, which took several days to accomplish. For the shoes, they were spray-painted, which meant the insides and the soles had to be taped off. One of the highlights of the movie was the Emerald City Beauty Shop, where Dorothy was beautified as well as the other lead characters. Here Adrian was finally able to add some fashion styling to the beauticians’ wardrobe.

OZ_Dorothy_beauty parlor
Photo courtesy Photofest

The basic exterior look of the Emerald City of Oz was the result of a brainstorm of Cedric Gibbons, the Head of the Art Department, when he was discussing the problem of designing a unique look for Oz with production designer William Horning. Gibbons was looking at a German studio photo of a group of glass beakers when he had the idea to use these elements for the look of Oz. The idea was to make the beakers green and turn them upside down in a grouping. This ended up giving a unique look to Oz as seen from far away.

OzThe Kingdom of OZ

Frank Morgan played key roles throughout the movie. His job was very laborious as he had to be fitted for each costume and tested in a variety of make-ups, wigs and mustaches. In different make-up and costumes he played the roles of Professor Marvel, the Doorkeeper of Oz, the Guard at the gates of the Wizard’s palace, a horse-drawn wagon cabby, and of course the Wizard of Oz himself. An unbelievable yet true story surrounds the frock coat he wore as Professor Marvel. Not finding an appropriate tattered-looking coat in the Wardrobe Department, Wardrobe personnel were sent searching in a second-hand (not yet called vintage) clothes store. There they picked up a rack of appropriate-looking coats. Frank Morgan, Victor Fleming and the wardrobe man picked out one that had the right look of well-worn gentility. Later on Frank Morgan looked inside and discovered an interior  label with the late L. Frank Baum’s name on it. The coat’s authenticity was later verified by Baum’s widow Maud as well as his tailor.

Oz Morgan

The heavily made-up face of Bert Lahr as the no-longer-cowardly Lion expresses the joy that this movie has given millions of people.  The Wizard of Oz is a national treasure.

OZ Lion & Wizard
Photo courtesy Photofest

And The Wizard of Oz was also a musical, with music by Harold Arlen and lyrics by E.Y (Skip) Harburg.  For the first time ever, a non-animated feature film would have its music “pre-scored,” that is the songs were conceived as an integral part of the script. What would The Wizard of Oz be without Over the Rainbow? Yet this song was almost eliminated from the movie, when some MGM execs doubted that anyone would go for a girl singing in a barn yard. Arlen and Harburg pleaded for the song. After some initial negative previews it was almost cut again. Arthur Freed, then an assitant to producer Mervyn Le Roy,  finally threatened to quit if the song was cut. The final decision was made by Leo B. Mayer, who said it would stay.

The Wizard of Oz Actually lost about a million dollars after its initial realease in 1939, after distribution and advertising costs were added to the $2,777,000 production costs. It  was first shown on television on November 3, 1956. Since then its popularity has grown and it is now the most-watched movie in the history of film. The movie made life-long celebrities of all of its main cast members. Judy Garland won a miniature Oscar for Best Performance as a juvenile performer. Oscars were also won for Best Score and Best Song (for that barnyard classic, Over the Rainbow). There was no Oscar for Adrian, as no Oscars were awarded  for costume at that time, when the classic costume designers were in their prime.

One pair of Ruby Slippers have been on exhibit  at the Smithsonian Museum for many years, where lines are usually formed to see them. Another pair has recently been donated to the Museum of the Academy of Motion Pictures Arts and Sciences in Los Angeles, where no doubt they will be the chief attraction. Their current value is $2,000,000.

The inked #7 pair of Ruby Slippers originally found by Kent Warner

Several excellent research resources exist on the Wizard of Oz production, including:

*Aljean Harmetz, The Making of the Wizard of Oz

*William Stillman and Jay Scarfone, The Wizard of Oz:The Official 75th Anniversary Companion

* Rhys Thomas, The Ruby Slippers of Oz

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COSTUMES FROM THE WIZARD OF OZ: THE GOLDEN BRICK ROAD CONTINUED

 

The vintage costumes from the immortal The Wizard of Oz have, along with those of Marilyn Monroe, set records for Hollywood memorabilia at auction. Stored in MGM’s wardrobe Department warehouses for decades, then liberated, they quickly turned hands and escalated in price. As outlined in my previous post, the one exception was the pair of Ruby Slippers that had been awarded as a contest prize by MGM to high school student Roberta Jeffries in 1940. She had treasured her pair until 1988 when she sold them at auction for $165,000. Roberta was flabbergasted by the price, as was everyone. The buyer was Anthony Landini, who then loaned them to Disney World for permanent display. The amazing thing was that at this point it was well known that these were not the only pair of Ruby Slippers.

 

The inked #7 pair of Ruby Slippers originally found by Kent Warner

The inked #7 pair of Ruby Slippers originally found by Kent Warner. Why were there more than one pair? It was common studio practice to have multiple pairs of costumes, and especially for plot-driving accessories like the Ruby Slippers. If they were damaged during filming, production would have to be halted, especially as Dorothy and the other key characters wore their costumes through virtually the entire movie.

The "Arabian test pair" of Ruby Slippers
The “Arabian test pair” of Ruby Slippers

There were also stand-ins or stunt-doubles that had the same costumes. And in the case of the The Wizard of OzJudy Garland also wore variant copies of the blue pinafore dress in test photos and in early scenes that were subsequently re-shot under the new but still temporary director George Cukor. While these were not the classic blue and white gingham pinafore used in the film, demand is so strong for anything OZ that values have escalated for these costumes as well.

Dorothy’s pinafore has reached very high prices, even when made in several copies and  in variant colors. The same dress has  also reappeared at auction several times. Kent Warner found several Dorothy pinafores in the MGM Wardrobe. The first one sold at the 1970 MGM auction for $1000. A few others he kept for himself. In 1981 he consigned to Christie’s East one of the classic blue and white gingham pinafores with an off-white blouse. It bore a label with Judy Garland’s name and the number 4461. It sold for an unknown amount. All of the variant Dorothy dresses were designed by Adrian. The Wizard of Oz was an international phenomenon in the Anglo-Saxon world.  Bonham’s Knightsbridge in London sold at auction a Dorothy blue and white gingham pinafore without the blouse in 2005 for the equivalent of $270,000, setting the record at that time, the company announced. 

A test pinafore of all-blue with gingham trim and off-white blouse

A test pinafore of all-blue with gingham trim and off-white blouseThe market started heating up again when Debbie Reynolds held the first of her two auctions run by Profiles in History on June 18, 2011. She was selling off her collection to pay off the debts of her bankrupt foundation, and the auction had been getting national  publicity for months. Additionally, many of the costumes had been on exhibit long in advance of the auction and thousands took advantage of viewing the collection at the Paley Center in Beverly Hills. Among the many treasures from Debbie’s amazing collection was the solid blue pinafore and off-white blouse shown above. This was one of the test dresses not used in the film. Amazingly, it sold for $920,000. This got people’s attention, as did the prices for all the other notable costumes from Debbie’s costume and Hollywood artifact collection. Debbie’s pair of the rather beat-up test pair of the “Arabian” slippers” went for $510,000, reportedly destined for the Middle-East. There is nothing like very high prices to shake the collectibles tree.

The next Dorothy dress to appear at auction was the blue and white gingham pinafore dress actually worn by Judy Garland in the movie. It came up for sale at the Julien’s auction of November 10, 2012. It also has the original blouse and was in fact the same costume consigned by Kent Warner to Christie’s in 1981, bearing the label with Judy Garland’s name and the number 4461. This dress sold for $400,000. Considering the $920,000 price minus the fees and taxes paid for the Debbie  Reynolds dress, this iconic dress was a bargain. Although the dress is a bit faded from time, and it was purposefully dyed in muted whites, the photo below does not do the costume justice.

 Judy Garland's movie-worn Dorothy dress

Judy Garland’s movie-worn Dorothy dress. So the next Dorothy dress to hit auction came quickly. Long-time Hollywood memorabilia collector and Judy Garland fan Barry Barsamian had another all-blue Dorothy dress, only this one had actually been used in the first two weeks of filming. This filming had been done under  OZ‘s first director, Richard Thorpe, before he was replaced. Barry Barsamian had gotten the dress from Wayne Martin, who in turn had gotten it from Kent Warner. This dress had been loaned as part of the Smithsonian’s “Freedom Train” celebrating the American Bicentennial. This dress is shown below. It sold at Profiles in History on July 28, 2013 for $300,000.

 

The test pinafore sold at Profiles in History in 2013
The test pinafore sold at Profiles in History in 2013

Also a beloved character from the movie was the Cowardly Lion, played by Bert Lahr. As mentioned in the last post, this costume was made from real lion pelts. It too was sold at the MGM auction in 1970. At that time the costume was missing its two front paws and its mane and ears. It sold nonetheless for $2,400, more than twice what Dorothy’s pinafore originally sold for.

Wizard of Oz Lion

Wizard of Oz Cowardly Lion auction 2012

The Cowardly Lion costume had been owned for many years by James Commisar, who had it restored. He had the face molded on that of Bert Lahr’s son; John Lahr. The mane was remade. Comisar is a collector of television history artifacts and he is planning a museum of television history. It is to this end that putting up for sale the Cowardly Lion costume would help his fund raising drive. He had the costume consigned to Profiles in History in 2011 but it failed to sell at its high reserve price of $2 million. Profiles in History subsequently sold it for $805,000 on Ebay.

Wizard of Oz AMPAS Lion wig

The Academy of Motion Pictures Arts and Sciences Herrick Library owns the Cowardly Lion mane and ears that may have been the match to the costume above, but in any event are original to the 1939 Wizard of Oz production. They are shown above. 

And miracle of miracles, that most fragile  of costumes, the Scarecrow’s has survived. As mentioned in the last post, Ray Bolger saved his costume, including the raffia that served as hay, after production wrapped. His wife Gwendolyn donated the costume to the Smithsonian in 1987, along with a bag of raffia.

Wizard of Oz Scarecrow
The Scarecrow costume at the Smithsonian Museum

But other significant pairs of Ruby Slippers were out in the world. One pair went around the country on the exhibit tour, owned by noted Hollywood costume collector Michael Shaw, who had of course gotten his pair from Kent Warner. He had loaned his pair to the Judy Garland Museum In Grand Rapids Minnesota. In a bizarre  case, the pair were stolen from the museum, and their whereabouts  took years to solve. 

The stolen pair of Ruby Slippers
The stolen pair of Ruby Slippers

Profiles in History managed to land another pair of the Holy Grail of Hollywood collectibles: the Ruby Slippers with the provenance of Kent Warner, a subsequent auction purchaser, then Philip Samuels. These were the pair in the best condition and the most likely to have been the pair used in the close up shot, where Judy Garland taps her heels three times and wishes she could go back home. The pair of Ruby Slippers went up for auction on December 15, 2011 with a reserve price of $2 million dollars. 

These most famous of Ruby Slippers and the most treasured Hollywood icon did not sell. After the auction Leonardo DiCaprio and Steven Spielberg purchased the slippers for donation to the  Museum of the Academy of Motion Picture Arts and Sciences. How fitting an end that they should not only stay in the U.S but stay very near to Hollywood. Bravo to Mr. DiCaprio and Mr. Spielberg.

Wizard of Oz Ruby slippers Profiles 2011

 

Their magic must be very powerful, or they wouldn’t want them so badly.

  

 

 

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COSTUMES FROM THE WIZARD OF OZ: A ROAD OF RUBIES AND GOLD

All things Oz are perennially popular, but the surviving costumes from the 1939 classic film are also worth riches. Film costumes come closest to the skin of the actors, and these iconic costumes from one of the most beloved movies of all times have turned into gold. They are such treasures as the Ruby Slippers, Judy Garland’s gingham pinafore, the Cowardly Lion suit of Bert Lahr, and the vestiges of costumes from the Wicked Witch, the Winkies and the Munchkins. What happened to these costumes after the film wrapped? And what has been their own path down the yellow brick road? Their story is just as fascinating as the movie itself. Fasten your seat-belts, it’s going to be a bumpy ride.  

WOZ Judy tin man scarecrow
Photo courtesy of Photofest

The costumes for The Wizard of Oz were designed by Adrian and fabricated at the MGM Studio Wardrobe Department, as will be covered in a future post. The fate of the Oz costumes, as with all the other MGM costumes post-production, was to go into storage in the three-story wardrobe building at the MGM studio lot in Culver City. The intention for virtually all studio costumes was that they could be re-used in another production. Even with very unique costumes like those from Oz, they might be used again in a sequel. The book the film was based on, The Wonderful Wizard of Oz, went through several sequels. Occasionally, costumes could be used for publicity, and indeed in 1939 the Ruby Slippers went on a publicity tour, and MGM decided to contribute the pair as a prize for the girl winner of a high school “10 Best Movies of 1939” writing contest. One boy in that contest won the gavel from Mr. Smith Goes to Washington, and one girl, Roberta Jeffries from Memphis Tennessee won the Ruby Slippers. But the rest of the costumes: Dorothy’s pinafore, the Wicked Witch costume, the Cowardly Lion lion-skin, and others, were hung on Wardrobe’s costume-racks that stretched for hundreds of feet. Some didn’t survive. The Tin-Man costume was just a bunch of made-up parts that were likely just thrown away. The Scarecrow costume, deemed unusable for anything else, was saved by Ray Bolger. And in the end, there were no Oz sequels, thus the costumes languished and were largely forgotten.

Wizard of Oz Group 3D
Photo courtesy of Photofest

When Television became popular, the search for content led quickly to the broadcast of old movies. The first showing of The Wizard of Oz on TV occurred on November 3, 1956. Even in black and white, it produced a tidal wave of viewers, and it has been shown yearly ever since. This eventually resulted in Oz being the most-watched movie in history. But the very popularity of television-viewing, and other factors, led to the demise of the old studio-system. By the late 1960s having gone through several owners and at an all-time low, the assets of MGM were viewed as just properties to be sold off, or if valueless, to be discarded. Thus Ted Turner bought MGM and kept the pre-1970 film library, Kirk Kirkorian bought the name rights of MGM to be used for Las Vegas hotels, and several of the back lots were sold off for future housing developments. The MGM management at the time didn’t think the costumes were worth enough even to sell, but maybe there was some value in the props. David Weisz of the eponymous auction company, knew that Kirkorian was interested in selling off assets, and made MGM an offer of $1.5 million for all the props and costumes, which was accepted, and Weisz held the auction on the MGM lot. It was the biggest bazaar in L.A.’s history. One should bear in mind the context for the rest of the story: the David Weicz company bought all of MGM’s costumes for something like $1 apiece, and originally thought of a bazaar sale direct to the public for prices just above that. 

MGM auction props
MGM auction props

MGM David Weisz Wardrobe catalog

MGM David Weisz Wardrobe catalog Along the way the Weisz Company got some advise to auction the notable costumes separately. The MGM Wardrobe inventory consisted of an estimated 350,000 costumes. How to go about deciding which ones to find and catalog, and which ones to sell as cheap odd lots? Costumer Kent Warner, was suggested to identify notable costumes and catalog them by an associate of Weisz. He was passionate about saving Hollywood’s heritage. Warner set about with diligence to scour MGM’s wardrobe storage and to find the most important costumes in its inventory. In a later newspaper article, Kent Warner was quoted as saying, “I’m the only person in the world that knows the story of the Ruby Slippers…. I discovered the Ruby Slippers.” And so he did, as well as the gingham pinafore that Judy Garland wore as Dorothy. Various stories were born on where and  how he found them, all well documented in Rhys Thomas’s book, The Ruby Slippers of Oz.  Some of the stories made the search sound like the expedition to find King Tut’s tomb. Nonetheless, the  pair of slippers and the Dorothy pinafore were dutifully cataloged among 1000 other costumes (400 others were subsequently  added), and went up for sale at the MGM auction in 1970. Also in the auction was the hat from the Wicked Witch, and the lion costume worn by Bert Lahr. Kent Warner himself designed the pre-sale display of many of these classic costumes. When the auction was held, the Ruby Slippers set the modern record for a piece of Hollywood memorabilia: $15,000. This made national news.

MGM Wardrobes's shoe storage circa 1950s
MGM Wardrobe’s shoe storage during the 1930s

Roberta Jeffries Bauman of  Memphis read the papers, shocked that her treasured pair of Ruby Slippers were not the only ones. She had been placing them on exhibit at various schools for decades, and was locally famous as their owner. The purchaser of the MGM $15K pair was less than pleased when Roberta’s story made national news as well. He thought his was the only pair. In 1979 he donated his pair to the Smithsonian, where they have been a stellar attraction ever since. But unknown at the time of the MGM auction, Kent Warner had found at least  three other pairs of Ruby Slippers, and at least two other Dorothy dresses. These treasures he kept for himself.  

MGM ladies wardrobe in the 1930s.

MGM ladies wardrobe in the 1930s is pictured above.  The MGM auction opened the public’s eye to the nascent field of Hollywood collectibles. The $15,000 spent on the Ruby Slippers made headlines. Previously, there had virtually been no Hollywood memorabilia collectors because there had been no supply of Hollywood collectibles. But in fact at the low tide of Hollywood studio interest in their material legacy (though it seems that tide was always low), Kent Warner and a few of his collecting colleagues had been running a sort of underground railroad for iconic but nonetheless absconded costumes.  As often happens with desired objects hitting high prices, the supply pipeline opened up, and soon other studios like Paramount Pictures started selling their props and costumes. Kent Warner had been selling costumes for several years, and he later decided to sell his treasured Ruby Slippers. These were the pair used for close-ups, the ones the Wicked Witch of the East wore when Dorothy’s house fell on her, which then became Dorothy’s. These had dyed red soles, while others had felt applied to the sole to muffle sound. They were also in better condition than the other two. Warner placed this pair at auction but they never reached his reserve price. In ill health from AIDS, he then consigned them with Christie’s East in 1981, where they only fetched $12,000.  Kent Warner thought they were worth as much as $75,000. He never lived long enough to see such prices.

Kent Warner's inked #7 pair of Ruby Slippers
Kent Warner’s inked #7 pair of Ruby Slippers

So which Oz costumes had Kent Warner discovered while doing inventory at MGM, costumes that he kept? No one now knows or has publicly stated how many Ruby Slippers had been made for The Wizard of Oz. Roberta had her pair. The anonymous purchaser at the MGM auction had his pair. And Kent Warner had the prize pair that he displayed in his home for years. Plus there was an “Arabian test pair” that Judy Garland modeled but had never worn in the movie. This pair was purchased by Debbie Reynolds, but not at the MGM auction. Collector Michael Shaw had also purchased a pair directly from Kent Warner. There may have been two other pairs found but that were never accounted for. Judy Garland also had several pinafores made for her. Two of these dresses were “test” dresses made of solid blue cotton with polka dot trim, one with a blue blouse, and each one varied by the darkness of the blue. One of these was worn in early shooting but after director Richard Thorpe was fired, George Cukor took over and changed Judy’s hair and used a different Adrian-designed blue and white gingham pinafore with a white blouse. Judy also had a stand-in, and she had her own pinafore. 

Wizard of Oz_DorothyWardrobeShot
Judy Garland in a variant pinafore not used in the final film. On her right foot is the “Arabian test slipper” that was also not used.

For the sepia-toned opening of the film, a gingham pinafore without any color was used. This one was gray and white. The only Dorothy dress sold at the MGM auction was the blue and white gingham pinafore, the one everyone remembers. It sold for $1000. The Cowardly Lion costume sold for $2,400. It was missing its front paw mittens and it’s mane wig. The Wicked Witch’s hat sold for $450, and her dress for $350. Frank Morgan’s Wizard suit sold for $650. The main wardrobe auction was held on May 3, 1970 in Stage 27, where much of The Wizard of Oz was filmed. Judy Garland had died the previous June.  Several years after Kent Warner died, Roberta Bauman decided to sell her Ruby Slippers at auction. She had treasured them since her youth but then thought they could become someone else’s responsibility. Their sale would also become her retirement money. They sold in October 1988 at Christie’s East for $165,000. Roberta was amazed. Since then, three of the above-mentioned pairs have also come up for auction. One pair was purchased for a major museum soon to be launched, and another pair was stolen from another museum. The Cowardly Lion costume and the Witch’s hat have also been re-sold. Prices for some of these pieces are a million dollars or more. I will continue with these amazing stories in the next post of the Silver Screen Modes. Kent Warner’s own words in a Los Angeles Times interview in 1977 best expresses the magic of the Ruby Slippers: ” I think the film The Wizard of Oz released in 1939 was the ultimate representation of home, family, solidarity, well-being, security – at the same time there was the madness and the fantasy of Oz. All I can think of is the heels clicking and Judy saying, ‘There’s no place like home.’ “ Or as Glinda the Good Witch of the North said to Dorothy, “Keep tight inside of them – their magic must be very powerful, or she wouldn’t want them so badly!”

woz-slice1

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