The Most Iconic Dresses Of Legendary Marilyn Monroe

[NT-ooqg]

All her dresses should be protected ❤️❤️

[Yushi-dah-gurl]

Her lil dance was adorable, ain't gonna lie 😭💞

[blackpearl]

This is style and classic, thats Marilyn Monroe 🤗🤍👍

[BaMbY]

O icónico vestido 👗 da MarilynMonroe 💃👗💃
RIP
✨🕯️ ✨ MarilynMonroe ✨🕯️✨

[ЕленаАбдулова-юй]

Мэрилин собой украсила все эти платья. Без нее они просто обычные вещи…

[eualicely]

Esse vestido laranja não é o original do filme, pois ele foi usado depois por outra mulher e ela o queimou

[Кира_Гипсей]

А потом какая то жопа на ножках испортила ее голое платье

[BethannMachado]

That’s not the dress that Marilyn Monroe wore, Abbey Lincoln burned the original one that Marilyn Monroe had worn in Gentlemen Prefer Blondes and We can be fairly sure that Marilyn liked the dress, as she wore it again at a St. Jude’s hospital benefit at the Hollywood Bowl in July 1953. But for jazz singer Abbey Lincoln, given the same costume three years later, the lingering association with Marilyn and the industry’s effort to cast her in the sexpot mould left a bitter aftertaste. In an article for the LA Review of Books, Matthew Eng takes up the story (although, oddly, he describes the dress as red…) ABBEY LINCOLN’S FILM DEBUT was hardly auspicious. Costumed in a figure-hugging, lipstick-red dress — a hand-me-down worn by Marilyn Monroe in Gentlemen Prefer Blondes (1953) — the musician lustily, incongruously belted out a big band spiritual titled ‘Spread the Word, Spread the Gospel‘ during a nightclub scene in Frank Tashlin’s The Girl Can’t Help It (1956). Her hair is short and straightened, the scarlet of her gown graphically matched to the movie’s similarly attired star, Jayne Mansfield … Months after the release of Tashlin’s comedy, a still of Lincoln in the same Monroe dress appeared on the June 1957 cover of Ebony, accompanied by a paragraph-length story divulging Lincoln’s measurements. Forced to literally measure up to the epitome of white Hollywood desirability, Lincoln quickly came to resent and reject the standard sex-bomb image into which she had been commodified. As Lincoln later recounted in an episode of NPR’s Jazz Profiles, ‘I made some waves [in Hollywood]. But I escaped it because it was about to ruin my life. It was insincere.’ As for the fate of the red dress, Lincoln told The New York Times, ‘Shortly after the film, I burned it in an incinerator to make sure I’d never wear it again.'”