It’s been movie stars all over the place at Circa lately – and Natalie Wood holds a special place in my heart.

A few years ago I was fortunate enough to purchase some costumes from the film “The Mystery of Natalie Wood” – I still have some, but most went off to happy homes including a Kimbra film clip for her song “Settle Down” and Candice DeVille’s personal wardrobe.

A costume from a film about Miss Wood is one thing, but an actual costume she wore in one of her major roles is another thing entirely.

Then Peter walked in the door with a box full of sparkles – the costume that Miss Wood wore as Gypsy Rose Lee for the finale in “Gypsy (1962)”. Here she is:

 

Natalie wears the costume for her big scene, singing “Let Me Entertain You”.

The costumes were designed by Orry-Kelly, the Australian who had previously won three Academy Awards including one for Marilyn Monroe’s beaded dresses in “Some Like it Hot”.

Any excuse for a MM pic.

I wish I’d known about Orry-Kelly when I was a costume student: he would have been my idol. Plus he lived with Cary Grant for a decade!

He received a fourth Academy Award nomination for “Gypsy” and according to Wikipedia, when he died two years later “His pallbearers included Cary Grant, Tony Curtis, Billy Wilder and George Cukor and his eulogy was read by Jack Warner.”

That’s one heck of a supporting cast to see you into the next world.

 

 

 

 

 

 

 

 

Back to Miss Wood – I can tell you that there are five main pieces to the Gypsy costume: essential for a strip tease… to undress in stages – and here is the order that Miss Wood removed them – the skirt, the jacket, the high waisted corset/knicker and lastly, the strapless bra and small knickers (which are not removed).

The set was split – the bra and corset/knicker were sold last year. Rumour has it that Dita von Teese now owns them (update: Dita has confirmed).

You may have noticed that the bra and the knicker are not a good match: that’s apparently because they weren’t worn together, and Natalie did not wear the bra onscreen, but they were paired for the original auction in 1993 ( Provenance: Lot 1470, “Western Costume Star Collection,” Butterfield & Butterfield, Los Angeles, October 10, 1993) and later it looks like someone might have added a strap, perhaps for wearing. Ooh la la! Can you imagine?

Underneath the corset/knicker, Natalie appears to have worn a body suit, bikini style with sheer and glistening middle (and navel covering for modesty): here’s a photo where she’s with the real Gypsy Lee Rose, when she visited on set:

 

 

 

 

 

 

Not sure where this body suit has ended up, perhaps Natalie kept it?

It’s a pity the set was split up but so it goes. The best pieces are still the jacket and skirt.

 

 

The jacket is tiny: it has a hook and eye at the dazzling rhinestone encrusted collar and a pair of big press studs to secure at the base – Natalie wore it crossed over about three inches  (7.5cm), but the modern size 8 mannequin is too enormous for her costume (I estimate she was about a modern Australian size 4/US 0).

There are half-sleeves, and a big train that hangs down almost to the floor, with a beaded tassel and more rhinestones.

 

Then the skirt – it wraps around, secured with a large hook and eye, producing a draped effect over her hips. There are more hooks that perhaps attached to her undergarments – she must have been quite curvy for her tiny frame, because the skirt fell down when I put it on my vintage mannequins.

The skirt also has a tail, capped with another beaded tassel and rhinestones – plus several weights to keep it down, and a loop so she could pick it up and play with it. She must have done this a bit, because the skirt “tail” had the most damage.

Are you wondering why the mannequin is standing on a yellow sheet? This was so I could pick up all the beads and rhinestones as they fell off. It was my task to secure the beadwork, mend the holes and generally restore the costume so it could be displayed without endangering the condition. Everything I did was on the sheet, to capture all of the beads, which were returned to my client in case of future restorations.

Tell me more?
The ensemble is made of silver bugle beads machine sewn onto silk jersey in feathered lines and partially lined in fine nylon. Then additional bugle beads were hand sewn in areas that needed to be more heavily ornamented (like the bust), or perhaps they were repairs? Then thousands of rhinestones of various sizes were glued onto the fabric. Additional glass crystals set in prongs were hand stitched on too.

I was thrilled to see pencil marks under the bugle beads indicating that they had a beading machine to apply a specific design but then realised – this is Hollywood! Of course they had a beading machine, they wouldn’t just pop down to Cleg’s and buy it by the metre like us plebs.

Working with two sizes of needles (a sharps and a thin beading needle) I moved my hands gently over a section at a time, searching for loose beads, loose threads and loose rhinestones – the latter fell off and were collected. The first two were secured with the required needle on the underside. I used pure cotton thread, like the one that was used on the original costume (even though polyester thread is stronger, I prefer authenticity if I can get it).

It was a painstaking process and I limited myself to 45 minutes at a time, because my eyes would start to go funny after a while. I’m surprised I wasn’t dreaming of rhinestones!

Here’s a close up of the fabulousness – you can see the different types of beads and rhinestones, the prong set ones sit up higher than the glued ones, which sit flat. The dark misshapen bits are the remnants of silvered backing from absent rhinestones. And the underside, with the label from Western Costume Co. Natalie’s name is hand-written in pencil.

 

I tried gluing the dropped rhinestones back on but it didn’t work of course, they needed their intact backing and it had crumbled away. This is why sewing will always last better than glue, but back when Orry-Kelly inspected the finished costume, I’m sure he wasn’t thinking of the people who would still be admiring his work more than fifty years later.

The costume will be going on display in a couple of weeks in Brisbane – you can see it (if you’re over 18) at Club X, 160 Brisbane Road, Booval, Queensland.

Note: this post was updated 29/1/24 when new information became available regarding the bra portion of the costume.