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Marilyn Monroe getting ready at the Ambassador Hotel in New York on March 24, 1955. Photo by Ed Feingersh.
“You know, they ask me questions. Just an example: “What do you wear to bed? A pajama top? The bottoms of the pajamas? A nightgown?” So I said, Chanel n°5, because it’s the truth… And yet, I don’t want to say nude. But it’s the truth!” — Marilyn Monroe to Georges Belmont for Marie Claire magazine, 1960.
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Marilyn Monroe photographed by Cecil Beaton at the Ambassador Hotel in New York, February 1956.
Romy Schneider in Qui (1970)
“At that moment a buzz and a bustle ripped through the crowd. Everybody stopped what they were doing, freeze-framed with their drinks, hors d'oeuvres or cigarettes halfway to their mouths. They were all looking in one direction. A path had been cleared, and walking through it was Marilyn Monroe. She was wearing what anyone else would have called an underslip, a simple, unadorned black silk slip with thin shoulder straps and clearly nothing under it. Her skin was a luminous alabaster with pearly blue and rose tints such as I have never seen outside paintings by the Old Masters. She was more astonishingly beautiful in the flesh than on celluloid and we all stared silently in our reverence…”
- writer Elaine Dundy on Marilyn Monroe arriving at an after-party of a Cat on a Hot Tin Roof theatre premiere (Tennessee Williams, Gore Vidal and Truman Capote present), March 1955
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Film & Literary Letters: Absolutely enchanting Louise Brooks in Diary Of A Lost Girl (1929) dir. by G.W. Pabst // Anne Sexton, from A Self-Portrait In Letters
Clémence Poésy, 2008 © Max Vadukul
Alphaville (1965)
Marguerite Duras, from The Lover
Text ID: Perhaps you’ll escape. Day and night, this obsession. It’s not that you have to achieve anything, it’s that you have to get away from where you are.
Léa Seydoux at the 2019 Cannes Film Festival
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Girl Blunt by Alana O’Herilhy, starring Bella Hadid
Tina Aumont in THE HOWL (1968) directed by Tinto Brass
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Scarista beach on the Isle of Lewis, Outer Hebrides by Mike LIoyd
