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Comment & Watch Live... The 2025 Victoria's Secret Fashion Show
Ava Gardner #1
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Script, the photo from post #2851 is one of my favorites.
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Glad you like it!
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Sketch of a lovely grey flowing Dress with umbrella and hat: Vintage signed and numbered hand colored lithograph from 1946 movie The Great Sinner staring Ava Gardner and Gregory Peck. Number 313 of 400 signed by the artist Virginia Fisher and designer Irene. Also initialed by Gregory Peck and director Robert Siodmak. This gorgeous gray and white flowing dress trimmed with hummingbirds and flowers was designed for Ava Gardner for the love scene in the carriage.
art sellers
Sketch of a lovely grey flowing Dress with umbrella and hat: Vintage signed and numbered hand colored lithograph from 1946 movie The Great Sinner staring Ava Gardner and Gregory Peck. Number 313 of 400 signed by the artist Virginia Fisher and designer Irene. Also initialed by Gregory Peck and director Robert Siodmak. This gorgeous gray and white flowing dress trimmed with hummingbirds and flowers was designed for Ava Gardner for the love scene in the carriage.
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Film Journal
ONE TOUCH OF VENUS was Ava Gardner’s breakthrough film: The aspiring Hollywood sex goddess found herself cast appropriately enough as the goddess Venus. Under director William A. Seiter, Gardner proved herself a ‘natural comedy actress’ (Newsweek).
The Movie required a statue of Venus in Gardner’s image, and sculptor Joseph Nicolesi was duly commissioned. Garner initially posed in a two-piece bathing suit, but the sculptor (with his wife’s encouragement) insisted that she show more of herself. Gardner overcame her natural modesty after several hours’ coaxing, finally posed topless, and was ultimately impressed with the results of Nicoles’s work. But when the statue arrived at Universal Pictures, Seiter took one look at it and demanded that it be redone to cover the upper torso. Nicolesi added on off-the-shoulder Orry Kelly gown modeled by Gardner, and the resulting more modest sculpture was approved. Ironically when filming began, Gardner was costumed in a gown (and nothing else) so sheer that she was followed by a maid with a portable heater, and crowds of studio employees gathered to ogle the actress during the scenes involving a wind machine.
ONE TOUCH OF VENUS was Ava Gardner’s breakthrough film: The aspiring Hollywood sex goddess found herself cast appropriately enough as the goddess Venus. Under director William A. Seiter, Gardner proved herself a ‘natural comedy actress’ (Newsweek).
The Movie required a statue of Venus in Gardner’s image, and sculptor Joseph Nicolesi was duly commissioned. Garner initially posed in a two-piece bathing suit, but the sculptor (with his wife’s encouragement) insisted that she show more of herself. Gardner overcame her natural modesty after several hours’ coaxing, finally posed topless, and was ultimately impressed with the results of Nicoles’s work. But when the statue arrived at Universal Pictures, Seiter took one look at it and demanded that it be redone to cover the upper torso. Nicolesi added on off-the-shoulder Orry Kelly gown modeled by Gardner, and the resulting more modest sculpture was approved. Ironically when filming began, Gardner was costumed in a gown (and nothing else) so sheer that she was followed by a maid with a portable heater, and crowds of studio employees gathered to ogle the actress during the scenes involving a wind machine.
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Classic Images
Sydney Guilaroff:I'll never forget the first time I saw Ava. Her natural beauty floored me. She had natural curly hair, most people didn't know that. Her Southern accent was so thick you could cut it with a knife. She worked hard and turned out to be the most elegant star at Metro in the late '40s and '50s.
Sydney Guilaroff:I'll never forget the first time I saw Ava. Her natural beauty floored me. She had natural curly hair, most people didn't know that. Her Southern accent was so thick you could cut it with a knife. She worked hard and turned out to be the most elegant star at Metro in the late '40s and '50s.
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Divas.com
For years, everyone wandered what the secret of Ava Gardner's lush beauty was. Was it expensive cold creams? A vigorous exercise regimen? A good night's sleep? No, believe it or not, according to the Diva herself, it was soap and water at night and cold water in the morning.
For years, everyone wandered what the secret of Ava Gardner's lush beauty was. Was it expensive cold creams? A vigorous exercise regimen? A good night's sleep? No, believe it or not, according to the Diva herself, it was soap and water at night and cold water in the morning.
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One of Sydney's favorite actresses and human beings was Miss Ava Gardner. Ava was a beauty of rare distinction, and she wore Mr. Guilaroff's creations with great style in such wonderful films as One Touch of Venus; The Great Sinner; East Side, West Side; Pandora and the Flying Dutchman; Showboat; Lone Star; Mogambo; The Snows of Kilamanjaro; The Barefoot Contessa; The Little Hut; Bhowani Junction; The Naked Maja, and many, many others. Some fans consider Ava Gardner the most beautiful woman in films, and Sydney Guillaroff can be counted among them. He loved her humor and down-to-earth personality. When Sydney spoke to me of the beautiful Ava, he was still very moved. He said his love for Ava would never die.
One of Sydney's favorite actresses and human beings was Miss Ava Gardner. Ava was a beauty of rare distinction, and she wore Mr. Guilaroff's creations with great style in such wonderful films as One Touch of Venus; The Great Sinner; East Side, West Side; Pandora and the Flying Dutchman; Showboat; Lone Star; Mogambo; The Snows of Kilamanjaro; The Barefoot Contessa; The Little Hut; Bhowani Junction; The Naked Maja, and many, many others. Some fans consider Ava Gardner the most beautiful woman in films, and Sydney Guillaroff can be counted among them. He loved her humor and down-to-earth personality. When Sydney spoke to me of the beautiful Ava, he was still very moved. He said his love for Ava would never die.
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Rose Apodaca.blog
While other stylists insist their super-famous clients are just real people they like to dress, Patricia Field begs otherwise. “I prefer to style for a character than a real person. I was never in to fashion for fashion per se. I was into old Hollywood,” she noted, looking on this evening like she took a page out of "Grease," dressed in skinny black jeans, a halter cut from girdle fabric from her signature line (I scored one of these 20 years ago from her SoHo shop.) and a towering pair of her Payless heels, glimmering in silver, green and red metallic faux snakeskin. “That’s why I had a crush on Ava Gardner,” she added. “I was into stars who were interesting to look at. Old Hollywood was so complete, so perfect, so gorgeous. That’s how I see my job, it’s to give people joy.”
While other stylists insist their super-famous clients are just real people they like to dress, Patricia Field begs otherwise. “I prefer to style for a character than a real person. I was never in to fashion for fashion per se. I was into old Hollywood,” she noted, looking on this evening like she took a page out of "Grease," dressed in skinny black jeans, a halter cut from girdle fabric from her signature line (I scored one of these 20 years ago from her SoHo shop.) and a towering pair of her Payless heels, glimmering in silver, green and red metallic faux snakeskin. “That’s why I had a crush on Ava Gardner,” she added. “I was into stars who were interesting to look at. Old Hollywood was so complete, so perfect, so gorgeous. That’s how I see my job, it’s to give people joy.”
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Michael Ochs Archive
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