Grace Kelly

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Grace's Horoscope
Grace Kelly

Grace Kelly’s horoscope hosts three equally underaspected Primary Transcenden tals: Mercury, Jupiter, and Uranus. Of the three, her Mercury lines seem to have hosted the most significant locations in her life. Her early move from Philadelphia to New York, where she pursued acting studies and established contacts that helped to propel her career, brought her closer to her Mercury line, which rises along the eastern seaboard. Primary Mercury is also positioned in a vertical, Midheaven position near the tiny princi pality of Monaco (43N42; 7E23), where she later assumed her final role, as Princess Grace.
According to biographer James Spada, Grace was born into a family that pro vided her with little understanding or emotional support.1 The domineering temperament of her parents and the athletically oriented atmosphere in which her other siblings thrived were anathema to the more introverted and artistic young girl. Her first opportunity to gain “freedom” (Primary Uranus)–acceptance into a respected school of dramatic arts–provided her with a chance to meet other like-minded artists who would respect her cre ative goals. It also offered her the means to nourish and to develop her “skills” (Primary Mer cury).
During her first day at New York’s Academy of Dramatic Arts, Grace met Herb Miller, a student who provided her with an important “contact” (Pri mary Mercury) in the modeling world. Her subsequent work as a model enabled her to gain financial “independence” (Primary Uranus) from her dominating and conservative Roman Catholic family. Next, her romance with instructor Don Richardson–a liaison her family strongly opposed but could now do little about–led to her entrée into the world of professional acting. The Hollywood producer Stanley Kramer took notice of her work in an off-Broadway show and, subsequently, he and director Fred Zinne mann offered her a part opposite Gary Cooper in High Noon (1952).
Frightened by the prospect of working with major stars (having had only a minimum of prior acting experience), she was eager to “hone her skills” (Primary Mer cury) to prepare for the role. An opportunity presented itself in the guise of the Elitch Gardens stock company located in Denver, Colorado, near the setting position of her Primary Transcendental, Uranus. This temporary relocation exposed Grace to the “avant-garde” dimension of Uranian energy,2 as Uranus rules the “manifestation of the future personality.” Grace’s summer at Elitch (1951) allowed her to refine her skills in a manner that guaran teed not only her success in the “future” but expanded her sense of “freedom”: (a Ura nian goal that seems to have dominated her early life). Forcing herself to work in ten plays in less than three months, she finally felt herself coming into her own as an actress. She won acclaim in productions such as The Man Who Came to Dinner, The Cocktail Party, and Ring Around the Moon. Pleased with her progress, she told a fellow actor she would be content to “stay here forever.”
Grace was a highly successful Hollywood star who nonetheless detested Hollywood, a city where she felt she had “many acquaintances but few friends.” After completing High Noon, instead of remaining in Hollywood to advance her career, she retreated to the vicinity of her Primary Mercury in New York. Later, she revealed her true feelings about ‘tinsel town’: “I hated Hollywood. It’s a town without pity. Only success counts. Anyone who doesn’t have the key that opens the doors is treated like a leper. I know of no other place in the world where so many people suffer from nervous breakdowns, where there are so many alcoholics, neurotics and so much unhappiness.” Two of Grace’s Leading or most aspected planets–Leading Moon and Ter tiary Leader, Saturn–form a Leading Planet Midpoint-Field over southern California, symbolizing a locale of “emotional / constraint” and “hypersensitivity / to authority figures and professional institutions” (Moon / Saturn). Indeed, her mistrust of MGM (which tended to miscast her in superficial roles) resulted in her ultimatum: “I don’t want to dress up a picture with just my face. If anybody starts using me as scenery, I’ll return to New York.”

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Pt 2 of her horoscope
he characterization of New York as a power center for Grace occurs repeat edly in her biography. Her most important “contact” (Primary Mercury) occurred there, when director Gregory Ratoff requested that she audition for Taxi (1953). According to James Spada: “Grace’s screen test for the part was to be instrumental in winning her two other roles which began her ascension to Hollywood stardom.” Although John Ford was “unmoved by Grace’s performance in High Noon,” he reevaluated his assessment of her “skills” (Mercury) after viewing her New York screen test for Taxi, and she was subse quently signed for his film, Mogambo (1953). Some of the African settings of Mogambo would transport her to the vicinity of her other Primary Transcendental, Jupiter, which is positioned in a vertical, Midheaven line along the east coast of Africa. During the shoot ing of Mogambo, she had the “opportunity” (Jupiter) to work with such notable film stars as Clark Gable and Ava Gardner.
The Taxi screening brought her to the indulgent (and even obsessive) attention of her most devoted director, Alfred Hitchcock, whose direction of Grace in Rear Window (1954) would catapult her to real stardom. Hitchcock “had seen Grace in High Noon and a rough cut of Mogambo and was not impressed. But as he sat watching her test for Ratoff, something about her moved him profoundly.”3 Her initial experience with Hitchcock was significant. She said that, under his tutelage (the making Dial M for Murder; 1954), she learned “a tremendous amount”: that “acting was more than a trick of waving your eyelashes, and that to be a success, you had to work with your whole body. I worked so hard after that.” After appearing in a minor role in Dial M, she was sub sequently offered a leading role in Hitchcock’s Rear Window. With the success of Rear Window, “suddenly Grace Kelly was a box office draw.”4
In the summer of 1953, while working on her third Hitchcock film, To Catch a Thief (1955), a portentous event occurred on the set:



One romantic scene between [Cary] Grant and Kelly on the Moy enne Corniche above the Mediterranean featured, in the back ground, the palace of Prince Rainier Grimaldi, the absolute monarch of the tiny principality of Monaco. When Grace and sev eral of the crew members later drove around the country, she was entranced by descriptions of a spectacular garden on a high plateau which was impossible for them to reach.
“Whose gardens are those?” she asked screenwriter John Michael Hayes.
“Prince Grimaldi’s,” Hayes replied. “I hear he’s a stuffy fel low.”
“Oh,” Grace said wistfully. “I’d like to see his flowers.”5

From the start, Grace was intrigued by the Jupiterian splendor of the Grimaldis and their estate.
Spada notes that she “loved the Riviera, just as she thought she would, and went sightseeing whenever fatigue didn’t completely overtake her.” Although she briefly visited Monaco and Monte Carlo–moving ever closer to her Primary Mercury line–she failed to meet the Prince during the making of the Hitchcock film. She returned to New York in the fall of 1954 and remained there until spring of the following year. It was only due to “consid erable pressure”6 that she returned to the Riviera, when Look magazine’s Rupert Allen and the head of the Motion Picture Association of America persuaded her to accept invitation of the French government to attend the Cannes Film Festival.


As she prepared to fly to France, Grace was unaware of a conference taking place in the offices of Paris Match magazine–a meeting that set in motion a series of events that would ultimately change her life forever....
Pierre Galante, Paris Match’s movie editor, read aloud a list of celeb rities scheduled to attend, and all agreed that Grace Kelly, who had just won the Oscar, would be the festival’s center of attention. They wondered, however, how to cover her in a provocative enough way that their story in itself would be newsworthy. Managing editor Gaston Bonheur, musing aloud, asked Galante, “Do you think you could arrange a meeting between Grace Kelly and Prince Rainier of Monaco?”7



Grace was introduced to the Prince on May 6, 1955; their first promenade through the palace gardens enabled Grace to walk beside the flowers she had previously admired from a distance. Almost a year later, they were married in a civil service in the palace, on April 18, 1956. (They were again mar ried in a religious ceremony, on April 19, in Monaco’s Cathedral of St. Nicholas, shortly after 10:30 A.M.)
Primary Jupiter sets several degrees north of Ireland, forming a wide Transcendental Midpoint-Field (with Primary Mercury) over western Europe. Jupi ter is also in close proximity to her ancestral home in Killann, Country Mayo. Grace was fascinated by the notion of ancestral roots: the “avidity of her interest,” writes Spada, “led her to purchase a library of five hundred books on Irish history and culture.” In 1961, accompanied by the Prince, she made her pilgrimage “back home” (as they say in Ireland). “The most emotional point of the trip came as Grace paid a visit to the thatched hut in which her grandfather John Henry Kelly had lived before coming to America.... Her emo tion almost overcame her as she sat in one of the cottage’s two rooms.... The entire pil grimage was a spiritual odyssey that brought back into sharp focus for Grace the sense of her own cultural heritage that had been blurred in the American melting pot and nearly obliterated within the national chauvinism of Monaco and France.”8

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Pt 3 of her horoscope
Grace’s life as a princess was “glamorous” (Primary Jupiter), but in playing the role she wreaked havoc upon certain aspects of her creative life. Initially “forbidden” (third most aspected or Tertiary Leader, Saturn) by the prince to act in films, Grace again found herself in a position where she “lacked the freedom and independence” (Saturn) that was necessary for her psychic health and for the appropriate expression of her creative energy. In addition, the line of Primary Uranus (the ruler of freedom) is not located anywhere near Europe, and it seems as if its absence there reflected the difficulty she experienced in enhancing her “libera tion.”
Searching for a meaningful role that would properly channel her creativity, she accepted an invitation to “recite” (Primary Mercury) poetry at the Edinburgh Arts Festival. The reading was held on September 1976, in close proximity to Primary Jupi ter and within the northern tip of her Primary Jupiter / Primary Mercury Transcendental Midpoint-Field. It was an event that she had worked hard to prepare for, and it was hailed as a success. As a result, she continued to explore this creative form and toured throughout Europe, Ireland, and the United States.
Besides ruling the “spoken word,” Mercury symbolizes the “print medium” and is associated with “gossipmongers,” “scandal sheets,” and the “busybody chattering of the populace.” The location of Primary Mercury near Monaco reflected her continual involvement with the paparazzi and the rumor mills that run rampant within the tiny principality. According to Robert Dornhelm, “Everywhere she went reporters and photographers dogged her.”
On September 13, 1982, at approximately 9:30 A.M., Grace drove from Roc Agel along a hazardous road on the Moyenne Corniche, toward Monaco. While passing through Mentone, the car failed to negotiate a curve and flew off the hillside. Grace’s daughter Stephanie survived the crash, but Grace drifted into a coma. At 6 A.M. on Septem ber 14, she was pronounced brain-dead. The Prince terminated her life-support systems at noon, and she died that evening, at 10:35 P.M.

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Grace Kelly and Audrey Hepburn video
http://www.youtube.com/watch?v=8e7-LRPpCdo
youtube

 

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Hulton

 

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time and Life

 

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everette

 

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ebay

 

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celebritycity

 

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evc

 

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Glad you like!

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^ Lovely pics as always, scriptgirl

mdeleddawlive on Livejournal found this adorable pic of Grace in the tub!

Source: Grace Kelly Fans lj community

 

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Grace's Oscar on Display at the Paris Exhibit

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Grace's oscar on display at the Monaco exhibit

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Jet Set Modern

The 1950's saw the rise of Edith Head, whose classicism and restraint were responsible for the timeless elegance of Alfred Hitchcock's heroines. Head was something of a risk-taker; she often used colors that were technically "incorrect" for specific actresses, because of their hair and skin tones. Most blondes regard green as a tricky color that can make them look sallow; Head used it to brilliant effect on Grace Kelly in Rear Window, again on Kim Novak in Vertigo, and even more memorably on Tippi Hedren in The Birds. Head's suits- usually in grey gabardine- were especially well-suited to film; they were so simple that stars were never overpowered by them. Head was also capable of high fashion; she designed a wardrobe seemingly straight out of Vogue for Grace Kelly's turn as a fashion editor in Rear Window.

 

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from visit monaco

Her distinguished career, indeed Her life, has been characterized by an innate sense of style, classic beauty and inherent good taste. Always atop the “world’s most beautiful” lists, admired as a fashion leader and setter of trends, She “graced” the pages of many a glossy magazine with a dazzling smile, warm, enigmatic eyes and vivacious expression. “Grace Kelly style” is a well-known, well-used phrase in the English lexicon signifying incomparable beauty and all that is chic, natural and lady-like.

Grace Kelly knew how to wear clothes. This became quite obvious to Edith Head, Paramount's chief costume designer on the 1953 film Rear Window. Under the direction of Alfred Hitchcock, Grace's character, a fashion model "who never wears the same dress twice," sports an extremely stylish wardrobe: glamorous short evening dresses, an impeccably tailored suit, a full-skirted floral dress, and casual jeans all contributed to establish the "Grace Kelly Style". She collaborated again with Hitchcock and designer Edith Head on To Catch a Thief in 1954. The glamorous costumes play a role almost as great as the plot with Grace Kelly, as a spoiled American heiress, dressed in fabulous clothes and jewels.

Her friend Edith Head also designed the dramatic ice blue satin dress and matching coat she wore in March 1955 at the Academy Awards ceremony where she won the Oscar for Best Actress for her role in The Country Girl. A favorite of hers, she had worn it before at the premiere of the movie and donned it for the cover of Life magazine in April 1955.

Cartier, Mikimoto and many of the world’s leading jewelers created magnificent precious pieces and the world’s foremost designers flocked to dress and accessorize Her. Hermès, the French haute couture fashion house, created and named a hand bag - the Kelly bag – in Her honor and it has since become one of the world’s most sought-after luxury products.

Her look was clean, classic and simple - something startlingly different from the voluptuous screen sirens of the 1950s. She wanted to be considered serious and was the antithesis of the showy starlet. She wore elegant outfits: shirtwaist dresses, understated evening gowns, well-cut tweed suits, hats with little veils, low-heeled shoes, and gloves. She made no secrets of the horn-rimmed glasses she needed for nearsightedness. Her tasteful style, rare in a young Hollywood star, appealed to many in the 1950s.

In December 1955, Women's Wear Daily ran a feature of the opportunities offered by the Grace Kelly Look for the clothing industry. Soon her stylish image was everywhere, including department store windows. She had started a whole new trend in fashion.

After her engagement to Prince Rainier in 1956, Grace Kelly's influence on fashion reached new heights, spreading from the United States to Europe. Before leaving for Monaco in April, she spend two weeks in New York to complete her trousseau, a who's who of America's designers. Accessories, a major part of a ladylike look, included silk chiffon scarves, shoes, hats and gloves.

On April 19, 1956, she married Prince Rainier in a legendary wedding dress offered by MGM, created by the studio's wardrobe department and designed by its costume designer Helen Rose. Fifty years later, the high-necked, long-sleeved dress with a fitted bodice and billowing skirt made of rose point lace, yards of silk faille and taffeta and seed pearls, is one of the most elegant and best-remembered bridal gowns of all times.

As Princess of Monaco, She continued to influence fashion with Her natural sense of style: dazzling at social functions, chic and stylish at official events, casually elegant on the town. Today She remains one of the most admired women in the world for Her beauty, poise and style.

 

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Pasternak was not the only one who favored Rose. Even in their private lives, stars would ask for Helen. She created wedding gowns for Liz Taylor, Ann Blyth, Jane Powell, Pier Angeli, and Debbie Reynolds. It greatly upset Edith Head when Head's good friend Grace Kelly requested a Helen Rose gown for her marriage to the Prince of Monaco. Rose was also a favorite of Louis B. Mayer, who referred to her as "my sweetheart Rose." In general she was well-liked at the studio and dressed almost every major actress for MGM. Others who wore her costumes in addition to those mentioned above were Ava Gardner, Deborah Kerr, Cyd Charisse, Jane Powell, and Lena Horne.

film reference

 

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The Helen Library

The Grace Kelly Style


Elegance is refusal. Refusal to follow others. Aptitude to be yourself. Grace Kelly was high style. Genteel and timeless. Her own.
The Grace Kelly Look emphasized simple lines, superb materials, soft, pastel colours. White gloves, silk scarves and loow-heeld shoes. Sleek hairstyles, transparent make-up, discreet use of jewellery. Ethereal chic and refinement. Natural and unpretentious sophistication. Delicacy and class.
Grace Kelly mostly worked with two costume designers - Edith Head and Helen Rose. Edith
Head designed clothes for several Kelly films but only Hitchcock's Rear Window and To Catch a Thief gave her the real opportunity to put the graceful actress in a luxurious wardrobe.
In Rear Window Grace was cast as a Park Avenue magazine editor dressed perfectly in dazzling combinations of Dior's New Look. Her affluent, slightly aloof appearance was set up against Stewart's insecurity and the clothes were used to establish some of the conflicts in the story.
“To Catch a Thief was all in chiffon and gold. Pastel and classy. With two elegantly beautiful stars set in the spectacular riviera scenery. Grace played a glamorous American heiress wearing lavishing outfits that reflected chic and gentility of the southern French. The stylish cooperation continued off screen colouring many events in Grace's life. The sleek, memorable ice-blue satin dress worn for her Academy Award acceptance was also an Edith Head creation.
Helen Rose was a MGM designer who dressed Grace Kelly for her home studio films. But, most of all, she was the author of her fabulous wedding gown. The subtle, princely dress was made of yards of silk, silk taffeta, silk tulle and rich, antique Valenciennes lace.
Princess Grace brought a sense of style and class to everything she did, setting the fashion standards for next decades.
In 1956 she arrived in New York carrying a large, almost square handbag she had purchased at Hermes in Paris. Henceforward it became known as the Kelly bag. In Hollywood, in Monaco, throughout the world, Grace Kelly radiated natural nobility and aristocratic elegance. Beauty, charm, unsurpassed class, she had them all. She didn't need to be invented. She simply was.

 

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This French Life

The world of Grace Kelly on show in Paris


La magie Grace Kelly à l’hôtel de ville uploaded by mairiedeparis

L'HÔTEL de ville de Paris is presenting an exhibition The Years of Grace Kelly, Princess of Monaco until August 16.
For those old enough to remember the 1950s Grace Kelly was one of the most popular and beautiful film actresses of the era. She epitomised the beauty, elegance and glamour of Hollywood at that time.
Born Grace Patricia Kelly in Philadelphia, Pennsylvania, on November 12, 1929; one of three children of a wealthy family.
Films such as High Noon with Gary Cooper, Rear Window with James Stewart and the unforgettable High Society with Frank Sinatra and Bing Crosby made her a huge box office attraction.
But it was her fairytale meeting and marriage to Prince Rainier of Monaco that ended her acting career, although Hollywood would have been only too pleased for her to continue on the big screen.
Grace Kelly and Prince Rainier married in two ceremonies; April 18, 1956 in a civil ceremony and April 19 they had a religious ceremony at Saint Nicholas Cathedral.
They had three children Princess Caroline, Prince Albert and Princess Stephanie before Princess Grace died in a motoring accident in Monaco September 14, 1982.
The exhibition was first premiered to members of the Grimaldi Family (the royal house of Monaco’s family name) in the summer of 2007.
It brings together a story and memories of an actress and princess through photographs and personal effects.
One of the major exhibits will be Princess Grace’s wedding dress. It was a gift from the MGM studio and designed by Helen Rose.
A high necked, long sleeved gown with a fitted bust and billowing skirt, it was made of 25 yards of silk taffeta, 100 yards of silk net, peau de soie, tulle and 125 year old Brussels lace.
On her head she wore a ‘Juliet cap’ decorated with seed pearls; orange blossom and the veil was made of 90 yards of tulle.
Her hair was styled by MGM’s chief hairstylist, Sydney Guilaroff and she carried a small bible and a bouquet of lilies of the valley.
Photographs by Howell Conant, Cecil Beaton and Irving Penn will be on show as will pieces of personal correspondence by the Princess with Jackie Kennedy, Alfred Hitchcock, Maria Callas and Cary Grant to name but a few.
Also on show is the legendary 'Kelly bag' by Hermes, which Princess Grace carried in front of her to hide her pregnancy and items of her jewellery.
Apart from the Grimaldi pink palace overlooking the Mediterranean sea they kept a home in Paris.
Extracts from some of Grace Kelly’s most renowned films made under the directorship of Alfred Hitchcock and sequences of family films add to an exhibition which plays tribute to a woman, loved world wide and who tragically died at such an early age.