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Thank you for your kind words, Nel!
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Watch Live & Comment... The 2025 Golden Globe Awards!
Grace Kelly
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Boston Globe
Judith Balaban Quine is Beverly Hills from her lean silhouette to her lean Chanel handbag.
What Grace Kelly, the late princess of Monaco, liked about her longtime pal Judy is that beyond the fashionable signatures is an astute woman who leveled with her. That's what forged their friendship.
Quine has written a book, "The Bridesmaids," a portrait of Her Serene Highness of Monaco and the women who were in her wedding party 33 years ago.
In this interview over breakfast at the Ritz-Carlton hotel, Quine reveals the emotional difficulties Grace had with the two most important men in her life: her late father, Jack Kelly, who didn't appreciate her acting ambitions, and her husband, Prince Rainier, who loved her dearly but, as Judy says, "took out some of his frustrations on Grace."
Born in Chicago, Quine, 56, is the daughter of Barney Balaban, who was president of Paramount Pictures for 28 years. The day she married Jay Kanter, the Hollywood agent, was the day she met Grace Kelly, who came to her wedding. Kanter was Kelly's agent.
Quine has been married to businessman Don Quine for 22 years. Her first two marriages, to Kanter and to Tony Franciosa, ended in divorce.
"Grace needed to be excellent.
"She was the unnoticed middle child. The field she chose did not get instant respect from her father. He saw acting as a slim cut above streetwalker. And she was ambitious at a time when ambitious women were thought to castrate men.
"She left a prominent Philadelphia family to become a struggling actress in New York. It was an independent move. She had a certain amount of maverick in her. Also, she was self-sufficient. That was a good side of being a middle child. She knew she had to depend on herself.
"Grace met the shah of Iran before he married Farah Diba. She never talked of him at great length. The shah came to New York 1951 and his friends arranged dinner parties. Someone invited her to a party for the shah and she was seated as his dinner partner.
"The shah was very taken with her. They went to the theater together and they went dancing a few times. When he left New York, he sent her a Van Cleef gold and diamond pin of a bird in a cage.
"Before she married Rainier, she gave me that pin. Rainier didn't want her to have jewelry in Monaco that didn't come from him. So Grace unloaded her loot. Anyway, she didn't have an extraordinary collection of jewelry.
"Rainier knew she had loves before him. Grace had well-publicized romances with Oleg Cassini and with Jean Pierre Aumont. Rainier didn't resent the previous romances. But he said it was 'inappropriate' for her to wear jewelry that didn't come from him.
"Rainier is witty, curious and bright. He's very sexy. Maybe it's his voice. His accent is quite British. Americans underestimate the fact that he's a brilliant businessman. He doesn't make grandstand plays.
"Grace was madly in love with him. I'm talking head over heels in love. It's a myth that their marriage was arranged. They spent four days together in her home in Philadelphia at Christmas with her family. They played charades together and went for walks in the woods.
"That was like being on a desert island. It removed them from public life. That's when they decided to get married. Besides, they had a great physical attraction to each other.
"She wanted to build a happy married life. She couldn't do it hopping around the world, starring in films. Grace and Rainier had agreed that she could do an 'occasional' film. Alfred Hitchcock offered her the role in 'Marnie.'
"Rainier thought it was a wonderful idea. He encouraged Grace to do it. Then the people of Monaco panicked. The headlines blared: 'Now that we've grown to love Grace, she's leaving us!' The press made it clear it was not in Monaco's best interest to see their princess kissing another man on the screen.
"Grace finally bowed to the pressure. She made her own announcement that she would not be acting in 'Marnie' -- indeed, she would not be acting at all. Privately, she harbored a sense of loss. She would say that one day the pressure would ease. It never did.
"The tragedy of her death is that it happened in a period Grace thought of as her time. She called them 'Gracie's years.' Her children were grown.
"She was scheduling herself to go on poetry readings across America, not just the big cities but the smaller ones, too. Grace wanted to hit the road. She wanted to stay in hotels, come in late at night, kick off her shoes, order pizza and talk to the people involved in producing her readings.
"Grace wanted the camaraderie.
"Grace died too soon. I don't care what stories have been made up in the press. I've seen the medical reports. I know how she died.
"Grace had a stroke while driving around a hairpin turn. She blacked out. She had a second stroke on impact. Stephanie wasn't driving the car.
"It was a horrible thing for Stephanie. She was incredibly attached to her mother. They were what Grace called 'best pals.' Stephanie tried, but couldn't save her mother. She tried to reach the brake pedal, but it was too late. The car was already going over the embankment. Stephanie was there with her mother at the moment of impact.
"After Grace's death, Stephanie tried to make a new, compelling life. She entered into a period of rebelling. She was trying to block out the pain. She's still not over her sense of loss.
"Caroline married her first husband, Philippe Junot, believing he was going to retire from nightclubbing. She wanted children. He said that's what he wanted. Caroline believed him. It didn't work out that way. Now she's happily married to Stefano Casiraghi. They have children. And Caroline has taken over cultural programs in Monaco.
"Rainier was always a loving father. No matter what the children did, no matter what their mode of behavior, his rule was that they never be shut out.
"His door was always open to them. Rainier's reward for having done that is that he has a close relationship now with all of them. Albert is very entrenched now in the administration of Monaco.
"Rainier was moody. He could be quick-tempered. He took some of that out on Grace. Rainier knew that Grace would still love him. He once said that a good marriage was not a romantic liaison, but that a good marriage was one long conversation.
"One area that presented problems to Grace and Rainier was that their free time was sucked up like a vacuum. There were times when they were too busy for each other.
"So they bought a country house and tried to live like a normal family. The prince barbecued hamburgers and Grace made potato salad. It was like the old folks at home.
"Grace was often described as aloof, an ice queen. She was nearsighted. She couldn't see. So she pulled in her nervous tension, struck a pristine pose and was quiet. She hated the goddess image.
"She thought she was 'nice-looking.' Once she called herself 'attractive.' She never sought out people's company on the basis of their beauty. She, in turn, didn't want to be sought out for her beauty. She disliked it when people went ga-ga over her.
"The admiration of the one man she wanted was her father. But Jack Kelly didn't cozy up to Grace. Jack Kelly understood business, understood politics, understood sports. He knew what these things were about. He never 'got it' about Grace.
"Grace never got a good hail-fellow slap on the back from her father. He wanted her to be recreated in his image.
"But Grace was Grace.
Judith Balaban Quine is Beverly Hills from her lean silhouette to her lean Chanel handbag.
What Grace Kelly, the late princess of Monaco, liked about her longtime pal Judy is that beyond the fashionable signatures is an astute woman who leveled with her. That's what forged their friendship.
Quine has written a book, "The Bridesmaids," a portrait of Her Serene Highness of Monaco and the women who were in her wedding party 33 years ago.
In this interview over breakfast at the Ritz-Carlton hotel, Quine reveals the emotional difficulties Grace had with the two most important men in her life: her late father, Jack Kelly, who didn't appreciate her acting ambitions, and her husband, Prince Rainier, who loved her dearly but, as Judy says, "took out some of his frustrations on Grace."
Born in Chicago, Quine, 56, is the daughter of Barney Balaban, who was president of Paramount Pictures for 28 years. The day she married Jay Kanter, the Hollywood agent, was the day she met Grace Kelly, who came to her wedding. Kanter was Kelly's agent.
Quine has been married to businessman Don Quine for 22 years. Her first two marriages, to Kanter and to Tony Franciosa, ended in divorce.
"Grace needed to be excellent.
"She was the unnoticed middle child. The field she chose did not get instant respect from her father. He saw acting as a slim cut above streetwalker. And she was ambitious at a time when ambitious women were thought to castrate men.
"She left a prominent Philadelphia family to become a struggling actress in New York. It was an independent move. She had a certain amount of maverick in her. Also, she was self-sufficient. That was a good side of being a middle child. She knew she had to depend on herself.
"Grace met the shah of Iran before he married Farah Diba. She never talked of him at great length. The shah came to New York 1951 and his friends arranged dinner parties. Someone invited her to a party for the shah and she was seated as his dinner partner.
"The shah was very taken with her. They went to the theater together and they went dancing a few times. When he left New York, he sent her a Van Cleef gold and diamond pin of a bird in a cage.
"Before she married Rainier, she gave me that pin. Rainier didn't want her to have jewelry in Monaco that didn't come from him. So Grace unloaded her loot. Anyway, she didn't have an extraordinary collection of jewelry.
"Rainier knew she had loves before him. Grace had well-publicized romances with Oleg Cassini and with Jean Pierre Aumont. Rainier didn't resent the previous romances. But he said it was 'inappropriate' for her to wear jewelry that didn't come from him.
"Rainier is witty, curious and bright. He's very sexy. Maybe it's his voice. His accent is quite British. Americans underestimate the fact that he's a brilliant businessman. He doesn't make grandstand plays.
"Grace was madly in love with him. I'm talking head over heels in love. It's a myth that their marriage was arranged. They spent four days together in her home in Philadelphia at Christmas with her family. They played charades together and went for walks in the woods.
"That was like being on a desert island. It removed them from public life. That's when they decided to get married. Besides, they had a great physical attraction to each other.
"She wanted to build a happy married life. She couldn't do it hopping around the world, starring in films. Grace and Rainier had agreed that she could do an 'occasional' film. Alfred Hitchcock offered her the role in 'Marnie.'
"Rainier thought it was a wonderful idea. He encouraged Grace to do it. Then the people of Monaco panicked. The headlines blared: 'Now that we've grown to love Grace, she's leaving us!' The press made it clear it was not in Monaco's best interest to see their princess kissing another man on the screen.
"Grace finally bowed to the pressure. She made her own announcement that she would not be acting in 'Marnie' -- indeed, she would not be acting at all. Privately, she harbored a sense of loss. She would say that one day the pressure would ease. It never did.
"The tragedy of her death is that it happened in a period Grace thought of as her time. She called them 'Gracie's years.' Her children were grown.
"She was scheduling herself to go on poetry readings across America, not just the big cities but the smaller ones, too. Grace wanted to hit the road. She wanted to stay in hotels, come in late at night, kick off her shoes, order pizza and talk to the people involved in producing her readings.
"Grace wanted the camaraderie.
"Grace died too soon. I don't care what stories have been made up in the press. I've seen the medical reports. I know how she died.
"Grace had a stroke while driving around a hairpin turn. She blacked out. She had a second stroke on impact. Stephanie wasn't driving the car.
"It was a horrible thing for Stephanie. She was incredibly attached to her mother. They were what Grace called 'best pals.' Stephanie tried, but couldn't save her mother. She tried to reach the brake pedal, but it was too late. The car was already going over the embankment. Stephanie was there with her mother at the moment of impact.
"After Grace's death, Stephanie tried to make a new, compelling life. She entered into a period of rebelling. She was trying to block out the pain. She's still not over her sense of loss.
"Caroline married her first husband, Philippe Junot, believing he was going to retire from nightclubbing. She wanted children. He said that's what he wanted. Caroline believed him. It didn't work out that way. Now she's happily married to Stefano Casiraghi. They have children. And Caroline has taken over cultural programs in Monaco.
"Rainier was always a loving father. No matter what the children did, no matter what their mode of behavior, his rule was that they never be shut out.
"His door was always open to them. Rainier's reward for having done that is that he has a close relationship now with all of them. Albert is very entrenched now in the administration of Monaco.
"Rainier was moody. He could be quick-tempered. He took some of that out on Grace. Rainier knew that Grace would still love him. He once said that a good marriage was not a romantic liaison, but that a good marriage was one long conversation.
"One area that presented problems to Grace and Rainier was that their free time was sucked up like a vacuum. There were times when they were too busy for each other.
"So they bought a country house and tried to live like a normal family. The prince barbecued hamburgers and Grace made potato salad. It was like the old folks at home.
"Grace was often described as aloof, an ice queen. She was nearsighted. She couldn't see. So she pulled in her nervous tension, struck a pristine pose and was quiet. She hated the goddess image.
"She thought she was 'nice-looking.' Once she called herself 'attractive.' She never sought out people's company on the basis of their beauty. She, in turn, didn't want to be sought out for her beauty. She disliked it when people went ga-ga over her.
"The admiration of the one man she wanted was her father. But Jack Kelly didn't cozy up to Grace. Jack Kelly understood business, understood politics, understood sports. He knew what these things were about. He never 'got it' about Grace.
"Grace never got a good hail-fellow slap on the back from her father. He wanted her to be recreated in his image.
"But Grace was Grace.
scriptgirl
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WWD
ONACO SHOW EXPLORES CASSINI'S COURTING OF KELLY.(Oleg Cassini, Grace Kelly)
Article from: WWD Article date: July 24, 2007 Author: Feitelberg, Rosemary More results for: grace kelly
Byline: Rosemary Feitelberg
Oleg Cassini has long been linked to Grace Kelly, and now that connection has been documented in "The Grace Kelly Years," a new exhibition at Monaco's Grimaldi Forum.
The exhibition, which includes many never-before-seen items and runs through Sept. 23, marks the 25th anniversary of Kelly's death in a car accident at age 52.
In the Fifties, before the "Rear Window" star morphed into a princess, she dated Cassini while dividing her time between Manhattan and Los Angeles. But after meeting Prince Rainier 3rd at the 1955 Cannes Film Festival, Kelly married him the following year and became the principality's princess.
The exhibition's catalogue reads, "In spite of the romances unavoidably imagined by the press with prestigious partners such as Clark Gable, William Holden or Cary Grant, she kept her private life very discreet. Nonetheless, her greatest faithful admirer was the famous couturier Oleg Cassini, in spite of her parents' reluctance because although he was certainly a brilliant man, he was not Catholic and [was] divorced."
The designer mentioned the frosty reception Kelly's parents gave him when he visited their home one weekend and his subsequent early departure, in his 1987 autobiography "In My Own Fashion." He also recounted in the book how Kelly broke the news of her engagement to him on the Staten Island Ferry and how it seemed to come out of thin air.
But apparently, Kelly held fast to her ties to Cassini. Among her belongings on display is a note from Cassini written many decades ago. Dated merely "October 28, Tuesday" it reads in Italian, "I love you and want to marry you" and is signed simply, "O." Curator Frdric Mitterrand chose to project those words on an exhibition wall where images of Kelly and Cassini out on the town together and swimming in the surf are displayed.
A photo of Kelly wearing a Cassini-designed strapless silk gazar gown appears on the exhibition catalogue's cover. Cassini had given her the dress, which she wore with its detachable white organza sailor collar when he escorted her to the premiere of Alfred Hitchcock's "Rear Window." That image was also used for the commemorative postage stamps that were simultaneously issued in Monaco and the U.S. in 1993. Oleg Cassini Inc. made a replica of the dress for an exhibition, according to Peggy Nestor, director of marketing and public relations. Her sister, Marianne Cassini, who was married to the company's namesake, now runs the business.
Once it closes in Monaco, the exhibition will move on to London, Paris and New York. Numerous items from the Monaco exhibition will be featured in "Grace, Princess of Monaco: A Tribute to the Life and Legacy of Grace Kelly," which will be on view at Sotheby's Upper East Side galleries Oct. 15 to 26.
WWD
ONACO SHOW EXPLORES CASSINI'S COURTING OF KELLY.(Oleg Cassini, Grace Kelly)
Article from: WWD Article date: July 24, 2007 Author: Feitelberg, Rosemary More results for: grace kelly
Byline: Rosemary Feitelberg
Oleg Cassini has long been linked to Grace Kelly, and now that connection has been documented in "The Grace Kelly Years," a new exhibition at Monaco's Grimaldi Forum.
The exhibition, which includes many never-before-seen items and runs through Sept. 23, marks the 25th anniversary of Kelly's death in a car accident at age 52.
In the Fifties, before the "Rear Window" star morphed into a princess, she dated Cassini while dividing her time between Manhattan and Los Angeles. But after meeting Prince Rainier 3rd at the 1955 Cannes Film Festival, Kelly married him the following year and became the principality's princess.
The exhibition's catalogue reads, "In spite of the romances unavoidably imagined by the press with prestigious partners such as Clark Gable, William Holden or Cary Grant, she kept her private life very discreet. Nonetheless, her greatest faithful admirer was the famous couturier Oleg Cassini, in spite of her parents' reluctance because although he was certainly a brilliant man, he was not Catholic and [was] divorced."
The designer mentioned the frosty reception Kelly's parents gave him when he visited their home one weekend and his subsequent early departure, in his 1987 autobiography "In My Own Fashion." He also recounted in the book how Kelly broke the news of her engagement to him on the Staten Island Ferry and how it seemed to come out of thin air.
But apparently, Kelly held fast to her ties to Cassini. Among her belongings on display is a note from Cassini written many decades ago. Dated merely "October 28, Tuesday" it reads in Italian, "I love you and want to marry you" and is signed simply, "O." Curator Frdric Mitterrand chose to project those words on an exhibition wall where images of Kelly and Cassini out on the town together and swimming in the surf are displayed.
A photo of Kelly wearing a Cassini-designed strapless silk gazar gown appears on the exhibition catalogue's cover. Cassini had given her the dress, which she wore with its detachable white organza sailor collar when he escorted her to the premiere of Alfred Hitchcock's "Rear Window." That image was also used for the commemorative postage stamps that were simultaneously issued in Monaco and the U.S. in 1993. Oleg Cassini Inc. made a replica of the dress for an exhibition, according to Peggy Nestor, director of marketing and public relations. Her sister, Marianne Cassini, who was married to the company's namesake, now runs the business.
Once it closes in Monaco, the exhibition will move on to London, Paris and New York. Numerous items from the Monaco exhibition will be featured in "Grace, Princess of Monaco: A Tribute to the Life and Legacy of Grace Kelly," which will be on view at Sotheby's Upper East Side galleries Oct. 15 to 26.
WWD
scriptgirl
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Chicago Sun Times
`Princess' remembers Grace Kelly
Hollywood has an axiom about actors and actresses who become movie stars: "The camera loves them." The show-biz saying suggests that the lens captures a magic, intangible . . . something about a performer, and that something becomes star power.
Watch "Crazy About the Movies: Grace Kelly - The American Princess," a Cinemax special to be shown from 9 to 10 tonight over local cable systems, and you'll see what I mean.
The camera didn't just love Grace Kelly, it lusted after her. It would sell its soul to the devil for just one more frame of her beauty, her icy charm, her sensuality.
Kelly made just 11 movies. She starred in 10 of them from 1951 to her early retirement from the screen in 1956. Then she went off to live a real-life fairy tale as the wife of a prince.
She truly was something special on screen, as this engaging documentary reveals. "The American Princess" traces her life from her early childhood as part of a wealthy Philadelphia Main Line family to her meteoric rise as a movie star, in the truest sense of the term, who became a fine actress as well.
"The American Princess," narrated by Richard Kiley, is short on psychology and long on maintaining the myth of Kelly's seemingly perfect storybook life. It's filled with many early childhood home movies of the Kelly clan. The program does suggest that young Grace, the middle child of robust Jack Kelly, always felt neglected and denied of her father's attentions.
Her yearning to win his approval, "The American Princess" hints, would be a motivating factor throughout her career - to be the best, to have the best.
Whatever her motivations, Kelly used her flawless beauty and her dedication to become a versatile actress who reached the forefront of American moviemaking during the 1950s.
Her screen credits, with few exceptions, represent some of the finest films made during the era: "High Noon" (1953), "Dial M for Murder" (1954), "Rear Window" (1954), "The Country Girl" (1954), "To Catch a Thief" (1955) and "High Society" (1956).
Kelly won the Academy Award as best actress for her performance in "The Country Girl," a challenging dramatic effort. She also drastically toned down her stunning looks for the part, a move that always impresses Oscar voters. "The Country Girl" announced to the world that Kelly was not only a beautiful actress, but an extremely talented one as well.
While making "To Catch a Thief" in Monaco, Kelly met and was courted by the tiny country's Prince Ranier. And at the height of her fame, Kelly gave up her career to become a real-life princess.
It was a role and lifestyle for which Kelly was perfectly cast. It also was a part she lived to the hilt until her tragic death in 1982, when she lost control of her car on a winding Monaco road and plunged off the side.
There is always a macabre interest in careers and lives cut short: Rudolph Valentino, Marilyn Monroe and James Dean come immediately to mind. And so does Kelly. "The American Princess" reports that Kelly was tempted at least once to return to the movies for Alfred Hitchcock's "Marnie" in 1964, but declined.
"The American Princess" deftly avoids rumors of Kelly's off-screen romances with most of her leading men, including Ray Milland, Cary Grant, Gary Cooper, William Holden, Bing Crosby and others.
For in the minds of the public, Kelly remained the upright, socially proper Philadelphia beauty who enchanted the world with her style and talent. It is perhaps the ultimate tribute to the late actress that the camera never fell out of love with her. And neither has the audience. Rating: (STAR) (STAR) (STAR)
`Princess' remembers Grace Kelly
Hollywood has an axiom about actors and actresses who become movie stars: "The camera loves them." The show-biz saying suggests that the lens captures a magic, intangible . . . something about a performer, and that something becomes star power.
Watch "Crazy About the Movies: Grace Kelly - The American Princess," a Cinemax special to be shown from 9 to 10 tonight over local cable systems, and you'll see what I mean.
The camera didn't just love Grace Kelly, it lusted after her. It would sell its soul to the devil for just one more frame of her beauty, her icy charm, her sensuality.
Kelly made just 11 movies. She starred in 10 of them from 1951 to her early retirement from the screen in 1956. Then she went off to live a real-life fairy tale as the wife of a prince.
She truly was something special on screen, as this engaging documentary reveals. "The American Princess" traces her life from her early childhood as part of a wealthy Philadelphia Main Line family to her meteoric rise as a movie star, in the truest sense of the term, who became a fine actress as well.
"The American Princess," narrated by Richard Kiley, is short on psychology and long on maintaining the myth of Kelly's seemingly perfect storybook life. It's filled with many early childhood home movies of the Kelly clan. The program does suggest that young Grace, the middle child of robust Jack Kelly, always felt neglected and denied of her father's attentions.
Her yearning to win his approval, "The American Princess" hints, would be a motivating factor throughout her career - to be the best, to have the best.
Whatever her motivations, Kelly used her flawless beauty and her dedication to become a versatile actress who reached the forefront of American moviemaking during the 1950s.
Her screen credits, with few exceptions, represent some of the finest films made during the era: "High Noon" (1953), "Dial M for Murder" (1954), "Rear Window" (1954), "The Country Girl" (1954), "To Catch a Thief" (1955) and "High Society" (1956).
Kelly won the Academy Award as best actress for her performance in "The Country Girl," a challenging dramatic effort. She also drastically toned down her stunning looks for the part, a move that always impresses Oscar voters. "The Country Girl" announced to the world that Kelly was not only a beautiful actress, but an extremely talented one as well.
While making "To Catch a Thief" in Monaco, Kelly met and was courted by the tiny country's Prince Ranier. And at the height of her fame, Kelly gave up her career to become a real-life princess.
It was a role and lifestyle for which Kelly was perfectly cast. It also was a part she lived to the hilt until her tragic death in 1982, when she lost control of her car on a winding Monaco road and plunged off the side.
There is always a macabre interest in careers and lives cut short: Rudolph Valentino, Marilyn Monroe and James Dean come immediately to mind. And so does Kelly. "The American Princess" reports that Kelly was tempted at least once to return to the movies for Alfred Hitchcock's "Marnie" in 1964, but declined.
"The American Princess" deftly avoids rumors of Kelly's off-screen romances with most of her leading men, including Ray Milland, Cary Grant, Gary Cooper, William Holden, Bing Crosby and others.
For in the minds of the public, Kelly remained the upright, socially proper Philadelphia beauty who enchanted the world with her style and talent. It is perhaps the ultimate tribute to the late actress that the camera never fell out of love with her. And neither has the audience. Rating: (STAR) (STAR) (STAR)
scriptgirl
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Pittsburgh Tribune
Grace Kelly still inspires designers
Even 25 years after her death, Princess Grace's grace lives on.
Six top designers have created one-of-a-kind gowns to mark the anniversary of her death, each inspired by a specific look she once wore. The gowns are in the window of Saks Fifth Avenue this week, and will be auctioned to benefit the Princess Grace Foundation-USA, which funds theatrical and dance scholarships and fellowships.
"As Grace Kelly the actress, she gave us some of the most glamorous and stylish moments in cinematic history and as Princess of Monaco she was equally elegant and inspiring," said Maguy Maccario Doyle, consul general of Monaco, in a statement.
Each designer was asked to look at a gown Kelly once wore and interpret it in a modern way. Michael Fink, Saks fashion director and vice president, paired the designers and the looks.
For example, a black-and-white outfit from "Rear Window" inspired a black wrap-around taffeta top and an ivory organza skirt from Carolina Herrera. The aqua blue dress Kelly wore to accept an Oscar in 1955 led to a halter-neck blue gown with flat pleating on the bodice from Zac Posen.
Other designers who participated are Oscar de la Renta, Ralph Lauren, Ralph Rucci and Vera Wang.
Also honoring Kelly this month is a free exhibit at Sotheby's, "Grace, Princess of Monaco: A Tribute to the Life and Legacy of Grace Kelly."
Grace Kelly still inspires designers
Even 25 years after her death, Princess Grace's grace lives on.
Six top designers have created one-of-a-kind gowns to mark the anniversary of her death, each inspired by a specific look she once wore. The gowns are in the window of Saks Fifth Avenue this week, and will be auctioned to benefit the Princess Grace Foundation-USA, which funds theatrical and dance scholarships and fellowships.
"As Grace Kelly the actress, she gave us some of the most glamorous and stylish moments in cinematic history and as Princess of Monaco she was equally elegant and inspiring," said Maguy Maccario Doyle, consul general of Monaco, in a statement.
Each designer was asked to look at a gown Kelly once wore and interpret it in a modern way. Michael Fink, Saks fashion director and vice president, paired the designers and the looks.
For example, a black-and-white outfit from "Rear Window" inspired a black wrap-around taffeta top and an ivory organza skirt from Carolina Herrera. The aqua blue dress Kelly wore to accept an Oscar in 1955 led to a halter-neck blue gown with flat pleating on the bodice from Zac Posen.
Other designers who participated are Oscar de la Renta, Ralph Lauren, Ralph Rucci and Vera Wang.
Also honoring Kelly this month is a free exhibit at Sotheby's, "Grace, Princess of Monaco: A Tribute to the Life and Legacy of Grace Kelly."
scriptgirl
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Daily Record
American Beauty; beauty Take a step back in time and look to late film icon Grace Kelly for inspiration as 50s fashion.(Features)
Article from: Daily Record (Glasgow, Scotland) Article date: February 25, 2000 A
SHE was the epitome of style. A cool blonde with a flawless complexion, icy blue eyes and a capsule wardrobe to die for.
Grace Kelly was the woman everyone wanted to look like in the 50s. In fact, most of us wouldn't mind trading looks with her to this day.
With the release of the film The Talented Mr Ripley, Gwyneth Paltrow is giving a good imitation of the late screen queen.
And the designers love it.
Suddenly clothes have grown up this spring. Classic belted trenches and organza see-through coats, crisp cotton shift dresses, gleaming satin and soft-as-a-whisper chiffon all combine to make this spring the most glamorous in years.
It is certain to prove a hit with women who are increasingly bored with the idea of dressing up as little girls. The return of high heels, swishy skirts, sleek hair and red, red lips prove that fashion has finally grown up.
The 50s were when women lingered over their looks and chose their clothes with exquisite care. They would never have opted for the one-wear cheapies that we buy today. Back then, a trench-coat was for life - or at least a couple of seasons.
In London last week, there were cheers as Jasper Conran unveiled his autumn/winter 2000 collection, featuring tailored suits and dresses, belted coats and statuesque heels.
Here, at last, was a look that would turn every woman into an icon of style.
Conran's fellow designers are delighted that glamour is back. Top Scottish designer Lex McFadyen's new collection consists of silk, satin and cashmere classics, harking back to the winning formula of the 1950s.
He said: "Women can be individuals again. A certain femininity has returned and, although the club scene is still big, women can now also get dressed up if they want to.
"I predict the new influence will last throughout the year."
Certainly the high street has been quick to respond. The Episode label has become a Grace Kelly haven. Wonderful shift dresses, organza appliqued coats and little box jackets in wonderful colours make you wish you had a wedding to go to next week.
They are also incredibly flattering. If you're carrying a little weight, forget the traditional unstructured, baggy items - they will only make you look bigger. Good tailoring and structured dresses will emphasise the best and underplay the rest.
Ronit Zilkha is another designer who's turning back the clock with her stunning designs. Again, she features silk organza coats which swish seductively as you walk and can be worn with a variety of separates.
Make-up is also decidedly chic. Nude coloured eyes, matt foundation and glossy red lips will lend you that elegant, Italian Riviera look.
There's no denying that combat trousers, trainers and vest tops are still an essential part of the modern wardrobe, but women with attitude will also want to try out this classy, ladylike look.
So walk tall, get glam - and enjoy being a film star for a day. You won't believe how good it feels.
American Beauty; beauty Take a step back in time and look to late film icon Grace Kelly for inspiration as 50s fashion.(Features)
Article from: Daily Record (Glasgow, Scotland) Article date: February 25, 2000 A
SHE was the epitome of style. A cool blonde with a flawless complexion, icy blue eyes and a capsule wardrobe to die for.
Grace Kelly was the woman everyone wanted to look like in the 50s. In fact, most of us wouldn't mind trading looks with her to this day.
With the release of the film The Talented Mr Ripley, Gwyneth Paltrow is giving a good imitation of the late screen queen.
And the designers love it.
Suddenly clothes have grown up this spring. Classic belted trenches and organza see-through coats, crisp cotton shift dresses, gleaming satin and soft-as-a-whisper chiffon all combine to make this spring the most glamorous in years.
It is certain to prove a hit with women who are increasingly bored with the idea of dressing up as little girls. The return of high heels, swishy skirts, sleek hair and red, red lips prove that fashion has finally grown up.
The 50s were when women lingered over their looks and chose their clothes with exquisite care. They would never have opted for the one-wear cheapies that we buy today. Back then, a trench-coat was for life - or at least a couple of seasons.
In London last week, there were cheers as Jasper Conran unveiled his autumn/winter 2000 collection, featuring tailored suits and dresses, belted coats and statuesque heels.
Here, at last, was a look that would turn every woman into an icon of style.
Conran's fellow designers are delighted that glamour is back. Top Scottish designer Lex McFadyen's new collection consists of silk, satin and cashmere classics, harking back to the winning formula of the 1950s.
He said: "Women can be individuals again. A certain femininity has returned and, although the club scene is still big, women can now also get dressed up if they want to.
"I predict the new influence will last throughout the year."
Certainly the high street has been quick to respond. The Episode label has become a Grace Kelly haven. Wonderful shift dresses, organza appliqued coats and little box jackets in wonderful colours make you wish you had a wedding to go to next week.
They are also incredibly flattering. If you're carrying a little weight, forget the traditional unstructured, baggy items - they will only make you look bigger. Good tailoring and structured dresses will emphasise the best and underplay the rest.
Ronit Zilkha is another designer who's turning back the clock with her stunning designs. Again, she features silk organza coats which swish seductively as you walk and can be worn with a variety of separates.
Make-up is also decidedly chic. Nude coloured eyes, matt foundation and glossy red lips will lend you that elegant, Italian Riviera look.
There's no denying that combat trousers, trainers and vest tops are still an essential part of the modern wardrobe, but women with attitude will also want to try out this classy, ladylike look.
So walk tall, get glam - and enjoy being a film star for a day. You won't believe how good it feels.
scriptgirl
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Philadelphia Weekly
Grace Under Pressure; A former children's TV host shows off the gowns of a homegrown princess.
Article from: Philadelphia Weekly Article date: May 14, 2003 Author: Anonymous More results for: grace kelly
It must have been around 1945 that a young Grace Kelly stepped onstage at the Old Academy Players Theater in East Falls, getting her first taste of fame.
Just around that time, a boy in Cleveland was imagining the glamour of such a moment. That boy was Gene London, whom Philadelphians of a certain age remember fondly as the handsome host of the children's TV show Cartoon Corners General Store.
"Alone in my room when all the other kids were playing ball," London recalls, "I'd tell myself the story, acting out all the parts, including Snow White standing by the side of the well singing `I'm Wishing.'"
London parlayed his melodramatic imagination into a successful career entertaining children and making merry with puppets on Philadelphia television from 1959 to 1977.
Since his show ended, London, who now lives in New York, has been a prolific collector and Hollywood historian who owns more than 60,000 items of French and American film couture. This includes several costumes and gowns worn by Grace Kelly of Philadelphia, aka Princess Grace of Monaco, the Academy Award-winning actress whose "fire and ice" beauty he idolizes.
London will visit Philadelphia this week to celebrate the Old Academy Players' 80th anniversary of continuous performance.
"Grace adored acting in the Playhouse, a neighborhood playhouse where the Kelly children performed," says London. "It was there that her parents realized they had a born actress on their hands."
This Saturday, at a gala celebration of the anniversary, London will exhibit several of his Kelly costumes: the dress she wore when she won the Oscar for The Country Girlin 1954; a publicity dress in deep red, with a plunging neckline and fur-trimmed sleeves; and the Edith Head-designed summer suit in pale green linen she wore in Rear Window, possibly her most well-known performance.
"Hollywood thought her an ice queen," says London. "It was Alfred Hitchcock who saw her sexual elegance and cast her in roles that truly captured her dual nature."
London started collecting vintage clothing at the prompting of his friend Joan "Don't **** With Me, Fellas" Crawford. Until 2001 he ran a vintage store called "Gene London: The Fan Club" in Manhattan.
But the zenith of his career as a collector was the traveling Hollywood Glamour show, which showed off more than 50 pieces of his gown collection. Lizanne Kelly, Grace's sister, helped him orchestrate the Princess Grace de Monaco exhibit, the extended version of the show for Mikimoto. They became close friends.
The real crowning moment, of course, was once meeting Grace herself at a charity luncheon.
"She said, `Thank you for bringing so much pleasure to my children,'" he recalls. "`They look forward to seeing your show on TV when we visit Philadelphia.' Did the Kelly clan--including the royal children--really watch me on TV?"
Thrilling as that moment was for London, he says the salient connection was their shared love for drama.
"When I was a youngster, through the movies, fantasy was my reality," he says. "That made me unique, and I sparkled with an inner glow. Born to a family of athletes, Gracie was sickly and liked to pretend. Her parents had instilled in Grace an athlete's determination to succeed against all odds. And so she did."
Grace Under Pressure; A former children's TV host shows off the gowns of a homegrown princess.
Article from: Philadelphia Weekly Article date: May 14, 2003 Author: Anonymous More results for: grace kelly
It must have been around 1945 that a young Grace Kelly stepped onstage at the Old Academy Players Theater in East Falls, getting her first taste of fame.
Just around that time, a boy in Cleveland was imagining the glamour of such a moment. That boy was Gene London, whom Philadelphians of a certain age remember fondly as the handsome host of the children's TV show Cartoon Corners General Store.
"Alone in my room when all the other kids were playing ball," London recalls, "I'd tell myself the story, acting out all the parts, including Snow White standing by the side of the well singing `I'm Wishing.'"
London parlayed his melodramatic imagination into a successful career entertaining children and making merry with puppets on Philadelphia television from 1959 to 1977.
Since his show ended, London, who now lives in New York, has been a prolific collector and Hollywood historian who owns more than 60,000 items of French and American film couture. This includes several costumes and gowns worn by Grace Kelly of Philadelphia, aka Princess Grace of Monaco, the Academy Award-winning actress whose "fire and ice" beauty he idolizes.
London will visit Philadelphia this week to celebrate the Old Academy Players' 80th anniversary of continuous performance.
"Grace adored acting in the Playhouse, a neighborhood playhouse where the Kelly children performed," says London. "It was there that her parents realized they had a born actress on their hands."
This Saturday, at a gala celebration of the anniversary, London will exhibit several of his Kelly costumes: the dress she wore when she won the Oscar for The Country Girlin 1954; a publicity dress in deep red, with a plunging neckline and fur-trimmed sleeves; and the Edith Head-designed summer suit in pale green linen she wore in Rear Window, possibly her most well-known performance.
"Hollywood thought her an ice queen," says London. "It was Alfred Hitchcock who saw her sexual elegance and cast her in roles that truly captured her dual nature."
London started collecting vintage clothing at the prompting of his friend Joan "Don't **** With Me, Fellas" Crawford. Until 2001 he ran a vintage store called "Gene London: The Fan Club" in Manhattan.
But the zenith of his career as a collector was the traveling Hollywood Glamour show, which showed off more than 50 pieces of his gown collection. Lizanne Kelly, Grace's sister, helped him orchestrate the Princess Grace de Monaco exhibit, the extended version of the show for Mikimoto. They became close friends.
The real crowning moment, of course, was once meeting Grace herself at a charity luncheon.
"She said, `Thank you for bringing so much pleasure to my children,'" he recalls. "`They look forward to seeing your show on TV when we visit Philadelphia.' Did the Kelly clan--including the royal children--really watch me on TV?"
Thrilling as that moment was for London, he says the salient connection was their shared love for drama.
"When I was a youngster, through the movies, fantasy was my reality," he says. "That made me unique, and I sparkled with an inner glow. Born to a family of athletes, Gracie was sickly and liked to pretend. Her parents had instilled in Grace an athlete's determination to succeed against all odds. And so she did."
scriptgirl
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Chicago Sun Times
Grace' Tries to Revive The Fantasy - and Reality
Article from: Chicago Sun-Times Article date: October 5, 1994 Author: Jonathan Yardley More results for: grace kelly
Grace By Robert Lacey. Putnam's. $24.95.
It has been more than a decade since Princess Grace was killed while driving her Rover at high speed in the hills of southern France, and nearly four decades since the release of "High Society," Grace Kelly's last motion picture. Does anyone still remember her? Does anyone still care?
Perhaps we shall find an answer in the response to Grace, Robert Lacey's unauthorized but reverent biography, which is being issued to great yawps of publicity. A decade or so ago it would have been an automatic best-seller, considering not merely the celebrity of its subject but also the mildly salacious details about her amatory affairs. Now its success may depend on reawakening dormant memories and rekindling interest in a woman who seems seriously if not terminally out of date.
Kelly's movie career was astonishingly brief, considering the amount of attention it gathered. Her first Hollywood film, "High Noon," appeared in 1952 and her last, "High Society," in 1956. In between she played in nine other films of which only four - "Dial M for Murder," "To Catch a Thief," "Rear Window" and "The Country Girl" - have any lasting merit and/or interest.
But then the legend was made of more than mere films. She was a Philadelphia Kelly, a family that radiated WASP style even if, being Irish, they were denied access to the city's elite. Though she was no aristocrat, Grace Kelly had the bearing of one, and her story therefore assumed in the public eye the romance not merely of Hollywood but also of Society.
Furthermore, "though Grace's (vibrancy), polish and self-assurance were in a well-established movie tradition, her implied sexuality was something new. She was clearly experienced in some way that was only hinted at, but this had not been at the cost of her freshness or respectability. She was no virgin, but she was no sl*t either, and . . . she represented as much liberation as the decade of Pollyanna could take."
Not merely were there flings with Clark Gable, Jean Pierre Aumont, Ray Milland, William Holden and Oleg Cassini, there also were a number of anonymous young men with whom she found relief once her marriage to Prince Rainier of Monaco had lost its ardor. By the accounts of those who were willing to discuss these liaisons with Lacey, Kelly had a fine time and was an enthusiastic participant. It should be noted, by the way, that all of the men who spoke to these questions did so with discretion as well as affection.
In many ways the most important man in her life was one with whom she never went to bed: Alfred Hitchcock, the director who shaped the seductive image of Grace Kelly, without which she surely never would have been anything more than an actress whose chilly beauty seemed impenetrable.
The fairy-tale romance with the somewhat unlikely petit prince was followed by the glamorous royal wedding and then by her removal to the picture palace by the sea. It was a movie fantasy made real. That in truth it was considerably less than fantasy was a fact from which the palace, with Grace's active complicity, managed to shield the public.
Rainier's hot temper and cold withdrawal proved difficult but not unbearable. Grace found happiness in her three children, upon whom she doted to excess - for which each in time would pay a heavy price - and she found various good works in which to absorb herself. Her marriage evolved "from romantic love through discord and apathy to a new sort of tolerance and friendship" in which "Grace and Rainier had become each other's best friends."
Her story did not have "a neat or happy ending," which forces Lacey to devote his final pages to a somewhat inconclusive unsnarling of contradictory evidence about the fatal crash, but it certainly had the Hitchcock touch.
Grace' Tries to Revive The Fantasy - and Reality
Article from: Chicago Sun-Times Article date: October 5, 1994 Author: Jonathan Yardley More results for: grace kelly
Grace By Robert Lacey. Putnam's. $24.95.
It has been more than a decade since Princess Grace was killed while driving her Rover at high speed in the hills of southern France, and nearly four decades since the release of "High Society," Grace Kelly's last motion picture. Does anyone still remember her? Does anyone still care?
Perhaps we shall find an answer in the response to Grace, Robert Lacey's unauthorized but reverent biography, which is being issued to great yawps of publicity. A decade or so ago it would have been an automatic best-seller, considering not merely the celebrity of its subject but also the mildly salacious details about her amatory affairs. Now its success may depend on reawakening dormant memories and rekindling interest in a woman who seems seriously if not terminally out of date.
Kelly's movie career was astonishingly brief, considering the amount of attention it gathered. Her first Hollywood film, "High Noon," appeared in 1952 and her last, "High Society," in 1956. In between she played in nine other films of which only four - "Dial M for Murder," "To Catch a Thief," "Rear Window" and "The Country Girl" - have any lasting merit and/or interest.
But then the legend was made of more than mere films. She was a Philadelphia Kelly, a family that radiated WASP style even if, being Irish, they were denied access to the city's elite. Though she was no aristocrat, Grace Kelly had the bearing of one, and her story therefore assumed in the public eye the romance not merely of Hollywood but also of Society.
Furthermore, "though Grace's (vibrancy), polish and self-assurance were in a well-established movie tradition, her implied sexuality was something new. She was clearly experienced in some way that was only hinted at, but this had not been at the cost of her freshness or respectability. She was no virgin, but she was no sl*t either, and . . . she represented as much liberation as the decade of Pollyanna could take."
Not merely were there flings with Clark Gable, Jean Pierre Aumont, Ray Milland, William Holden and Oleg Cassini, there also were a number of anonymous young men with whom she found relief once her marriage to Prince Rainier of Monaco had lost its ardor. By the accounts of those who were willing to discuss these liaisons with Lacey, Kelly had a fine time and was an enthusiastic participant. It should be noted, by the way, that all of the men who spoke to these questions did so with discretion as well as affection.
In many ways the most important man in her life was one with whom she never went to bed: Alfred Hitchcock, the director who shaped the seductive image of Grace Kelly, without which she surely never would have been anything more than an actress whose chilly beauty seemed impenetrable.
The fairy-tale romance with the somewhat unlikely petit prince was followed by the glamorous royal wedding and then by her removal to the picture palace by the sea. It was a movie fantasy made real. That in truth it was considerably less than fantasy was a fact from which the palace, with Grace's active complicity, managed to shield the public.
Rainier's hot temper and cold withdrawal proved difficult but not unbearable. Grace found happiness in her three children, upon whom she doted to excess - for which each in time would pay a heavy price - and she found various good works in which to absorb herself. Her marriage evolved "from romantic love through discord and apathy to a new sort of tolerance and friendship" in which "Grace and Rainier had become each other's best friends."
Her story did not have "a neat or happy ending," which forces Lacey to devote his final pages to a somewhat inconclusive unsnarling of contradictory evidence about the fatal crash, but it certainly had the Hitchcock touch.
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