Costume designer Jennifer Johnson tells Vogue about working with Ana de Armas and differentiating between Norma Jeane and Marilyn Monroe.
Tackling such an iconic figure was no small challenge for Johnson, despite previously working on costumes for films such as. With only four weeks to prepare for the project, her intense research process began by reading Dominik’s script, then pinpointing the standout style moments in each scene. “[Andrew] had this incredible 800-page thing we called the Bible,” says Johnson. “We printed that out, and I pasted it in our offices like wallpaper.
It was the glitzier scenes as Marilyn – including dresses now known around the world and endlessly imitated – that became the real challenge for Johnson. “It’s a stressful task to take something that’s been designed by some of the best designers in Hollywood,” she says, citing William Travilla as a prime example.
Special details that you may not even notice in the film were also important to Johnson and the costume team. One of her favourite dresses in the film, for instance, is a recreation of adress designed by Orry-Kelly that Monroe wears to sing with a live band. “In my research, we found that Kelly designed a see-through heart lined with rhinestones on her left ass cheek,” says Johnson. “You don’t see it in the movie, but I really tried to give Ana little presents that helped her get into character.
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