Category: Movie

Lucille Ball ‘Sally Elliot’ Skirt from “The Fuller Brush Girl”

In 1950 while under contract with Columbia Pictures, Lucille Ball starred in the slapstick comedy The Fuller Brush Girl. Lucy plays Sally Elliot opposite Eddie Albert’s Humphrey Briggs who both work for a steamship company. After getting fired, Lucy’s character tries to sell Fuller Brush cosmetics.

Created by Academy Award winning French-American costume designer Jean Louis, Lucille wears this plaid pleated skirt throughout the last half of the film as she and Humphrey out run a criminal gang. The interior retains the original Columbia studio label with “L. Ball” written in pen.

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Lucille Ball’s Aqua Ostrich Feather Vest

In 1964 Lucille Ball started a radio show called Let’s Talk to Lucy interviewing many people she found interesting both famous and not. One interview was with Academy Award winning designer, Edith Head. Towards the end of their two day session Lucy discusses her love of feathers and the color aqua. Edith dreams up an aqua feather cape and slim dress for Lucy and thus, this creation was born.

Featuring sections of handsewn aqua ostrich feathers, covering an elongated vest-style garment, Edith along with Edward Stevenson made this one of a kind piece for Lucille Ball. Lucy wears the vest for the opening credits of The Lucy Show (a rare behind the scenes clip of the filming for this is shown here). Then in March of 1967 Lucy wears it to the New York City premiere of Throughly Modern Millie starring Julie Andrews, Mary Tyler Moore and Carol Channing. In 1969 Lucille makes a very brief apperance at the end with it on Jack Benny’s New Look slapping Jack’s face saying “How dare you do a special without me!” In Lucy’s 1974 film of MAME it can be seen briefly in her stateroom amongst many of her other personal garments. Finally, as part of her western costume while attending a S.H.A.R.E. party in the mid-1970’s, Lucy wears the vest alongside her husband Gary Morton and mother, DeDe.

If the whereabouts of the sheath dress under the vest are known, please contact us!

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Necklace worn by Lucille Ball in “Annabel Takes a Tour” by Joseff of Hollywood

Annabel Takes a Tour (1938) was an early comedic film Lucille Ball starred in while under contract with RKO. It was the sequel to The Affairs of Annabel released that same year. Lucy played Annabel Allison a movie star who is desperate for some good publicity to help boost her career so she does a variety of wacky stunts.

In the film as well as publicity photos, Lucille wears this simulated diamond and sapphire necklace made by Joseff of Hollywood. Measuring twenty three inches in length, it features open metal work centering on a large central medallion.

The necklace as also worn by Bette Davis in a 1930’s publicity portrait, John Bennett in a wardrobe test for The Man in the Iron Mask (1939) Ruth Donnelly in Pillow to Post (1945).

Eugene Joseff was the premier costume jeweler during Hollywood’s golden age. He developed a matte metal finish for his jewelry which minimized the glare from lighting. Their custom jewels were designed, manufactured and rented to movie studios and can be seen in nearly every production from the 1930’s to the 1950’s.

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Lucille Ball’s Bardot Blouse from ‘The Fuller Brush Girl’

In 1950 while under contract with Columbia Pictures, Lucille Ball starred in the slapstick comedy The Fuller Brush Girl. Lucy plays Sally Elliot opposite Eddie Albert’s Humphrey Briggs who both work for a steamship company. After getting fired, Lucy’s character tries to sell Fuller Brush cosmetics.

In a disguise at a burlesque show, Lucille wears this champagne-colored off the shoulder silk bardot blouse. Created by Academy Award winning French-American costume designer Jean Louis, the blouse features a ruched bodice and waistband, elastic neckline and cuffs with zipper and hook-and-eye closures in the back. The interior retains the original Columbia studio label with “L. Ball” written in pen.

by Categories: Columbia Pictures, Costume, Film Worn, Lucille Ball, Movie, Personal, Shown Worn, The Fuller Brush GirlTags: , , , , , , , , , 2 Comments

Lucille Ball’s Ruby Ring from “The Magic Carpet” by Joseff of Hollywood

The Magic Carpet (1951) was the last film Lucille Ball starred in while under contract with Columbia Pictures. She plays Narah, a villainess Iraqi princess. Columbia gave her the part in the low-budget, B movie hoping Lucy would break her contract and not pay her for the remaining term. She did the film anyway to force their hand as well as hid her pregnancy with daughter Lucie.

Lucille wears gold ring in the film made by Joseff of Hollywood using their signature Russian plating technique. The piece features a white pearl surrounded by five simulated ruby stones.

Eugene Joseff was the premier costume jeweler during Hollywood’s golden age. He developed a matte metal finish for his jewelry which minimized the glare from lighting. Their custom jewels were designed, manufactured and rented to movie studios and can be seen in nearly every production from the 1930’s to the 1950’s.

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Lucille Ball’s MAME Costume by Theadora Van Runkle

On March 7, 1974 Lucille Ball brought “Mame Dennis” to the big screen for her final feature film, MAME. She wore an unprecedented number of costumes in the movie, all of which were designed by Theodora Van Runkle.

One of the gowns was this three piece ensemble consisting of a silver lamè sleeveless, floor length gown with high collar, silver lamè turban with black lace lining, and a black wool and satin jacket with silver lamè lapels and cuffs with large covered buttons. The labels have large ornate deco-style diamond pins attached.

Lucy wears the costume for roughly ten seconds in the film during Robert Preston’s serenade of “Loving You” but dawns it more often for the press luncheon at the start of filming, publicity photoshoots as well as other events.

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Lucille Ball’s Emerald Necklace from “The Magic Carpet” by Joseff of Hollywood

The Magic Carpet (1951) was the last film Lucille Ball starred in while under contract with Columbia Pictures. She plays Narah, a villainess Iraqi princess. Columbia gave her the part in the low-budget, B movie hoping Lucy would break her contract and not pay her for the remaining term. She did the film anyway to force their hand as well as hid her pregnancy with daughter Lucie.

Lucille wears this 13″ choker style necklace in the film made by Joseff of Hollywood. The piece features large oval, bezel-set emerald color jewels and alternating diamonds with a spring clasp closure. The necklace was previously worn by Natalie Draper in Forever Amber (20th Century, 1947) and Adrian Booth in The Last Bandit (Republic, 1949).

Eugene Joseff was the premier costume jeweler during Hollywood’s golden age. He developed a matte metal finish for his jewelry which minimized the glare from lighting. Their custom jewels were designed, manufactured and rented to movie studios and can be seen in nearly every production from the 1930’s to the 1950’s.

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Lucille Ball’s Red ‘Du Barry Was A Lady’ Wig

After signing with MGM, Lucille Ball’s first film at the studio was 1943’s Du Barry Was a Lady. At the time Lucy’s hair was close to her natural color, a mousey-brown and since it was going to be shot in Technicolor a change needed to be made so her look would pop more on screen. MGM’s hair stylist, Sydney Guilaroff decided to dye her hair a vibrant red/orange. Along with her porcelain skin, blue eyes and red lips, the new hair color made her look sensational on and off camera. She remained a redhead for the rest of her life.

This was the wig Lucille wore in the movie. Considered a “3/4 fall” it was attached to the crown of her head providing long locks while her real hair was made in an updo. The interior lace has two labels sewn onto it – a Max Factor Studios label and a Metro-Goldwyn-Mayer label with 493 written in blue. This number matches that found on the original black wig box. The box has a label affixed detailing the color (tech. red) size and performer who it was created for. Also included is the original wig stock record card with all this information and production number. The wig would be reused in 1967 by actress ‘S. Yarnell’ as written on the card however this may actually be Celeste Yarnall of Star Trek fame.

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Plaid Tartan Blazer worn by Lucille Ball in ‘Sorrowful Jones’

In 1949, Lucille Ball starred opposite Bob Hope in the comedic film Sorrowful Jones. Lucy plays Gladys a nightclub singer and can be seen wearing this plaid wool tartan blazer. Featuring dark brown velvet cuffs and lapels, the jacket originally had three covered buttons in the front however only one is still present. Inner design elements include shoulder pads and metal weights sewn into the back hem to help keep it weighted down. The neckline still retains the original designer label and Paramount studio label with “L.Ball” written in pen. The black wool skirt photographed with this blazer also belonged to Lucille Ball’s personal wardrobe circa 1980’s.

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Lucille Ball’s “Panama Lady” Brooch by Joseff of Hollywood

In 1939 Lucille Ball starred in Panama Lady an RKO film about a nightclub girl who gets involved with an oil rigger played by Allan Lane (he would come to be the voice of Mr. Ed). For the publicity shots of the movie Lucille wore this ornate, door knocker-style brooch with simulated amethysts by Joseff of Hollywood.

Eugene Joseff was the premier costume jeweler during Hollywood’s golden age. He developed a matte metal finish for his jewelry which minimized the glare from lighting. Their custom jewels were designed, manufactured and rented to movie studios and can be seen in nearly every production from the 1930’s to the 1950’s.

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William Frawley Signed Early Career Photo Card

William Frawley came to Hollywood in 1933 after some success in vaudeville and Broadway. Much of his work in films was as a character actor well before being known as the lovable Fred Mertz on I Love Lucy. This uncommon photo card of Bill is from the late 20’s-early 30’s and has been signed in blue ink. Unfortunately his last name is spelled incorrectly, which may not have been a good thing seeing it was most likely a publicity card used by studios for casting talent.

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Lucille Ball’s Black Velvet Maxi Dress

  • (Original Caption) Comedienne Lucille Ball, who says she’s leaving her long running television series soon, will still remain quite active in her real life, which is a far cry from TV characterizations. She’s shown here in her suite at the Waldorf Towers.

Lucille Ball’s custom-made black velvet maxi dress worn during the promotional tour for MAME and in publicity photos taken in New York City during the mid-1970’s. Comprising of a swirl patterned design the floor length house dress features a high standing collar, zippered front closure, bottom slit and black lace trimmed around the neckline and cuffs. Lucy can also be seen wearing the dress in a 1974 interview with Warner Roberts.

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