#sydney guilaroff
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gatabella · 9 months ago
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Ava Gardner, Pandora and The Flying Dutchman, 1951
"On Monday morning a mutual friend called from London to say that Ava had passed away during the night. I screamed and sobbed in grief, unable, unwilling to believe it. Some precious part of me, the part that loved life and laughter, died with her. That part of me is gone forever. Even now, all these years later, I still dream about her. In one of the dreams, she’s running away from me, and I’m running after her, but I can never catch up with her. In another dream, we’re younger and walking together in a green park, hand in hand. And that’s the dream I want to remember forever."
-Sydney Guilaroff, Crowning Glory : reflections of Hollywood's favorite confidant (1996)
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citizenscreen · 3 months ago
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Claudette Colbert having her hair done by hair stylist Sydney Guilaroff in the MGM makeup department preparing for work on Jack Conway’s BOOM TOWN (1940).
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imperfectfragilediary · 10 months ago
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Greta Garbo's letter to Sidney Guilaroff
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vintage-every-day · 2 years ago
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Norma Shearer in color photo from 𝑴𝒂𝒓𝒊𝒆 𝑨𝒏𝒕𝒐𝒊𝒏𝒆𝒕𝒕𝒆, 1938. Gown by Adrian, coiffure by Sydney Guilaroff, jewels by Joseff of Hollywood.
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perfectlymarilynmonroe · 4 years ago
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Marilyn Monroe having a wig prepped by Sydney Guilaroff, who styled the wigs Marilyn wore in The Misfits, July, 1960.
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pygartheangel · 4 years ago
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Sydney Guilaroff and his former employee, later adopted “grandson” Jose. Guilaroff was MGM’s head hairstylist for 40 years. The first studio hairstylist to receive screen credit. I think he was also the first single man allowed to adopt another grown man. Not a common practice but something rich and famous gays were able and encouraged to do as a legal means of assuring lovers and life-partners received inheritances and had access to hospital “family only” visiting rules when courts did not recognize any form of same-sex relationship. Liberace had plans to adopt one of his lovers, as did actor Raymond St. Jacques.
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Costume Design by Helen Rose (costumes: women); Sydney Guilaroff - hair stylist; William Tuttle - makeup designer
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Oh, l should tell you, Captain… l can be a little trouble. But then you look big enough to handle a little trouble. ELEANOR PARKER as Carla Forester in ESCAPE FROM FORT BRAVO (1953)
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zazamatic · 7 years ago
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The creative genious behind some of the most classic hairstyles in great Hollywood films came from the skilled hands of Sydney Guilaroff. He not only holds the distinction of being the first hairdresser to ever receive movie screen credit, but also for producing the widest scope of incredible work of any hairdresser in the 20th century.
Joan  Crawford brought Guilaroff to Hollywood and MGM where he held the position of chief hair stylist from 1934 into the late 1970s. Guilaroff gave Claudette Colbert her bangs, made Lucille Ball a redhead, gave Judy Garland her Wizard of Oz braids, and cut, curled, coiffed and cosseted virtually every other MGM star in his 40 year reign as Hollywood’s most creative and celebrated hairdresser. Guilaroff maintained his most formidable undertaking had been his work for the 1938 film Marie Antoinette, for which 2,000 court wigs were required and an additional 3,000 wigs for the extra players. Grace Kelly chose Guilaroff to style her hair for her 1956 wedding to Prince Rainier of Monaco.    
Guilaroff is said to have created silent screen star Louise Brooks' signature bob. His services were demanded by such stars as Greta Garbo, Greer Garson, Elizabeth Taylor, Joan Crawford, Norma Shearer, Zsa Zsa Gabor, Liza Minelli, Hedy Lamarr, Marlene Dietrich, Ava Gardner, Shirley MacLaine, Natalie Wood, Lana Turner, Lena Horne, Grace Kelly, Debbie Reynolds, Kathryn Grayson, Ann-Margret and Marilyn Monroe. Not to mention Frank Sinatra, Clark Gable, Tyrone Power, Marlon Brando, James Dean, Robert Wagner and Robert Taylor.
http://www.lucilleball.net/fun_turnerstar.html
http://www.profitablestylist.com/the-secrets-of-sydney-guilaroff/
https://en.wikipedia.org/wiki/Sydney_Guilaroff
http://gayinfluence.blogspot.com/2013/07/sydney-guilaroff.html
http://www.cursumperficio.net/FicheAG23.html
http://highlighthollywood.com/2015/12/a-touch-of-genius-sydney-guilaroff-he-did-it-with-style-by-paul-e-brogan-highlight-hollywood-news/
http://www.meredy.com/balllucilletriv.html
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desimonewayland · 4 years ago
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Chief hair stylist Sydney Guilaroff, styling wigs at the MGM Studio, 1943
Photograph by Walter Sanders for Life Magazine
TimeLife Images
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uno-universal · 3 years ago
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Marilyn Monroe photographed by Milton H Greene in June 1956 - Los Angeles - at Sydney Guilaroff's home for test hairstyles of the movie "The Prince and the Showgirl". (> Same day as 'The Statue Sitting').
In Hollywood preparing costume and make-up for production, Marilyn tells Milton she has never had a proper graduation and produces this sitting for her.
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gatabella · 10 months ago
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"Few knew that Garbo was an insomniac who paced her room for hours before finally falling into a feverish slumber. I soon became part of her ritual: She would summon me to her house or telephone me, and we would talk late into the night. Later during the making of Camille, I noticed that the more tired she was, the more reclusive she became. Sometimes, during breaks in the shooting schedule, she withdrew behind an array of lace screens, where she sat on a chaise and tried to regain her strength. Often she invited me into her on-set refuge to discuss her techniques or her interpretation of the title role. Six weeks into production, as we sat behind the lace screens, she took my hand to say, “I think I can trust you, and I haven’t really trusted anyone in Hollywood since Mauritz Stiller returned to Sweden. But with you, we seem to communicate without words, silently and soulfully.” At one point she consulted me about a love scene she was about to film with Robert Taylor as her youthful lover. “I want it to seem very innocent and tender. What would you do?” “Why don’t you try kissing him Continental style, with tiny kisses all over his face.” She brightened. “You know, I think you’re right.” This love scene proved to be monumental—a classic. It was all done without body contact, yet Cukor later described it as “tremendously erotic. By suggesting passion, Garbo caught the eroticism beneath the surface.”
-Sydney Guilaroff, Crowning Glory : reflections of Hollywood's favorite confidant (1996)
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waynelvslcy · 4 years ago
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Lucille Ball in 'Easy To Wed' (1946). Costume by Irene. Hairstyle by Sydney Guilaroff. Photographed by Clarence Sinclair Bull. #lucilleball #mgm #easytowed1946 #classichollywood #oldhollywoodhair #oldhollywoodglamour #moviestars #1940sfashion https://www.instagram.com/p/CNXlJs1HQwL/?igshid=lue99miyg2c
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byneddiedingo · 2 years ago
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Du Barry Was a Lady (Roy Del Ruth, 1943) Cast: Red Skelton, Lucille Ball, Gene Kelly, Virginia O'Brien, Rags Ragland, Zero Mostel, Donald Meek, Douglass Dumbrille, George Givot, Louise Beavers, Tommy Dorsey. Screenplay: Nancy Hamilton, Irving Brecher, based on a play by Herbert Fields and Buddy G. DeSylva. Cinematography: Karl Freund. Art direction: Cedric Gibbons. Film editing: Blanche Sewell. Music: Daniele Amfitheatrof, songs by Cole Porter, Burton Lane, Ralph Freed, Roger Edens, E.Y. Harburg. Costume design: Gile Steele. Natalie Kalmus must have been in heaven. The ex-wife of Technicolor founder Herbert Kalmus, and the contract-designated "color supervisor" for any film using the process (as well as the bane of any directors or cinematographers who wanted to do it their own way), was surely delighted when MGM chose Red Skelton and Lucille Ball to star in Du Barry Was a Lady, thereby ensuring that Technicolor's most vivid hue, red, would be on display throughout the film. Ball's hair stylist, Sydney Guilaroff, even devised a new red hair dye for the star, one that she would continue to use -- even to make jokes about -- for the rest of her career. The movie itself is nonsense, one of MGM's second-string musicals, based on a Broadway hit that had starred Bert Lahr and Ethel Merman, but jettisoning not only its stars but also most of Porter's songs. Before it gets to the central gimmick -- Skelton accidentally gets slipped a mickey and dreams he's back in the court of Louis XV -- it's a string of night club routines, including a trio of singers who imitate the famous but now-forgotten big bands of the day, but also featuring one of the best big bands, Tommy Dorsey and His Orchestra. Skelton mugs a lot, but Zero Mostel, cast as a fortune-teller, mugs even more. At least Gene Kelly, the nominal romantic lead, gets to dance a bit. Ball was still in that stage of her career in which nobody seemed to know what to do with a beautiful woman who was also a gifted clown. Her best moments in the film come when she gets to do her clowning, as in a sequence in which Skelton (as Louis XV) chases her (as Madame DuBarry) around a bedroom and across a trampoline disguised as a bed. She also gets some funny moments in the film's closing number, Porter's "Friendship," goofing around with the rest of the cast. (It's also the one number in which her own singing voice is heard; the rest of the time she's dubbed by Martha Mears.) This is one of those movies for which the fast-forward button on the remote control was designed: Skip anything savoring of plot, most of the tedious mugging, the calendar-girl fashion show, but stop for the Dorsey numbers, the Kelly dances, and any time Ball is allowed to show what she did best.
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perfectlymarilynmonroe · 3 years ago
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Marilyn Monroe & Her Journey as a Blonde ⁣ Starting in 1946, she went through roughly nine shades of blonde until her untimely death in August 1962.⁣ ⁣ She was born with blonde hair, but as she aged, turned a curly haired brunette. In 1950 - 1952, she went from an ash blonde, to golden blonde, silver blonde, amber blonde, smoky blonde, honey blonde, topaz blonde, and unbleached dark blonde, and then to her iconic platinum blonde in 1952. ⁣ ⁣ Her hair was often styled by Sydney Guilaroff, who, in 1995, said, “When I first saw Marilyn, I felt she was wearing her hair too long. She resisted cutting it at first, but I convinced he that a shorter style would flatter her bone structure and bring out her lovely facial features, which of course it did.” ⁣ ⁣ Over the next nine years, her hair fluctuated a bit in color, and she was receiving treatment a couple of times a week. ⁣ ⁣ In 1960, her hair was so damaged from all of the dying, that she wore a wig in The Misfits, not to mention it also helped as Nevada was vey hot and dry. In 1962, she had “pillow-white” hair, as she described.⁣ ⁣ Aside from Guilaroff, she worked with stylists like Agnes Flanagan, Peter Leonardi, George Masters, Kenneth Battelle & Gladys Rasmussen. ⁣ ⁣ Rasmussen once spoke about the blonde and said, “There are several problems with doing Marilyn’s hair. Her hair is very fine and therefore hard to manage. It get’s oily if it isn’t shampooed every day. And her hair is so curly naturally that to build a coiffure for her I have to first give her a straight permanent… The way we got her shade of platinum is with my own secret blend of sparkling silver bleach plus twenty volume peroxide and a secret formula of silver platinum to take the yellow out.”⁣ ⁣ ⁣ Some fun hair facts ♡︎:⁣ ⁣ » She styled her hair to the right.⁣ ⁣ » She’d wear a black wig if she didn’t want to be recognized.⁣ ⁣ » She hated having a widows peak. ⁣ ⁣ » Her hair inspired stars from today like Gwen Stefani, Madonna in some of her music videos, & Scarlett Johansson.
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leelooel · 4 years ago
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Marilyn Monroe and Sydney Guilaroff
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ompgroup · 5 years ago
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"Cortar o cabelo não é um simples trabalho, é uma arte" !!!! SYDNEY GUILAROFF (1907–1997) Nascido em Londres, filho de um casal russo, Sydney Guilaroff ganhou o mundo em Hollywood. Cabeleireiro oficial do famoso estúdio Metro Goldwyn Mayer, ele atuou nos bastidores de mais de 200 filmes! Em 1930, assinou o icônico carré de Louise Brooks, estrela-maior do cinema mudo. O corte até hoje serve de referência para looks curtos geométricos. Nove anos depois, elaborou as tranças laterais que Judy Garland usou para dar vida à Dorothy, em O Mágico de Oz. Também criou o visual de noiva da bela atriz Grace Kelly em seu casamento com o príncipe Rainier, de Mônaco, e era o preferido da diva sexy Marilyn Monroe. O hairstylist se destacou tanto na profissão que foi o primeiro profissional de beleza a ter seu nome escrito nos créditos de uma produção cinematográfica. 15 98122 3112 #Conhecimento #Sorocaba #fazeradiferença #distribuidorahrcosmeticos (em Distribuidora Mutari Sorocaba) https://www.instagram.com/p/B7RpbFypMJc/?igshid=1w92ugfxst69v
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