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Dolores del Río wears an Orry-Kelly gown in I Live for Love (1935).

Key Information

Orry-Kelly was the professional name of Orry George Kelly (31 December 1897 – 27 February 1964), an Australian-American Hollywood costume designer. Until being overtaken by Catherine Martin in 2014, he was the most prolific Australian-born Oscar winner, having won three Academy Awards for Best Costume Design.[1][2]

Early life

[edit]

Orry-Kelly was born in Kiama, New South Wales, Australia, and was known as Jack Kelly. His father William Kelly was born on the Isle of Man and was a gentleman tailor in Kiama. Orry was a name of an ancient king of the Isle of Man. Orry-Kelly was sent to Sydney at age 17 to study banking, and there he developed his interest in theatre.[3]

Career

[edit]

Move to the U.S.

[edit]

Orry-Kelly journeyed to New York City to pursue an acting career and shared an apartment in Greenwich Village with Charles Phelps (also known as Charlie Spangles) and Cary Grant, with whom, he wrote, he had an on-again, off-again relationship until the 1930s.[4] A job painting murals in a nightclub led to his employment by Fox East Coast studios illustrating titles. He designed costumes and sets for Broadway's Shubert Revues and George White's Scandals. He served with the United States Army Air Corps during World War II until being discharged for alcohol problems.[5][6]

Hollywood

[edit]
Ingrid Bergman in Casablanca (1942)
Nina Foch in An American in Paris (1951)

After moving to Hollywood in 1932, Orry-Kelly was hired by Warner Bros. as their chief costume designer and he remained there until 1944. He was encouraged to hyphenate his name for film credits in order to appear more exotic.[7] Later, his designs were also seen in films at Universal, RKO, 20th Century Fox, and MGM studios. He won three Academy Awards for Best Costume Design (for An American in Paris, Les Girls, and Some Like It Hot) and was nominated for a fourth (for Gypsy). In addition to his film work he was also a portrait artist and was permitted to undertake private commissions for gowns and ready-to-wear dresses.[7]

Orry-Kelly worked on many films now considered classics, including 42nd Street, The Maltese Falcon, Casablanca, Arsenic and Old Lace, Harvey, Oklahoma!, Auntie Mame, and Some Like It Hot. He designed for all the great actresses of the day, including Bette Davis, Kay Francis, Ruth Chatterton, Marilyn Monroe, Olivia de Havilland, Katharine Hepburn, Dolores del Río, Ava Gardner, Ann Sheridan, Barbara Stanwyck, and Merle Oberon.

Orry-Kelly was known for his ability to "design for distraction" to compensate for difficult figure shapes.[8] When he was assigned to films with Kay Francis, they would dissect her parts. She would be dressed in opposition to the role, with the traditional femme fatale or manipulative character in frills and the honest heroine in a tailored, classic suit.[9] Orry-Kelly also applied this aesthetic in the creation of gowns for a number of Bette Davis's characters.[7] He also created clothes for the cross-dressing characters played by Tony Curtis and Jack Lemmon in Some Like It Hot. His skill is shown by the fact that while Some Like It Hot was in production, Curtis and Lemmon would go into the ladies' room after eating lunch without being spotted as men.[10] He wrote that when he finished draping Dolores del Río in white jersey, "she became a Greek goddess ... she was incredibly beautiful".[3] The elegant clothes he designed for Bergman's character in Casablanca have been described as "pitch perfect".[3]

In addition to designing, Kelly wrote a column, "Hollywood Fashion Parade", for the International News Service, owned by William Randolph Hearst, during the years of World War II. Kelly's memoirs, entitled Women I've Undressed were discovered in the care of a relative, as a result of publicity surrounding Gillian Armstrong's 2015 documentary on Kelly, Women He's Undressed.[10][11] The memoir was published for the first time in 2015.[4][2]

Death

[edit]

A longtime alcoholic, Orry-Kelly died of liver cancer in Hollywood in 1964 at the age of 66 and was interred in the Forest Lawn Memorial Park, Hollywood Hills. His pallbearers included Cary Grant, Tony Curtis, Billy Wilder and George Cukor and his eulogy was read by Jack L. Warner. He had no living relatives when he died; his personal effects and Academy Awards were stored by Ann Warner, wife of his friend and former boss, Jack.[1] The Oscars were among the items in an exhibition entitled Orry-Kelly: Dressing Hollywood, at the Australian Centre for the Moving Image in August 2015.[1]

Costume design credits

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Orry-Kelly

View on Grokipedia
from Grokipedia
Orry-Kelly (1897–1964), born Orry George Kelly, was an Australian-American whose innovative and glamorous creations defined the of Hollywood, earning him three for Best and cementing his legacy as a master of and star enhancement. Born on 31 December 1897 in , , to tailor William Kelly and Florence Evaleen Purdue, Kelly displayed an early flair for design by crafting miniature theatres from his mother's velvet scraps during childhood. After attending Kiama Public School and District School, he briefly worked in a bank before studying and art, fueling his ambitions in the creative arts. In 1921, Kelly relocated to , where he supported himself as a tailor's assistant, mural painter, and title designer for Fox Film Corporation, while forming a close friendship with aspiring actor (then Archie Leach). His entry into Hollywood came in 1932 when he became chief costume designer at Warner Bros., a role he held until 1944, revolutionizing the studio's wardrobe department with designs that flattered challenging figures and amplified dramatic narratives. Kelly's Warner Bros. tenure produced iconic pieces, such as the scarlet ball gown for Bette Davis in Jezebel (1938), and costumes for films like Casablanca (1942), while he dressed luminaries including Ingrid Bergman and Marilyn Monroe. Transitioning to freelance work with Twentieth Century-Fox and other studios post-1944, he garnered further acclaim, winning Oscars for color costume design in An American in Paris (1951, shared with Walter Plunkett and Irene Sharaff), and for Les Girls (1957) and Some Like It Hot (1959). Kelly never married and succumbed to on 26 February 1964 in , California, where he was cremated. His unfinished memoir, Women I've Undressed, published posthumously, provides candid reflections on his collaborations with Hollywood's elite and the era's glamour. Kelly's influence endures, inspiring contemporary designers like Catherine Martin and shaping perceptions of cinematic .

Early Life

Birth and Upbringing in Australia

Orry George Kelly, professionally known as Orry-Kelly, was born on December 31, 1897, in the small coastal town of , . He was the only child of William Kelly, a who had emigrated from the Isle of Man, and Florence Evaleen Kelly (née Purdue), a native with social ambitions. The family resided in Kiama, a modest seaside community with a burgeoning cultural scene that included dance schools, skating rinks, and local performances, providing an environment where young Orry could explore his creative inclinations. He attended Kiama Public School and later District School. Growing up in this middle-class household during the early , Orry-Kelly benefited from his mother's encouragement of artistic pursuits; she supplied him with velvet scraps from her sewing to fashion outfits for dolls and even took him to see a at Her Majesty's Theatre in , igniting his fascination with theatrical spectacle. His father's tailoring trade introduced him to the precision of craftsmanship, though William often clashed with his son's interests, once destroying a handmade and a miniature theater Orry had built with cardboard dolls dressed in his designs to discourage such "unmanly" activities. These early experiences in Kiama, where Orry sketched seascapes and theatrical scenes, fostered a deep appreciation for glamour amid the town's simple, beach-oriented lifestyle. The socioeconomic constraints of their modest existence shaped Orry-Kelly's worldview, with the family's reliance on William's tailoring business highlighting the value of skilled labor in rural at the turn of the century. Florence's aspirations for a more refined life influenced her son, who found escape in creating elaborate doll costumes and staging impromptu performances with tiny candle-lit sets, blending his parents' contrasting influences into the foundations of his artistic talent.

Move to Sydney and Early Interests

At the age of 17 in 1915, Orry George Kelly left his family home in Kiama and relocated to , where he began a banking at the Bank of , a path chosen by his mother to ensure financial stability. His tenure at the bank proved short-lived, however, as the bustling city's cultural scene quickly diverted his attention toward more creative pursuits. Living with an aunt in , Kelly immersed himself in the vibrant theater and world, which captivated him during his rural upbringing. Kelly pursued brief formal training in art and design while developing his skills largely through self-taught sketching, drawing inspiration from the elaborate costumes and sets of performances he attended regularly. He became deeply involved in theater circles, studying , dancing, and voice production, and found a key mentor in drama teacher Eleanor Weston, who guided his early stage ambitions. Through these experiences, Kelly began designing and creating costumes for local productions, experimenting with fabrics and forms that sparked his lifelong passion for wardrobe artistry. During this formative period, Kelly adopted the professional pseudonym "Orry-Kelly," hyphenating his first name, derived from a variety of carnation and the legendary Manx king Orry, with his surname to craft a more sophisticated, stage-ready identity. To sustain himself, he engaged in sketching and other artistic pursuits in , refining his eye for composition, color, and visual appeal. These early jobs not only provided practical experience in visual arts but also laid the groundwork for his transition into professional design.

Career

Arrival in New York and Broadway

In 1921, at the age of 23, Orry-Kelly immigrated to the , arriving in with scant financial resources and a portfolio of sketches drawn from his early artistic interests in . Aspiring to launch a career as an , he instead encountered immediate hardships in the competitive environment of the city, relying on irregular odd jobs to survive. These included painting murals for nightclubs, illustrating promotional materials for department stores, and designing title cards for silent films at Fox Film Corporation, all while honing his creative skills amid financial instability. During this period of struggle, from approximately 1925 to the early 1930s, Orry-Kelly shared a modest apartment at 21 Commerce Street in with fellow aspiring performer Archibald Leach, who would later achieve fame as . This living arrangement provided mutual support in their early endeavors, though Orry-Kelly's focus gradually shifted toward and design as acting opportunities proved elusive. By the late , he had begun contributing to theatrical productions, creating sets and costumes that showcased his flair for elegant, character-driven aesthetics. Orry-Kelly's breakthrough on Broadway came through his work on prominent revues, where he earned acclaim for innovative costumes that blended glamour with functionality for the stage. Notable among these were designs for George White's Scandals (), a series of lavish musical spectacles rivaling the in opulence and star power from the mid-1920s onward, and contributions to various revues produced by the Shubert brothers. His contributions included custom gowns and ensembles that highlighted performers' movements and the era's flapper-era sophistication, establishing his reputation as a rising talent in New York theater circles before transitioning to other pursuits.

Transition to Hollywood and Warner Bros.

In 1932, Orry-Kelly relocated from New York to Hollywood, where his former roommate Cary Grant's agent, Walter Herzbrun, presented his portfolio of sketches to executives, leading to his recruitment as the studio's chief . This opportunity marked a pivotal shift from his Broadway work designing sets and costumes for theatrical productions, leveraging his established flair for dramatic visuals into the burgeoning . During his tenure at from 1932 to 1944, Orry-Kelly contributed to over 300 films, shaping the visual aesthetic of the studio's output. Notable examples include the opulent chorus girl ensembles in 42nd Street (1933), the tailored suits and trench coats enhancing the noir atmosphere of The Maltese Falcon (1941), and the elegant, period-appropriate attire for and in (1942). His designs not only supported narrative elements but also amplified the star system's glamour, contributing to ' reputation for gritty yet stylish dramas and musicals. In 1942, amid , Orry-Kelly enlisted in the United States Army Air Corps, reflecting his commitment to the war effort despite his established career. However, he was honorably discharged in 1943 after less than a year, primarily due to health complications stemming from his struggles with , a personal challenge that would recur throughout his life. This brief military service marked a temporary interruption but underscored the broader impacts of his personal battles on his professional trajectory. Orry-Kelly developed a signature style centered on "designing for distraction," a technique that used strategic patterns, draping, and accessories to flatter ' figures by diverting attention from perceived flaws, such as broad shoulders or disproportionate hips. He formed close creative partnerships with leading actresses, notably , for whom he crafted wardrobes for over 30 films emphasizing bold silhouettes that complemented her intense screen presence in vehicles like (1938). Similarly, his work with during her years highlighted tailored, power-infused looks that underscored her commanding persona. These collaborations often involved iterative fittings and discussions to ensure costumes enhanced performance without overshadowing it. Within the constraints of Warner Bros.' production system, Orry-Kelly navigated the Motion Picture Production Code (), enforced from 1934, by innovating subtle suggestions of sensuality through fabric choices and form-fitting silhouettes that adhered to modesty standards while heightening dramatic tension. He frequently employed high-quality, hand-finished materials like and , manipulated into flowing lines or structured pleats to exploit the camera's magnification and create illusions of movement and depth on screen. This approach allowed his designs to evoke emotional resonance—such as vulnerability or allure—without violating guidelines, solidifying his role in the studio's visual storytelling.

Freelance Period and Major Films

In 1944, Orry-Kelly departed following ongoing disputes with studio head , exacerbated by his struggles with alcoholism, marking the end of his 12-year tenure as the studio's chief costume designer. He immediately secured a three-year contract with 20th Century Fox to design costumes primarily for , allowing him to continue working at a major studio while transitioning away from exclusive studio employment. By 1950, Orry-Kelly had fully embraced freelancing, collaborating with , Universal, and other studios, as well as establishing private workrooms to serve individual stars like and , a period that lasted until his retirement in 1961. This freelance era showcased Orry-Kelly's versatility across genres, with standout contributions to several landmark films that highlighted his ability to blend glamour with narrative function. For (1951) at , he crafted vibrant, dance-ready ensembles that complemented the film's colorful Parisian sets and Kelly's choreography, earning him his first Academy Award for Best Costume Design. In (1957), also for , Orry-Kelly designed opulent outfits in luxurious fabrics that captured the film's high-society whimsy, securing his second Oscar and demonstrating his skill in creating costumes that evoked both elegance and movement. His work on (1959) introduced innovative gender-bending elements, including form-fitting gowns for that accentuated her curves while providing practical support for her performance, and period-appropriate drag attire for and that blurred gender lines for comedic effect, culminating in a third Oscar win. Finally, in Gypsy (1962), Orry-Kelly used padded silhouettes and bold fabrics to transform into the stripper , emphasizing character evolution from innocence to allure, though this project came just after his formal retirement. During this phase, Orry-Kelly's design philosophy evolved to prioritize deeper integration with production elements, placing greater emphasis on color coordination with sets and to enhance visual harmony and mood. He also focused on psychological character enhancement through , selecting fabrics and silhouettes that not only flattered the actor's physique but also reflected inner traits—such as using flowing, ethereal materials to convey or structured pieces to denote resilience—often collaborating directly with performers to align costumes with their emotional arcs. This approach built on his foundation but allowed for more experimental freedom in freelancing, where he could tailor designs to specific directorial visions without studio constraints. Orry-Kelly's freelance contributions had lasting industry impact, as he amassed credits on over 300 films throughout his career, solidifying his status as one of Hollywood's most prolific designers. He mentored emerging talents, including future Oscar winner , sharing techniques for character-driven design and fabric manipulation that influenced subsequent generations of costume professionals. His innovative work during this period paved the way for Australian designers in Hollywood, inspiring figures like Catherine Martin through a legacy of glamorous, psychologically attuned s that elevated storytelling on screen.

Personal Life

Relationship with Cary Grant

Orry-Kelly met in in January 1925, when Grant, then known as Archibald Leach and struggling as a performer, was evicted from his boarding house for nonpayment of rent. The two quickly formed a close bond, sharing an apartment in . According to Kelly's memoir Women I've Undressed, they embarked on an on-again, off-again romantic relationship that lasted through the late 1920s and into the early 1930s, though this account has been debated as Grant never publicly confirmed it and societal pressures of the era encouraged concealment of . During this period, they cohabited for nearly nine years, supporting each other amid the uncertainties of aspiring artists in the city, including jointly operating a to supplement their income. Kelly later reflected on their early New York living arrangements in his memoir, describing the bohemian and often precarious lifestyle they shared while pursuing opportunities in theater and design. Professionally, their partnership intertwined Orry-Kelly's emerging talents as a designer with Grant's developing stage presence. Orry-Kelly crafted custom suits and wardrobes for Grant's early Broadway performances and initial film roles, elements that helped define Grant's sophisticated, tailored persona which became iconic in Hollywood. In a key instance of mutual support, Grant presented Orry-Kelly's design portfolio to executives at First National Pictures in 1931, securing the introduction that launched Orry-Kelly's Hollywood career at Warner Bros. the following year. This collaboration not only influenced Grant's on-screen elegance but also marked a pivotal step in Orry-Kelly's transition from New York scenery painting to major costume design. The personal dynamics of their relationship were intense yet volatile, fueled by passion but increasingly strained by accelerating fame and the broader societal pressures on their . In the and entertainment industry, openly individuals faced severe stigma, blackmail risks, and career threats under the era's moral codes and emerging Hays Office regulations, compelling many to conceal their orientations. Their romance ultimately unraveled in the early , coinciding with marriage to in 1934, after which Grant distanced himself from Orry-Kelly, reportedly cutting off contact for years despite their shared history. Despite the rift, Grant served as a at Kelly's funeral in 1964.

Health Issues and Personal Challenges

Orry-Kelly's struggles with began during his tenure at in the 1930s and 1940s, intensified by the high-pressure environment of Hollywood where long hours and demanding studio expectations contributed to his dependency. During , he enlisted in the United States Army Air Corps but was discharged in 1943 due to alcohol-related issues. His also strained his professional relationship with studio head , resulting in his termination from in 1944 after years of escalating tensions marked by unreliability and erratic behavior. The repercussions on his career were significant, including periods of professional instability where he lost contracts and relied heavily on support from close friends and colleagues to maintain his workflow. Following his dismissal, Orry-Kelly secured a short-term contract with Twentieth Century-Fox, but post-World War II financial instability plagued his freelance years, forcing him to navigate inconsistent employment amid mounting personal debts. As an unmarried man in a conservative era that stigmatized , he endured profound isolation, living reclusively in the by the early 1950s and facing societal pressures that compounded his emotional distress. Personal relationship strains further exacerbated his stress during these challenging times. Orry-Kelly pursued coping mechanisms such as in a during the early 1950s, achieving periods of sobriety that allowed him to refocus on design work, including his contributions to films like Oklahoma! (1955). He also turned to small artworks as a creative outlet to manage his isolation and health decline. However, his battle with involved recurring relapses, contributing to ongoing unreliability and a modest supported by a caretaker, despite his earlier successes.

Awards and Recognition

Academy Awards

Orry-Kelly received three for Best Costume Design, all during his freelance period, establishing him as one of Hollywood's premier designers for musicals and comedies. His first win came in 1952 for the color category on (1951), shared with Walter Plunkett and Irene Sharaff, where the costumes integrated vibrant, impressionistic elements to support the film's finale and artistic narrative, using bold fabrics like silk velvet and chiffon to evoke Parisian flair amid production challenges of coordinating with elaborate sets and choreography. His second Oscar, in 1958 for the color category on Les Girls (1957), recognized his solo work on the film's glamorous showgirl ensembles, featuring hand-sequined leotards and innovative layering that captured 1950s high fashion while accommodating dynamic dance sequences directed by . At the ceremony, Orry-Kelly delivered a brief acceptance speech, thanking the team with a special nod to Cukor: "My thanks to everyone, but a special thanks to Mr. George Cukor." Industry peers praised the designs for their couture precision, which elevated the musical's sophisticated ensemble storytelling. The third win arrived in 1960 for the black-and-white category on (1959), lauded for innovative costumes that blurred gender lines in the cross-dressing comedy, including Marilyn Monroe's iconic rhinestone-embellished gowns and tailored suits for and that convincingly masked their figures during high-energy scenes. Orry-Kelly's acceptance speech highlighted the stars' transformations: "I thank you, and particularly and . As Louella would say [mimicking Louella Parsons]: They never looked lovelier." The win drew acclaim from critics and filmmakers for advancing costume functionality in comedic disguise tropes, solidifying his reputation for practical yet glamorous solutions. In addition to these victories, Orry-Kelly earned a nomination in 1963 for the color category on Gypsy (1962), where his designs transitioned from modest attire to glamour, incorporating period-accurate details like feathered headdresses and sequined stripping outfits to chart her character's evolution. Though unsuccessful against winner Vittorio Nino Novarese for The Wonderful World of the , the nomination underscored his skill in biographical transformations amid the era's shifting studio dynamics. These achievements marked Orry-Kelly as Australia's most prolific Oscar winner at the time, holding the record with three awards until Catherine Martin surpassed it in 2014. His wins reflected broader industry shifts toward recognizing costume design's narrative role, with reactions from contemporaries like and emphasizing his intuitive collaboration with stars and directors.

Other Honors and Nominations

In addition to his Academy Award achievements, Orry-Kelly received recognition from professional organizations and his native Australia. The Costume Designers Guild inducted him into its Hall of Fame in 2000, honoring his pioneering contributions to film costume design during Hollywood's Golden Age. In 2025, a blue plaque was unveiled in his birthplace of Kiama, New South Wales, on June 27, recognizing his achievements as a pioneering Australian in Hollywood. Additionally, his hometown hosted a celebration event in July 2025 to honor his legacy. During his lifetime, Orry-Kelly's career garnered significant attention in Australian media, where updates from his personal letters to his were regularly published in newspapers from the 1920s through the 1940s, celebrating his rising prominence in Broadway and Hollywood. This coverage highlighted his status as a trailblazing Australian talent abroad, fostering national pride in his designs for stars like and . His influence extended to industry peers, who acknowledged his innovative approach to integrating costumes with character and narrative, as evidenced by his collaborations and competitive successes against contemporaries in major productions.

Later Years and Legacy

Final Projects and Death

Orry-Kelly's final credited projects were for the films Irma la Douce (1963) and In the Cool of the Day (1963), following his Academy Award-nominated work on Gypsy (1962). These marked the conclusion of his extensive Hollywood career, after which he provided limited uncredited consulting advice on select 1963 productions amid worsening health. In late 1963, Orry-Kelly was diagnosed with , a condition linked to his long-term that had previously contributed to ongoing personal health challenges. His condition deteriorated rapidly thereafter. He died on February 26, 1964, at the age of 66 in . Having no immediate family, Orry-Kelly's estate and personal effects, including his , were handled by longtime friends, notably Ann Warner, wife of studio executive . A private funeral service was held, with pallbearers including , , , and . He was cremated and his remains interred at Forest Lawn Memorial Park in .

Posthumous Influence and Tributes

In 2015, the Australian Centre for the Moving Image (ACMI) in hosted the exhibition "Orry-Kelly: Dressing Hollywood," the first major retrospective of his career, which featured his three Academy Award statuettes alongside original costumes, sketches, and clips from his most iconic works. The exhibition, running from August 18, 2015, to January 17, 2016, highlighted his contributions to Hollywood glamour and drew significant attention to his Australian origins, attracting visitors interested in the intersection of history and . That same year, director released the documentary Women He's Undressed, which chronicled Orry-Kelly's life, career, and relationships through interviews, archival footage, and reenactments, earning praise for bringing his story to a new audience. The film prominently featured excerpts from his long-lost memoir, Women I've Undressed, which was discovered in a pillowcase among a relative's belongings and published for the first time in as Women I've Undressed: The Fabulous Life and Times of a Legendary Hollywood Designer. This publication provided intimate insights into his design process and Hollywood anecdotes, further cementing his posthumous recognition. Orry-Kelly's innovative use of costumes to navigate the restrictions of the Hays Code has been examined in academic studies, such as analyses of his work in Some Like It Hot (1959), where his designs for Marilyn Monroe emphasized sensuality and gender performativity while adhering to 1950s censorship norms, reinforcing heteronormative ideals through silhouette and fabric choices. His emphasis on character-driven silhouettes continues to inspire modern costume designers, who draw on his techniques for evoking period glamour in contemporary films recreating Hollywood's Golden Age aesthetic. By 2025, tributes to Orry-Kelly had gained renewed momentum, including a July exhibition in his hometown of , that showcased original costumes, artwork, and stories emphasizing his Australian roots and path to Hollywood stardom. This event, culminating in the "Orry-Kelly Dressing Hollywood Gala" on July 26, celebrated his legacy as a pioneering designer from a small coastal town.

References

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