Coming To America Wedding Dress

Coming To America Wedding Dress

Coming To America Wedding Dress

For her 1956 High Society wedding to Bing Crosby, Grace Kelly wore a dress by Helen Rose—who also designed the dress for Grace’s real-life high society wedding to Prince Rainier. Most of the judges refused to be impressed. “The hat,” says Stone, “is like a limp pizza.” The dress, says Murphy, “is ugly.” Not so, says Herrera, saving Grace. “I love the dress. And the hat looks ravishing.”
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Coming To America Wedding Dress

The judges showed only respect for the dress Talia Shire wore for her wedding to ill-fated Gianni Russo at the beginning of The Godfather . “She’s just so classy,” says Nicole Murphy. The dress reflects good taste and money,” says Rex Reed. Roderick calls it “a perfect, old-fashioned, Mafia-princess dress.” And speaking one Don to another, Don Diamont says, “Don Corleone, your daughter looks terrific.”
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Coming To America Wedding Dress

Debbie Reynolds’s dress in The Catered Affair earns a split decision from the judges. Among those with thumbs up are Diamont, who calls it “your basic classic wedding dress” and Roderick, who applauds it as “a young girl’s unsophisticated dress.” The thumbs-down side includes Murphy—”too lacy”—and Tenuta, who says, “Looks like her slip is showing.”
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Coming To America Wedding Dress

Lisa’s Wedding Dress 2″She is every designer’s dream, because the more I put on her, the more she could take it. She could carry it. She had that kind of natural elegance. Very much like Audrey Hepburn. “As for the dress, ironically it was made with very inexpensive fabrics—nylon tulle—but again Shari could wear it. And she had dignity and elegance. She wore it as if it was the most expensive dress on the planet. So a lot of it has to do with the romance and the magic of the scene.” Previous SlideNext Slide
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Coming To America Wedding Dress

Lisa’s Wedding Dress 2″She is every designer’s dream, because the more I put on her, the more she could take it. She could carry it. She had that kind of natural elegance. Very much like Audrey Hepburn. “As for the dress, ironically it was made with very inexpensive fabrics—nylon tulle—but again Shari could wear it. And she had dignity and elegance. She wore it as if it was the most expensive dress on the planet. So a lot of it has to do with the romance and the magic of the scene.”
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Coming To America Wedding Dress

Shari Headley’s 1988 Coming to America gown is “beautiful” to Murphy, whose husband, Eddie, was Headley’s movie bridegroom. And Roderick calls it “the ultimate top-of-the-wedding-cake dress.” Then there are the people who don’t like it—but disagree on what they’re seeing. “A Mardi Gras costume,” says Reed. “Like the lampshade on Tammy Faye Bakker’s bedside table,” says Stone.
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Coming To America Wedding Dress

You quote the lines. (“Sexual Chocolate!”) You love the story. And you have to admit that the costumes from the trashy club wear to that gorgeous, pink wedding dress are to die for. Coming to America was another hit in a string of Eddie Murphy blockbusters in the late eighties and early nineties. Grossing over $128 million dollars domestically, it eventually became the 3rd highest grossing film of 1988. We know you love it but did you know some of the secrets behind this comedic classic?
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Coming To America Wedding Dress

“We always go all out on Halloween on the show. I don’t really do scary things, I don’t like scary things, it’s not for me, so we decided to change it up this year,” the talk show host explained after coming out in his regal (and lion-adorned) attire. “Here is our biggest and best yet, this is based on my favorite comedy film of all time, ‘Coming to America.'”
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The dress does not distract from the beauty in The Black Orchid 1959). “You have to tear your eyes away from the face to look at the dress,” says Diamont. “It’s not much, but Sophia Loren doesn’t need much.” Herrera loves “the embroidered organza with very pretty little details.” And Stone calls the gown “angelic.” But not everyone said brava. “It looks like her first communion dress,” gripes Reed.
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Marrying Elvis Presley, as Ann-Margret did in Viva Las Vegas , called for a special dress. And, according to Stone, that’s what she wore—unfortunately it’s not meant as a compliment. “It takes a very special dress to strip Ann-Margret of any sensuality whatsoever,” she says. Tenuta calls it “totally toadlike.” But Herrera sees “a proper summer wedding gown.”
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Gene Tierney’s second-skin dress in The Razor’s Edge meets the rigorous standards of our judges. “It’s straight-out gorgeous,” says Murphy. “Exquisite,” says Reed. “Definitely deluxe,” pronounces Roderick. “I love the lace,” says Carolina Herrera. “Very beautiful,” add Jones and Diamont. Only Stone shaves off points. “Great dress if you don’t have to move—it’s so tight,” she says. “And that thing on her head looks like an air bag.”
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Does Vanessa Redgrave’s 1967 Camelot getup make her look Middle-Aged? Jones considers it “a beautiful dress of the period.” Roderick calls it “great.” There is an off-with-her-headdress faction, however. “This dress,” says Stone, “is what happens when bored housewives get ahold of macramé.”
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“She is every designer’s dream, because the more I put on her, the more she could take it. She could carry it. She had that kind of natural elegance. Very much like Audrey Hepburn. “As for the dress, ironically it was made with very inexpensive fabrics—nylon tulle—but again Shari could wear it. And she had dignity and elegance. She wore it as if it was the most expensive dress on the planet. So a lot of it has to do with the romance and the magic of the scene.”
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While Landis said it was Murphy’s attitude that sullied their relationship, racially inappropriate comments made by Landis’ wife might have been the true culprit. In 1988, around the time Coming to America was released, People magazine reported that crew members overheard Landis’ wife, Deborah Nadoolman, who was also the costume designer, complaining, in racial terms, about Murphy’s tardiness. When Murphy heard about her comments, the crew claimed that he was so enraged, he caught Landis, the director, not the wife, in a chokehold and demanded an apology.
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For years there has been talk about fellow comedian Martin Lawrence flipping the Coming to America concept by having a man from Queens discover his royal African relatives and take a trip to learn about them and presumably cash in on some of that wealth. We have no doubt that Martin Lawrence hasn’t lost any of his “funny” over the years but this is one project we don’t want to see him touch. Some classics…most classics, actually, just need to be left alone.
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The judges have strong feelings about Elizabeth Taylor’s dress in Father of the Bride . “Everything about it is perfection,” says Reed. “A technical masterpiece! A perfect ’50s fantasy,” says Roderick. “I bet women all over America copied this one.” Adds Diamont: “The lace is beautiful, the satin is fantastic—it’s got upper-middle-class soul.” But Herrera finds “too much going on—and I hate all of it.”
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In Four Weddings and a Funeral , Andie MacDowell wanted to avoid looking like a certain confection made out of egg whites, but our judges give her wedding dress a beating. “Definitely a meringue,” says Tenuta. “This doesn’t do a thing for her,” says Stone. “The sleeves should have been left alone or the neckline,” says Herrera, “but together they don’t work.”
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For her wedding-that-didn’t-happen in The Graduate , Katharine Ross wore a dress that Roderick figures “she probably trashed as soon as she left the church with Dustin.” Reed considers the look “too old,” while Diamont dislikes the neckline. “I’d like to see it scoop down,” he says. “This gives her the E.T. look.” And Stone jumps ahead a few years in the Ross oeuvre for her summation: “A Stepford wife,” she says. “If I really wanted my husband to believe he’s the first guy, I’d wear this.”
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Gone with the Wind is a classic, but in rating Vivien Leigh’s dress (for Scarlett’s first wedding), do our judges give a damn? Frankly, no. “They’re not leg-of-mutton sleeves,” says Stone, “they’re leg-of-rhino.” And Herrera says, “I hate everything.”
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There are very few sour notes for Audrey Hepburn’s dress in Funny Face . Judy Tenuta thinks it looks “more like a bridesmaid’s outfit.” Murphy worries that “short like this makes her look like she has teddy bear legs.” Otherwise it’s pretty much all raves. Herrera calls it “an ideal,” while Reed believes it’s “one of the most exquisite gowns ever worn in a movie.” Unfortunately, notes Stone “nowadays you’d be expected to wear combat boots with it.”
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One glimpse of the dress Maureen O’Hara wore to marry John Wayne in The Quiet Man and our judges break into an Irish jig. “An exquisite example of Irish lace,” says Roderick. Herrera loves “the way they placed the organza on the appliqué.” Stone, however, worries about “too much froufrou.”

Published on Nov 27, 2016 | Under News | By admin
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