FASHION

All The Times Ana De Armas’ ‘Blonde’ Press Tour Wardrobe Referenced Marilyn Monroe

Blonde ambition.

When it comes to red carpet appearances, it seems that the modus operandi for the celebrity style set is to approach their public appearances by sartorially referencing the material that they are promoting.

For Ana de Armas and her Blonde press tour, it seems this perspective is no different.

This week, Netflix dropped their highly anticipated Marilyn Monroe “biopic”, which is a term we’re using very loosely considering it’s based on a fictional retelling of the Hollywood starlet’s life.

For the Cuban-Spanish actress, this portrayal is unlike anything we’ve seen from her before, her magnus opus if you will.

Her critically acclaimed portrayal of the troubled glamour see’s her fully immerse herself in Marilyn’s world, with her mannerisms and appearance completely transformed from her typical sportif aesthetic.

But when it came to attending her various appearances from her press tour, it’s clear that there was only one woman de Armas looked to for sartorial inspiration: Marilyn herself.

And it’s easy to see why. From her magenta strapless bow dress in Gentlemen Prefer Blondes, to her White plunging halter neck dress in The Seven Year Itch and even her gamine actress off-duty style, Marilyn has long been the template four countless collections and designers since her passing 60 years ago.

Need we remind you of Kim Kardashian channelling Marilyn Monroe at the 2022 Met Gala for the theme ‘In America: An Anthology of Fashion, Gilded Glamour and White Tie’?

From her glitzy ensembles in Lido di Venezia for the 79th Venice Film Festival to her sun-kissed appearances in the Spanish city of San Sebastian, it’s clear that Ana de Armas is sartorially referencing some of Marilyn’s most iconic moments for her Blonde press tour.

Below, we round up each time Ana de Armas channelled a modern day Marilyn while promoting Blonde.

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Ana de Armas at the 79th Venice Film Festival vs. Marilyn Monroe in ‘Gentlemen Prefer Blondes’

Taking to the 79th Venice Film Festival for the worldwide debut for Blonde, de Armas donned a bubblegum pink plunging Louis Vuitton dress that evoked the image of Marilyn’s iconic column gown from Gentlemen Prefer Blondes.

Complete with a Messika Jewellery diamond choker and bracelet, it’s clear that de Armas took the song ‘Diamonds Are A Girls Best Friend’ to heart.

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Ana de Armas at the Los Angeles premiere of ‘Blonde’ vs. Marilyn Monroe in a promotional poster for ‘Gentlemen Prefer Blondes’

Stepping out in a sparkling Louis Vuitton halterneck gown (a favourite style of Marilyn’s), de Armas is channeling Monroe’s look from the Gentlemen Prefer Blondes promotional poster.

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Ana de Armas at a photocall at the 2022 San Sebastian Film Festival vs. Marilyn Monroe at home in 1953

Riffing on Marilyn’s iconic black turtleneck and white Capri pants, de Armas delivered a modern take on this nostalgic look in this white button down and black trouser for the Blonde premiere at the San Sebastian Film Festival.

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Ana de Armas at the 2022 San Sebastian Film Festival vs. Marilyn Monroe in ‘The Seven Year Itch’

Of course, this wouldn’t be a Marilyn Monroe round up without the addition of a white dress. Although the similarities end at the colour of the dress, we still can’t help but think this preppy interpretation of Marilyn’s iconic look from The Seven Year Itch is still fitting for the occasion. 

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Ana De Armas at the SAG-AFTRA Q&A vs. Marilyn Monroe in 1956

At a SAG AFTRA Q&A, de Armas gave Marilyn Monroe’s sweet blue polka-dot dress a modern makeover. Her solution? Pair this baby blue sweater with lace detailing and a nostalgic child-like bow with an edgy black mini skirt. Simple. 

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Ana de Armas on ‘Late Night With Seth Meyers’ vs. Marilyn Monroe at a party at the Beverly Hills Hotel in 1958

Taking to Late Night With Seth Meyers, de Armas gave this look of Marilyn’s an ‘off-duty actress’ spin. Marilyn once war this drop shoulder plunging black dress for a party thrown in her honour at the Beverly Hills Hotel in 1958. Over half-a-century later, this aesthetic is more relevant than ever. 

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