Phenomenology and the Monroe Gown Controversy

Phenomenology and Marilyn Monroe’s dress may seem at odds, but the controversy surrounding Kardashian’s fashion decision creates fertile ground for thought. Framed by Shakespeare’s reference, my offering is a step further: the objects in our life shape our perception of it.

How does this work?

Let’s start with a combination of archaeology and forensics—both useful studies that provide a sense of reference before we dive into phenomenology itself. Archeology analyzes artifacts of the historical past to better understand history. 

Forensics assesses physical evidence found in crime scenes to discover clues and solve crimes. Together, Archeology with Forensics reflect Phenomenology by giving us “tools” in our minds that help understand where and how we derive information, further classifying these problems that surface in our lives.

Phenomenology is a term for the philosophical study of how people relate to objects in the world. Husserl called this “lived-experience.” Through living our experiences, we make appropriate decisions based on what we perceive and how these perceived objects tie into the stories (or dramas) we tell ourselves.

Through phenomenology, we find offerings of invaluable insights into how individuals perceive and relate to objects around them, treating these relationships not as mere transactions but as meaningful engagements that are deeply embedded in their lived experiences. 

Applying phenomenology and its object analysis is vividly exemplified in the case of a gown once worn by Marilyn Monroe and subsequently adorned by Kim Kardashian. 

This instance serves as a profound illustration of how, within the context of phenomenological inquiry, objects transcend their mere physicality to become vessels of deeply rooted symbolic significance. 

With its emphasis on the lived experience and the ways in which individuals ascribe meaning to their surroundings, this subject provides an illuminating framework through which to explore the complex interplay between objects and human perception.

In this scenario, the gown is not just a garment but becomes a symbol laden with historical, cultural, and personal connotations. Through this lens, we understand that the gown embodies more than its fabric and design; it encapsulates the essence of Marilyn Monroe’s iconic status and, when worn by Kim Kardashian, bridges two distinct eras of celebrity culture. 

The phenomenological perspective encourages us to examine how this gown, as an object, acquires its layered meanings through the perceptions and experiences of those who interact with it—both directly (as wearers or viewers) and indirectly (through media representation).

The transition of the gown from Monroe to Kardashian illuminates the dynamic nature of object-meaning relationships by highlighting how its iconic meaning is not fixed but evolves through contextual scenarios. 

From Monroe’s era to Kardashian’s, the gown traverses historical and social landscapes, each time carrying new interpretations while retaining echoes of its past significance. This phenomenon underscores a central tenet of phenomenology—that the essence of objects is constituted through human consciousness and the myriad ways individuals relate to and perceive these objects.

This case not only sheds light on the subjective nature of how we ascribe meaning to objects but also invites reflection on the broader implications of these meaning-making processes. Starting with a simple gown, we explore how to navigate the truly staggering amount of meaning in a deceptively simple choice.

The Story

In 2022, Kim Kardashian made headlines by wearing Marilyn Monroe’s iconic gown to the Met Gala, a gown Monroe famously wore in 1962 to sing “Happy Birthday” to President John F. Kennedy. 

This gown, a symbol of old Hollywood glamor and American history, sparked controversy when Monroe first wore it due to its sheer, form-fitting design, which was considered highly provocative at the time. Fast forward to 2022, the gown’s reappearance on Kardashian, a modern symbol of luxury and glamor, reignited discussions on the preservation of historic artifacts and the implications of celebrities wearing such pieces.

The gown itself, a creation by Hollywood costume designer Jean Louis based on a Bob Mackie sketch and adorned with over 6,000 hand-sewn crystals, holds the record as the most expensive gown sold at auction. 

After being purchased for $4.8 million by Ripley’s Believe It or Not Museum, where it was kept in a temperature-controlled vault, the decision to allow Kardashian to wear it raised concerns among fashion conservators about potential damage. Despite initial hesitations from the museum, which initially rejected her request, Kardashian was eventually permitted to wear the gown after her mother, Kris Jenner, intervened—a moment highlighted in an episode of their reality show.

The controversy surrounding Kim Kardashian’s decision to wear Monroe’s gown to the Met Gala is rooted in the symbolic significance attached to the garment in addition to the issue of preserving it. 

To many, the gown is not just fabric and crystals; it represents the essence of Marilyn Monroe—her elegance, beauty, and vulnerability. It was a bespoke creation for Monroe, reflecting her authentic identity. When Kardashian, viewed by some as representing excess and arrogance, chose to wear this symbol of old Hollywood, criticisms emerged not just about potential physical damage to the gown but also about the perceived misalignment between the gown’s symbolism and Kardashian’s public persona. The critique suggests a clash between cultural and individual identification, arguing that the gown’s cultural essence—a representation of American iconography and Hollywood’s golden era—was compromised.

This narrative encapsulates the complex dynamics of authenticity, symbolism, and cultural heritage. The gown, as an art piece crafted for Monroe, carried her authentic identity, an essence that critics felt Kardashian could not embody. The discussion extends beyond the individuals to the broader themes of how we assign and protect cultural symbols. 

The gown serves as a concrete manifestation of American cultural identity, illustrating the intricate relationship between personal props (reflecting individual identity) and cultural props (embodying collective values and histories). Thus, the debate surrounding Kardashian’s wearing of the gown underscores deeper questions about who has the right to engage with and reinterpret cultural symbols, and how such interactions impact the legacy of these symbols.

“I thought it was a big mistake,” Mackie said of the Kardashian wearing the gown he designed. “[Marilyn] was a goddess. A crazy goddess, but a goddess. She was just fabulous. Nobody photographs like that. And it was done for her. It was designed for her. Nobody else should be seen in that gown.”

The gown was Marilyn’s authentic identity, and it was designed for her. 

When you take a step back and look at the gown itself, though, you realize that the gown is made up of pieces of fabric cut and sewn together and crystals on it and value that then we’re talking maybe $100. Logically, that’s all it is. But the public’s outrage wasn’t really over fabric—it was over what that fabric represented. This piece of fabric was treasured, and it was an object that people gave immense meaning to.

Furthermore, examining the gown through a phenomenological framework allows for a deeper understanding of how objects serve as signifiers within the social fabric. The gown stands as a testament to the power of objects to evoke collective memory, to symbolize cultural shifts, and to reflect personal and societal identities. 

Through the lens of phenomenology, the gown worn by Marilyn Monroe and Kim Kardashian becomes not just an artifact of celebrity culture but a rich object of study that reveals the intricacies of human interaction with the material world.