Marlene Dietrich as Princess Sophia Frederica/ Catherine II in 'The Scarlet Empress' Designed by Travis Banton

Black velvet waist coat with red satin collar, ornamented at front, collar, cuffs and pockets with silver bullion ribbon trim, extremely fine lace inner cuffs with crocheted floral trim (Bias label inside reads "973-AU1") ([Orange Paramount cleaning tag reading 35589); black silk floral brocade long vest, red silk trim at front and hem, ornamented with fourteen silver filigree buttons at front (two extra are missing) [Note: vest has been let out at back seam] (Bias label reads "973-AU1"); black velvet full skirt (bias label reading "973-AU1") (stamped "Property of Paramount Pictures Corp. ladies Department"); dickey with a black satin band collar and attached fine tulle ruffle with crochet trim that matches cuffs.

The costume was later worn by an extra in "To Catch A Thief"

“The Scarlet Empress” was a direct competition with MGM’s vehicle for Greta Garbo “Queen Christina.” The film, with its dark expressionistic sets and grotesque gargoyles, reflected an impression of the 18th century Russian world, which the 1934 world knew very little about. It is beautiful, erotic and violent- released just as the Hays code was being imposed and director Josef von Sternberg ‘visual style’ and dramatic lighting often makes cinematic poetry.

Travis Banton, who began his career in couture houses of New York, eventually became the head designer at Paramount and dressed the studio’s most illustrious stars, most notably Marlene Dietrich. He often said that the costumes for The Scarlet Empress were the most pleasurable to designs of his career. He was aware that his costumes would be compared to “Queen Christina” and tried to stay true to his own vision, but similarities are obvious. The response to the film, by depression weary audiences, was less than favorable but was later embraced by “camp” seeking audiences of the 1960s.