One of Orry‑Kelly's most famous practical triumphs came on Billy Wilder's cross‑dressing comedy Some Like It Hot, where he was charged with making Tony Curtis and Jack Lemmon believable as women. Kelly later boasted that his draping and wardrobe were so effective that, while production rolled, the two male stars could go into the ladies' room after lunch without being recognized as men — a vivid anecdote that captures both the craft's technical skill and the era's gendered spatial codes. The claim speaks to Kelly's reputation for 'designing for distraction' — sculpting silhouettes and details to redirect attention — and it became one of those on‑set lore pieces that critics and historians reference when discussing the film's sustained comic charm and visual ingenuity. While the story has the quality of a tall tale, it originates in accounts from Kelly and production contemporaries and has become part of the movie's colorful production mythology.
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