Showing posts with label very stylish girls. Show all posts
Showing posts with label very stylish girls. Show all posts

Saturday, August 11, 2012

"Montreal Women Are Wonderful"

"Montreal Women Are Wonderful"
"Easter parade is every day along St. Catherine street, with its steady stream of mad hats and multi-hued hair to bewitch — or bewilder — male eyes."

A November, 1961 article appearing in Weekend Magazine; the first in a series that featured artists' impressions of Canadian women...  Enjoy:


Montreal Women Are Wonderful
Paintings by Bruce Johnson

"You can see girls any place but in Montreal you see women." That was artist Bruce Johnson's reaction when he first arrived. Two years in the city have not dampened his enthusiasm. His face still lights up at the very Mention of the subject.

He should know. He is a keen practicioner of that old male custom of standing on the corner — purely in the interests of art — and watching all the girls go by. These paintings are the result of many long, happy hours doing just that.

"The first thing I noticed", he says, "was the individuality of the Montreal woman." It is not just her clothes, he decided, although her appearance leaves no doubt about her fashion consciousness. She follows fashion but is not ruled by it. Her costume may be years old but it fits beautifully as well as flattering her figure.

It is the French influence that is mainly responsible for setting the Montreal woman apart. Johnson agrees, "but the effects seem to rub off on many English-speaking women as well."

There is something different about the way a Montreal woman looks at a man: "She is not coquettish — just more aware." And it is much more rewarding to smile at her, because more often than not you get a smile in return, instead of a cold stare. "Much more enticing," he says.

Being a young man, Johnson devotes most of his attention to the younger woman. But older examples of Montreal womanhood do not escape his eye. His view of them appears here as well — in the first of a WEEKEND series of artists' impressions of Canadian women.

"Montreal Women Are Wonderful"
"Leisurely lunch is irresistible when your waitress in a tiny French café treats you as though you were her only customer."

"Montreal Women Are Wonderful"
"Fresh faces almost hidden by hoods, nuns take a quiet stroll in the shadow of Mount Royal."

"Montreal Women Are Wonderful"
"The real warmth of the French-Canadian woman — her understanding and compassion — shows in the plum rosy faces you see in old Bonsecours Market."

"Montreal Women Are Wonderful"
"Sweeping majectically across Sherbrooke street, her chauffeur-led poodle in her wake, is one of the formidable figures who form the backbone of Montreal's English society."

"Montreal Women Are Wonderful"
"Coffee bars along Stanley street are second homes to the Beatnick crop. Their pale-lipped, dusky-eyed faces world-weary in the smoky gloom, they huddle for hours over endless cups of bitter espresso."

image source: flickr.com

Sunday, September 26, 2010

Star Trek's Nurse Chapel

The soft-focus, platinum blonde loveliness of Nurse Chapel.

One of my favorite Star Trek ladies has always been Nurse Christine Chapel.

Nurse Chapel was played by Majel Barret, born Majel Leigh Hudec in Cleveland, Ohio, in 1932. In the 1950's and 60's, Barrett had secured bit parts in film and television before her stint as the USS Enterprise's competent but compassinate head nurse.

On contract at Lucille Ball's Desilu studios in the early 60's, Barrett had received comedy training from Ball herself, and appeared in The Lucy Show.

It was on the set of The Lieutenant in 1964 that Majel Barrett met Gene Roddenberry, father of the Star Trek franchise. The two became romantically involved, while Roddenberry was still married to his first wife.

Majel Barrett in her role as Number One.

During this time, Roddenberry was developing a pilot for what was to become Star Trek. Roddenberry chose Barrett (his mistress) to play Number One, the first officer of the Enterprise, in his initial pilot entitled "The Cage".

"The Cage" was initially rejected by NBC, but Roddenberry was given the chance to produce a second pilot. The network asked, however, that the steely Number One character be dropped, citing that audiences would never accept a woman being second-in-command of a ship. (The fact that Majel Barrett was Roddenberry's on-the-sly girlfriend didn't help, either...)

When Star Trek was picked up as a series in 1966, Barrett was given the role of Nurse Chapel. Like early episodes of The Mary Tyler Moore Show, Barrett donned a wig to dissociate herself from her previous role. She also went by the name "Majel Barrett" rather than "M. Leigh Hudec," as she had been credited in "The Cage".

Nurse Chapel appeared in 25 of the 79 original Star Trek episodes. Majel Barret also supplied the voice of the USS Enterprise's on-board computer.

Barrett and Roddenberry were married in August of 1969, two months after the final Star Trek episode was aired.

One of my favorite Star Trek episodes featuring Nurse Chapel is "The Naked Time", where a mysterious virus causes the crew to lose their inhibitions.

Afflicted by this illness, Nurse Chapel confesses her unrequited love for Mr. Spock... all while sporting a stunning sideswept, silver bouffant!

Check out the scene below:



images: (1) flickr.com
(2) acavill.com
(3) "The Naked Time" screen capture
(4) elevenfreakinthousand.com

Saturday, July 10, 2010

France Gall

French pop singer France Gall was born in Paris on October 9, 1947.

She was born Isabelle Geneviève Marie Anne Gall, daughter of Robert Gall, a French performer and producer famous for his work with such French music legends as Edith Piaf and Charles Aznavour.

In 1963, at the age of 15, France Gall recorded her debut EP, "Ne sois pas si bête" under her father's guidance. The four-track record sold an impressive 200,000 copies in France, becoming a huge hit, thanks in part to its irresistible title-track and stunning cover photo. Though Gall's young voice was high, breathy and somewhat limited, she made the most of it, and her commercial appeal was immediate.

After a series of similarly successful records, France Gall entered the 1965 Eurovision Song Contest with the song "Poupée de cire, poupée de son" (literally "doll of wax, doll of sound"). Written by Serge Gainsbourg (famous for his lyrical double entendres and wordplay), "Poupée de cire" could be interpreted as France Gall being "singing doll" controlled by others.

In 1966, another Gainsbourg-penned song called "Les sucettes" ("Lollipops") caused a veritable scandal for the young songstress. On the surface, it was a pretty little song about a girl enjoying lollipops, but the implied sexual innuendo was unmistakeable. Gall was too naïve to understand this double meaning at the time of recording, and "Sucettes" proved to be the beginning of the end of her collaborations with Serge Gainsbourg...

The following year, Roger Gall reasserted his presence in his daughter's career by producing a psychedelic album simply titled "1968". Arguably her best from the period, the album borrowed heavily from British psychedelia, immersing France's perky voice in kitschy Sgt. Pepper-esque musical arrangements...











images: (1-8) flickr.com
(2) wikipedia.org
(3-5-6) "Les Années Philips 1963-1968" cover art
(4) playitasitlays.net
(7) thetruevinerecordshop.com
(9) digilander.libero.it

Saturday, June 14, 2008

Charlie's Angels

"Once upon a time there were three little girls
who went to the police academy... and they were
each assigned very hazardous duties. But I took
them away from all that and now they work for me.
My name is Charlie..."

One of my favorite TV shows of all time is Charlie's Angels.

Charlie's Angels aired on ABC from 1976 to 1981. The first program of its kind to showcase an all-female leading cast, Charlie's Angels also ushered in the era of "jiggle TV". Though a smash success from the beginning, critics and feminists ripped it apart, comparing the often scantily-clad girls to glammed-up prostitutes, with the elusive Charlie as their pimp.

The original cast featured Kate Jackson, Farrah Fawcett, and Jaclyn Smith as smart and sexy private detectives. The girls would become media icons: their faces (and bodies) were plastered on magazine covers, posters, lunch boxes and loads of other toys and related merchandise.

Farrah Fawcett's stint on the show lasted only one season, while Kate Jackson left after the third. Cheryl Ladd successfully picked up where Fawcett left off (she became one of Charlie's most popular angels), but Jackson's departure proved to be the beginning of the end of the series...

Whether Charlie's Angels ultimately helped or hurt female portrayals on TV remains debatable. But as pure camp, the show is a cult classic.

As Charlie, himself, would say: "Good work, Angels"...




images: (1) image montage by author
(2-3) charliesangels.gr
(4) libreopinion.com

Monday, March 10, 2008

Sunday, March 2, 2008

The Puppini Sisters

No need to be an avid Expo Lounge reader to realize that retro is hot right now. And one of the most exciting musical groups to come out of this revival has to be the Puppini Sisters.

The Puppini Sisters was formed in 2004 by Marcella Puppini, Stephanie O’Brien and Kate Mullins, who met while studying at the Trinity College of Music in London. Practiced musicians, the girls have everything from piano to saxophone to harp on their combined résumés.

What sets this trio apart is their retro Andrews Sisters-esque look and sound. Dressed in full 1940's glamour, the Puppini Sisters cover such classics as Mr. Sandman and Jeepers Creepers, as well as 40's style reworkings of more contemporary music such as the Bangles' Walk Like an Egyptian and Beyoncé's Crazy in Love.

Their 2006 debut album, Betcha Bottom Dollar, broke records by becoming the fastest selling jazz debut in Britain, soaring into the top 20. Their recently released second album, The Rise and Fall of Ruby Woo, followed in the tongue-in-cheek footsteps of Betcha Bottom Dollar, but this time included original compositions by Puppini, O'Brien and Mullins.

Celebrity fans ranging from Prince Charles to Ozzy Osbourne, and glowing praise from the media, have contributed in establishing the Puppini Sisters as one of the most accomplished and original acts of the present day...




images: myspace.com

Sunday, December 23, 2007

Betty Boo

Around the same time as Lady Miss Kier of Deee-Lite, another retro-look singer had caught my attention and tapped into my imagination: Miss Betty Boo.

Born Alison Moira Clarkson in Kensington, London in 1970, Boo shot to stardom with her chart-topping 1990 debut release, Boomania. What distinguished Betty Boo was her comic book/cartoon persona and chirpy rap vocals... a cross somewhere between Emma Peel and Salt-N-Pepa.

Awarded Best Newcomer at the 1991 Brit Awards, Betty's most successful single this side of the atlantic (and my personal favorite) was Doin' The Do. The single reached number one on Billboard's U.S. dance charts and was accompanied by a kitchy video which featured Betty's rebellious nature at it's pinnacle.

Unfortunately, Betty Boo's second LP Grrr! It's Betty Boo failed to follow up on Boomania's success. The album was described as "criminally overlooked" by none other than Madonna, who even tried at one point to sign Betty to her Maverick label...



images: (1 and 3) "Doin' the Do" cover art

(2) myspace.com

Saturday, August 25, 2007

Fashion Queen Barbie, 1963

Fashion Queen Barbie, 1963 
In the late 1950's, the designers of the orignal Barbie doll had not anticipated the importance of hair play in the toy's conception. As a result, early Barbies had a stiff, fixed ponytail hairdo, which discouraged children from playing with or restyling the doll's hair.

Within a few years of Barbie's introduction, hairstyling would take on an important role in high fashion and popular culture (think Jackie-O). Competing hair play themed dolls in the early 1960s also pointed to Mattel's mistake. Always innovative, Mattel would strike back in late 1963 with the ultimate Barbie doll: Fashion Queen Barbie.

Fashion Queen Barbie, 1963
Glamorous, luxurious and expensive, Fashion Queen Barbie's distinctive feature was her molded hair that enabled her to wear wigs. Dressed in an eye catching gold and white striped swimsuit and matching turban, the doll was accompanied by 3 stylish wigs: a platinum bouffant, a brunette pageboy, and an auburn flip.

Fashion Queen Barbie was packaged in a large, open front display box, a style normally reserved for gift sets. Her release coincided with an intensive advertising campaign, meaning that despite her $6.00 selling price (twice that of a normal Barbie), she quickly became a must have with children. Two gift sets were also produced, featuring the Fashion Queen doll, accompanied by her best friend Midge, and boyfriend Ken.

Fashion Queen Barbie, 1963 
images: (1) personal collection
(2) barbiecollector.com, montage by author
(3) flickr.com

Tuesday, June 19, 2007

Monday, April 16, 2007

A Mod Trio

Photographer William Claxton began taking photographs for fashion designer Rudi Gernreich in the mid 1950's. Claxton began a romantic affair with a then-unknown Peggy Moffitt in 1958. In 1962, Peggy began to work as a model for Gernreich, becoming his muse and collaborator. By the late 1960's, Claxton was photographing Moffitt in Gernreich's designs.

The images that resulted from this dynamic trio remain some of the most iconic from that period...

Enjoy!

Little Boy suit with tank top, 1966.

Color blocking in wool knit, fall 1967.

See-through minidress in lacquered chiffon and wool crepe, fall 1967.

Beardsley group, fall 1968.

Long matte jersey dress with doorspring hardware, fall 1971.

Wool-knit tunic over shorts, fall 1971.

Roualt swimsuit, resort 1971.

Long orange matte jersey t-shirt with hot pink insert, spring/summer 1972.

images: williamclaxton.com

Monday, February 26, 2007

Maxine the Mannequin

Not many people know that display mannequins are based on real people.

Artists employed by mannequin companies sculpt life-sized replicas of human models. This process, which allows for the most realistic figures, was created in the late 1950's by mannequin-mogul Adel Rootstein.

A true visionary, Adel had a keen eye and a intuitive sense of "the next big thing". Among her notable discoveries was a young Twiggy in 1964.

The original Adel Rootstein brochure featured a photo of the real Maxine (left).

For several years, I worked at clothing store Le Château, in the window department. My days were spent surrounded by these life-sized Barbie dolls, and I would've jumped at the chance of eventually owning one.

During the time that I worked there, Le Château was in the process of overhauling their corporate image. They decided to unload my all-time favorite mannequin series: a group called the Snapshots.

Based on ballet dancers, the Snapshot series dated back to the late 70's and early 80's (think early Madonna, legwarmers and Fame). By the late 90's, the Snapshots, essentially a teenage-line, became obsolete.

It was my lucky day...

The mannequin that I got was named Maxine, after Maxine Renshall, the real girl that was sculpted. I've had her for about 5 years now, and she resides quietly in the real Expo Lounge, in full miniskirt and go-go boot regalia. Maxine's original Adel Rootstein brochure, laminated, hangs behind her on the wall.

Maxine wears a vintage Expo 67 silk scarf around her neck.

She reads Visitez l'Expo 67 avec Bill Bantey, a guide to the pavilions she'll visit.

Maxine keeps her Expo passport and other souvenirs in her Expo 67 flight bag.

Maxine's mod look is inspired by Michèle Richard, her idol. Don't they look alike?

images: personal collection