Patty Boyd modeled in London, New York, and Paris (for Mary Quant and others), and was photographed by David Bailey, and Terence Donovan. She became a personality and a celebrity. Her quirky good looks and smashing figure were especially attractive. She was a major face in American Teenage culture in the Sixties.  She authored a running column in Teen magazine which was avidly read by young girls in the USA,  She was the voice of the exciting Mod trend.

 Boyd, who was nearly twenty years old in 1964, met George Harrison during the filming of A Hard Day’s Night, in which she was cast as a schoolgirl fan.[ She married him and was the inspiration for some of  music. She later married Eric Clapton who wrote "Wonderful Tonight" for Boyd while waiting for her to get ready to attend Paul and Linda McCartney's annual Buddy Holly party. Talking about the song, Boyd says: "For years it tore at me. To have inspired Eric, and George before him, to write such music was so flattering. 'Wonderful Tonight' was the most poignant reminder of all that was good in our relationship, and when things went wrong it was torture to hear it.”

Here are son article written by Patty Boyd at the height of the British Invasion. click to enlarge and read the first hand accounts.

Patty Boyd Letter From London

Letter From London

An exhibition of photographs taken by Boyd during her days with Harrison and Clapton opened at the San Francisco Art Exchange on Valentine’s Day 2005, titled, Through the Eye of a Muse.[14] The exhibition also ran again in San Francisco in February 2006, and for six weeks in June and July 2006, in London. It was also on display for a few weeks at the Morrison Hotel gallery in La Jolla, California, in 2008.

Beauty Box

Boyd has exhibited photographs taken during her days with Harrison and Clapton, from Through the Eyes of a Muse, at Gallery Number One, in Dublin, in August and September 2008, and in Toronto, Canada in November and December 2008, at the Great Hall. “Through the Eyes of a Muse” was also exhibited in December 2009 at the Blender Gallery in Sydney, Australia, in May 2009, in Almaty, Kazakhstan, and from 28 December 2009 to 10 January 2010 at Lancaster Great House in Barbados.[citation needed]

In July 2011, she exhibited her photographs at Santa Catalina Island in southern California. The exhibit was titled “Yesterday and Today: The Beatles and Eric Clapton as Photographed by Pattie Boyd.”

In July and August, 2011, she exhibited her photographs in Moscow.

It was announced that on October 12, 2011 the collection would be displayed at the National Geographic Headquarters in Washington, DC under the series “Music on … Photography”.

An exhibition of photographs taken by Boyd during her relationships with Harrison and Clapton opened at the San Francisco, California San Francisco Art Exchange on February 14, 2005, titled Through the Eye of a Muse. The exhibition continues to be shown around the world several times a year, with appearances in Dublin, Sydney, Toronto, Moscow, London and Washington, DC, among others.

Lauren Hutton Vogue American 1968

• Actor, Model
• Gender: Female
• Born: November 17, 1943
• Birthplace: Charleston, South Carolina, USA

Full Biography

Esquire 1968

Oct 2005

Lauren Hutton Italian Vogue 1968

Australian Vogue 1969

September 1970 British Vogue

Lauren Hutton Jan 1967

by Samantha Perez 2010

I had a couple of years experience in the modeling world of the Sixties.  The things I saw, the creativity I experienced and the people I met left an indelible impression on me. I never forgot the beautiful faces of my fellow models and those who came before me.

In New York I was taken up by Mademoiselle, a magazine for sophisticated  College Girls, Career Girls (pre-womens’ lib term)  and Young Marrieds.

Because of my involvement at a very young age with my future husband, I dropped out of an active and rising modeling career.  The lifestyle and romance he offered me was irresistible and involved constant traveling between Paris, Rome, LA, New York, the South of France and Munich.  Fashion was a volatile world, and everyone knew it would be a short ride.  And so it was.  But for me it was a sweet ride.  However, I remained active on the fringes in all those cities, occasionally appearing in a fashion show, or a bit part in a movie.  I returned to the catwalk in the Early Seventies working with Karl Lagerfeld and other top designers. Those experiences changed me forever.

I was around when some of the greatest designers were still very big  in Paris as the British Invasion was becoming an international phenomenon.  I was lucky to work with someof the greatest photographers and meet most of them.  I worked with, partied with and had lunch with some of the most beautiful and interesting people, the models themselves.  I was not the biggest model, probably not very important at all, but I was there in the beginning and did get to participate in the creativity.  I also did many bread and butter jobs as a catalog queen in Europe. The work was dull, but the locations were superb.  Before the German clients discovered it was preferable to set up in South Beach, Florida, they would pay to transport groups of models, a photographer, stylists, assistants, tons of equipment and dozens of dresses to exotic locations around the world.

Here is a series I did for Mademoiselle in 1966.

The picture in the Norton Museum - Palm Beach

This photo cannot be seen well because it is behind glass. but I have a better scan of the version that ended up in Mademoiselle. Below. I like this one much better.These dresses were by Betsey Johnson. At that time she was the hottest designer in New York. Her dresses were works of art. Mine was made of metallic silver and was very form fitting. Kathy Jackson’s dress was even wilder made of see-through plastic over soft silk-like fabric. The top had cutouts which gave an illusion of nudity, very outrageous, but done with a whimsical sense of humor.

Models were encouraged to make odd and unusual poses, very different from the Fifties and early Sixties when the poses were stylized, but graceful and lady-like. My technique was to do something different, quirky and off beat. I chose to lean back to add movement to the image. Models and photographer and assistant working as a team, all with the vision in their heads. It was breakthrough.

We actually did the hair and make-up ourselves. Christophe of Sassoon had done my cut, which helped me to stand out a bit from all the other brunette models who were my type. It was literally wash and wear, very easy to maintain. There were only a few people in the studio, the models, Gosta Peterson, his very bright and creative assistant: Arthur Elgort and the editors who were the stylists, armed with wonderful accessories.

The background was created by Artie, as he was called. The studo was rendered pitch black while the models held the stylized poses for about 30 seconds.

Such photography had never been done before and now a few top photographers were experiment with techniques that look like futuristic computer images. No one had a computer and there was no Photoshop. Fantastic effects were created literally by smoke and mirrors, or in this case neon lights and double exposure.

I thought of this whimsical pose, very unusual. It was hard to stay still for 30 seconds on one leg

Then Artie would wave a neon light in the background in varying patterns, painting with light. Once the streaming colorful lines lines had made their imprint on the film, Gosta would press the button on the end of a long cord connected to the newest lighting technology, the Strobe Light. The strobe light and the Nikon camera changed the way fashion could be photographed. Young people, mostly young men, flocked to the cities th try their hands as fashion photographers. There was so much work, so much opportunity for new talent. The economy was good, at least for us. Lot’s more adventures and creativity lay ahead.

Suzy Parker and the film were publicized in various magazines from 1959:
http://www.minimadmod60s.com/gallery2/main.php?g2_itemId=25110

November 1959 Cosmopolitan Magazine

Suzy Parker & Model Bill Albans
Photographer: Richard Avedon
July 20, 1959 Life Magazine

1959 Life Magazine

1959 Life Magazine

1959 Life Magazine

Linda Morand and Susan Camp

Happy Birthday:

Super 65!

Birthday Video

Prince Albrecht vo Liechtenstein and his beautiful wife Tamara Nyman.

Prince Albrecht was handsome and tall, with dark wavy hair and a slight Teutonic accent. He seemed very knowledgeable about culture and society, and he took it upon himself to show me Paris in a way I had not yet experienced. He was familiar with the exciting world of theater, opera, ballet . He loved fine wine and gourmet dining, my weakness to this day.

Having eagerly studied “Berlitz Teach Yourself French”, I could already exchange greetings, ask for things, say please and thank you. I knew how to count to one million and how to order every item on the menu. With these rudimentary communication skills I could get around quite well. Thanks to my parents strict insistence on good table manners I was able to behave acceptably.

Albrecht’s family home: Vaduz Castle

Through the decades the former mansion had faded a bit, it might have been a bit shabby but it retained an air like a lady of faded beauty and presence. The elevator was  broken, as usual, so I took the little winding staircase down to the small lobby.  The little mustachioed concierge was seated behind the counter, in front of a wall of cubbyholes with keys and messages for the guests.  Sometimes he would snooze late at night and you could reach beside him and just take your key.  Or anyone’s key. That is how I was involved in a big robbery a few weeks later.

Hotel du Danube

“Where are we going?” I asked.

The table where we sat.

The maitre d’ and the waiters were bowing and scraping to Albrecht and calling him “Your Excellency”. Up until this time I had not really thought about Albrecht being a Prince of the Royal family of Liechtenstein and all that title entailed. He, like many of the titled youth, did not want to make a big fuss. To him the to-do over the aristocracy was boring. The exciting world of fashion was very glamorous and interesting for these sons and daughters of very conservative families. Diana Vreeland had made people like Twiggy and Jean Shrimpton objects of fascination through the pages of Vogue.

Princess Grace and Prince Rainier of Monaco

Monaco

Brigitte Bardot and Gunther Sachs

‘via Blog this’

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SUPER MODELS HALL OF FAME Nominee, Heather Hewitt is a Los Angeles based actress and model, writer and producer. Although she considers herself a country girl at heart, her career has been long and and very glamorous. Heather is an ageless beauty and a very talented painter, sculptor, and chef.  She is currently developing two exciting film projects based on scripts she has written. “Love is All”  is a romantic comedy based on a novel she wrote. It has an important female role, with some surprising comedic and dramatic elements, taking  place in Manhattan and Vermont.  The other script is entitled “Anna’s Extra Life.” It is a dramatic, family oriented story set in the film and TV industry and the social milliues of Beverly Hills and Hollywood.

Let’s take a look at some of the highlights of Heather Hewitt’s remarkable modeling career.

Current Photo

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Heather Hewitt was chosen to launch the “new look” for Cosmopolitan Magazine, which was being made over by Helen Gurley Brown, whom she refers to as “an editorial genius and tireless promoter.”  For several years she was featured in a series of ads as “That Cosmopolitan Girl.  They appeared everywhere, even on the sides of buses. It was a great  boost to an already super career

Heather on the coveted Cosmo Cover 1968

.

The Perfect Red

Heather was featured on the cover of Playboy in a tasteful photo showing her to be the epitome of glamour, elegance and sex appeal

Heather Hewitt - 1968 by Roy Volkman. This lovely photo became Heather's "signature picture" which got her many assignments. It was one of hundreds of ads for Alexander's Department store, which appeared in all the new York papers every day.

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Heather for Germain Montiel 1964

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Heather was featured in an eye-catching image of beauty and sophistication. as an elegant high fashion model  in one of L’Oreal‘s biggest ad campaigns, appearing in Vogue, The New York Times Magazine and  posters in all the major beauty salons nationwide.

Heather as an elegant high fashion model Vogue 65

Heather was Maybeline’s leading model for more than four years. She was featured in their TV commercials and in their famous, record breaking ad campaign entitled “For the Many Faces of Eve” The ad ran in 44  magazines and hundreds of newspapers.

Heather was a favorite of the renowned jewelry designer Van Cleef and Arpels. The jewelry was so valuable that Rik van Glittencamp had to shoot it in basement of the New York store, because Van Cleef and Arpels would not allow it to leave the store. The ad appeared in Harper's Bazaar.

Heather in 1987 continuing to portray her special brand of sophisticated allure.

Heather’s natural beauty and versatility and her skills in evoking a mood, creating a character and bringing her energy and personality to the assignment led to her being cast in the principal role in over 150 TV commercials.  Heather met the love of her life, publishing executive, book editor and photo journalist, Andrew Ettinger. They married and had two daughters and now live in the Hollywood Hills in a lovely, woodsy home filled with dogs, cats, unusual birds and an exotic fish pond.  Andrew is a literary/media consultant as well as a writer/producer.

Heather and husband Andrew Ettinger

Heather with her husband, Andrew Ettinger and Cheri LaRoque at the 2010 West Coast Model's Reunion.

Linda Morand

Born in 1925 in New York City, Gleb Derujinsky was taking photographs, then developing and printing them by the time he was six years old. With the help of his apartment building superintendent, he built an enlarger when he was ten, using a paint can as a light source and a camera as the optical system. He was also one of the few, if not the only, teenager ever to be invited to join the prestigious New York Camera Club. Through his membership, Derujinsky was exposed to the great photographers of the time, such as Steichen and Steiglitz.

Straight out of Trinity School in New York, Derujinsky was drafted to serve in World War II, reaching the rank of staff sergeant by the time he was nineteen. After the war, he obtained a GI loan in order to open his first photographic studio. He subsequently photographed for Esquire, Look, Life, Glamour, Town and Country, and The New York Times Magazine. Ultimately, he worked almost exclusively with Harper’s Bazaar. During his trip around the world for Bazaar inaugurating the Boeing 707, he photographed fashions in exotic places from Turkey to Thailand and created some of the most exciting photographs of the 1960s. In the late 1960s, Derujinsky began directing television commercials and became a member of the Cameraman’s Union and the Director’s Guild. He won the Cannes and Venice Film Festival awards for best direction and cinematography, as well as the New York Art Directors award.

Derujinsky has raced autos and was sponsored by Ferrari America. He has flown sailplanes in cross country competition. In the late 1960s and early 1970s, he was one of the top ten sailplane pilots in the country. He also has designed and built carbon fiber bicycles for the U. S. Olympic team.

In 1976, Derujinsky moved to southwest Colorado. He opened a custom jewelry shop and, as an avid skier, eventually became a ski instructor, too. He continued his passion for photography and has been regularly photographing many facets of the west.

In the past, his deep interest in music led to his photographing several jazz musicians. And recently he has again taken up the piano, playing Chopin and a bit of boogie woogie now and then. [/i]

Here is a small representation of Gleb Derujinsky’s extraordinary body of work:

Simone d’Aillencourt
March 1959 Bazaar Magazine

Carmen Dell’Oerfice May 1958

Carmen Dell’Orefice
May 1958 Bazaar Magazine

Revolutionary Concept

Carmen Dell’Orefice
Bazaar Magazine

Duke Ellington, Jimmy Rushing, Louis Armstrong & Billy Strayhorn
1962 Newport Jazz Festival
Bazaar Magazine

Sammy Davis, Jr.

Susan Camp

The unique face of Ulla Bomser was everywhere during 1965-1968 and after. She was a Danish import, discovered by Eileen Ford and invited to come to New York. Ulla was one of the first models to sport a Vidal Sassoon haircut, which made her stand out amongst the other gorgeous Scandinavian models taking New York by storm in the Sixties. Her straight strong blonde hair was ideal for the head hugging ergonomic asymmetrical cut which help to springboard them both to fashion stardom.

1965 Ulla Bomser and Vidal Sassoon

1967 Ulla Bomser in a shorter cut a couple of years later,

1968 Ulla Bomser was a chameleon in this double page spread which featured saveral hair pieces and extensions.

Ulla Bomser

Ulla Bomser Celebrity Endorsement

Ulla Bomser Coty

1968 Claudia Duxbury - Clairol produced a popular make-up line choosing beautiful Claudia Duxbury as the image. Claudia was named one of 19 Supermodels in 1968 according to Glamour magazine.

1968 Toni Clayton was a natural for Clairol too. Her thick blonde naturally wavy hair was easy to style.

1968 Erika Toth - German model Erika Toth was known for her beautiful thick blonde hair. She helped introduce one of the first spray in conditioners.

1968 Cheryl Tiegs - Cheryl Tiegs was born to model for Clairol having beautiful naturally blonde hair. Here she poses for Clairol Perfume.

“Does she or doesn’t she?  Only her hairdresser knows for sure.”

1967 Sandy Hilton

Clairol was a top employer of Sixties Super Models and used only the best.  Here are some of the most popular and successful models. You can see them in this slide show.  Their names appear in the thumbnails below.

[slideshow]

Image via Wikipedia

Modeling in Paris

Francois Lano, the owner was such a dear, so fastidious and good humored. He was dapper, elegant and well dressed with a little mustache, who treated the models as ladies. Maria was his partner. I remember they were measuring our hips. They were excited about sending me over to Pierre Cardin for a fitting. I would be modeling his spring 1967 Collection on the runway for private clients, exclusive buyers and the invited World Press. Diana Vreeland and all the top editors were going to be there, including my editor friends from Mademoiselle, Nonie Moore and Deborah Blackburn.

The photos were to be taken in the evening when the clothes could be borrowed from the designers. They had to be photographed quickly and sent back an hour later. Hundreds of couture dresses were being sent around Paris all through the nght by special messengers. Thew would appear in newspapers and magazines through the news bureaus, sometimes the very next day. By dawn all the dresses had to be back and put into order for the fashion show the next day. it was a frantic time, fraught with anxiety. Sometimes an important dress might be lost for awhile or delayed.

These pictures have resurfaced today in the book Cardin: 60 Years of Innovation.

The regular house mannequins were still used for private showings to the actual clients, the aristocrats and movie stars that could afford these super expensive one of a kind fabrications. They hated us for taking their places at the main press show, and we really couldn’t blame them. In New York, we had to put up with the influx of Swedish, Danish, German, Dutch, Swiss, French and British models, being imported by the Ford Agency. It was the survival of the fittest. Models were sent to Europe to get tear sheets from European magazines.

There were no model scouts, no great chains of modeling schools, no Internet to post your pictures to. If you wanted to be a model you could find out who was the best agent and send your pictures in. Ford used to get 1000 pictures a week from would be models.

About this time I met my lifelong friend, the irrepressible Susan Brainard.  She was the best friend of Wallis Franken, who stayed on in Paris for years.

NEW GIRLS IN TOWN: Left to right: Wallis Franken, Joane Bellefontaine, Susan Brainard, Yaffa Turner and Linda Morand. Paris 1967 at the Cafe Flore

Joan Bellefontaine

Wallis Franken

Linda Morand

One great model of the Sixties and Seventies  is Willy van Rooy.  She was a muse to Yve St. Laurent and David Bailey.  Newton loved her  sultry Dietrich mystery.  She inspired many classic photo shoots which have been preserved by miniMadMOD60s, with the cooperation of Ms. van Rooy.

[youtube=http://www.youtube.com/watch?v=CxsD3gx8jY0]

WILLY VAN ROOY’S BLOG 

Willy is a wonderful jewelry and clothing designer and a gifted story teller. Her fascinating blog can be seen here. Well worth a look, if you like model and fashion history and a glimpse into the artistic and modeling world of  late Sixties and Early Seventies.

Click the link to NY TIMES to read more and see more pictures

Willy’s Story in NY TIMES

Photo Montage by Angora Sox

MMM60s: First of all, we would like to thank you for sharing your photographs and stories with us. It is not often one gets such an intimate glimpse into that vivid and wildly romantic era. We understand that because of your visibility on MMM60s, you were recently contacted by Italian Vogue to participate in a photo shoot.

Willy: Yes I got an email to ask if I would be available and interested to do a shoot for Italian Vogue the 9th and 10th of June. The photographer would be Steven Meisel. I was a bit nervous and nothing was for sure but I answered that I would be thrilled. I kept my fingers crossed. I have learned to not make myself any illusions and I figured I would probably be an extra and appear in some picture in the background… Still, I was excited about it and just to work with Meisel is already a trip.

I am only 5.7″ and I do know now my measurements because I had to give them to Vogue, 35- 27-36. Not as thin as I used to be, but carry the same weight always, somewhere between 116 and 122 pounds.  They asked me for some recent snapshots.

Self Portrait

MMM60s: We saw the test shots, they are really good. You look amazing! Who took the pictures?

Willy: I took them myself. You know I don’t know why they came out so good, I was really surprised. Make up makes a lot of difference. I really did only 12 pictures around the house. You know when you do it yourself, you click the button but than have to run to your place and strike the pose and you have no idea what it looks like. That’s why I was surprised they came out so well, no Photoshopping, only the levels to make them nice and light.

MMM60s: I’ll say. You look incredible. Are you thinking of getting back into modeling?

Willy: I think if something is bound to happen it will. Of course I do all my best to keep my mind lucid and free so things can happen. Anyway it is very important to know what one really wants but once you know the doors will open by magic. You know that just a few days before I got the email I was talking with my friend, Rory Flynn, who was a model too in the 60′s and 70′s, and now is a head shot photographer, that we both should go back to modeling and that we could have fun making a whole day of pictures of each other and then find an agent (still with the illusion that they are really waiting for us).

Willy in Paris 1975 in an outfit for Pierre Dalby. Designed by WILLY VAN ROOY

And then out of the blue comes that email and I was working for Italian Vogue! It is a sort of miracle. Of course, I realize that it would be totally impossible for me to be a commercial model unless I would really be allowed to look like a grandmother, no glamour or beauty, and only with the very best people. Then it becomes interesting because you know they wanted you because they saw something that inspired them.

Steven Meisel for Vogue Italia

MMM60s: So how was the booking? How was it working with a fabulous photographer again?

Willy: To work with Steven was a great pleasure. You know you are going to look great because you know he wants to make a good picture and you also know he can. Everybody was very kind and what a setup! There were at least 60 people and tents and dressing-room-cars and toilets and an incredible catering and many people walking around doing something.

The make up was by Pat Mc Grath and her artists, and Jeffrey did mine. He was very funny! All the hair was by Guido and his equipe and several young stylists supervised by KARL TEMPLER the Vogue editor, I know he is one of the fans of your site. All this was done in a big cemetery and of course all the clothes were black. Beautiful clothes, D&G, Chanel, Dior, YSL etc.

Autographed picture from YSL to Willy van Roy

MMM60s: Wow, just like the kind of clothes you modeled in the Sixties and Seventies. Were there any other models?

Willy: Linda Evangelista was there and she is very beautiful and very kind. There were three other girls, one by the name of Karen and she is soooo beautiful, too. Wow! And two very young lovely models named Iris and Guinevere as well as three handsome male models. All together, on the first day, I did five pictures, two group shots and three by myself.! I think it went well and it was a very nice day.

They even came to pick me up in a beautiful car with chauffeur who opens the door for you and in between shoots they immediately came running with a chair and a bottle of water and you see the pictures straight away ( I never dare to look at mine) they have enormous computerized machines, enfin unbelievable! .

MMM60s: Did you work a second day?

Willy: I did work the second day too and all together I was in nine pictures ,of which three of them were solo. It was fun to work with Linda, she is very kind and at a point even said to me that she it was an honor to work with me! What do you know!?

Some of the models are interested in seeing my jewelry which is great. Now I realize, though, that it is not that easy to start modeling again, for me at least. Of course to work with Steven Meisel or another very good photographer is OK.  They can make you look good, especially for magazines like Vogue and so on, which is fun but does not bring home the bacon and I am afraid I am not commercial at all. The clothes fit me perfect though, really amazing and the stylist even said they looked so elegant on me, that’s why I thought of maybe returning to the catwalk, but the heels…….We will see…

MMM60s: We think you are being too modest, Willy. You have not lost a thing. . Once again, thanks for all your very interesting input. You really brighten up the site.

Willy: My working for Vogue again is all because of MMM60s. They never would have found me if not for this site. Many people on the set there read your website and some knew all about it and follow my story and told me it was fascinating, so funny! Thank you, Linda.

Colleen Corby Sixties Supermodel

by miniMadMOD60s

After walking into Eileen Ford’s modeling agency, as a young teen to look for a summer job,Colleen was signed to an exclusive contract with Eileen Ford, founder of the renowned Ford Model Agency. That “summer job” would last for the next twenty years. Colleen’s career took off right from the start.

By the end of that first summer her assignments were coming so steadily that her parents enrolled her in Manhattan’s Professional Children’s School,which allows for the irregular schedules of actors and models. By her last year of High School she was so busy she hardly ever attended classes. However she was bright and a hard worker. She was able to complete her assignments and earn good grades. She was more than a model, she was a role model.

Starting her career at a very young age, posing for American Girl, The Girl Scout magazine, Co-ed,Teen, Ingenue, she was already an experienced model by age 16 when she first appeared on the cover of Seventeen in April 1963. According to one of her fellow kingpin models at Seventeen, the editors for all teenage oriented magazines knew they had a hot property in COLLEEN CORBY.

And what a young beauty she was, according to her peers. She had that amazing dewiness, the perfect glowing skin, hair and innocent on-camera movement that gradually became more stylized as this young model grew into herself and her signature look.

Colleen Corby loved working with the camera and the camera simply loved her. She knew exactly where her best light was and always played to that. She was one of the first young models who capitalized on the sultry look while retaining that innocent sweetness in the same breath, a la junior VOGUE. By the time she’d been in Seventeen regularly for a year or so, she would only crack a big smile if she was asked to do so. She was a leader of sorts in “taking it to the next level.” Cutesy young model poses were okay sometimes,but we were beginning to get beyond that, finally, and to have fun with it.

There was a fairly small group of models who seemed always to be together in the ads and editorial pages shot for Seventeen, and those ads often also appeared in Mademoiselle and Glamour, which appealed to older teens, college students, career girls and young marrieds. This tight group worked so smoothly together,playing off one another, just like a band playing music, naturally finding the perfect harmonies. It was true creativity,and Colleen was often at center position, quietly commanding the position she loved. She was a great team player too, and was always ready to compliment the lead taken by a cohort. That synergy was what commanded the higher daily rates for ads that eventually came with that territory.

The 60s was a magic era of modeling and the editorial pages of Seventeen were made for developing an almost decade-long following for its favorite models of the time. They were true supermodels to their millions of fans know in the trade as “the readership.”

With her dark hair and piercing innocent eyes, Colleen was the perfect cover girl. She was a bit more petite than some of the other regular Seventeen models and yet had a boldness about her mixed with that unmistakable innocence, a very alluring combination of qualities that the Seventeen readership practically worshiped. She was a hero for a whole generation of 13 to 18 year old girls, and boys, and received a healthy-sized pile of fan mail on a monthly basis during her hottest years.

The young readership would choose their favorite brunettes and favorite blonds “Oprah Winfrey, said: ‘My teen idol was Colleen Corby, who was a model in Seventeen Magazine.

That’s what we all love to do, to have our icons to relate to. It’s all part of the fun of growing up,feeling a part of what’s happening, being up with what works to maintain health and beauty, and of the utmost importance, as always, WHAT DO I WEAR?, to school, to work, to dinner, to a party or concert, or on a great vacation trip, so that I’m exuding the confidence of my fave models.

What would Colleen Corby or Terry Reno, or Joan Delaney, or Rinske Hali or Wendy Hill or Jennifer O’Neil, or any of my favorites wear to this event? And, where’s that new issue that just came in the mail?!! I NEED ITNOW!! There was no Internet then and magazines were what we had. Big slick glossy magazines full of amazing fashions, styles, new make-up and hair styles and stories, columns and articles geared to the teenage at a time when 50,000 Americans a day were turning 18.

Holly Forsman Rinske Halle Barbara Bach (who grew up to marry an Italian Count and Beatle Ringo Star)

And so, the beat goes on. Here we all are again, lapping it up, reminiscing together about our glorious era, whether we were the models, or the readership who made them famous in the Sixties. Thanks to Colleen Corby and her cohorts of the 60s, we had a great time, and now, we get to relive it here on MiniMadMods60s!! Come back for more stories.

Colleen Corby was Oprah's favorite model as she was growing up.

Kay Thompson, as fashion magazine editor Maggie Prescott, was the star of the solo number. Watch for popular models blonde Sunny Harnett and brunette Dovima as other specialty dancers:

[youtube http://www.youtube.com/watch?v=zcCN6XA61Es&fs=1&hl=en_US&rel=0]

The character of fashion photographer Dick Avery, played by Fred Astaire, was loosely based on the career of Richard Avedon. The visual consultant on the film, Richard Avedon also created the famous photo of Audrey Hepburn’s intentionally overexposed face. The photo was seen in the film and became the cover of the original soundtrack album. The image quickly became iconic. When Funny Face was re-released in 1964, it was the focal point of the new publicity poster.

Iconic image of Audrey Hepburn as "Funny Face"

During the filming of Funny Face in the spring of 1956, David Seymour photographed Richard Avedon and his boyhood idol Fred Astaire. This rare photo can be found in the August 1956 Bazaar magazine:
http://www.minimadmod60s.com/gallery2/main.php?g2_itemId=56503

Suzy Parker was the inspiration for the reluctant model played by Audrey Hepburn in the 1957 film Funny Face (Paramount Pictures). She also appeared as a specialty dancer in the Think Pink! musical number.

Suzy Parker 1958

Suzy Parker (October 28, 1932 – May 3, 2003) was an American model and actress active from 1947 into the early 1960s. Her modeling career reached its zenith during the 1950s when she appeared on the cover of dozens of magazines, advertisements, and in movie and television roles.

She appeared in several Revlon advertisements, but she also appeared in advertisements for many other cosmetic companies as well, as no model had an exclusive make-up contract until Lauren Hutton (for Revlon and Revlon’s Ultima) and Karen Graham (Estée Lauder) signed them in the early 1970s. She was the first model to earn $100,000 per year and the only fashion model to have a Beatles song named after her, even if an unreleased one.

Three of the Parker sisters were very tall, standing between 5’10″ and 6’1″. Dorian was the sole exception, standing 5’5″. In 1944, Dorian was writing advertising copy when a co-worker encouraged Dorian to go to the Conover Modeling Agency to try modeling.

 

The agency of Harry Sayles Conover [1911, Chicago, Ill.–1965, New York City

In 1955, Suzy Parker was considered one of the top models of the world. Here she is with ten other top models of the Fifties. Suzy is the redhead in the second row in the black and white print dress. She is resting on her sister Dorian Leigh's lap.

One of Dorian’s first advertisements was for Revlon. Charles Revson (who later wanted to marry her) hired her for “Fatal Apple,” one of Revlon’s first all-color, nationwide ads. Dorian was one of the top models in the world, arguably referred to as the “world’s first supermodel” (along with Lisa Fonssagrives). When Parker was about age 15, Dorian telephoned The Ford Modeling Agency and told Eileen and Jerry Ford that she would sign on with them if they also took her younger sister, sight unseen. Anxious to represent Dorian, they agreed. Expecting to meet a similarly petite, extremely thin, flawless, pale-faced, electric blue-eyed, raven-haired younger version of Dorian, they were shocked to meet Suzy for the first time at a restaurant. At the meeting, the Fords said, “Oh, my God!” Parker was already 5’10″, big-boned, and had carrot red hair, pale-green eyes, and freckles. She later became more famous than Dorian.

Parker’s photo appeared in Life magazine at age 15. That same year, one of her first magazine advertisements was for DeRosa Jewelry. Although she still lived with her parents in Florida, she stayed in New York City with Dorian when she had modeling assignments there. Dorian introduced Suzy to her fashion-photographer friends, Irving Penn, Horst P. Horst, John Rawlings, and a young Richard Avedon. Suzy became Avedon’s muse. At age 61, she said, “The only joy I ever got out of modeling was working with Dick Avedon

Suzy on Life Magazine 1951. Appearing on the cover of LIFE insured superstar status for a model.

Vogue1952 Sept by Roger Prigent

Parker became the so-called signature face of the Coco Chanel brand. Chanel herself became a close confidante, giving Parker advice on men and money as well as creating numerous Chanel outfits for her. She was the first model to earn $200 per hour and $100,000 per year. Vogue declared her one of the faces of the confident, post-war American woman. She worked also non-stop for Vogue, Revlon, Hertz, Westinghouse, Max Factor, Bliss, DuPont, Simplicity, Smirnoff, and Ronson shavers, to name a few. She also was on the covers of about 70 magazines around the world, including Vogue, Elle, Life, Look, Redbook, Paris Match and McCall’s.

Avedon suggested Parker for the movie Funny Face (1957). Fred Astaire’s role was based on Avedon, whose photos appeared in the movie. Suzy appeared in the movie for only two minutes and she looked breathtakingly beautiful on the big screen.

Cristóbal Balenciaga , Cocktail hat of ivory silk satin, 1953. Originally published in Vogue, October 15, 1953. Photo: John Rawlings

After marrying her third husband, Bradford Dillman, in 1963, she mostly retired from modeling and acting to live a quiet life in Montecito, California, with her family.

She passed away in 2003 at age 70 surrounded by her loving family. One of her children, a friend of mine has just published a book dedicated to Suzy Parker called REFLECTIONS THROUGH THE LOOKING GLASS available at Amazon.com and Barnes and Nobel

by Dinah Dillman Kaufman, daughter of Suzy Parker

Fifties Model Extraordinaire: Barbara Goalen

Cometh the mode, cometh the woman, and between 1947 and 1954, the British queen of hauteur was Barbara Goalen, who became known as “the most photographed woman in Britain” in the Fifties, thanks to her extraordinary poise and beauty and an astonishingly tiny waist. She began to study art, but after a year signed up to drive a wartime ambulance, so by the time she faced the lens whether in Dior and diamonds or printed cotton satin, adult experience showed in her black-pencil-lined eyes.

Besides the figure, cheekbones and swallowtail eyebrows, Goalen already had the considerable self-possession of a classy English childhood. Her father was the owner of a Malaysian rubber plantation, and, she, at the age of eight, had been shipped back home to board at preparatory school, before going on to St Mary’s girls’ school, in Calne, Wiltshire.

Photographed by John French

In  the unambitious manner of her times, she became a model only after she was widowed at the age of 24, when her husband Ian Goalen died in a crash. Her first, teenage,fiancé, an RAF bomber pilot, had been killed in action during the second world war.  Barbara and Ian had a small son and daughter, neither of whose arrival had permanently expanded their mother’s 33-18-31 inch measurements or under-eight-stone weight, the perfect shape for what was then called a “mannequin” – with implications of grandeur descending a staircase – rather than a model.

She epitomized the "mink and diamonds look", and after early appearances in Vogue and Harper's Bazaar, became one of the first British mannequins (as models were known, before the American term crept in) to work for Parisian couturiers Balenciaga and Dior.

She stopped short of Saudi Arabia, famously refusing to model lingerie in a harem for the 300 wives of a Saudi King in 1954. “It simply isn’t done you know,” she explained, adding with a sigh, “but the underwear is really divine.”

Educated at St Mary’s Calne, Goalen’s standards were legendary and though her career only spanned six years, it was a time she described as “the vintage years”. Her work took her all over the world, including New York and Australia, where she once paraded the new “short” evening dresses (seven inches off the ground) for Australian débutantes.

Barbara appeared in Harper’s Bazaar and British Vogue just as the New Look, with its promises of future luxury, arrived to dominate fashion: she had the waspy waist and elegance needed to wear it – the look, based on Dior’s memories of the courtesans of France’s belle epoque around 1900, was designed for women, not girls.
She was among the first British beauties to be recruited to parade in the Paris shows, and was on demand photographically in New York and London for a well-above average rate of five guineas an hour.

Barbara's elegance captured by renowned paper doll artist: Gregg Nystrom

The work was hard, especially, she said, on the feet – no one in her line of business wore flat shoes – but the women who modeled in the Fifties and Early Sixties, were treated as ‘society-by-association’, with couture gowns loaned for the evening and an entrée anywhere. Their personal upkeep, Goalen recalled, took just as much maintenance in manicures and hair salon time as later supermodels had to put in at the gym.

The between-job transport was slower, too, if stately: chauffeured Rolls-Royces, liners to America, or the airliners Goalen once took in stages to Australia to model frocks for Sydney débutantes.

Débutante – a girl presented at court in her first social season – was a word that recurred in her career: Goalen had doubts about the modern validity of the season, but still organized the Berkeley dress show during the 1960s. By then, she was only visible as a private citizen at charity events, faithful to her own era of extreme style.

In 1954, on her marriage to Nigel Campbell, a Lloyd’s underwriter, Barbara had retired from modeling, without regrets, still at the top.She continued to be active in the fashion world by giving interviews and writing for British newspapers.

She made no concessions to the brevity of skirts and dearth of real jewelery in the 1960s, and the fashion advice pieces she wrote for the Daily Telegraph were dispatches from another, pre-mini and tights, world, where elbow-length black gloves went with a simple, mid-calf cocktail frock, and an above-elbow pair were de rigeur with a strapless ballgown.

This British magazine remarked on the changes in fashion. Barbara Goalen was replaced by Jean Shrimpton in the MOD 60s.

Sources:

Daily Telegraph

Vogue

Wikipedia

I am delighted to learn that my pals Ulla Bomser, Missy Prowell, Wallis Franken and, Alana Collins have been booked too. At least I will have somebody to talk to, I think as I stroll rapidly down the Rue Tronchet, flanked on the south by the incredible Madelene, a church that looks like a Greek Temple. I stop for a few minutes to check out La Baggagerie, a boutique that has the most original handbags. I make a mental note to get one next time I go to the agency. Then I look into Vog, another fab boutique. I can’t wait to get some new Paris clothes. Many people think that the models get the clothes for free, but that is usually not true

Wallis Franken and Missy Prowell

I look for a taxi but there do not seem to be any around. In Paris, you don’t flag cabs down like in New York. You have to find a taxi stand and wait in line. I am in a terrible hurry. I don’t dare be late, so I go to the head of the line, hoping to use some charm to convince someone to let me get ahead. Eying my long skinny legs in a mini-skirt, he man at the head of the line readily agrees to let me in line and to share his taxi. He turns out to be the set designer for a movie starring Peter Falk, the star of the wildly popular TV series “Colombo.”He invites me to lunch to meet Peter and John Cassevettes, another very popular TV and movie star. He is very charming and I take his number and decide to maybe give him a call later. We are in a Space Race according to Time magazine and Life magazine. Astronauts are being featured on covers of news magazines and the whole world is fascinated by the future, keyed up about who will be the first country to get a man on the moon. Pierre Cardin has a passionate love of science fiction, astronauts and the cosmos. He is determined to single- handedly ignite the future, although Paco Rabanne and Andre Couregges are feeling the same vibes. His creations have the trimmings of science fiction and space travel. The fashion world is astonished at his space age 3-D shift, and his “white breasts” dress. Cardin raises skirts 4″ above the knee and plunges necklines back and front to the navel.

Alana Collins

My feet are hardly touching the ground as I enter the crowded atelier with about a dozen artisans, men and women, working on the various stages in the structure of the one-of-a kind garments. The clothes are made out of vinyl, wool, metal rings, carpenters nails, and artificial diamonds. There are knitted cat suits that I love, taut leather trousers, and close-fitting helmets, that I hate, and bat-wing jumpsuits. Various French mannequins parade around, in skirts, shifts, and pantsuits while seamstresses make little tweaks.

Linda Morand far right, again with the helmet, Wallis Franken, third from left Cardin’s determined quest for the future look has led to the production of brilliant fashion shows. I am aware that in 1963, he brought out the “Cosmo corps” collection featuring colored tights, roulette trousers, and in ‘64, he presented a collection of mini-shifts, bisected bi-colored outfits, with zigzags or diagonal strings of his greatly beloved scallops. His creations proclaim a powerful talent and he is becoming globally renowned. With an instinctive genius for marketing, he is becoming one of the most recognized names on the planet. I am led to a cabine, which is French for dressing room,lined with mirrors and lights with a long make-up table and stools. There are many hats and other accessories hanging on the walls and stuffed on the abundant shelves. There are still more tailors and seamstresses, hunched over their sewing machines, working on the final touches of exquisite garments.

Our pictures appeared on a huge poster outside Cardin’s House.

I am told by a rather rude, middle-aged woman to undress down to my underwear. I deftly shed my mini and poor-boy sweater and lay them over a near-by chair. I am wearing a special model-garment called a body stocking, which is a flesh-colored opaque dancer’s leotard. A few haughty French mannequins look me up and down, turning up their noses and mumbling under their breaths. They are not thrilled with the House of Cardin for bringing in foreigners to take the spotlight off them.

Hiroko in the atelier at Cardin

Most of the mannequins have great figures and strong personalities but they are not what you would call photogenic. An elegant nose just a bit too long, a delicate chin that is a tiny bit weak, a face that may be over the age of twenty-six, these may look just fine in person, even adding a bit of charm and character, but they are not good in photographs. Sometimes a girl can be just beautiful in person but not photograph well. Hence Cardin’s idea to put photo models on the runway.
One model was very friendly and very pretty. Her name was Hiroko. She was Asian, and strangely enough for a model, very petite, but exquisite in every way. The other mannequins did not seem to like her either. I have heard that Cardin has built the entire collection around her, his eye on the vast markets in the Far East.

For the last few years, Cardin has astonished the world with his innovations. As a couturier, he has been restively creative, experimenting with the concept of abstraction, exaggeration, technique and technology. As such he is almost more of an architect that a designer.
Still in my body stocking and tights, I am led into the main atelier where assistants surround Monsieur Cardin himself. He is a fairly good-looking Frenchman of a certain age and flamboyantly gay. He seems to be in a bad mood. I step onto a sort of podium. A young woman comes in with a pile of sketches. She seems to be nervous and a little afraid of him. Cardin grabs one large sketch and with a charcoal stick he makes a few sweeping changes. After a matter of two or three lines, he shoves the oversize sheet back at her, all the time chiding her in a rapid stream of French. She scurries away. Cardin often gets easily upset and is volatile and fiery in his speeches.

Next he has me try on a suit made of stiff white nubby fabric.It is a sleeveless dress with a jacket that has a kind of wide, stand-up mandarin collar. It has large semi-circular cut-outs on the sides, long sleeves and three covered buttons down the front. Unfortunately, it is to be shown with a bucket shaped helmet, which obscures most of my face. Kind of a Space-Age burka, except the skirt is too short.

Then another clerk shows him a pile of sample fabrics. He chooses a white vinyl swatch and some dark green jersey, remarking that there is nothing suitable. He does not acknowledge my existence, as I stand there shivering, whether from cold or fright I do not know. However, I am an old pro at being ignored while in my underwear, having survived the fittings at American Vogue with Diana Vreeland, who never once looked me in the eye. She just looked at the garment as if I were nothing but a clotheshorse. That’s what I was, I guess. But now I was living a dream. Imagine me, the skinny dork from Long Island, walking the runways of Paris!

He begins by draping a canvas type fabric around me, actually cutting and pinning it on my body. I learn that this premiere garment is called voile. It is fascinating to be in on the construction of an haute couture garment. I do my best to keep still. I have plenty of practice from all my bookings at McCall’s Patterns in New York. I remember loving the fittings, because they paid a dollar a minute.
Here the pay is much less, but I do not even worry about it. The experience is worth the pay cut. Occasionally he speaks to me, asking me, in a charming French accent if it is comfortable, but mostly he concentrates on his “sculpture,” chattering away in rapid French, to his assistants, who surround him like ministering angels. After that I try on a black long sleeved body suit and a purple tunic with four square cutouts on the front, a dropped waist with a silver buckled belt. It is remade to fit my proportions exactly. Finally I get to wear my favorite, a shocking pink body-skimming A-line shift with cut in arm holes. It has a cute little matching hat.

David McCabe Mademoiselle July 1966 Conde Nast

Ulla Bomser

To everything, he adds his own inspired ideas. He knows exactly what he wants, and he surely gets it. Only trouble is, he changes his mind often. The grueling fitting is finally over, and I rush back to the hotel on foot, quickly reaching the charming French hotel that the agency has found for me and Susan Brainard, another American model. I like her very much and plan to become great friends with her. Ulla Bomser is in the next room. She is my friend from New York and has offered to show me the ropes in Paris. I am exhausted and need a little nap. Eileen Ford has invited me to dinner later that night at Castel, the most exclusive and hottest restaurant/night club in Paris. And I have got Peter Falk’s friend’s number…

As fashion week draws nearer, more and more models appear on the streets of NY. But…instead of bringing beauty and fashion, it feels like some kind of an awful sequel to Night of the Living Dead – I swear I've seen this girl on runways… The standard for most models these days is to be a stick figure, mope to castings with horrible posture, never wash their hair, wear grunge-inspired jeans and t-shirts and act as if they are too cool for the o … Read More

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In his book Fire and Ice: The Story of Charles Revson – the Man Who Built the Revlon Empire (William Morrow and Company, 1976), Andrew Tobias chronicled the career of the man “who started with one bottle of nail polish and a fine ear for female fantasy and built an empire – The Revlon Company – worth millions from them”:

A special album has been created for this book in the 60s Ad Campaigns Album: Revlon Album (1940s-1950s):
http://www.minimadmod60s.com/gallery2/main.php?g2_itemId=88141

To read this out-of-print book online, go to Andrew Tobias’ web site:
http://www.andrewtobias.com/fireandice.html

Suzy Parker was a very popular Revlon model in the 1950s and 1960s:
http://www.minimadmod60s.com/gallery2/main.php?g2_itemId=25110
http://www.minimadmod60s.com/gallery2/main.php?g2_itemId=88186
http://www.minimadmod60s.com/gallery2/main.php?g2_itemId=51871

However, friction developed between Suzy and Charles Revson over her fee, and their relationship became strained. Suzy Parker recalled:

"’As time went on it became really very funny. They did this particular Cleopatra ad and shot it with ten or twelve different black-haired girls, at great expense. It wasn’t the photographer’s fault; it was just that they couldn’t choose the model. So they had to keep paying Avedon for the pictures. It was a disaster. Finally, at the last minute, they brought me in and put a black wig on me and they never let Revson know it was me in the ad. He never realized.’ (He doubtless realized full well. Out of pride he may have pretended he didn’t.)”

1962
Photographer: Richard Avedon

“Earlier she had done a similar last-minute bailout retake on Stormy Pink. ‘We worked at night [double the fee] off Montauk Point, in the ocean, and I had to hold a stallion. We really did that. It was very dangerous because it was windy and the pebbles kept rolling out from underneath the horse’s feet, and I’m trying to hold him down. We worked on that for almost six hours in the middle of the night, in the middle of the ocean [well, not quite], and I was in a chiffon dress. I think the reason I was such a good model wasn’t that I was such a particular beauty or anything, but that I was as strong as a horse. And that occasion proved it!’"

1963
Photographer: Richard Avedon
This double-page ad is unusual because it’s vertical instead of horizontal.

“The Revson/Parker relationship was such that when Time sent a photographer around in 1960, Charles had to pay her to appear — as if it were a modeling session and not a simple publicity shot. While the photographer was setting up in Revson’s office, Parker was dressing in the ladies’ room and putting on her false fingernails. ‘I wore false ones in all the ads because I’ve never had long fingernails,’ she says. ‘I had gotten them all glued on, rather unsatisfactorily, and I was trussing my white mink, and I make my entrance and everyone says, “Wow, wow,” and all that — and I lose one of the damn fingernails.’”

“‘I’m crawling under the desk and the Time man says, “What are you doing?” "I’m looking for my blinking, bloody fingernail," I said — and Charles turned absolutely beet-red. “You mean you wear false fingernails?” the photographer asked. He thought it was a riot. I thought Charles was going to explode with rage, because I said, “Of course I do, I always have — in all those ads.” At which point Charles turns to me and says, “All right, let’s change the subject.” He thought I had done it deliberately . . . and I don’t know that I didn’t.’”

“Charles, lipstick patches on his palm, looks admiringly at Suzy Parker (whom he had to pay to appear for this publicity shot).”
Photographer: Leonard McCombe

There seems to be a discrepancy about the date of this photo. I found these photos from the same shoot on the LIFE Magazine web site with the date of September 1, 1956:

*~Susan Camp~*

1968 Binella Ad
Digitally restored by VOGUE SPIRIT
http://www.minimadmod60s.com/gallery2/main.php?g2_itemId=51401

September 1964 French Vogue Magazine – Haute Couture Supplement

The photo below from a 1963 or 1964 L’Officiel magazine has a very sweet backstory:

Ulla Andersson’s late mother Lily lovingly made scrapbook after scrapbook of Ulla’s professional photos. Many of the corners now have brown tape stains. I think they add a personal touch and are reminders of a mother’s devotion:

Ulla comments:

My mom saved all of my modeling photos, and sometimes she saved photos of other girls that she thought were mine. Here, I do not understand how she thought that I was the model. It must have been because she always thought I was the best. This is really TAMARA NYMAN…and she WAS the best !!

Thank you, Ulla, for contributing this photo and sharing the story behind it. And thanks to dear Lily, too! Little did she know that she was an archivist of the 1960s modeling industry!

MORE ABOUT ULLA ANDERSON CLICK

Ulla and Lily in 1955, wearing their homemade lookalike dresses.
http://www.minimadmod60s.com/gallery2/main.php?g2_itemId=53827

MORE ABOUT ULLA ANDERSON CLICK