Wednesday, November 28, 2012


The New Beauty Zone: The Tummy Beautiful

The Bath That Sees You Through


Vogue's Eye View: The New Beauty Zone
Vogue October 1968
Gene Laurents



What Makes Fashion Run
Vogue April 1963

Wednesday, November 14, 2012



A fragile, blown-glass prettiness newly envisioned by Helene Rubinstein, long-time collector of French opaline glass. "Opalescent" Silk-Tone Foundation is lightly diffused  over the face and throat, the cheeks faintly touched with "Pink-Tone" Liquid Rouge and over it all, a dusting of English Complexion Powder in "Opalescent." The Eyes, "Orchid" Eye Shadow stick blended on the eyelid, "Opalescent" shadow then carried above it to the brow. Finishing touches, "Blue" mascara, "Tender Pink" lipstick, "Light Brown" eye pencil, and her upswept Edwardian coiffure by Michel of Helena Rubinstein. Dress by Trigere, Castlecliff earrings.

Elizabeth Arden's "Star Twinkle," a shower of gold sparks sprinkled in the hair. More 24-carat glitter drifts up and away from gilded eyelids - Elizabeth Arden's "Gold," filmed over a base of "Sunburst Eye Shado." Lipstick "Rose Aurora." The gilt edged bath towel by Martex.



Gray hair, looking as young as its beautiful by an alchemy of its own. Rinsed to the sheen of pure silver with a gossamer make-up of pale pinks and blues by Charles of the Ritz. Coiffure by Enrico Caruso. Chinchilla capelet from Russeks. The jeweled minaudiere by Van Cleef & Arpels. 

Wonder if Kelly Osbourne picked up on this...

Beauty News Flashes: Autumn, 1956
Gold and Silver: New Beauty Alchemy
Harper's Bazaar August 1956
Photography: Louise Dahl-Wolfe

... all things femme fatal

Sunday, November 11, 2012


Paris Hats - A New High

Chalk-White Felt folded by Fath into a steep cylinder, gently indented to adjust beautifully to the face.

Nightviews From Paris

Balmain's ivory chiffon dancing dress in shirred chiffon and ivory satin bodice sprayed with gold, blue and rosy beading.

Paris Hats - They Fly By Night

A hatful of feathers printed in brown trompe-l'oeil striations, on Fath's high-crowned toque of brushy white velvet, softly folded in front and clasped with a brown satin bow.

Nightviews From Paris

Balmain's creamy white satin fanned out in embroideries of blue and coral beads by Lesage banded in blue satin at the decolletage and hem. Arpad bracelet. Photographed at the Sheherazade. 

Paris Hats - A New High

Fath's very young, highly becoming beret, a puff of black velvet crushed under a two-inch rim.

Nightviews From Paris

Madeleine de Rauch winds two limpid blue chiffons together. The paler shade looped through the decolletage to form drifting panels, the waist bound high with satin. The View: the Moulin Rouge.

Nightviews From Paris

Patou drapes white satin slender as a needle beneath a high-waisted Hurel embroidered bodice in mother-of-pearl, then loops a shining satin river over the arm.

Dior's Sleeved Decollete

Dior Bells Black Chantilly Lace 

Lanvin-Castillo Red Silk Ottoman

Paris: The Backward Glance

Desses                                                                                 Lanvin-Castillo

Paris: The View By Night
Harper's Bazaar October 1956
Photography: Richard Avedon

... all things femme fatale

Thursday, November 8, 2012



Audrey Hepburn wears Fath's turban of silver-grey coq feathers settled like a satiny, extravagant hairdo with a matching muff framing her gorgeous face.

The prettiest of  Paris hat news in the winter collections of 1956 saw feather hats, a cloud of them, floating through every collection. Above, an example of the plumage that made it so.

Paris Hats - They Fly by Night
Harper's Bazaar October, 1956
Photography: Richard Avedon

... all things femme fatale

Friday, November 2, 2012


"As a young girl, most of my dreams evolved from the basic need of being loved, and being frustrated in fulfilling that need. I would often dream of myself in a large banqueting hall faced with mountains of food but unable to reach it. I also dreamed of pursuing beautiful objects which seemed to elude my grasp. These chases were long and exhausting. The most frequently pursued objects were beautifully coloured giant butterflies."

To me, these pictures show a growth, beginning with the more adolescent dreams and then a change as the dreams become more complex and mature, expressing the fears and wishes of a woman."

Unlike most people, who dream in black and white, Jane Fonda dreams in colour. One of her most frightening dreams (which began to occur when she reached her twenties) showed that she had now identified herself with the ugliness of life, from which she was formerly dissociated, and was terrified that this would be exposed to the "normal" people round her. She finds herself at a formal dance. Everyone is dressed impeccably, but she is naked and dishevelled. She is surrounded by correct young men, all asking her to dance. She clutches at a small pillow and tries to cover her nakedness, too terrified to speak. If she accepts the invitation to dance, she will be exposed for what she is ... Jane would awake from this dream in a cold sweat and find herself frantically clutching at the pillow on her bed.

The Dreamer Jane Fonda
Queen Magazine
October 1962
Photography: Frank Bez

... all things femme fatale