Well, it’s one for the money, two for the show, three to get ready, now go, cat, go!
Elvis Presley performing Blue Suede Shoes, 1956
Marilyn Monroe on the Columbia Studios lot with hairstylist Helen Hunt, 1948
Daryl Hannah as Pris in Blade Runner (1982)
According to production designer Lawrence Paull, her punk outfits and make-up were inspired by a new wave calendar: “In late 1980, all of us threw a Christmas party in the art department,” Paull explains. “There were presents scattered everywhere. One was a wonderful calender of air-brushed, stylized portraits of new wave fashions - heavy rouge, different hair colors, features and clothes heavily accented. Sometime later Ridley stumbled across that calender and asked if he could borrow it for awhile. It wasn’t long before he had his head together with Charles Knode, who is one of the most resourceful costume designers I’ve ever met. The punk look then became the style for Pris and for some of the background extras on the street.”
Eartha Kitt, 1951 (Russell Westwood)
life:
Woman sitting with her pet having tea at a Bois de Boulogne cafe, Paris, 1963. See more photos here.
(Alfred Eisenstaedt—TIme & Life Pictures/Getty Images)
THE ARCHAEOLOGY OF A DRESS
Restored dress as worn by Ellen Terry in her 1888 portayal of Lady Macbeth.
“When Ellen starred alongside Henry Irving in Macbeth in 1888, there was not a wide choice of fabrics available in England, and Alice could not find the colours she wanted to achieve her effects. She wanted one dress to ‘look as much like soft chain armour as I could, and yet have something that would give the appearance of the scales of a serpent.’ (Mrs. J. Comyns Carr’s ‘Reminiscences’. London: Hutchinson, 1926) Mrs. Nettlship found a twist of soft green silk and blue tinsel in Bohemia and this was crocheted to achieve the chain mail effect.
The dress hung beautifully but: ‘we did not think that it was brilliant enough, so it was sewn all over with real green beetle wings, and a narrow border in Celtic designs, worked out in rubies and diamonds, hemmed all the edges. To this was added a cloak of shot velvet in heather tones, upon which great griffens were embroidered in flame-coloured tinsel. The wimple, or veil, was held in place by a circlet of rubies, and two long plaits twisted with gold hung to her knees.’
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