Easter greetings from Spellbound HQ! I hope yours was lovely. For a last moment of celebratory fun, here’s Easter Parade star Ann Miller wearing a truly unique variation of the Easter bonnet. Inside her floral, hinged top hat sits a real, living rabbit. Miller and rabbit look nonplussed, and the actress does her best to make the look chic.
By msbethg in 1940s, 1980s, Actresses, Diane Lane, Era, Moira Shearer, Movies, Series, The Fabulous Stains (1982), The Red Shoes (1948), Times Square (1980) Tags: 1940s, 1948, 1980, 1980s, 1982, artists, ballet, cult, cult films, dancers, Diane Lane, eyeliner, eyeshadow, female, females, feminist, girl punk, girl punks, Ladies and Gentlemen The Fabulous Stains, make-up, makeup, mascara, Moira Shearer, musicians, performance, performance makeup, proto, punk, punks, red lipstick, riot grrrl, stage, stage make-up, stage makeup, teenaged, teenager, The Fabulous Stains, The Japan Times, The Red Shoes, Times Square, woman, women
THE JAPAN TIMES published a good article on how mainstream cinema virtually ignored punk. Those kind of pieces always prompt someone to name films missed. This time that someone was I! I noticed a lack of female-centric films on the list.
I would’ve added proto-riot grrrl flicks TIMES SQUARE (1980) and LADIES AND GENTLEMEN, THE FABULOUS STAINS (1982). They’re important works in the punk screen canon for females, even if written and directed by men. Perhaps being overlooked gives them greater cult status by keeping them films you have to be in the know to seek out. They’re treasured by those who find them when needed.
Picturing teenaged Diane Lane‘s makeup in THE FABULOUS STAINS–the bleached streaks in her hair giving her a “skunk” look and the dramatic eye make-up, I thought how arty punk looks evolve from other influences, sometimes surprising. In this specific case, I focused on the make-up of a classic film, THE RED SHOES (1948).
I don’t have printed proof Lane’s makeup artists were inspired by Moira Shearer’s, but when you juxtapose the two images together like above, similarities become apparent. The angled slash of eyeliner beneath both women’s eyes. Eyelashes that curl dramatically upward despite being thick and heavy with mascara. Lips painted red and in shades and shapes of each woman’s era.
There’s one major difference. The small flashes of red painted near each corner of Shearer’s eyes to increase the drama of a look designed for the stage become flames or wings on Lane. I like to think of them as wings. While Shearer’s dancer, torn between love or her career, loses everything, Lane’s musician dumps her lothario to ultimately triumph on her own talent.
By msbethg in 1920s, 1930s, 1940s, 1950s, Actresses, Cyd Charisse, Era, Evelyn Brent, Fashion, Holidays, Kay Francis, New Year, New Year's Eve, Susan Hayward Tags: 1920s, 1920s fashion, 1930s, 1930s fashion, 1940s, 1940s fashion, 1950s, 1950s fashion, b&w, black and white, black dress, butterfly, classic, classic film, classic films, classical, classical motif, classics, column dress, costume, Cyd Charisse, dress, dresses, Eugene Robert Richee, Evelyn Brent, fantasy, Fashion, fashion designer, film costume, glove, gloves, gown, gowns, hostess gown, I Can Get It for You Wholesale, Instagram, Interference, Kay Francis, lbd, msb3thg, New Year, New Year's, New Year's Day, New Year's Eve, NYE, opera length, outfit, outfits, print, Richee, Silent Film, Susan Hayward, vintage, vintage style, wardrobe
In the United States we’ve been lucky to have two New Year’s Days this year–Sunday the actual day and Monday the legally recognized holiday. Before both have been departed too long, I’d like the glamour of the holiday to linger a little longer, at least on the pages of my blog. New Year’s Eve I had fun on Instagram sharing fantasy party outfits worn by actresses of the silver screen. Let’s step into 2017 together by reveling in their fabulous.
Here’s Cyd Charisse in a gorgeous floral print gown that pops in black and white, but leaves me curious to see it in color. Love the unusual decision to place the bold print on opera length gloves to match them exactly to the dress! They elevate the look into something memorable and high impact. Cyd’s glowing. She knows she looks great.
Susan Hayward looks fiercely glam in a publicity still for I CAN GET IT FOR YOU WHOLESALE (1951). She plays a ruthless fashion designer who claws her way up in the industry, from working for a copyist to her own haute couture label. Of course, her character’s wardrobe becomes more fashionable and breathtaking the higher she climbs.
Model tall, Kay Francis had the frame and poise to wear clothes well and earned a reputation as a clotheshorse because costume designers knew she could wear a variety of styles and looked divine in evening wear. The photo’s photographer, Eugene Robert Richee, plays a visual joke. Francis wears a column dress in front of a literal column.
The final outfit earns its spot by being a showstopper! Actress Evelyn Brent wears a sapphire blue and silver butterfly hostess gown in INTERFERENCE (1928). The dress’s detailing must have been even more impressive in person. Brilliants and crystals were sewn onto its surface to reflect light back at the camera and make her glow like a goddess.
By msbethg in 1930s, 1940s, 1950s, 1990s, Actresses, Carmen Miranda, Cry-Baby, Directors, Era, Film Fanatic Gear, John Waters, Movies, Series, Traci Lords Tags: 1930s, 1940s, 1990, 1990s, bobbypinsco, Brazillian, California, Californian, Carmen Miranda, collectibles, collecting, Cry-Baby, Fashion, fifties, film fan, film fanatic, forties, gear, John Waters, line, Luso, Luso-Brazilian, memorabilia, Miss Ladybug, Miss Ladybug California, nineties, nostalgia, pin-up, pinup, Pinup Girl, Pinup Girl Clothing, Portuguese, PUG, repro, repro vintage, reproduction, reproduction vintage, t-shirt, t-shirts, tee, tees, thirties, Traci Lords, vintage, vintage style, Wanda Woodward
Today I’m giving you a peek at two recent acquisitions. As we know, it’s very hard for film fanatics to resist collecting all sorts of memorabilia, and I’m no exception. I tend to amass movie books to build my own reference library, but my latest pieces are both items I can wear. I bought them from Californian repro vintage company Pinup Girl Clothing.
Do you recognize the woman portrayed by the pin? She’s Wanda Woodward, the desperate to be bad suburban girl from a loving and supportive home in John Waters‘ Cry-Baby (1990). Waters has written of how he admired the tough girls at school, and Wanda is a fifties embodiment of them–big hair, bright red lips, winged eyeliner, tight clothes, and fierce attitude. Twenty-six years from the movie’s release, she’s having a pop culture resurgence. There are t-shirt lines featuring at least her famous line, “Beat it, Creep!” One of the tops is even by her portrayer Traci Lords, so of course her visage is on those tees. I like this pin from bobbypinsco. It’s pretty and subtle. You’re either in the know about who the woman is or simply assume the wearer has vintage tastes.
I’ve written about Luso-Brazilian entertainer Carmen Miranda before, and now I get to sport a shirt showing my fondness for her and my love of retro design. This tee is by Miss Ladybug California. I suspect they use found graphics. Doesn’t Carmen look like she was drawn in the late thirties to early forties? The fabric is a slightly yellowish off-white, and like a lot of pinup lines the top runs small. It has a straight up and down slim cut. Anyone interested in getting her own, I’d advise the shirt has some stretch, but not a lot, and the fabric is thin. Buy by your chest size, and size up if you’re in between sizes. I’m going to be hand-washing and line drying my shirt to make it last!
Disclosure: I bought these items, and I am not receiving affiliate program compensation for my post.