Wed 4 Sep, 2013
I’m thrilled to announce that as of August 29, 2013 Vintage Powder Room has joined Los Angeles Magazine’s style blog, THE CLUTCH!
Please look for VPR there, and new posts coming to this page soon too.
Wed 4 Sep, 2013
I’m thrilled to announce that as of August 29, 2013 Vintage Powder Room has joined Los Angeles Magazine’s style blog, THE CLUTCH!
Please look for VPR there, and new posts coming to this page soon too.
Wed 26 Oct, 2011
Will-O-Wisp is a rather curious name for a hair net.
In Medieval Latin will-o’-the-wisp means foolish fire. The will-o’-the-wisp has been described as a ghostly light sometimes seen at twilight over bogs, swamps and marshes. The light resembles a flickering lamp and will often recede if approached, as if it was being carried off by a fairy.
The Will-O-Wisp advertisement above appeared in ASIA magazine in 1922, so perhaps the name and the fairies had something to do with an incident a couple of years earlier in Cottingley, near Bradford, England. Two young cousins Elsie Wright (16) and Frances Griffiths (10) alleged that they had photographed fairies near Cottingley Beck (stream).
Sir Arthur Conan Doyle, spiritualist and author of the Sherlock Holmes tales, learned of the existence of the the fairy photographs after he was contacted by the editor of the Spiritualist publication LIGHT.
Doyle was convinced that they were incontrovertible evidence of psychic phenomena. Not everyone agreed; some felt as Conan Doyle did, and others were certain the photos had been faked.
Following WWI many people turned to spiritualism to ease the pain of losing loved ones either in combat or to the Spanish flu pandemic in 1918. Conan Doyle had his own reasons for his belief in spiritualism.
Doyle’s wife Louisa had been deceased for over ten years when their son Kingsley died on October 28, 1918 right before the end of WWI. Kingsley had contracted pneumonia while convalescing after having been seriously wounded in 1916 during the Battle of the Somme. Kingsley’s death plunged Doyle into a deep depression. The grieving man had little time to mourn his son before he lost his brother Innes, his two brothers-in-law, and two nephews. Suffering so many devastating losses in rapid succession set Doyle on a quest to find a way to cope with his anguish.
Séances and Ouija boards became popular ways in which to attempt to make contact with the spirit world. There were people who were sincere in their beliefs in paranormal phenomena, and of course there were countless charlatans out to make a quick buck by exploiting the grief of those whom the dead had left behind.
The Cottingley photographs became public in mid-1919 after Elsie Wright’s mother Polly attended a meeting of the Theosophical Society in Bradford. The lecture topic that evening was “Fairy Life” and at the end of the meeting Polly Wright showed two photographs taken by her daughter and niece to the speaker. The photos caused a stir. They were displayed a few months later at the Society’s annual conference in Harrogate where they came to the attention of Edward Gardner, a Theosophical Society big-wig.
Gardner embraced the photos for what he believed them to be, evidence that humanity was undergoing a cycle of evolution. He said: “… the fact that two young girls had not only been able to see fairies, which others had done, but had actually for the first time ever been able to materialise them at a density sufficient for their images to be recorded on a photographic plate, meant that it was possible that the next cycle of evolution was underway.”
Initially Gardner had the photos examined by Harold Snelling, an expert in photography. Snelling concluded that the negatives were genuine, which wasn’t exactly the same thing as verifying their content; however, an enthusiastic Edward Gardner used prints of the fairy photos in illustrated lectures he gave around the U.K.
Sir Arthur Conan Doyle had become aware of the Cottingley photos at about the same time that he’d been commissioned by THE STRAND MAGAZINE to write an article on fairies for their Christmas issue. Just as Gardner had done, Doyle took the photos to various experts in an effort to determine their authenticity. Kodak declined to issue a certificate of authenticity, as did another photographic company, Ilford.
Gardner and Doyle wanted desperately to believe the the photos were genuine. They concluded that the fairies in the photos must have been real because only one out of the three experts’ they’d queried had reported unequivocally that there was “some evidence of faking”. Gardner and Doyle heard what they wanted to hear.
In July 1920 the two cousins Elsie and Frances spent a school holiday together in Cottingley so that they could take more photos of the fairies. Bad weather kept the girls, and presumably the fairies, indoors until mid-August. The girls insisted that the fairies wouldn’t show themselves if others were watching, and so Elsie’s mother was persuaded to visit her sister’s home for tea leaving the two girls alone.
While Elsie’s mom was enjoying her tea the two girls were busying taking photos.. The first photo was entitled “Frances and the Leaping Fairy” and shows Frances in profile with a winged fairy close to her nose.
The second photo “Fairy Offering Posy of Harebells to Elsie” shows a fairy offering Elsie a flower.
The third photo “Fairies and Their Sun-Bath” was taken two days later and shows only fairies.
The photographic plates were packed in cotton and sent off to Gardner in London who received them with joy. He contacted Conan Doyle, who was on a book tour in Melbourne, with the good news. Doyle responded:
“My heart was gladdened when out here in far Australia I had your note and the three wonderful pictures which are confirmatory of our published results. When our fairies are admitted other psychic phenomena will find a more ready acceptance … We have had continued messages at séances for some time that a visible sign was coming through.”
Conan Doyle used the 1920 photos for a second article in THE STRAND MAGAZINE, and subsequently used the photos and the STRAND article to form the basis of his 1922 book THE COMING OF THE FAIRIES.
Many of the adults around Elsie and Frances continued to believe in fairies – they wrote books and held séances; but what about Elsie and Frances the fairy photographers? Had they faked the photos? Of course they had. The Cottingley fairies bear an uncanny resemblance to illustrations from PRINCESS MARY’S GIFT BOOK, don’t you think?
The controversy over the Cottingley photos continued without Elsie and Frances — the two girls grew up, married, and lived abroad for years. In 1985 the cousins were interviewed for Arthur C. Clarke’s WORLD OF STRANGE POWERS. Elsie said that she and Frances were too embarrassed to confess the truth after they’d succeeded in fooling Sir Arthur Conan Doyle. She went on to say: Two village kids and a brilliant man like Conan Doyle – well, we could only keep quiet.”
Frances said: “I never even thought of it as being a fraud – it was just Elsie and I having a bit of fun and I can’t understand to this day why they were taken in – they wanted to be taken in.”
Conan Doyle showed the Cottingley photos to physicist and psychical researcher Sir Oliver Lodge, who believed the photos to be fake. Sir Oliver thought that a troupe of (tiny?) dancers had masqueraded as fairies, and in particular he expressed doubt as to their “distinctly Parisienne” hairstyles. Despite Lodge’s opinion, Sir Arthur Conan Doyle remained a true believer in spiritualism and in the existence of fairies to the end of his life.
I don’t believe in fairies, but I do believe in the indefatigability of the human spirit in the face of unimaginable horror and tragedy. If the human spirit occasionally needs to manifest itself in sweet-faced little beings with wings, that’s fine with me.
Another of the skeptics of the Cottingley photographs noted that the fairies “looked suspiciously like the traditional fairies of nursery tales” and that they had “very fashionable hairstyles” – which brings us full circle to the adorable, and stylishly coiffed, fairies on the Will-O-Wisp hair net advertisement.
Mon 19 Sep, 2011
You wouldn’t be surprised if a knock-out blonde with a gorgeous shape became a pin-up model. But what would you think if that same blonde also became a pin-up artist? You might think it’s impossible and that only a man would pursue a career as a pin-up artist; but you’d be wrong. There were a few female pin-up artists during the golden age of pin-up, and the most famous of them was Zoe Mozert. The stunning illustration used in the IRRESISTIBLE advertisement above is representative of Zoe’s work.
Zoe Mozert was born Alice Adelaide Moser on April 27, 1907 in Colorado Springs, Colorado. Her father was a mechanical engineer who invented and patented a design for a cast-iron stove vent. Her father’s invention brought the family modest wealth, and as a result Zoe was able to attend a private boarding school in Virginia.
Following high school Zoe enrolled in the LaFrance Art School. One of her fellow students was John W. Scott. Scott would become a free-lance pulp artist. His work appeared on the covers of “Uncanny Tales”, “Western Story”, “Marvel Tales” and many others.
From 1925 to 1928 Mozert was enrolled in advanced classes at the Philadelphia Museum School of Industrial Art. She paid for her tuition by modeling at the school, and she also modeled for her herself! Zoe would photograph herself or set up a mirror in order to capture her pose — she must have saved a fortune in modeling fees.
While in school Zoe met other artists who would become well known as pulp or pin-up artists. Among her contemporaries was H.J. Ward. Ward was in one of Zoe’s classes and she probably posed for some of his paintings during this period. Ward’s illustrations for magazines such as “Spicy Mystery” are classic. Unfortunately, Ward’s career was cut short by a cancerous tumor in his lung. He died at age 35 on February 7, 1945.
In 1932 Zoe moved to New York City to seek employment as a free-lance illustrator. Her first jobs were for “True Story” magazine. In 1933 she won a scholarship to study at the Art Students League, and by 1934 Mozert was hitting her stride. She created some exquisite covers for pulp magazines, and her work also began to appear on movie posters.
Because Zoe’s work was as glamorous as it was as sexy, it was perfect for ad campaigns for cosmetics (such as for IRRESISTIBLE) and for Hollywood films.
In 1937 she was hired by Paramount Pictures to create the poster for the Carole Lombard film, TRUE CONFESSION. I’ve never seen the film, but I find myself mesmerized by Fred MacMurray’s pimp-like moustache.
Howard Hughes was an engineer, inventor, and a man obsessed with women’s breasts. He designed a cantilevered underwire brassiere to emphasize Jane Russell’s “girls”. The bra sounds like it would have been a nightmare to wear — Hughes added curved rods of structural steel which were sewn into the bra below each breast.
Structural steel may be perfect for bridges and skyscrapers, but I think that it would be less than ideal for undergarments, at least in terms of comfort. Just thinking about wearing a bra with steel rods in it makes me wince.
Russell later said that she never wore the bra, and that Hughes never noticed. I can’t believe that he ever took his eyes off of her chest, so maybe he thought that that the steel rods were invisible.
Hughes’ underwire invention wasn’t the only brassiere designed with full-figured Jane Russell in mind. Years later she’d pitch a support bra for Playtex – but it probably didn’t have any structural steel in it.
In 1941 Zoe signed an exclusive fifteen year contract as a top pin-up artist for the publishing company Brown & Bigelow. Brown & Bigelow had other talented pin-up artists under contract such as Rolf Armstrong, Gil Elvgren, and Earl Moran.
In 1945 Zoe Mozert moved to Hollywood where she worked as an art advisor and as an artist. Her original art, when it is available, is highly sought after. I found an original illustration on the internet for $6500.
Sadly, that’s more than I can afford so I’ll have to be content with searching auction sites, ephemera shows, and antique malls for magazine covers and calendars.
Mozert retired to Sedona, Arizona in 1978 where she continued to work as an artist. She passed away at age 85 in 1993.
Mon 24 Jan, 2011
The most recent addition to my collection is an exquisite sample envelope for Henry Tetlow’s GOSSAMER face powder.
Gossamer debuted in 1888 and the sample envelope in the photo has a copyright date of 1895, which means that it was available during the “Gilded Age”.
The term ‘Gilded Age’ was coined by Mark Twain and Charles Dudley Warner in their 1873 book, The Gilded Age: A Tale of Today. The name refers to the process of gilding an object with a superficial layer of gold and is meant to make fun of ostentatious display while playing on the term golden age.”
”What is the chief end of man?–to get rich. In what way?–dishonestly if we can; honestly if we must.”
– Mark Twain-1871
Mark Twain’s quote accurately sums up the Gilded Age; it was an era during which every man was a potential Andrew Carnegie. The Americans who achieved great wealth flaunted it in ways that would have cost them their heads in 18th Century France. One of the most outrageous examples of enormous wealth, coupled with a profound lack of taste, was at a dinner party thrown by Mrs. Stuyvesant Fish to honor her dog – who arrived sporting a $15,000 [$389,637.70 in today’s dollars!] diamond collar.
To put that kind of money into perspective, while Mrs. Fish’s spoiled pooch wore diamonds, many human Americans wore rags. In 1890, 11 million of the nation’s 12 million families earned less than $1200 per year [$28,818.49 current U.S. dollars]; of this group, the average annual income was $380 [$9,125.85 current U.S. dollars], well below the poverty line.
Of the women who would become well-known during the Gilded Age, one would leave her mark on history – and that woman was Jennie Jerome.
Jennie was born Jeanette Jerome in Brooklyn, New York on January 9, 1854. Jennie’s first marriage was to Lord Randolph Churchill, the second son of John Winston Spencer-Churchill, the 7th Duke of Marlborough and Lady Frances Anne Emily Vane. The couple wed on 15 April 1874, at the British Embassy in Paris.
Jennie had the money and the time to indulge her wild side. There was a persistent, unverifiable, rumor that she’d had a tattoo of a snake twined around her wrist, which she would hide with a bracelet when required.
Even if the rumor of a tattoo is false, Jennie’s wild side would lead her into numerous affairs while she was married to Lord Randolph Churchill. Among Lady Randolph’s conquests were Karl Kinsky (aka Karl, 8th Prince Kinsky of Wchinitz and Tettau) and King Edward VII of England.
Lady and Lord Randolph had two sons: Winston (born less than eight months after the marriage) and John. Jennie’s sisters believed that John’s biological father was Evelyn “Star” Boscawen, 7th Viscount Falmouth.
Known in society for her intelligence and wit, Jennie’s affairs not only provided her with excitement, but they enabled her to make the kinds of connections that would help Lord Randolph, and later Winston, in their careers.
Lady Randolph played a limited role in her sons’ upbringing – a hands off approach to child rearing was typical of the day for women in her social circle. Winston had a nanny, Mrs. Elizabeth Everest, whom he adored – however he worshipped his mother. He’d frequently write to Jennie, begging her to visit him, which she rarely did. Their relationship changed after Winston became an adult; the two became friends and allies. Winston came to view his mother as his advisor and political mentor.
Lord Randolph died in 1895 at age 45, reportedly of syphilis, although given his symptoms it’s been hypothesized that he actually succumbed to a tumor deep within the left side of his brain. The hypothesis of a brain tumor is credible, particularly when you consider that neither Jennie, nor her sons, exhibited any signs of syphilis.
On July 2, 1900 Jennie married George Cornwallis-West, a captain in the Scots Guards who was the same age as her son Winston! Neither John nor Winston was particularly thrilled with Jennie’s choice of a husband, primarily due to the age difference. Even with the difference in their ages, the marriage lasted for twelve years; the couple was separated in 1912 and was divorced in 1914.
Jennie remained single until June 1, 1918 when she was married to Montague Phippen Porch, a member of the British Civil Service in Nigeria. If John and Winston were dismayed by her marriage to Cornwallis-West, they must have been apoplectic when she wed Porch — he was three years Winston’s junior!
Personally, I think the “boys” should have lightened up. It sounds to me as if Jennie aged chronologically, but retained a youthful outlook and personality that drew the younger men to her. Perhaps a man her own age couldn’t have kept up with her!
Jennie was 67 years old when she slipped while descending a friend’s staircase; she was wearing new high heeled shoes. She broke her ankle and gangrene set in and her left leg was amputated above the knee. She died soon afterward in her home in London following a hemorrhage of an artery in her thigh (a direct result of the amputation).
Six years later there would be another freak clothing-related death of a prominent woman. On September 14, 1927 Isadora Duncan (whom many consider to be the creator of modern dance), was riding in an open car when one of her signature long, flowing scarves became entangled around one of the vehicle’s open-spoke wheels and rear axle, breaking her neck.
While searching for a photo of Isadora Duncan, I found the nifty photo of the plug-in heated scarf. Does it have anything to do with Isadora’s death? Not really; I was just enamored of the advertisement.
However, whether you favor a traditional scarf, or one of the plug-in varieties, I must advise you to accessorize with caution.
Tue 31 Aug, 2010
This wonderful 1947 advertisement showcases Daggett and Ramsdell’s Debutante collection of cosmetics.
The ad calls “Come out! Come out!” which is, of course, a reference to the “coming out” parties or cotillion balls which were held to introduce a young lady (known as a debutante) from an aristocratic or upper class family to society.
The rich are not like you and me.
The idea for the parties was to literally bring a girl out and display her to eligible bachelors and their families with an eye to marrying her off to someone within a select circle of people. An early incarnation of TV’s popular “The Bachelor”.
There are many versions of a coming out party in different cultures. Here in Los Angeles most of us are familiar with a Quinceañera, Quince, Quinceañero or Quince años (English: “fifteen years”) which is a Latin American coming of age ceremony for a girl marking the transition from girlhood to womanhood.
If you drive around Los Angeles on the weekends you’ll often see these ceremonies taking place. They are just as elaborate as any wedding. Planning for the Quinceañera begins at least one year in advance and involves family, friends, and a priest who will perform the ceremony in church.
The word debutante comes from the French débutante, and means “female beginner”. They were at their zenith during the nineteenth century; however, they exist to this day.
Personally, I’m fascinated by the American debutantes of the 1930s. The Depression era must have been a peculiar time to be a “deb”. Maybe that’s why magazines of the period focused on “poor little rich girls” like Doris Duke and Barbara Hutton. Perhaps the fact that many of the debutantes had unhappy lives made their riches to riches stories more palatable to a woman in a bread line.
Born in New York City, Barbara Hutton was the only child of Edna Woolworth (1883–1918), who was a daughter of Frank W. Woolworth, the founder of the successful Woolworth five and dime stores. Barbara’s father was Franklyn Laws Hutton (1877–1940), a wealthy co-founder of E. F. Hutton & Company (owned by Franklyn’s brother Edward Francis Hutton), a respected New York investment banking and stock brokerage firm.
Barbara Hutton came out on her eighteenth birthday on November 14, 1930. At the time an average ball cost around $16,000, ($208,872.81 in current dollars). Barbara Hutton’s debutante ball cost over $60,000 ($783,273.05 in current dollars). Who attended this party? The people that you would have expected to have been there, the Astor and Rockefeller families to name two. The guests were entertained by crooners Rudy Vallee and Maurice Chevalier.
While the average family was struggling to make ends meet during the 1930s, girls like Barbara were coming out to continue their lives of wealth and privilege. It is no surprise that public criticism was so severe that Hutton was sent on a tour of Europe to escape the scrutiny of the press and the disdain of the public at large.
By the time of Hutton’s twenty-first birthday in 1933 she had trust fund worth roughly $2 billion in today’s money. Ironically much of Hutton’s fortune came from the Woolworth five and dime stores – places she would never have to shop.
Actually though, there appears to have been a kernel of truth to the “poor little rich girl” moniker. Barbara’s life may have been lived in the finest clothes and spent in the most sumptuous of surroundings but, by all accounts, she was never happy. The things that money couldn’t buy continued to elude her – for example, a happy marriage. She tried marriage seven times, each ended in divorce. None of the men seemed to possess much in terms of wealth or character.
Her first two husbands used her great wealth to their advantage, especially the extremely abusive Kurt Haugwitz-Reventlow, with whom she had her only child, a son named Lance. (Lance would die tragically at 36 in a small plane crash.) Reventlow was verbally and physically abusive. He finally beat her so savagely that she was hospitalized and he was tossed into the slammer. He had even managed to convince her to relinquish her American citizenship and to take his native Danish citizenship for tax purposes, which she did in 1937 in a New York federal court. Reventlow’s constant abuse led Barbara to drug abuse, and to anorexia (from which she would suffer intermittently throughout the rest of her life).
Cary Grant, to whom she was married from 1942-1945, appears to have been the only one of her husbands who sincerely cared for her. The couple was dubbed “Cash and Cary” by the press but Grant, who had enough money and fame of his own, didn’t need anything from his wealthy wife. She would continue to describe him as the only decent man she’d ever married.
Barbara Hutton would continue to fascinate people but arguably the most famous of the 1930s debutantes was Brenda Duff Frazier.
Brenda Diana Duff Frazier’s December 1938 coming out party was so heavily publicized worldwide she eventually appeared on the cover of Life magazine for that reason alone.
Brenda’s father, Frank Duff Frazier, came from a prosperous Boston family. Her mother, the former Brenda Germaine Henshaw Williams-Taylor, was the only daughter of Sir Frederick Williams-Taylor. He was a general manager of the Bank of Montreal who was knighted in 1910 and combined his middle name and birth surname into a new hyphenated surname. A hyphenated name sounds much ritzier, don’t you think? Brenda’s parents eventually divorced, causing little Brenda to spend much time with her social-climbing maternal grandmother.
If you thought, as I did, that the term celebutante was coined recently for the likes of Paris Hilton – well, we’re wrong! The term was created in 1939 to describe Brenda.
Brenda was greatly admired and often copied during the years when she was dubbed “Glamour Girl #1”. She anticipated Goth girls by decades when she popularized her famous “white-face” look. She used a very light colored face powder which made a stark contrast to her red lips and deep brunette hair. Fame comes at a price though – Brenda frequently suffered with a stiff neck because she was afraid to move her head, lest she displace a single hair in her perfect coiffure. Brenda also started a trend when she was photographed wearing a strapless white velvet dress. Strapless gowns quickly became a must have for women of all ages – and they remain a classic style.
Like the other “poor little rich girls”, the debs of the 1930s, Brenda’s life appeared enchanted when viewed from the outside. Sadly, like her fellow debs she was also unlucky in love. She was married twice, both unions ended in divorce. And, as Barbara Hutton had done, she suffered from anorexia throughout her life.
Eventually Brenda must have tired of the endless parties because she withdrew from the public eye for years. She may have slipped away unnoticed had she not been revealed at the end of her life in a photo by Diane Arbus.
If nothing else the photo serves as cautionary tale for those daughters of the fabulously wealthy who lead lives of excess without substance.
Paris, take note.
Wed 24 Feb, 2010
Good news, ladies. Mon Cheri products are on sale at The Owl Drug Co — or at least they were in November 1925.
Fri 27 Nov, 2009
Happy bargain hunting!
May you emerge from the “Black Friday” sales lovlier than ever!
Wed 17 Jun, 2009
The Guerlain advertisement by Jacques Darcy is one that I adore, and one which I have noticed is very similar to the Man Ray photograph of Elizabeth “Lee” Miller from 1930.
Both images are of a woman’s face — upside down, hair flowing, eyes shut. The images reveal women who appear to be sleeping peacefully. Because the advertisement has a caption, we know that the woman is dreaming. The father of modern psychoanalysis, Sigmund Freud, said that “wish-fulfillment is the meaning of each and every dream, and hence there can be no dreams besides wishful dreams”. Nothing like interjecting a bit of Freudian psychology into an advertisement for lipstick!
Man Ray may not have been probing the human psyche in the same ways as Freud, but he was exploring the landscape of the mind through his art. Ray was an American artist residing in New York in 1916 when he became acquainted with fellow artists, and recent arrivals from France, Marcel Duchamp and Francis Picabia. The three men were kindred spirits and they soon became active in the anti-art movement in the U.S. Anti-art didn’t mean that they rejected art per se but rather that they were rebelling against conventional “museum art”. The movement was known as Dada and was a protest against the nationalism, capitalism, and other “isms” which many people felt were the fundamental causes of World War I. Artist George Grosz characterized his Dadaist art as a protest “against this world of mutual destruction”.
When Ray arrived in France in 1921 he was one of many expatriate artists and writers who would gravitate to Paris in the 1920s; and just as his predecessors had done he found his way to Montparnasse, sometimes referred to as the “Harlem of Paris”. Ray continued to pursue his art; however, Dadaism peaked by 1922 as many of his contemporaries embraced Surrealism.
There were several parallel, and very important, art, design, philosophical, and political movements gaining ground during the 1920s: Dada, Surrealism, Art Deco, Freudian psychoanalysis, and Existentialism (the term existentialism was not used in the 1920s; it was coined in 1943 by Gabriel Marcel, and it would be retroactively applied to philosophers such as Martin Heideggar and Soren Kierkegaard). I see subtle similarities between the Darcy ad and the painting La Magie Noire by Rene Magritte. Perhaps it is the coloration, or the peaceful expression on the face of the woman who seems to belong to both the earth and the clouds.
For most of the 1920s Ray’s muse was Alice Prin (aka Kiki de Montparnasse), the Queen of Montparnasse. Kiki had come up hard as the illegitimate child of a peasant girl, and was given over to her grandmother to be raised. The two struggled in extreme poverty (Kiki often stole food from local gardens) and so when at age 12 she had an opportunity to live with her mother in Paris, she took it. She was a headstrong girl and she and her mother frequently clashed. When Kiki finally left her mother’s home for the last time she was only 14 years old.
She was a lovely girl, and it wasn’t surprising that she was quickly discovered by local artists. Her relationship with the artists was often mutually beneficial — many times they produced their best work when using Kiki as a model. That was certainly true of Man Ray.
Kiki fled Paris in 1940 when the Germans began their occupation and she never returned as a resident. She died at age 51 — the likely result of alcoholism and drug abuse.
In 1929 Kiki was supplanted in Ray’s affections by Elizabeth “Lee” Miller. Lee arrived at Ray’s Paris studio and announced to him that she was his new student. He insisted that he didn’t accept apprentices, but Lee was extraordinary; she was gorgeous and talented. They became lovers as well as student and teacher. Lee had run to Paris after posing for a Kotex ad. The ad is famous for being the first feminine hygiene ad in which an actual photograph of a woman was used. At first Lee was mortified by the ad, apparently she hadn’t realized that she wasn’t to be a model for a drawing, but rather for a photograph.
Lee would stay with Man Ray for a few years, but eventually she grew restless and returned to New York where she opened her own studio. If her studio work was superlative, her work as a photojournalist for Vogue magazine during World War II was brilliant; however, witnessing scenes at liberated death camps, among other horrors, profoundly changed her.
She put away her camera in the 1950s and channeled her restless energy into gourmet cooking, at which she excelled. Lee succumbed to cancer in 1977; her ashes were scattered over her herb garden at her farm in Sussex, England.
As for Jacques Darcy, the artist who created the distinctive advertisements for Guerlain, I have not been able to discover very much about him. I found conflicting information in various sources. The consensus seems to be that he was born on February 7, 1892 and died in 1963 in Michigan. His work appeared frequently during the 1920s and 1930s in such publications as Harper’s Bazaar, Vanity Fair, and Vogue. He is best known for the art he produced for Guerlain — in my opinion some of the best commercial art ever created.
Thu 7 May, 2009
The roles that women played during World War II were as complex and contradictory as at any time in history. On the home front they were wives, mothers, sweethearts, factory workers, and taxi drivers. War time propaganda encouraged women to keep the home fires burning, while simultaneously raising children and driving rivets into the hull of a destroyer or the fuselage of a bomber.
I have noticed that one phrase appeared consistently in wartime articles on make-up and fashion, and that was “morale is woman’s business”. It was made clear that in addition to any other responsibilities she may have had, it was a woman’s patriotic duty to look her best at all times. The business of morale was taken seriously, and countless articles were written to advise women on how to be competent, effective war workers, and yet remain attractive and cheerful companions.
While the women of the home front were keeping things on track, servicemen needed to be reminded why they were fighting, and what they were fighting for; and nothing sent a clearer message than a gorgeous pin-up picture. Hollywood stars Rita Hayworth, Jane Russell and Betty Grable were the three most popular pin-up girls of the era, and their photos accompanied soldiers in their footlockers around the world. Five million copies of Rita Hayworth’s picture were sold; that number exceeded only by Betty Grable’s iconic photo.
Photos from home were crucial to a fighting man’s morale, but sometimes a candid snapshot wasn’t good enough. I found an article in the Los Angeles Times from October 1943 entitled “Send Him Your Picture”. The article described in detail how to apply make-up for a professional portrait, and it also provided tips on what to wear and whether or not to apply whitener to your teeth. This all speaks to the significance of the pin-up photo during the war. The pin-ups weren’t merely masturbatory tools for lonely troops, but they were a necessary, if idealized, connection to home.
Not surprisingly, the focus of home front culture was on victory. There were victory gardens, victory pins (to wear on your sweater or jacket), and there was victory lipstick. Victory lipstick came in tubes made of paper, plastic, or wood because metal was required for the war effort.
Jergens wasn’t alone in using patriotic themes in their advertising, but they put an imaginative spin on it when they hired world class pin-up artist Alberto Vargas to create both a package design and an ad that urged women to “be his pin-up girl”. And of course it was Vargas, among other pin-up artists, who inspired some truly glorious nose art (art that graced the fuselage of many of the aircraft during the war).
It’s plain to see that Jergens grasped the relationship between pin-up art and the woman’s business of morale and used it masterfully to their advantage.
The pin-up girl ad campaign appears to have run during 1944, and the face powder box with the Vargas art turns up in ads for about a year following the end of the war in 1945.