Sunday, February 21, 2010
Bear with me this week. My beautiful beloved younger sister Barb passed away suddenly yesterday. I already miss her so. I won't be posting this week while I mourn the loss of Barb and spend time with my family.
Friday, February 19, 2010
Some of them are made from Bengaline, some of satin Lastex, Prospector Rayon and some of Celanese Rayon. Each pattern had a name and each print is called a hand print.
This particular Catalina swimsuit print is called California Poppy. We have it available at Glamoursurf here.
There were also his and her sets created called Sweethearts in Swimsuits. Mary Ann DeWeese was the designer for Catalina at this time and she is responsible for launching the Sweethearts in Swim Suits line of swimwear. This ad is from 1948.
This ad for the California Lobster is from 1949. It mentions to look for other patterns called California Poppy, Sailfish, Ivy and Wild Duck.
This cute two piece suit is called 'Hawaiian Fish'. This is a fabulous new with tags suit also available at Glamoursurf.
We are also lucky enough to have the matching men's trunks at Glamoursurf, so with that you and your beau could be sporting a true Sweethearts in Swimsuits look!
The Sweethearts in swimsuits line continued into the 1950s. The Pharoh ad above is from 1955.
And a final look at one from 1956. These suits are made from Imperial Cotton, a Catalina exclusive. I'd say the Sweethearts line was very successful! Do you have a favorite?
Thursday, February 18, 2010
Here is a photo of her in a gorgeous swimsuit no doubt in a casting call for this role. Isn't she gorgeous? Yes her AND the swimsuit!
I haven't watched the film yet, but have just put in in my Netflix cue. Have you seen it?
Wednesday, February 17, 2010
'The thing is, you see, that no one is born glamorous, but anyone can acquire glamour.'
'I'd say from the Twenties to the Sixties, ordinary women would try the best they could to look like their favourite star. Then it all changed in the grungy Seventies, before glamour made a big comeback in the Eighties, helped in no small part by a certain television series called Dynasty.'
This article appeared here in June of 2009.
Joan Collins is 76 - but she will hate seeing that in black and white. "Whenever I see it printed," she explains from the terrace of her home overlooking the bay of St Tropez, "I think it just can't be true, it's not right, it isn't me. I don't look my age, I don't feel my age and I don't act my age. To me age is just a number."
It's an understandable reaction. For many people, growing older is something that happens to them on the outside, not the inside. But these days our bodies seem to be staying younger for longer. Collins, for example, says she is just as active now as she was in her 40s. She has a trainer once or twice a week when she is in LA or London.
"We do pilates or stretching, not very stringent exercise," she says, "because I think that wears out the bones and sinews and muscles. The body is like a car: the older you become the more care you have to take care of it - and you don't leave a Ferrari out in the sun."
It obviously works. Collins is still considered one of the world's most glamorous actors, but she's not so naive as to think that her attractiveness is measured in the same way as it once was. "From the age of 17," she remembers, "I was a pin-up girl. I did it for 30 years and, quite frankly, it gets a bit boring."
Collins, who first signed to Rank Pictures in 1950, has always made the most of her sex appeal. She describes how she mussed up her hair and stuck twigs into it when she was filming The Bravados with Gregory Peck in 1958. This distressed the on-set hairdresser who, like the rest of Hollywood, expected all good actresses to have neat, uptight Grace Kelly dos. In the 1970s Collins starred in the film versions of her sister Jackie's bonkbusters, The Bitch and The Stud, and was unafraid to appear nude.
There came a time, however, when she decided to cover up for good. "When I did Playboy I was 49," she says, her accent a mix of 1950s Pinewood Studios and LA power lunch. "And I said, 'This is the last time I'm going to be photographed in a revealing pose.' I think that you just decide not to compete with the 21-year-olds, or even the 31-year-olds. There was a time when I posed in bikinis, a time when I posed in exotic lingerie - and then the time passes. It doesn't mean that I still don't wear a bathing suit by the beach, but other things take its place. Dressing well, for example, which is more important to me now."
Collins is synonymous with the classic, if sparkly, side of British style and feels let down by designers today. "I was in a few shops yesterday in St Tropez and I found the clothes impossible to wear unless you are a teenager or in your early 20s. If you are an older woman - and by that I mean 40 plus - there is nothing to wear unless you want to look like a drab old granny and you go to the old fuddy-duddy shops where everything is ankle length and floral print."
She cites the 1980s - the decade of her defining role, bitchy Alexis Carrington in the American soap opera, Dynasty - as the period with the most exciting fashion.
She's not unhappy now though. She has just finished filming a one-hour special for ITV called Joan Does Glamour, in which she uses her "knowledge of beauty, grooming, glamour and style to help three women get ready for particular events".
She also has a grounded attitude to success. "I've spent years when I've not been in the limelight at all and I'm perfectly happy living my life without being swooped on by paparazzi." But, she says, she's also been much more content since meeting her current husband, theatre director Percy Gibson, who is 32 years her junior. "We met in San Francisco when I was doing Love Letters in 2000," she explains "and he was the company manager. First we were friends, and we got together after nine or 10 months, then we married a year later. He is totally admired by my whole family. He is wonderful, kind, funny. We've just renewed our vows. I never think about the age difference at all. Well, we did at first, but it doesn't matter to anybody ... For us it's just not an issue."
And with that, Percy - who's listening to the interview - taps his watch and signals it's time to say goodbye.
Tuesday, February 16, 2010
Monday, February 15, 2010
Sadly, I can't find any information about Suzanne Fisher, Carol Blake or Saundra Constance.
Rusty Fisher was an American model and Playboys playmate of the month in April 1956.
If anyone has any info I'd love to have you leave a comment. Thanks!
Friday, February 12, 2010
Thursday, February 11, 2010
Wednesday, February 10, 2010
So today we ask you, what does a Bikinitini, a Surfer Girl, Hot as Haiti and Pink Melon Fever have in common and or what's the difference? Answer correctly and we'll choose a winner for our blog giveaway today of the Surfer Girl below. We'll leave the giveaway open to Thursday evening at 6:00 PST and announce the winner on Friday. We're not showing the comments on this one until Friday so there won't be any 'cheating'. Winner chose at random out of all correct entries. Good Luck!
Monday, February 8, 2010
Friday, February 5, 2010
Wednesday, February 3, 2010
Monday, February 1, 2010
Margaret Keane, now Mrs. Dan McGuire, works on a series of lithographs for the San Francisco Cory Gallery.
Five years ago one of America's most commercially successful living artists, who always refers to himself in the third person, boasted to a reporter, "Nobody could paint eyes like El Greco, and nobody can paint eyes like Walter Keane." It turns our that someone can; his ex-wife Margaret. Not only can she paint eyes like Walter Keane, but she now claims that Walter never did a single on of those saccharine, lugubrious paintings that peer out of nearly every dime store window in the land. "I did them all," she said. "He can't paint eyes. He couldn't learn to paint at all." Until the Keanes split up in 1965 the prospered as a husband and wife artist team with a six figure annual income. Margaret was known for almond eyed portraits while Walter claimed the teary round eyed waifs that brought the highest prices. In the beginning, the ex-Mrs. Keane says, she was unaware of what her husband was doing. "Every night Walter went down to sell the paintings at a San Francisco night spot called the hungry i. I stayed home painting a lot of children with different city backgrounds. It suited me fine. I was extremely timid and shy." But it was a shock when she found out a year and a half later that Walter was claiming the wet eyed kids as his own, telling her that buyers were willing to pay more if they thought he had done them. Margaret admits that her husband had a real genius for promotions and selling. "But it was a nightmare when Walter threatened to kill me and our two daughters if we told anyone." Keane himself refuses to enter into the controversy; "I'd much rather daub that smear." But when challenged by his ex-wife to a paint-out in San Francisco's Union Square a few weeks ago, he didn't even show up leaving Margaret the undisputed leader of the Big eye school of art.
Margaret and Walter Keane worked at adjoining easels in 1965. One Keane painting brought as much as $17,500.
Margaret McGuire completes and 'original Keane," right down to the wisps of hair, childish mouth and huge eyes.
Margaret says of her new husband, Dan McGuire, a sportswriter for a Honolulu newspaper, "He helped me a lot to become less timid and afraid. For a year I couldn't paint anything at all.
Margaret went on to divorce her husband and also sued Walter USA Today in 1986 for an article claiming he did the work. Once again she went on to paint a picture of her signature work for the jury and won. When Walter was asked to paint for the jury he claimed he had hurt his shoulder and couldn't paint that day. She won.
This is one of Keane's paintings that we have hanging in our home, it's a print but I really love it. You can see more of her work here and a few of her paintings featuring designer clothing here.