Selincourt Yellow & Black Wool Coat
Harper's Bazaar
October 1947
Yellow Fleece Shirt
Vogue USA
January 1956
Yellow Linen Sheath Dresses
Vogue USA
January 1956
Love in Paris!
DC 7 Airplane Ad
DC 7 Airplane Ad
Holiday Magazine
July 1955
Showing posts with label 1956. Show all posts
Showing posts with label 1956. Show all posts
Wednesday, May 4, 2011
Sunny Day
Tonight I was looking through my ads to get some inspiration for my nightly blog and here's what I came up with. I just smiled when I looked through these sunshine yellow ads and I hope you will, too.
Friday, April 29, 2011
Sunny Hartnett
My favorite model of the 1950s is Sunny Hartnett. As a blonde in a sea of dark-haired models, she really stood out. I think she was an absolutely gorgeous woman. Her name is so fitting for the lightness she radiated in her photos. Here are a few of my favorites from my etsy shop:
Vogue USA
January 1, 1956
Vogue USA
January 1, 1956
Vogue USA
March 1, 1956
She was born in New York in 1924, and given the name of Annemarie Margot Harnett. She had a very successful modeling career throughout the 1950s and upon retiring, became an assistant to Eileen Ford of Ford Models. This photograph of her wearing a Madame Gres gown was taken by Richard Avedon in 1954 and is an absolute icon:
Saturday, April 16, 2011
John Cavanagh 1956 Paper Taffeta Evening Dress Illustrated by Rene Bouche
John Cavanagh Paper Taffeta Evening Dress
UK Vogue
November 1956
Etsy #71291823
UK Vogue
November 1956
Etsy #71291823
Very little detail is known about Rene Bouche himself. Born in Europe in 1906, he arrived at what would be his "bread and butter" career at age 33, when he persuaded the editors of the French-edition of Vogue to allow him to contribute sketches of the latest fashions. His work appeared in both the French and British versions of the magazine, and he produced one of the prettiest covers of the year, showing a milliner's shop full of the summer's bows and flowers, ribbons and laces, straws and tulles.
It was that spring of 1941 that Bouche's career effectively began. Almost immediately he made a considerable "second impression" on Vogue's New York editors, and he quickly became a regular contributor to the magazine. His work was almost exclusively black-and-white sketches, with a few full-color pieces offered up when the assignment or subject-matter warranted. Stylistically, his sketches often resembled what one critic called "frantic calligraphy," yet their mood was always soft and gentle.
It was that spring of 1941 that Bouche's career effectively began. Almost immediately he made a considerable "second impression" on Vogue's New York editors, and he quickly became a regular contributor to the magazine. His work was almost exclusively black-and-white sketches, with a few full-color pieces offered up when the assignment or subject-matter warranted. Stylistically, his sketches often resembled what one critic called "frantic calligraphy," yet their mood was always soft and gentle.
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