Wednesday, December 31, 2008

The New Year

They say that how you spend New Year’s Eve is how you spend the rest of the year (and when I say they, I mean Summer from “The O.C.”) If this is true, I always spend the entire year watching movies and eating cold pizza… Okay, that is sort of true. Bottom line, it doesn’t matter if December 31st is a night just like any other or if it does set the tone for the next year because it’s all about how you spend it. If you are like me and don’t favor drunkenly tonguing the closest body when the clock strikes twelve, here are some suggestions to New Year’s Eve-oriented films to get you into the 2009 mood:

  1. Bridget Jones Diary: For Bridget, New Years is an opportunity for her to find a respectable boyfriend, lose weight, and lower her alcohol comsumption. Watching her romantic mishaps along the way are quite entertaining. “Bridget Jones’ New Year’s Resolution #1: obviously, will lose twenty pounds. #2: will find a nice, sensible boyfriend and stop forming romantic attachments to alcoholics, workoholics, commitment-phobics, peeping toms, megalomaniacs, emotional f***wits or perverts.”
  2. Holiday: In this 1938 film, Cary Grant stars as Johnny Case, a laid-back guy betrothed to the daughter of a millionaire. When his fiancée Julia’s family (with the exception of her independent sister Linda and her drunkard uncle) begins to pressure him into the family business and make him their ideal son-in law, Johnny instead wishes to always be on ‘holiday.’ He begins to spend more time with the family’s black sheep Linda (Katharine Hepburn) and questions which life – and sister – would make him happier. On New Year’s Eve Johnny makes up his mind. Not to be confused with…
  3. The Holiday: This 2006 film is the last documented proof of Jude Law’s attractiveness. The story is about two unhappy women (Kate Winslet and Cameron Diaz – do they not own a mirror? If I looked like either of them I would be happy all the time) who switch homes for the holidays. The ending of them all happy and dancing on New Year’s Eve just sort of makes me bitter.
  4. When Harry Met Sally: Billy Crystal and Meg Ryan star in this film about two friends who are in love with each other but apparently just cannot see it. The New Year’s Eve scene, where there are sudden realizations by both parties about their true feelings, is apparently heartwarming to many people, but again, makes me feel bitter.
  5. The Apartment: Jack Lemmon is C.C. Baxter, an ambitious insurance salesman in love with a beautiful-but-suicidal elevator operator, Fran Kubelik (Shirley MacLaine). When Fran realizes that Baxter has been pining for her all along, she leaves her gentleman caller on New Year’s Eve and goes to him. The movie ends with both of them unemployed, unsure of the future, but nevertheless happy. Miss Kubelik offers the best advice for the New Year with, “Shut up and deal.”
  6. Ocean’s Eleven (1960): Though I am a fan of the 2001 remake with Clooney & Co., the Rat Pack version is still number one. The film has the motley crew robbing five different casinos – Desert Inn, Flamingo, Sands, Sahara, and Riviera – on the last moment of the last day of the year.
  7. 200 Cigarettes: Set on New Year’s Eve during the early eighties, this film follows something like sixteen different peoples’ New Year’s Eve-nings. The movie stars Ben & Casey Affleck, Christina Ricci, Courtney Love, Paul Rudd, Kate Hudson, Janeane Garofalo, Jay Mohr, Dave Chappelle and many other people. “200 Cigarettes” reminds me of “Reality Bites” if those kids were a little more social and didn’t sing “Conjuction Junction” (which was what had made Reality Bites amazing). That’s probably the best way to describe a movie about Gen-X “hipsters” that really aren’t hip. But Elvis Costello shows up and that makes it gold.
  8. Alfie (2004): There is only one little bit in this version of “Alfie” that is worthwhile in my opinion, and it is where he dates Nikki (Sienna Miller), the crazy/beautiful New York wild child who he finds on Christmas Eve. Unfortunately for little Alfie, New Year’s Eve is when Nikki first begins to reveal bits of her real, nonmedicated personality and only thinking of himself, he is quick to dump her in the forthcoming days. Well karma’s a bitch because Alfie ends up alone and I’m sure Nikki ends up in a happy relationship where she can wear her floppy hats, peasant skirts, fur coats, and black eyeliner in peace!
  9. Sunset Boulevard: When delusional silent-screen star Norma Desmond throws a New Year’s party for herself and Joe Gillis, a down-on-his-luck B-picture screenwriter, she chooses this occasion to profess her love for him. Scared out of his mind, Joe flees to a friend’s house where another party is occurring, and Norma, feeling rejected, attempts suicide. Maybe you shouldn’t watch this if you are feeling sad tonight…
  10. High School Musical: If I remember correctly, the first scene of this film is of Troy and Gabriella singing karaoke on New Year’s Eve. Talk about the “Start of Something New”…This film proves The O.C.’s theory on New Year’s; those two HSM kids were singing for the next few years after that one song.

The Pattie Chronicles: The Style

Some of my favorite Pattie looks

Throughout most of the sixties, Pattie Boyd was a fashion icon. Her sense of style evolved throughout the decade from her modest skirt suits of the early ‘60s, to her transition from Mod Goddess (or Moddess, if you will) to a happy hippie in the mid-‘60s, ending the decade with a mature, more subdued sense of style that she would carry for the rest of her life. She became muse to legendary designer Ossie Clark and partied with Mary Quant. Not too many other models (or people at all) can lay claim to this. Pattie wore miniskirts (the ‘60s definition of mini – about three inches above the knee) and said that the color of choice for a cocktail dress would be white or pink – knocking the theory of the Little Black Dress’s essentialness for a loop. With evening dresses, Pattie liked to pair her designer gowns with a second-hand black velvet jacket, a high-low combination that would become so popular in the next few years.
Pattie was proud that she never purchased much expensive clothing, instead buying a lot of vintage (her favorite being Edwardian). Though not all of us are international supermodels and are gifted tons of designer clothing, so when it comes to dressing like Pattie, us common people may have to lay out a pretty penny or two. But take the advice from Pattie – the best place to start your wardrobe is in a vintage store. Not only is it usually less outrageously priced than the clothing found in department stores, but there is something quite appealing to buying vintage clothing and pondering what fabulous event from decades past your item was worn to. Perhaps your silver floor-length gown danced with Frank Sinatra in Vegas or your newly acquired Halston Grecian gown partied at Studio 54 with Bianca Jagger and Andy Warhol. At vintage stores, you can find not only Victorian pieces like Pattie loved, but clothing from the 1960s is quite commonplace in most good vintage stores. And if the heavens are on your side, you might even find an Ossie Clark original that Ms. Boyd wore of her own!

Emulating Pattie Boyd’s wardrobe is so much fun because how you go about it depends on your personality. Pattie went through five major style periods during the sixties, and, depending on which one you want to follow, you can interject much of your own personality into it. But whether you decide to follow one of Pattie’s 60s fashion periods or alternate between the five, you will always be well-dressed. And whatever you decide, you won’t be alone in your decision. Sixties supermodel Twiggy confessed that she modeled herself after Ms. Boyd’s early sweet Mod-ish taste in clothing and makeup when the Twig was first establishing a career for herself – and just look at how well that turned out!

Je t'aime... moi non plus

Jane Birkin, the Brit-born singer/actress who became a cultural icon in England and France, was a successful model prior to her first big acting break. Her first ‘role’ was as a girl on a motorcycle in the Dick Lester film “The Knack… and How to Get it.” The next year, Jane really emerged on the film scene when she was cast in the quintessential mod film “Blowup” as ‘the blonde’ model. Her roles in 1966’s “Blowup,” and 1968 the George Harrison-scored film “Wonderwall,” cast her as a child of the Swinging London scene. “Wonderwall” also had her playing a model, named Penny Lane. The costumes were designed by “The Fool” – who also designed clothes for the Beatles, Anita Pallenberg, Pattie Boyd, and many other 60s stars – and the film became a testament to the late 1960s London. Following that film, Birkin took the role as Évelyne in “Slogan,” which would be her first of many French films. She costarred alongside Serge Gainsbourg and duetted with him on the film’s theme song.

Other roles Birkin had were in “The Swimming Pool,” “Death on the Nile,” “Evil Under the Sun,” “La fille prodigue,” “La pirate,” “Love on the Ground,” and “La belle noiseuse” – the majority of her roles having led to nominations for César Awards. Birkin has also recorded several albums, collaborating with artists as diverse as Feist, Franz Ferdinand, The Smiths, Rufus Wainwright, MC Solaar, Francoise Hardy, and Beck. Her most notable singing collaborator is Serge Gainsbourg, who she shared a relationship with for twelve years. In 1969, Birkin and Gainsbourg released the duet “Je t’aime… moi non plus” which was so controversial at the time that it was banned from all radio stations in the US, UK, Italy and Spain. The song was sung in French and became very popular all over Europe, despite its overt sexuality. It was originally written for Brigitte Bardot until Gainsbourg initiated a relationship with Birkin. In 1975, Jane Birkin starred in a film named after that song, which was directed by Serge Gainsbourg.

Birkin has been married three times, first to “James Bond” composer John Barry from 1965 to 1968, marrying him when she was only eighteen. She had a daughter, Kate Barry, with him in 1967. Her next was with Serge Gainsbourg, and she had a daughter Charlotte with him as well. This relationship ended in 1980, when Jane left him for Jacques Doillon, who would become her third husband. In 1982 she gave birth to her third daughter Lou.

Birkin is still active in her singing and acting career, though now she focuses more on humanitarian work. I have always admired Jane Birkin’s style – it’s a healthy mix of French timelessness and British trendiness. I don’t know if that made much sense, but I think that British girls are usually so on point with what is popular (even sometimes being the catalyst for what is about to be popular) and French girls have this air of classicism in what they wear but Jane’s style has somehow found an equilibrium between the two. Jane’s fashion legacy will live on – no matter if she wears nylon track suits and white Keds for the rest of her life. In the mid-1980s, Hermès designed and named a bag in honor of her after she complained about not having a bag big enough to use when travelling. The Birkin bag has become the most expensive and most sought-after of all Hermès bags, though Jane herself hasn’t used the bag in recent year, citing shoulder pain as the reason. I just thought that last bit was funny.

Monday, December 29, 2008

This Bird Has Flown

Cyn Lennon was born Cynthia Powell in Blackpool, England in 1939. She was raised in the upper middle class section of Merseyside, called Hoylake by her mother and until she was a late teenager, her father. When she was 17, she was admitted to the Liverpool College of Art to study graphics. She was an incredibly gifted artist, far superior than many of her classmates, and she showed up each day to college wearing tweed skirts, twinsets and glasses (don't worry - this is not the phase of her style I am about to complement!) which was a stark contrast to the beatnik look her more bohemian classmates were sporting. Gradually, Cynthia began to loosen up her style more, not wearing her glasses outside of class in order to break her reputation as a teacher's pet.

One day, a "teddy boy" (a boy during the 50s-60s who wore Edwardian-inspired clothing like black velvet coats, drainpipe jeans, highneck shirts, and DA hairstyles) sat behind her during a lettering class and introduced himself as John. Cynthia took a liking toward him because of his litle regard of authority (manifesting itself in the form of their teachers) and his tendency to play his guitar around campus (anyone who read her memoir "John" can recall his serenading her with "Ain't She Sweet" in front of everyone in class). One day she heard him complementing a flaxen-haired classmate as resembling Brigitte Bardot and, feeling a tad jealous, bleached her hair blonde the very next weekend -- a look she would keep the rest of her life.

After a rather short courtship (including a school dance, some bottles of beer, and doing it in Stu Sutcliffe's apartment), Cynthia and John began dating and became attached at the hip. Their relationship was passionate with both its ups and downs. They were both in love; John wasn't even deterred at all when his Aunt Mimi constantly referred to Cyn as a "gangster's moll," but true to John's nature, he suffered mood swings where he would turn jealous and abusive because he was afraid he was losing her. Over the early course of their relationship, John also achieved in turning Cynthia into the Liverpudlian Brigitte Bardot, trading in her tweed skirts for leather pants and stockings for fishnets.

In July 1962, Cyn found out she was pregnant by John. Though worried he wouldn't be happy with the news and maybe leave her, all of Cynthia's worries were calmed when John responded to the news by asking her to marry him. They were married in late August 1962 but couldn't tell many people they were wed because of a fear Beatle manager Brian Epstein had of the band not becoming as popular if a member was married. Much of the time Cyn was pregnant John was away on tour, though he frequently called to check on her and the excitement he felt of becoming a father grew. In April, Cynthia welcomed a son John Charles Julian Lennon, to be called Julian.

But the demands of his career kept him from being near his family and during the rest of the decade, the connection that John and Cynthia shared began to wane. Cynthia's first responsibility was to her son, but John had millions of fans, hundreds of corporate types, and several band members to answer to. Cynthia acknowledged this in her book, saying "John didn't get a real chance to be first a real husband or later, a real father. Once he got on the Beatles bandwagon he couldn't get off, even if he wanted to." But what really killed their relationship, Cynthia believes, was drugs. "John needed an escape from his reality," she wrote, "I understood completely but I couldn't go along with him." Her bad experience with LSD versus his fondness for it drove them farther apart until they were almost strangers living in the same home.

At this point, we all know how the story continues. Here is the Cliff Notes version: John meets Yoko, John marries Yoko, John sits in bed and grows hair with Yoko, John gets lost for a weekend, John procreates with Yoko. Essentially yes, this is how John’s story ends, but Cynthia’s is far more interesting. After being left by her husband for Miss Ono, Cyn met a charming Italian man Roberto Bassanini who, in 1970, she would marry. But one of the most adorable moments Cyn presents in her memoir was when Paul McCartney visited her and Julian right after her and John had filed for divorce. Having recently broken up with his fiancée, Jane Asher, he brought Cyn a red rose and jokingly asked her to marry him, saying something along the lines of “How bout you and me getting married now?” He also performed a song he had written on his way up there, composed for Julian (and would eventually become “Hey Jude”) to help him through his parents divorce.

Despite the tense relationship she would share with John in later years and bitter views in regards of what was best for Julian, I like to believe that Cynthia and John truly cared for each other still after the divorce. There is a quote from a 1974 interview where John said, "It was said I never loved Cyn. That's far from the truth. We were young, bigheaded, and got into a physical relationship too soon. Perhaps if we took things slow we would have made it. I know we would have made it."

Personally, I like Cynthia Lennon. Though she has written two books about John, it never seems like she wrote them to get even or dish dirt on her former husband. Both books - even "John," which delves deeper into his sometimes stormy nature and his often cruel treatment of Julian - discuss John in a loving manner. Despite the pain he put her through, you can see that she still really loves and respects him. Looking back on all the relationships all the Beatle boys had, Cynthia was the only girl you can't accuse of just wanting to get with a Beatle. She fell for John when his musical career could've amounted to nothing but a pipe dream for a college kid. She is more than a fashion icon because no matter how much she dressed like Brigitte Bardot, there still the underlying intelligence of that inner teacher’s pet that makes her a lot more. But since this is a style-based website, I will comment on it. I am jealous of her ankle-length velvet capes matched with ivory Victorian blouses and black bandage skirts and leather boots. It seems she never quite lost that Bardot look or John’s early Teddy boy influence, but it quite worked. Another thing I love about Cyn’s look is that she very rarely looked like she was actually wearing makeup at all. Obviously she was because who would go to world premieres and high-class parties with just a dab of lip balm or mascara, but I just love that she always looked so clean and natural. Not too many girls can actually pull that off without looking sickly, so props to Cyn for her natural beauty.

She has integrity, she has heart, and she has one hell of a life story. I wish Cyn Lennon all the love and best wishes in the world because she definitely deserves them!

Sunday, December 28, 2008

The Pattie Chronicles: The Hair

Pattie told 16 Magazine in October 1965 that a girl’s shining glory “truly is her hair” and that “it is very important to pay extra attention” to one’s hair-do, telling the mag she washed her hair daily, drying it in a clean linen towel. Pattie also recommended shampoo with olive oil added because it moisturizes most normal hair. Despite this, she admittedly told a magazine the next year that she hardly ever goes to the hairdresser. “I haven’t been to one in ages. I can’t bear sitting under the drier. I wash my hair myself every five days – the fringe more often, and sometimes I give my hair a dry shampoo between washes. If I think the ends need cutting, then I just get whoever is at home to chop them off – George, my sister, anybody.”

Back in 1965 and before, Pattie worked the ‘flipped-out’ look at the ends of her hair. To achieve this style, “Just before my hair is completely dry, I give it a good brushing with a natural bristle brush… When my hair is gleaming (still dampish), I take about eight big round rollers and carefully roll up the ends. I curl them over about three times. You have to use more or less turns, depending on how much natural curl there is in your hair. When my hair is dry, I remove the rollers. Then I lift the hair at the top of my head and back-comb or brush it until there is enough teased up to give me a little "crown". Next, I comb over the teasing gently until the crown looks smooth and neat. Now I comb my bangs down over my eyebrows and, holding them lightly, flicking the ends up so that I get a curved line (which is very flattering to the eyes). Finally, I carefully comb the sides and ends, also flicking the bottoms up all the way around. The final move is to spray my hair thoroughly with a good, light hair spray. This holds it in place without getting it all gooey.”

To backcomb her hair, Pattie travelled with a long comb with fine teeth (AKA – a ducktail comb) and a bristle brush (try to buy a natural bristle brush if possible – it makes for healthier hair).

Thursday, December 25, 2008

The Story of Bonnie and Clyde

As the fall/winter months approach, I always find myself infinitely inspired by Faye Dunaway's wardrobe in "Bonnie and Clyde." She was quite possibly the best-dressed female crook ever (the best male being Cary Grant as John Robie the Cat, natch). How could Warren Beatty's Clyde resist her Bonnie's wardrobe of long tweed skirts, trench coats, fitted sweaters, silk scarves, mary janes, and berets? The film's costumes, designed by Theodora van Ruckle, were dubbed the "gun moll" look (named after Bonnie's nickname) and helped usher in a 1930s style revival during the late sixties. Even Faye's honey-blonde bobbed haircut has been an inspiration for me; I cut my ribcage-length hair to a shoulder-length bob last year to evoke Faye's look more. And though I don't look as killer in knitted sweaters and bandana scarves (nor do I have her cutglass cheekbones) as she did, Faye as Miss Bonnie Parker had such a beautiful classic look that anyone could pull it off. Just as the film itself has remained just as revolutionary and important four decades later as it did upon release, Miss Dunaway's fantastic look has inspired many girls like me for over forty years.

Little Willow

Maureen Cox Starkey was the first wife of Ringo Starr, who he married in 1965. During their ten-year marriage, "Mo" (as she was often referred) developed a keen style - from Liverpool sweatheart wearing skirt suits, houndstooth coats, kitten heels and silk blouses to Rock'n'Roll goddess in her over-the-knee boots, babydoll dresses, and velvet short shorts. She rocked the Sixties dollybird staple - great long hair with blunt fringe. But whether she was a peroxide blonde or her natural raven-colored hue, Maureen always seemed to have fun!
Born in Liverpool, Maureen left school at sixteen to become a hairdresser in 1962. Around that time, she started frequenting the Cavern Club and became a fan of the Beatles, who performed there often. She took a particular liking to the band's drummer. After a while she and Ringo began dating, which proved to be both a dream and a nightmare for Mo. While she like Ringo and thought the music was great, she was unconcerned with his band's growing fame and was quite alarmed by the vicious reactions she received from fans. On Valentine's Day 1963, she was cut on the face by a fan while waiting outside for Ringo in the car. But still Maureen and Ringo kept dating. When Ringo was hospitalized in 1964 for tonsilitis, Maureen rushed to London to stay by his side and nurse him back to health.
Maureen's down-to-earth and generous nature was not overlooked by Ringo, who proposed to her in early 1965. In February, a now-18 Maureen married 24-year-old Ringo. Their first child, a boy named Zak, was born seven months later. Over the course of their decade-long marriage, they would have two more children.
Mo and Ringo were very much in love, but still problems arose in their marriage. Ringo grew to develop an alcohol problem and there was infidelity by both parties. But Maureen, who had an affair with George Harrison, still loved her husband and didn't want a divorce. Eventually she relented and she divorced Ringo, citing his affair with Nancy Andrews as main reason.
In Cyn Lennon's book "John," Maureen was apparently depressed for several years following her divorce from Ringo. Eventually she moved on, marrying Hard Rock Cafe & House of Blues founder Isaac Tigrett in 1989. Tigrett The couple had a daughter together two years prior. jokingly referred his new bride as "my greatest piece of rock memorabilia." But even after she embarked on a new life with her new family, the Starkey clan remained close. Ringo has said, "Three years ago I started working again after a long break, and the whole family, including Maureen, came to the gigs... We're like that. We go as a family to support the family. Even though we're divorced, me and Maureen still share the joy of being part of the same family."
On New Year's Eve 1994, Maureen lost her battle to leukemia; she was 48 years old. Along with her children, her mother, and her husband Isaac Tigrett, her ex Ringo was holding her hand when she passed away. Ringo was reportedly said that when Maureen passed away, a part of his soul died as well. The song "Little Willow" (a heartbreaking beautiful song if you've never heard it) off of Paul McCartney's "Flaming Pie" album was dedicated in her memory.

That Daring, Darling Holly Golightly

Oh my goodness, has there ever been another film so beautiful, so influential as Blake Edwards's 1961 magnum opus Breakfast at Tiffany's? Nevermind how much it differed from Truman Capote's original novella about a call-girl and her bisexual writer friend -- this film was a true feat all on its own! Featuring the marvelous Audrey Hepburn as Holly, along with George Peppard, Patricia Neal, Mickey Rooney, and Buddy Ebsen, this film has remained a timeless classic. Why, you may be asking? A simple answer is that even if you weren't listening to the elegant dialogue or Mancini's beautiful "Moon River," this film would still take your breath away because Edwards really makes each shot of this film worthy of being a framed photograph. Its so stylistic in every way that you just feel immediately more sophisticated upon watching it (even if you are only in sweats and gorging on popcorn like I often do!)
Every girl I know has, during one point in her life or another, wanted to be Holly Golightly. No it wouldn't be enough to dress like her or adapt her fear of mean reds or love of Tiffany's -- they actually wanted to become this character. But eventually after a few weeks they would give up in vain. If you are one of these girls but are a little more determined to succeed, I recommend you checking out the blog Chic and Charming (if you haven't viewed it, I highly recommend it -- it's really wonderful), they posted a list that details everything in "Breakfast..." so that you can legitimately own all the same things Holly did, associate with the same folks, dine at the same places, even use the same brand of cake mascara. I myself dilligently took notes upon first viewing.

Chic and Charming's great list of How to Be Holly Golightly

Also, I just thought I'd post this Wiki-how guide to being Holly. Its quite fun as well

Wednesday, December 24, 2008

The Pattie Chronicles: The Makeup

Pattie has long been admired for the way she applied makeup. The main principle in recreating Pattie’s look for yourself is to stick with dark eyes and pale lips. This mantra works for just about any other sixties bird, from Brigitte Bardot to Cyn Lennon, simply because this look works for everyone. Never do dark eyes and dark lips or pale eyes and lips at the same time – it looks very off when it is done. Unlike many other sixties girls, who flamboyantly applied a color wheel of hues on their faces, Pattie was a bit more modest in terms of makeup application. She stuck to the essentials when it came to makeup: black/brown liquid eyeliner, brown eye shadow, blue-grey eye shadow, black/brown mascara, pale foundation cream, pale pink lip gloss, and pink blush. The perfume she used for years (and is said to still use) is Jicky by Guerlain. “It’s got a lovely musty scent without being too sweet,” Pattie once said about her signature scent. It was also the favorite fragrance of Brigitte Bardot, the object of the Fab Four’s affections for years (hmm… I’ve got to get myself a bottle of this stuff…)
The main emphasis in creating a truly modern look was the eyes. As Pattie herself said, the eyes are the most important feature of your face. So rightfully, you should dedicate most of you makeup attention to them. Don’t be worried if you are taking a lot of time doing your eye makeup – that’s how it’s supposed to be! It simply wouldn’t look as good if it could be done in a rush. “Eye makeup is essential,” Ms. Boyd told US Vogue in October 1969, “especially as I have very fair lashes. I like to make my eyes the most important feature. Depending on whether I have a tan, or my mood, or what-color clothes I am wearing, I wear whatever-color eye shadow accordingly, and put the same color but a darker shade on the crease of the eyelid. So I might use pale green with green-black shadow, and for a more startling effect, middle-green poster paint. Blue-green is a good color with deep lilac shadow, browns as well. I also use blue mascara. I think the naked look is fantastic if one is very suntanned, but if not, it can look most uncared for.”
To make her eyes look bigger, Pattie revealed in May 1965 that she “put on several coats of mascara, but before I do this I draw a line in black eyebrow pencil across my eyelids at the roots of my eyelashes. I don’t curl it up at the end like most girls do. I extend it slightly out and downward” because she believed it contoured her face and made her eyes appear rounder. After this, apply your eye shadow. Pattie advised keeping a palette of eye shadow colors on hand in order to match to your clothing and coloring. “I keep brown and blue-grey [shadows]…always,” she told 16 Magazine in September, 1965. To apply shadow use a brush, “imagine a line straight from where the inside of your eyebrow starts to just above the inside corner of your eye. Start to gently brush on eye shadow from that point, arching the line slightly upwards and keeping it just above the first crease in your eyelid. When you reach the peak spot in the middle, start sloping downwards, stopping the eye-shadow just above the end of your eye line. This makes your eyes look very exciting!” Pattie also applied her mascara to her lower lashes, but told girls to do this only if it looked good on them. “If it suits you, do it,” she said, “if not, skip it.” Although not necessary, false eyelashes can be used to make one’s eyes seem larger. Pattie used them rarely, never as much as Twiggy, but this was because she was born with great lashes herself and rarely felt the need. But, if you are looking to buy Pattie-worthy lashes, look for thick lashes as opposed to longer lashes. Falsies, as they are often called, can be found in just about any drugstore or makeup store out there.
On her lips, Pattie used a dab of foundation cream to take the color out of them. She tended to not used lipstick, but would sometimes put a topcoat or gloss over the foundation so that her lips didn’t look dried out. Though not all of us were blessed with a naturally full, borderline-Bardot mouth like Pattie was, we can fake it. Using a lip plumping gloss or applying a pale gloss a little outside of your lip lines can give the illusion of a fuller pout.
Very self-conscious of her rounded face shape, Pattie used a large rouging brush to “elongate” her cheekbones. “I lightly twirl” the brush “in blush rouge and then gently dust some along each check just above the jawbone. This gives the illusion of a thinner, better-shaped face.”
Pattie was well-aware that in order to have good skin, “you just may have to make a few sacrifices” by cutting out junk foods and following a thorough skincare regimen. “First off,” she declared in the November 1965 issue of 16 Magazine, “you all know that cleanliness if a prime requisite when it comes to having a pretty face,” advocating twice daily washings and moisturizing. Pattie also advised applying makeup in the correct light, so it comes out looking as natural as possible.

Jean Genie

The first American gamine, the Iowa-born Jean Seberg became an icon in French and American cinema during the 50s and 60s. With her pixie-cut hair, elfin features, and breathy voice, she was our answer to Audrey Hepburn and Leslie Caron. She was discovered by Otto Preminger, who would direct her in two films. She made her film debut as Joan of Arc in 1957's "Saint Joan," a role she beat out 18,000 other actresses for. She was only 17 years old.
Her next film, "Bonjour Tristesse," put her alongside such greats as David Niven and Deborah Kerr. This is personally one of my favorites of Seberg's films. The film tells the story of a French teen's guilt resulting from a summer spent with her father, his mistress, and another woman on the Riviera. One of the most interesting things about this film is that it is made half in color, half in black-and-white in order to illustrate the happy times and the unhappy times in the girl's life.
Seberg then became the poster girl for French New Wave cinema when she was cast in Jean-Luc Godard's "À Bout de Souffle" (another of my favorite films of her's). The image of Seberg in black cigarette pants and a Herald Tribune sweater while walking the streets of Paris with Jean-Paul Belmundo has become iconic. Seberg also starred in the Warren Beatty vehicle "Lilith," "In the French Style," "The Beautiful Swindlers," "A Fine Madness," and the 1970 disaster film "Airport," among many others.
As the sixties progressed, Seberg used her celebrity status to advocate her beliefs. She supported to NAACP, Native American Rights, and the controversial Black Panther Party. Because of her international influence, Director of FBI J. Edgar Hoover considered this actress a threat to national security and launched a secret capaign for Seberg to be "neutralised." The FBI kept close tabs on her, tapping her phone lines. In 1970, when Seberg became pregnant by her second husband Romain Gary, the FBI saw an opportunity to completely discredit the leftist Seberg. They "leaked" a story to gossip columnists at the LA Times and Newsweek that the child wasn't fathered by Gary, but by a Black Panther Party member. The story caused so much stress for the seven months pregnant star (who already was prone to anxiety and depression) that it brought on premature labor. She gave birth to a baby girl, but the infant died two days later in the hospital. The day after the child's death, Seberg called a press conference in hopes of putting rumors to rest, and she presented the reporters with the body of her death white child as proof. Though effectively putting an end to rumors of her romantic involvement with a Black Panther, Seberg could not escape being hounded by the FBI.
At this point, friends of Seberg said she became withdrawn and suicidal following the death of her child, becoming increasingly dependent on alcohol and prescription drugs in order to even function. She relocated to Paris in order to escape the FBI, but that didn't improve her fragile state. Despite producing a son, her marriage to Gary fell apart, and Seberg would go through two more husbands before the decade's end. During the seventies, she made numerous suicide attempts ranging from overdoses to trying to throw herself in front of a Paris Metro train. Every year on the anniversary of her child's death, she attempted suicide.
In early 1979, Seberg married Algerian "playboy" Ahmed Hasni and moved with him to Barcelona, only to flee back to Paris a few weeks later in order to escape Hasni's abusive nature. At this point, despite promise that she was going back to make films and would turn her life around, Seberg felt she was completely alone. In August 1979, Seberg went missing for 11 days until she was found dead in the backseat of her car in Paris after almost two weeks. She had taken a massive overdose of barbituates and alcohol, and left a note saying, "Forgive me, I can no longer live with my nerves." She was only 40 years old. Her second husband, Romain Gary, committed suicide a year after her death. Her funeral was attended by Jean-Paul Satre, Simone de Bouvoire, and several directors and actors who worked with this incredible talent.
Rumors arose as to whether or not the FBI had been involved in her death. There were no pill or alcohol bottles in any proximity of Seberg, and yet the alcohol level was far too high far Seberg to have driven to a secluded place to kill herself. Also, Seberg needed glasses in order to drive and never left without them, but her glasses weren't in her car upon her death. But, given her depressive and suicidal nature, these rumors were overlooked and her death was ruled a suicide.
The cultural legacy of Jean Seberg can be seen even though she passed away almost thirty years ago. She is still very popular and celebrated in France, her gravesite in Montparnasse a pilgrimage for many. Kirsten Dunst cropped her hair off a years ago in order to propose a biopic starring herself as Seberg. Several films, plays, books, musicals, photoshoots have been inspired by Seberg's body of work and sense of style. Her smart beatnik style consisting of black cigarette pants, black ballet flats, and a striped boatneck shirt has long influenced Parisian fashionistas.

Further reading:

"The FBI vs. Jean Seberg",9171,947393,00.html

"Saint Joan" fanpage (including an interview between Seberg and husband at the time, Romain Gary)

Another good Jean Seberg page

Happy Xmas (War is over)

In celebration of Christmas (which will be here tomorrow) I have assembled my favorite Xmas-themed photos from my four favorite people in the world: The Beatles!

Dear Brigitte

How does one even begin to explain the importance Brigitte Bardot has had on our world? She caused many a boy to have a sexual awakening, never once doubting that God created woman after they saw her in a bikini. She was the objection of affection for all four of the Beatles; Cyn Lennon was even made over to look like a Liverpudlian version of Bardot whereas George Harrison often compared Pattie to this french fille. But the celebrities who crushed on her didn't stop there. Bob Dylan dedicated the first song he ever wrote to Bardot.
During the 50s and 60s, she was a source of inspiration for many girls (well the ones that wern't insanely jealous and hateful of Brigitte) who desired to look just like her. Brigitte, despite how sexually she was regarded, dressed rather modestly. Favoring dark-wash jeans, wool sweaters, cigarette pants, and trench coats, Brigitte always had a laid-back look that said, "Oh I know I look incredible, but really I only woke up three minutes ago and put on whatever was closest to me." The influence of her style can be seen on numerous other fashion icons, most notably Kate Moss. I saw an article online somewhere that compared both their styles using photographs. I'll post the link here once I find it.
In 1973 when she turned 40, Brigitte retired from film after 50+ pictures and numerous French-language albums. She turned her attention to speak for those without a voice, becoming an activist for animal rights, something that she continues to this day. Brigitte is now in her mid-70s and still carries herself with the quite grace she acquired from her ballerina days. She is truly one-of-a-kind; like a Marilyn Monroe or Cary Grant, the world will never see another Ms. Bardot in the entertainment world, no matter how many comparisons we make.
Jean Cocteau once said in regards to her, "I’ve always preferred mythology to history. History is composed of truths that become lies, mythology of lies that become truths. One characteristic of our age is that it creates instant myths in every field. The press is responsible for inventing people who already exist and endowing them with an imaginary life, superimposed on their own. Brigitte Bardot is a perfect example of this odd concoction. It is likely that fate set her down at the precise point where dream and morality merge. Her beauty and talent are undeniable, but she possesses some other, unknown quality which attracts idolaters in an age deprived of gods."

The Pattie Chronicles: Modeling, the 'Mod Bod,' and Photography

In the sixties, there was an ideal for a model – and Pattie certainly fit that mold beautifully. Despite certain photographers hesitancy to hire a model “who looked like a rabbit,” others quickly took to Pattie’s look – she was thin, blonde, and beautiful (the norm at that time) but her gap-toothed smile made her unique in a sea of blonde models. She attended a modeling school in order to improve her technique, and got herself a good agent in order to sell her ‘look.’

Obviously, her ‘look’ worked. Her thin appearance from her modeling days has long been admired – she was one of the original waif models. In 1965, she said “I’m five feet seven inches tall, I weigh 105 pounds, have blue eyes, and am what they call and pink and white blonde.” She became wildly successful, booking editorials and commercials all over London. She became an inspiration to many designers, but none more so than Ossie Clark. Her tiny, almost little girl frame, mane of pale gold hair, and childlike features were what Clark himself loved. In the 70s, she modeled for him in campaigns and worked Clark’s runway show at Chelsea Town Hall – a show that went down in fashion history as one of the most influential, most creative runway shows ever. She, along with Amanda Lear and Marianne Faithfull, modeled the floor-length floaty dresses Clark had made alongside partner Celia Birtwell. Pattie Boyd was also on the cover of “The Birds of Britain,” a book about the most fascinating dollies in England. In the intro to “Birds,” the writer alludes to Pattie’s “swirl of miniskirt, beneath which limbs flicker like jackknives and glimmer like trout.” Quite a description, no? But despite her popularity, Pattie just didn’t understand it. “I’ve never thought of myself as good-looking,” Pattie admitted in 2006. “I always thought, ‘How amazing I’ve gotten away with it [modeling].’”

Even so, Pattie understood the importance of keeping a slim frame in order to keep booking jobs. In 1965 she said, “A successful model has just got to be strict with herself and lay off all fattening foods. That means no bread, butter, spaghetti or sweets…. Watch out for ‘puppy-fat spread’…. Eat proper meals at regular times with lots of lean meat and green vegetables.” So no matter how enjoyable certain things were for her, Pattie understood restraint and made sure not to indulge every dietary whim. She admitted in her autobiography that she constantly took dangerous diet pills throughout the 1960s as a way to curb her appetite. For a period of time, she blamed the pills for leaving her infertile.

Besides the painstaking measures she took to keep her model body (or “Mod Bod,” if you will), Pattie also grew tired of the “demeaning” nature of modeling. Sure, she loved posing in front of the camera, but found “trotting around the studios trying to persuade photographers” to use her was quite tiring. She continued, “There were no makeup artists or hairdressers unless you were working for one of the big magazines. You’d have to take your own accessories, make-up and hairpieces” to shoots.

Toward the end of her career as a model, Pattie found her passion for photography – which up ‘till then had been only a hobby – growing. “I wanted to be on the other side of the camera.” In addition to photographing landscapes, portraits, still-life, Pattie also “learnt how to print, too, because then you are in control from the minute you take the picture to the end result. It’s so different from the lack of control that you have as a model.” Though technically a photographer since the early sixities, she didn’t start doing it professionally until the 1980s. “After my divorce from Eric,” she said, “I realized I had something I could do for myself as a career. I started working for magazines and then friends began asking me to do their portraits, or photograph their children; things just snowballed.” She compared her careers as a model and photographer, concluding, “These days, I’m much happier behind the camera.”

Nowadays, Pattie “keeps in shape by doing Pilates twice a week and power-walking” she told UK’s Telegraph in 2005. “I’d say I’m quite happy with the way I look…There are times when I look in the mirror and think I’d love to have a tweak here and there, but lines show that you have had an enjoyable life. I tried Botox once, but the pain was absolutely excruciating. I’m not tempted to try it again.” Despite those few insecurities, obviously people agree with Ms. Boyd that she is still very beautiful. In 2005, she returned to modeling after a self-imposed retirement for several decades to become the spokesmodel for Viyella’s winter campaign.

The Pattie Chronicles: Relationships and Muse-ing

As legend has it, immediately after George Harrison met Pattie Boyd on the set of “A Hard Day’s Night,” he asked her to marry him. Surely intended as a joke, George’s proposal would be a precursor of the events to come. While still on the set, he asked her to go out with him, and although she liked him and wanted to go, Pattie had a boyfriend so she declined. But by the next time she saw George, Pattie had broken up with her boyfriend and was hoping George would ask her out again. At a press event, he asked her how her boyfriend was and she told them they had broken up. George asked her out again. Though it took some persuasion, Pattie agreed to go out with him, and within a month, he had bought a place for them to share.

By January 1966, Pattie and George married, but not first without Brian Epstein’s permission. Epstein, worried that another married Beatle would upset fans, did not allow for a proper wedding, instead forcing the couple to wed in a registry office. Married life with George suited her perfectly – apart from the fact he didn’t want her modeling anymore, Pattie was more than contented enough to cook, clean, and hope to start a family with her husband. But when children never came for her, she began to get worried. George had apparently always run around with girls on the side, but Pattie hoped that once they had children, he would stop this behavior. Despite George’s constant philandering, Pattie’s competition in the end wasn’t another woman; it was George’s growing interest in religion. After a year or two into their marriage and children hadn’t come, Pattie began to focus her energies elsewhere, becoming somewhat interested in Eastern meditation. Her suggestion for George and the rest of the Beatles to get involved would eventually be what drove this couple apart.

After returning from the visit to India with the Maharishi Mahesh Yogi in 1968, George began to become more and more involved in meditation and religion. He was searching to find himself, fill some void he felt within, but in the process eliminated people from his life. He was no longer interested in going out to clubs or parties, he only wanted to study and meditate. A violent swing from the life she had grown accustomed to, Pattie didn’t know how to react to the person her husband was becoming. George lost interest in sex, becoming emotionally unattached to her, and even stopped speaking to her much for a period of time. “If you talked to him you didn’t know whether you would get an answer in the middle of his chanting or whether he would bite your head off,” Pattie wrote in her autobiography. Hiding himself away in his 25-bedroom mansion, George ignored his wife, instead surrounding himself with alcohol, drugs and like-minded musicians, one of which was Eric Clapton.

When Eric met Pattie, it was love at first sight for him (for Pattie, while she was strongly attracted, she deeply and irrevocably loved her husband). He was quite good friends with George at that time, and believing their marriage to be a happy one, did not make any moves on Pattie. But as he quickly learned about George’s cheating (including sleeping with friend’s wives – most notably Maureen Starr) and Pattie’s growing unhappiness, Eric seized his moment. He began writing her passionate letters, begging her to leave George for him. One such letter said, “For nothing more than the pleasures past I would sacrifice my family, my god, and my own existence, and still you will not move.” But when she still refused to leave her husband, Eric went on a heroin binge to let her know how dangerous life without her would be for him. Amidst his obsession with her and George’s total indifference came Clapton’s ode to Pattie, “Layla,” the ultimate song of unrequited love. This, along with her realization that her marriage with George was almost beyond repair, led Pattie to finally give up on her marriage. And despite his plea for her to not leave him, Pattie left George and joined Clapton on tour in America.
Flash forward several years of drinking, drugs, and addiction, Pattie is now stuck in a relationship with a full-blown addict who shows no attempt to stay faithful to her. Clapton later admitted in his own autobiography that once he had “got” Pattie, he was no longer interested in her. Likened to his desire to buy a car as nice as George’s, he wanted to prove to himself that he was good enough to snag George Harrison’s wife. Pattie acknowledges this herself, saying, “It was as though the excitement had been in the chase.” Characteristic of her personality, Pattie put Eric’s best interests before her own when she tried getting him help for his alcohol addiction. This brought their relationship to almost a crashing halt. Eric felt this as almost a betrayal, but for Pattie it was her last hope. She couldn’t just give up on the relationship that ended her eleven years of marriage to George. Her growing understanding of addiction led Pattie to come to the conclusion that for her, “being in love with [Eric] was like a kind of addiction.” Like Eric’s alcoholism, he just wasn’t something she could just let go. The final straw in their relationship was when Pattie learned that Eric was having a child by another woman. This was a crushing blow to a woman who wanted nothing more than to be a mother and had felt like a failure when she couldn’t become pregnant by either of her two husbands.

Even though Pattie endured two tumultuous marriages that nearly destroyed her, her legacy will live on through the beautiful odes her husbands wrote for her. From Harrison came “I Need You,” “If I Needed Someone,” I Want to Tell You,” “It’s All Too Much,” “So Sad,” “Old Brown Shoe,” “For You Blue,” and reportedly “Something” (though later denied by George, but personally I think that was because he felt sort of awkward talking about a song he wrote about Pattie when he was very happily married to Olivia). From Clapton came “Wonderful Tonight,” “Keep On Growing,” “Anyday,” “I Am Yours,” “Why Does Love Got To Be So Sad?” “Bell Bottom Blues,” and most famously, “Layla” (Though it could be said that the entire 1974 album “Layla and Other Assorted Love Songs” was written for Boyd). Pattie will go down as one of the most influential muses in Rock and Roll history. “If anybody ever wonders what a muse is,” asserts Ken Dashow in the A&E Biography of the Beatles’ Women, “it was Pattie Boyd Harrison Clapton. Everyone said she would just walk in a room and everything would stop and every man would just be focused on her energy. And that’s the best definition of a muse I’ve ever heard.” Up until his death in 2001, George and Pattie maintained a good friendship. She considers George to be the love of her life, often telling “I just loved him so much, we were soul mates.” Her relationship with Eric is much more strained; they have almost no contact at all.

Tuesday, December 23, 2008

The Reign of Jane

Along with Pattie Boyd (and Linda and Olivia and...), I would consider Jane Asher to be one of my favorite Beatles' Girls. Scratch that, I would consider her one of my favorite Sixties girls. Period. But what makes Jane so cool isn't the fact that she dated/was engaged to Paul McCartney, but because she was (please don't criticize how bra-burning feminist, girl power-ish this is going to sound...) an independent woman. Even when she was in serious relationships (and, eventually, marriages) she never allowed her life to be dictated by others around her. She chose the roles she wanted in productions she wanted to be involved in, and didn't adapt the social "norms" other people her age conformed to. But she managed to do so without becoming a stubborn or conceited person. She was incredibly mature for her age, but it is still somewhat shocking to know how young she was when she first became very famous in the 60s, at only 17.
In any book/documentary/commentary of any kind about the 60s, Jane is always described as incredibly sophisticated and refined. She was well-educated, well-read, and well-aware of the world around her. Though raised upper class, she was always very gracious and engaging to everyone around her, a trait that is often spoken about in books about this time period (like in Cyn Lennon's "John" and Pattie Boyd's "Wonderful Today/Tonight" depending on where you live).
In the 1960s she was known as a very talented former child actor who was making a name for herself as an adult. Her most famous roles are in the films "Alfie," "Deep End," and 2006's "Death at a Funeral," along with many many roles in British television and theatre. Nowadays, she has added author, cake decorating, and advocate for Autism to her resume.
But, oddly enough, it was her relationship with McCartney that has given her the most longlasting exposure. He wrote many songs about her, ranging from heartfelt odes of affection to angsty embittered ballads. Songs about her include: "All My Loving," "And I Love Her," "You Won't See Me," "I'm Looking Through You," "We Can Work It Out," "Here, There and Everywhere," "Things We Said Today," "For No One," and "Martha, My Dear," all documenting the ups and downs of their five year relationship.
I personally love her smart style from the sixties. Her clothing always looked right on trend, in yet they were timeless and were never gaudy. She favored smaller pieces of delicate jewelry and a minimal color palette in her wardrobe. She stuck mostly to black, white, navy, brown, cream, and red. This gave off a no-fuss look and along with her naturally fire-red hair & fringe and very understated, clean makeup, Jane became known as a 'natural beauty.' There's a great article on about Jane's clean, understated look and its definitely worth checking out. I am contemplating doing "The Jane Chronicles" like I have begun posting for Pattie so please let me know if you would be interested in reading more about Jane!

The Pattie Chronicles: The Demeanor

Pattie has been accused of neoteny, a trait of retaining juvenile features after you’ve grown up. With her large doe eyes and childlike gap-toothed smile, it’s safe to say Pattie looked through the world with naïve rose-colored glasses. She didn’t feel the need to expose skin or be loud to garner someone’s attention. Batting her lashes and grinning largely, there was a definite innocence in the way Pattie presented herself, and her pureness added to her charm. The best example of this is in Pattie’s film debut, “A Hard Day’s Night,” where she played a schoolgirl. If you study the way she hangs on every word the boys sing on the train and the way she widens her eyes and pouts her bottom lip slightly, you’ll begin to understand the Boyd Behavior. She never could stay mad or lay blame on anyone, a trait that won over even her most ardent non-supporters. Even after receiving a letter from a girl who admittedly intended her letter to be a nasty one because Pattie had ‘stolen’ George away, the girl changed her feelings and said she liked Pattie after thinking about it. Pattie, in response, wrote, “Well I like you because you like George, and I’m glad you didn’t write me that nasty letter. After all, people who do these things only make themselves unhappy in the end, and you don't sound at all like an unhappy person. Rather a nice person, in fact!”

In a May 1965 magazine, Pattie described herself as “independent by nature,” saying, “I hate relying on others. You wont believe this, but I don’t mind making my own travel arrangements and seeing to packing and things. Most girls hate finding out what time they’re due at the airport or train station, but not I.” Pattie was also pretty outgoing when it came to certain things, saying “the only time I’m inclined to take [stage] fright is when I have to talk to people outside my age group and circle of friends who won’t help me to make conversation! This is the oldest problem that we all have – making chat to strangers.” Pattie also disproved her party-girl reputation when, in 1967, she admitted “I’m not very keen on parties. I always used to imagine that I’d be meeting interesting people but I know now I usually won’t. I’m lucky enough to know one or two interesting people now, so I’m very happy.”

Pattie, who not only was married to George Harrison and Eric Clapton, but had a rumored affair with Ronnie Wood, and was the object of affection for both John Lennon and Mick Jagger was, safe to say, appealing to the boys. In a 1965 magazine, she offered some of her flirting advice. “The great thing about getting boys interested in you is to make them think that you’re interested in them. So ask them lots of questions about their school or college or home or hobbies, and you’ll find yourself getting on like a house on fire!”

The Pattie Chronicles: The Beginning

Over the next few entries, I will be doing a series on my #1 style icon Pattie Boyd. Covering almost every aspect of her life, I will be doing entries about her career, marriages, makeup & hair, and her enviable '60s wardrobe. I hope that they will inspire you to look towards Ms. Boyd because I think that she is truly as fabulous as her sense of style! Now, the beginning of "The Pattie Chronicles"...Have you stumbled across this page one way or another and are wondering who this Pattie Boyd is? Curious as to why the wife of two rock legends deserves such admirations from so many people over four decades? Well continue reading, my friend, because I will tell you.
Possessing a certain je n’ai se quoi, Pattie Boyd, dubbed the “most envied, most beautiful flower child of the 1960s,” has captivated the hearts and minds of many over the years. 16 Magazine once described her as a “today’s girl. She is the girl most girls want to look like. She is the beguiling, old-young mixture that most of today’s girls are – sweet and swinging, shy and sophisticated. And her big china-blue eyes, beneath a fine flaxen fringe, reflect today’s outlook – a ‘hip’ innocence.” People have deconstructed her outfits (whether they be ones she wore to premieres or the market), analyzed her voice inflection in her only line, “Prisoners?” from Hard Day’s Night, and mimicked the golden blonde hair and toothy naïve grin that made her the It-Girl of the 1960s.
But what is it about Pattie that made so many girls want to be her and so many more boys want to be with her? One Brit article about Boyd wrote that back in her heyday, “Legions of girls would have killed to swap places with her, an elegantly starved size eight who had two monumental rock stars fighting to be with her.” What, you ask, makes her different from any number of sixties dolly-birds or rock star waves? Despite her supermodel looks, cornflower-blue eyes, and inequitably long legs, Pattie had an accessibility that made others want to be around her all the time. She was the femme fatale with a childlike girl-next-door demeanor, not concerned with her own beauty; she loved to please and only desired for the love she gave to be reciprocated. She had a great respect for her friends and family, often putting the interests of others before her own. She carried herself with a quiet grace, and in a world full of conceited people, not an ounce of arrogance could be detected from Ms. Boyd.
You might be wondering what is inspirational about Pattie – sure she was a kind-hearted kid with a pretty face and great sense of style, but what warrants us to look up to her? I’ll tell you: Pattie, unlike the ugly misconceptions some dummies have about her, was not a groupie. Sure, she loved music, and based on her relationships, you could draw the ‘groupie’ conclusion, but this is far from the truth. When she met George, Pattie was already a successful model in England. After she met George, her career took off – some people conclude that it was because of her association with the most famous group in the world that she became popular, but I beg to differ. Certainly, her new friends helped give her exposure, but she was a rising model in London even before she met them. She did not “ride the coattails of the Beatles all the way to the top,” (which I actually read somewhere) but was slated to become an important model even with the Beatles. Her relationship with George simply coincided with her inevitable popularity. And she did not marry George for his money or to be close to the whole ‘scene.’ Modeling gave her an income of her own and it was something she loved to do, so even if she had never met George, she would have been financially set. Also, she was working with some of the industries most important photographers, models, musicians, designers, etc. so she was part of that ‘scene’ even without George. Some could even say she was more in that scene than he was.
Also, what many people don’t know about Ms. Boyd was that she came from an abusive childhood. After spending much of her childhood in Kenya, her mother moved Pattie and her siblings back to England and married the man that would become Pattie’s stepfather, a man often described as cruel and abusive. The fact that Pattie could rise from this family and create a name for herself as one of the most successful models of the sixties is quite incredible, but it is also so heartbreaking that the abusive relationship she had with her stepfather underscored the romantic relationships she would have in the future – particularly with her two husbands. She would spend the majority of her life loving men and only wanting her love returned. But their cold and often distant behavior caused her to always be seeking after their affection, and always coming up short.

The First Time

So at this point I know no one is reading this, so this doesn't even matter. But I am excited to share my love of film, music, culture, and fashion with anyone who might read this in the future. I love the times of decades past - the 1960s in particular - so that is what I will be turning most of my attention to. If you have any requests for posts or any comments/criticisms, please feel free to message me! I have been working hard to do collages for each of my entries and have been writing long entries because for some reason, I always enjoy reading long entries on other people's blogs. I feel that if I want to convince someone why an actor or a movie is incredible and life-changing, I should tell you more than five or six lines about them. Happy (future) reading!