HAPPY SAINT PATRICK'S DAY!

Pablo
Creative Director - Elizabeth Arden: Pablo Manzoni

CURRENT THEN - CURRENT NOW

Known for his elaborate jewelled eye makeup featured in Vogue throughout  the sixties, Pablo Manzoni was then the creative director for Elizabeth Arden.  In 1966, Time Magazine heralded him as "Manhattan's newest status symbol - a necessary part of the well-dressed sophisticate's beauty routine. Said Pablo, "I have never seen an ugly woman."

See more Pablo glittered eyes at Remembering Christmas Past 1964 12/11/11

Winter 1965

Pablo Manzoni

For Vogue's first issue of 1965, Elizabeth Arden's gifted face designer,Pablo Manzoni, was called upon to costume four mannequin's as fantasies of the four season's of nature.

Jean Shrimpton

Spring 1965

Brigitte Bauer

Summer 1965

Benedetta Barzini

Autumn 1965

Stella Crusader Helmut

Beads of yellow and gold hand-embroidered on yellow chiffon. Gala and devastating, the beaded dress and helmut, worn here by Brigitte Bauer, makes a grand statement for an appearance at the most festive opening or party in 1965.

Sophie

A winkling wand of beads on white silk marquisette, gold beads at hemline. Looped in the hair, a Joseph Warner necklace.

Leslie Morris

Shimmering shift of pale beads on white chiffon, banded and set with flowery scatterings of pink. The narrow transparent sleeves - cobweb beaded. 

Fourquet

Marisa Berenson lounges in marvelous plummage. A long feather-fantasy coat of deep-green coq feathers.

Forquet

Veruschka and cheetah. Long columnar dress of brown crepe with two detachable crepe panels - one black, one white, both with deep sweeping sleeves. Wear with both panels, with one, or with none.

Daliah Lavi

Van Cleef & Arpels

A splendour of jewels. Necklaces and bracelets of gold, diamonds, rubies, emeralds, sapphires, corals, turquoises, amethysts the size of bird's eggs ... the ring of gold and diamonds, set with an immense carved emerald.

CASUAL NEWS

The Pony Bag

Greta

Hip little shoulder bag of pony skin trimmed in black leather. The criss-crossed handbag in pony skin slash-striped with calfskin.

Vogue's Boutique

On The Streets

Sonny and Cher

Vogue 1965

Photography:

Gene Laurents

Helmut Newton

Jack Robinson

Bert Stern

The Sixties ... at devodotcom

MUNKACSI BY RICHARD AVEDON

Miss Elizabeth Arden,September 1939

Martin Munkacsi

Harper's Bazaar June 1964

"In 1934 my father lost a business he’d spent a lifetime achieving, and in his middle-years tried to sell life insurance that no one could afford to buy.  We moved from a long stucco house and six trees in Cedarhurst, Long Island, to a three-room apartment on Ninety-Eighth Street in New York, a corner of which was called The Dining Alcove. It was there the family ate in silence; it was also my windowless bedroom. I was eleven years old. The walls beside my bed and the ceiling above were my domain, and I covered them with my chosen view: a gleaning of five years’ Christmas tuberculosis seals, three-hundred Dixie Cup tops, and the photographs of Martin Munkacsi."

December 1934

"I cared nothing about photography and less about fashion, but the potentialities beyond Ninety-Eighth Street filled my waking dreams, and because my family subscribed to Harper’s Bazaar, it became my window and Munkacsi’s photographs my view."

December 1933

"One Sunday evening my father and I deep in what my father called our “man to man” arrived at Fifty-Ninth Street stopping to watch a photographer pose a model.  He asked her to lean against a tree, and in that dusk, whispered to her, changing the arch of her throat, the turn of her hand, whispering until her eyes lifted, until he was satisfied, and they left.   I stared at the view for a long time, not at all understanding why he had chosen a peeling tree when the park the fountain, the plaza were so dazzling around him."

Katherine, Marion and Peg Hepburn, August 1939

"Ten years later, in Paris, I saw for the first time the great flaking trees of the Champs Elysees; I understood then that he had found the only Proustian bark in New York, and he had photographed it. I knew by that time that the strong, witty, sensitive and anxious face on Fifty-Ninth Street ten years before was Munkacsi’s."

Miss Marlene Dietrich, September 1936

"It was my first lesson in photography, and there were many lessons after, all learned from Munkacsi, though I never met him.

The art of Munkacsi lay in what he wanted life to be, and he wanted it to be splendid. And it was."