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Glorious portrait of 60s icon Twiggy made of toy cars
10.02.2012
09:13 am

Topics:
Art

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Twiggy


 
I simply adore this painted toy car piece of Twiggy titled Driving Miss Crazy by anonymous artists team—known more for their urban street art—Miss Bugs.


 
Below, what it looks like from behind:
 

 
Via My Modern Metropolis

Posted by Tara McGinley | Leave a comment
Ankle-Breakers or Heels to Die For?: Short film on Platform Shoes from 1977

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The platform shoes to-die-for were Frank N. Furter’s in The Rocky Horror Picture Show - those bejeweled white heels made Tim Curry’s first appearance as the sweet transvestite the epitome of glam. And gorgeous he was too.

Elton John may arguably have had the best platform shoes, but his tended to veer into stage props, eventually leading to those sky-high Doctor Marten boots in Ken Russell’s Tommy. And of course, there was David Bowie, Twiggy, and a host of pop stars sashaying around London on pairs of ankle-breakers. Like Oxford bags, bell bottoms, high-waisters, and bomber jackets, the platform shoe epitomized the androgynous nature of seventies fashions. Originally devised as stage shoes in Greek theater, platforms have been in and out of style through the centuries, at various times used by prostitutes to signal their availability and profession (to literally stand out from the crowd), and were popular in the 18th century as shit-steppers, used to avoid effluent on the road. However, their greatest impact was in the 1970s, when they were the boot of choice for seemingly everyone under 30.

I had a pair of 5 inch heels, blue patent leather, divine to walk in, impossible to run in, and not the expected school uniform. This British Pathe featurette takes a look at the trend of platform shoes from 1977.
 

 
Via British Pathe
 

Posted by Paul Gallagher | Leave a comment
Mr. and Mrs. Clark without Percy: The Fashions of Ossie Clark and Celia Birtwell

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Ossie Clark was a master cutter, who could run his hands over a figure and cut a dress to fit perfectly. He liked his dresses to lie next to the skin, nothing in between, capturing the wearer’s form, beauty and shape. Clark’s inspiration was dance, his idol was Nijinsky, and the movement, flow, and freedom of dance inspired his clothes to enhance the female form. At the height of his success, in the early 1970s, his clothes were worn by some of the world’s most beautiful women - Ali MacGraw, Patti Boyd, Gala Mitchell, Twiggy and Elizabeth Taylor. His leather jackets were worn by Keith Richard, while he designed a jump suit for Mick Jagger to wear during The Stones Exile in Main Street Tour. His favorite model, the beautiful Gala Mitchell said in 1971:

“Usually I lack confidence, but when I wear Ossie’s designs I know I’m beautiful and sexy. His clothes are like a play. I act to suit the mood of the dress. Fashion now is very sophisticated - as always Ossie had that feeling first.”

The magic of Clark’s fashion was the cut, the shape, the heart-tugging style, and the beautiful prints designed by wife Celia Birtwell. Together, Ossie and Celia brought a fabulous, ethereal beauty to fashion in the late 1960s, early 1970s, which has often been copied, but rarely equalled.

Here’s a small selection of Ossie and Celia’s fashions from German TV, circa 1969. Painting above David Hockney’s Mr. and Mrs. Clark and Percy (1971).
 

 
More of the Clark’s beautiful fashions, after the jump…
 

Posted by Paul Gallagher | Leave a comment
Ken Russell: A documentary tribute to his life and work

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There was an interesting letter in that scurrilous rag, the Daily Mail yesterday, printed under the headline, “Let Ken’s movies inspire a new audience”. It was written by Paul Sutton, of Trumpington, Cambridgeshire, who gave a passionate plea for the BBC to stop using edited clips of Ken Russell’s early TV work to liven-up crap shows made by today’s lesser talented directors:

These Ken Russell films aren’t entertainment fit only for ‘found footage’. They’re films, works of very real cinema in which every frame,pictorial composition, cut and music cue has been thought through with a craftsman’s hand and an artist’s mind and eye. They constitute a body of work which stands with the best of any director working anywhere in the world between 1959 and 1970.

Mr. Sutton went on to explains how both Lindsay Anderson, in If…, and Stanley Kubrick, in A Clockwork Orange, lifted from Russell’s TV work, and concludes:

Every one of Ken Russell’s 35 BBC films displays the master’s art. We should be boasting about them and using them to inspire the next Lindsay Anderson, the next Stanley Kubrick and the next Ken Russell.

I for one, certainly do hope the BBC listen up and release all of Ken Russell’s TV films for all of us to enjoy, very soon.

Most recently, the Beeb made this fine documentary Ken Russell: A Bit of a Devil , and while it doesn’t cover all of the great, genius director’s work (no Savage Messiah, no Crimes of Passion, no Salome’s Last Dance) it does manage to show why Ken Russell was England’s greatest film director of the last 50 years, and one of the world’s most important film directors of the twentieth century.

Presneted by Alan Yentob, this documentary tribute includes interviews with Glenda Jackson, Terry Gilliam, Twiggy, Melvyn Bragg, Amanda Donohoe, Robert Powell and Roger Daltrey.

Read Paul Sutton’s blog on Ken Russell, Lindsay Anderson and Stanley Kubrick here.
 

 
With thanks to Unkle Ken Russell
 
More on L’enfant terrible Msr. Russell, after the jump…
 

Posted by Paul Gallagher | Leave a comment