It made a distinct impression for several reasons: I became aware of the power of beauty; I also recognized that the suggestion of curves is often more tantalizing than the business of flaunting them, an observation further imprinted on my consciousness when I saw Alan Pakula’s Klute for the first time. Bree Daniel Jane Fonda’s character is the most sought-after and provocative of call girls, yet runs around Manhattan thoroughly clothed. The ubiquitous image of Vicki Morgan also struck a chord. She was hailed as the notorious mistress of Alfred Bloomingdale but was always seen wrapped up and smoldering in a wolf fur coat.
Through the haphazard, trial-and-error, often mistaken experiments of my 20s and 30s, I have come around to the view of the ladies in Campbell’s and the strong, streamlined sisters from the seventies in figuring out what makes me feel pulled-together, happy, and feminine. I yearn for beautifully cut coats and jackets and, when shopping, find myself fussing about the weight of the wool and the fit of a sleeve. Having worn endless colors together, I now prefer varying shades of the same tone, and am eager to wear nothing that irks the eye.
I may be in luck. Judging by the long, luxurious looks designers unfurled on the fall runways, by turning back, I’m right on time. ?
I recognized that1 the suggestion of curves was more tantalizing than flaunting them, an observation further imprinted on me when I saw Klute for the first time
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