MARCH 2016
Modern
Pin Up DIARY OF A VINTAGE GIRL
5 Vintage
Decorations
1960 Pontiac Bonneville
LONG LIFE MOTOR CITY
Animal Instincts
JEWERLY STATEMENT
4 Vintage Cameras BUYER’S
GUIDE FOR PHOTOGRAPHERS
Bombshells of all
Time
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FEATURES 04 MODERN PIN UP
Bitter Root Vintage
1940’s Cocktail Pin Up and Bombshell dresses guide Photograph by Nelly Hilton
11 LONG LIVE MOTOR CITY Muscle Car Origin Story 1960 Pontiac Bonneville Sport Coupe By RM Sotheby
14 ANIMAL INSTINCTS Jewelry Statement
CONTENTS
The Cartier Panther jewerly collection and icon beauty Elizabeth Taylor’s tiara By Vivianne White
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DEPARTMENTS EDITOR’S LETTER
02
4 VINTAGE CAMERAS
03
5 VINTAGE DECORATIONS
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A buyer’s guide for photographers
Modern furniture pieces with a touch of vintage style
COVER
Photography by Ava Elderwood
WWW.REVIVAL.COM
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EDITOR’S LETTER
Photography Credits Giuliana Falcon
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hotography is powerful because we can place ourselves into the perspective of those we see in an image. Whether it’s street photography, photojournalism or portraiture, We use photography to understand ourselves in relation to people around us. Our ability to identify with and imagine someone else’s point of view is deeply ingrained into the architecture of our brain. Photography plays a unique role in triggering the network of brain regions that underlie empathy. To understand how photographs activate the aforementioned brain network, it’s first necessary to deconstruct emotional processing into simpler components. One thing that makes a great photo is its ability to convey emotion. Emotion in a photograph, or any work of art, is what helps a viewer connect with a piece if that emotion is prevalent in the viewer. Happiness and joy, sorrow and despair, these are some of the easier emotions as they are universally felt, at one time or another, by all on this planet. Photography is important because it can influence our capacity to empathize, it effects our motivation to help others, and help us connect with people through imitation.
GIULIANA FALCON Editor in Chief
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4 VINTAGE
CAMERAS A BUYER’S GUIDE FOR PHOTOGRAPHERS
Antique and vintage cameras are valued by collectors for many reasons, from the historical significance of 19th century wood cameras to the fine optics of classic vintage Leicas. Kodak and Polaroid are two other big names in camera collecting, as is Bolex in movie cameras. We have selected the best four cameras that are in trend right now. You can find more information about them on our website.
1.
Rocket Spartus This camera takes 127 film, has a fixed focus lens and an optical viewfinder and is from the 1950’s.
“YOU DON’T
TAKE A PHOTOGRAPH YOU MAKE IT
”
Rolleiflex 2.8
Voigtlander Vitessa 500
2.
Super Altissa
3.
4.
TLR Twin Lens Reflect Camera w/Zeiss Planar 80 f/2.8-F #046 Roberts Camera Photo Industry Leader since 1957
Zeiss Ikon AE 1960s Germany. Compur-Rapid or Synchro Compur shutter to 1/500. The later models had an uncoupled selenium
leather-clad box camera for 6x6cm exposures on rollfilm. Aperture & shutter speeds are selectable, and it’s got a focusing lens. This rare and beautiful camera was made c1938 in Dresden, Germany by Eho-Altissa.
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Modern
Pin
Up
BITTER ROOT VINTAGE “1940’s Cocktail, Pin up and Bombshell dresses guide”
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The retro pin-up girl look is making its comeback from the 40's to 2016! Pin-up fashion is synonymous to and a combination of Burlesque, Rockabilly and Old Hollywood Glamour in terms of clothes, hair, makeup, shoes and accessories.
Photo credits: Ava Elderwood
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DIARY OF A
VINTAGE by Megan Tietz
Y
ou’d know her if you saw her; the rosy cheeks, bouncy curls, hourglass figure and penchant for thematic lingerie are pretty much a dead giveaway but how exactly did she come to be? Join us as we travel back in time and explore the origins of the pin-up girl, with the help of the newly released “The Art of the Pinup.” It’s a peculiar journey, one that overlaps with both women’s liberation and women’s objectification along the way. Our timeline begins, oddly enough, with the invention of the “safety bicycle” in the 1800s. If you, like me, wear vintage hair on a daily basis, much of this preparation work is already done. But if you don’t, or if you want to try something a bit different for your shoot, make sure you spend the couple of weeks before the shoot practicing, practicing, practicing. Do some overnight sponge roller sets, experimenting with a couple of setting patterns, and see how it turns out in the morning. Scour YouTube for tutorials, perfect your victory rolls, get a rat
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GIRL and test it out, buy strong hairspray and smoothing serums. And buy lots and lots of bobby pins, to replace the 14,000 you’ve lost over the years. When you’ve got your chosen set down pat, you can be sure that you’ll have a consistent result and no nasty surprises the morning of your shoot. Of course, hair emergencies do happen, and I would advise any potential pin-up to have a set of Hot Sticks at the ready, because although a roller set will hold better for your shoot, they are just the thing for creating vintage styles in a flash (as seen on my shamelessly plugged video tutorial), or rescuing damp curls from oblivion. But do practice sleeping in rollers too, as you want to get used it it, instead of waking up on the morning of your shoot without a wink of sleep.
“SHE IS FLIRTATIOUS BUT FIERCELY INDEPENDENT” Make sure you have everything you need for the shoot, two to three (or more, if it's an entire day) outfits, undies, swimwear and vintage or repro clothing. I like to take a complete set of matching, faux vintage underwear from either What Katie Did, Kiss Me Deadly, or Rago, or a mixture of all different brands. If you concentrate on one particular fabric or colourway,
Hair bandanna by Chloe, accesories by Greg Lauren, lisptick by Mac: red rouge Photo credits: Ava Elderwood.
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Dress by Etsy, accesories by Topshop, shoes by Christian Louboutin, stylist: Aimee Croysdill, hair: Meggie Cousland, makeup: Megumi Matsuno
black satin for instance, you can mix and match, and this can often mean a more unique ‘outfit’ than if you bought everything from one place. Take at least one packet of fresh, unopened stockings, especially if they are black ones. Nude ones are more resilient, or rather snags don’t show up, whereas even worn once, black ones are likely to have snags that don’t look so good on camera. Bulldog clips are a good thing to take to shoots, especially if you borrow clothing. Even clothing that’s yours can look even better when clipped in a bit for a shoot it can be much tighter on the waist than you need for every day wear! ry to eat well, get enough sleep, and generally look after yourself; which you should be doing anyway! But if you’re feeling happy and healthy, it makes for a much better shoot than if you’re tired and run down. Whatever you do, definitely don’t go experimenting with new cosmetics or beauty products just before a shoot, or you run the risk of having a breakout. We can never predict these things, of course, and they can be disguised with makeup, which I’ll come to shortly. But if you do want to try new things, do so at least a fortnight before. A few days before a big shoot. I give up eating bread. I can’t bear to all the time, but cutting it out temporarily leaves me with a much trimmer waist. Another good thing to do is to cut out carbohydrates in your evening meal. I do not advocate carb-free diets, in fact I think they’re bonkers, but cutting them out after 6pm is a really good way to lose a few pounds. It’s good all the time of course, not just before a shoot. Something very important fora budding mo-
T
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del is to research your poses! Are you going for cheesecake pinup or vintage glamour? If the former, study pictures by Elvgren and Vargas, photos of Bettie Page, and the work of modern pinups like Bernie Dexter, and photographers like Viva Van Story. The latter are better in a way, as some of the poses found in pin-up illustrations aren’t actually possible when you’re a real person! But they are fantastic for inspiration. If you’re going for Hollywood glamour or fashion, say, then turn to a site like Vintage Vogue, and study the poses of the Golden Era movie stars and the 50s fashion models like Dovima and Jean Patchett. Practice your pouts and facial expressions in the mirror. You might feel a trifle silly, but practice does make perfect. Make sure you have all your essentials in your kit. Pack your suitcase or bag the day before your shoot, so you don’t forget anything, especially if you feel already nervous. Put the photographer’s phone number into your phone. Call or email them just to confirm it’s all still on. I have never had a photographer not show, since I am usually going to their studio or home, but it has been known to happen to others.Finally, this may seem obvious, but do not go out drinking! I’ve heard some stories about hung-over models turning up, looking like death. Don’t be that model! Try to have an early night, so you wake up all bright eyed, bushy tailed, and above all, enthusiastic about your shoot. It should be fun! Again, if you feel good, you will look good, and produce much better photographs. You have a reputation to build up, and make sure it’s one of reliability.
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Bombshells of all T
Time
here are celebrities, and there are icons. But how do you become the latter? It usually starts with some talent and charisma, then, one day, a skilled photographer comes along and snaps a picture that turns into a poster, an advertisement or a magazine cover. The image becomes a classic. And so does the woman. But aren’t sensual images like this the opposite of feminine power? After all, anyone can pose in skimpy clothing or show some skin. We say, the true lady legend understands that her sultriness is just one small aspect of her appeal. The photo may catapult her career, but she knows it’s up to her to reveal her more intellectual talents and worldly charms to have staying power. The retro pinup genre has been experiencing a revival and a revolution, but classic pinups have been around for some time. While Dita Von Teese and countless other burlesque and adult film celebrities have continued the art of advertising through pinup photographs over the years. No longer reserved just for actresses and models, many fashion forward, regular women have taken pinup back, and embraced it as a way to express feminine strength, beauty, and of course, sensuality. In fact, you may be surprised by the women you know who who have had pinup portraits taken. So much so that you might be wondering how to do a pinup shoot of your own.
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Pinup hasn’t always been so accessible, or acceptable, though. During World War II, when the genre really took hold, pinup photographs supplemented soldiers overseas and were supplied, often for free, by many gentleman’s magazines.At that time, the genre was somewhat underground, and generally not the sort of photograph many women would hang on their wall (despite the fact that many men had no qualms doing so), much less pose for of their own volition. Pinups were an arena reserved for the untouchable the actresses, models, and singers who society and Hollywood placed upon fantastic pedestals. It was the realm of the starlets, the envelope pushers, and the brazen. Even now, there are plenty of individuals and groups who consider
the pinup genre lewd. But pinup has managed to make its way into the mainstream, or at least, the easily visible. And we owe those advances to the incredible women who challenged the status quo, and were secure enough in their feminine strength to show the world that beauty often walks hand in hand with bravery. These women were willing to embrace their sensuality, and during decades when women needed liberation, they helped equal the playing field between the sexes by proving that women were more than sexual objects. In the act of boldly portraying their sensuality, these courageous ladies reminded many that we, as women, are multifaceted.
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“SHE WAS AN ICON FOR WOMEN IN A MAN’S WORLD, ESPECIALLY WHEN IT CAME TO HER PIN-UPS”
Brigitte Bardot
Now an animal rights activist and a controversial old broad who’s spewed out some outrageous political statements over the past couple decades, this French screen siren was pure bombshell in the 1960s. After critics panned her breakout role in And God Created Woman, she lashed back with a stellar performance in Jean-Luc Godard’s 1963 classic Le Mepris.
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Audrey Hepburn Elizabeth Taylor The 1960 flick Butterfield 8 won the 28-year-old actress her first Academy Award. But it’s this famous movie still of Taylor, all curves and boozy attitude, standing in a doorway of a Manhattan apartment in a negligee, that stands out in the minds of film buffs and Liz worshippers alike.
Marilyn Monroe
We all know Norma Jean as a misunderstood bombshell who died way before her prime. This shot from the 1955 film The Seven Year Itch, which shows her halter dress being blown by a passing subway train, is classic Hollywood and depicted her at the height of her popularity.
The late, great Hepburn was known more for her elegance than her sensuality, but we’ll never forget her most seductive role as Manhattan party girl Holly Golightly in the film adaptation of ruman Copote’s Breakfast at Tiffany’s. In the film she got to wear a form-fittingLBD, carry one of those long cigarette filters, and stand in front of the revered Fifth Avenue. What’s sexier than that?
Sophia Loren
The Italian screen goddess is turning 81 this month and, if you’ve seen her lately on the red carpet, still looks amazing. But it was this classic 1960s shot that best captured her beauty, charm and feisty European sultriness.
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5 VINTAGE
DECORATIONS IDEAS FOR YOUR HOME Some people look for a beautiful place, others make the place beautiful. Be from the second one, and use your imagination to create a perfect home decor. Spice up your style with some vintage pieces of furniture. Bring some antique moments in your home. These vintage decorations are so simple but they will be the spotlight in your home.
2. Michella Marie & Co. Mirror
Beautiful, shabby, vintage, ornate, oval, mirror. Made of plastic but very lightweight and able to hang just about anywhere. Would be perfect for your entry way, bathroom, or bedroom
3. Tiffany Cage Chandelier
Adorn your ceiling with vintage-inspired opulence when you hang this Warehouse of Tiffany chandelier. Featuring 12 lights, this cage chandelier casts a brilliant glow that accents the beauty of your decor. Crystal accents lend a bit of sparkle to the piece, while the antiqued bronze finish adds a rich, elegant finishing touch.
“PERFECT
ACCENTS FOR YOUR HOME DECOR
”
4. Lily & BramWell Chair
1. Crosley Turntable
Inspired by Dansette players from the 1960s, the experts at Crosley developed the Sterling Turntable for a state-of-the-art + mod vinyl experience. Totally portable, this record player is fully equipped with full-range stereo speakers + plays 33 1/3 and 45 RPM records.
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Antique newly upholstered chair. Done in an orange Mohair. Frame is walnut and in excellent condition. Stunning piece. This will make a beautiful statement piece in your livingroom.
5. Crosley
Ranchero Radio It’s a delight to get behind the wheel of this vintage-inspired Ranchero radio. With sharp, mod space age-flair, this radio packs a surprising punch with its big sound. Tune into the radio, or plug in your newfangled audio device to be your own disk jockey.
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Interior of 1960 Pontiac Bonneville Sport Coupe Photo Credit: Travis Massey Š2015 Courtesy of RM Sotheby.
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1960 PONTIAC BONNEVILLE Revival
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LONG LIVE MOTOR CITY MUSCLE CAR ORIGIN STORY
1960 Pontiac Bonneville Sport Coupe, 1953 Cadillac Series 62 Coupe “THIS OUSTANDING BONNVILLE IS ALMOST CERTAINLY A ONE-OF-A-KIND CAR”
T
here is some debate as to what was the first American Musclecar. The Mustang certainly takes most of the glory in launching this new segment, but a few important machines paved that road first with big, affordable power. The Bonneville launched in 1958 but really became unique and special in 1959 and 1960 – with a wide-track design that stood apart from similar cars from the GM R&D trenches. The Pontiac Bonneville became a full-fledged series for 1958, comprising a hardtop coupe and a convertible. Both were built on the 122-inch Chieftain wheelbase. The Bonnevilles were the most expensive Pontiacs, with distinctive trim and appointments and the Star Chief’s 255-brake horsepower V-8. “Tri-Power,” using three Rochester two-barrel carbs, became available, and its lower cost resulted in few orders for the still-available fuel injection. And though it looks huge today, this 1960 is actually a drastic lightweight-ing of the previous models. In fact, the Bonneville became the blue-collar hero of affordable speed within GM before its appeal real set the marketplace alight. With a Bonneville Sport Coupe, the brand had finally found its niche within the GM ‘ladder of success’ brand hierarchy. It would be brasher, louder and quicker than Buick’s and Oldsmobiles — with go-fast tech sprinkled throughout the risky, space-age designs. Lacking the big loyal buyer audience of Buick et all meant Pontiac could be risker than the
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other brands — with some incredible machines setting Pontiac’s brand identity and market position for the brand’s next 50 years. Retired in 2009, the ‘kill Pontiac’ discussions doubtlessly explored the future potential of each division. For Pontiac, that rock-solid identity of fast/cheap surely had potential. But, as we all know, GM nearly exhausted the well of Pontiac enthusiasm. Pumped nearly dry, Pontiac’s global potential was drastically limited by every single car they made from 1975 to 2005. Looking at cars like the Bonneville Sport Coupe, you can almost feel the company and the brand’s potential hitting a high note — even 55 years later. The Bonneville Sport Coupe gusher certainly delivered big returns for GM, but was ultimately a victim of its own success. This very car is said to be one of the best in the world – thanks to its loaded equipment list and careful recent restoration. Since reclaiming its original glory, this Bonneville Sport Coupe has scooped up a trunkfull of awards and concours trophies. And that was a big trunk to fill up. All General Motors cars were redesigned for 1959, with Pontiac having the sole distinction of a “Wide Track” chassis. The series, now called Bonneville Custom, gained the new 389-cubic inch engine with a four-barrel carburetor. Hydra-Matic-equipped Bonnevilles had 10.0:1 compression, which resulted in 303 brake horsepower with four-barrel carburetion, and they were now on the 124-inch Star Chief wheelbase. With 24,015 built, the Bonneville Sport Coupe.
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“THIS CADILLAC GHIA IS A STUNNER”
1953 CADILLAC 62 COUPE BY GHIA IS UP FOR AUCTION
Even though Ghia made two Cadillacs, the cars have different front-end designs, so there’s no way in hell you’ll ever meet somebody at a stoplight driving a car just like yours. And you’ll definitely not find one alike in another collector’s garage, where most such cars live out their fates. The current owner has had it for over two decades and has already restored it by the late Mike Fennel, a famed car restorer from Santa Clarita, California. Now, the car is up for sale at an auction organized by RM Sotheby’s in Arizona, which will take place on January 28-29, 2016. So there’s still time for that lucky lottery ticket or for selling your soul. The original owners of the two Ca-dillac 62 Coupes built by Ghia are un-known, although the famed Rita Hayworth was rumored to have owned one of the two cars. The other first owner of a Ghia coachbuilt Cadillac 62 Coupe is
Ghia coachbuilt Cadillac 62 Coupe is John Perona, a longtime Ghia customer, and then-owner of Manhattan’s famed nightclub called El Morocco. At the time of cataloging, the car had racked only 34,320 miles and a lot of impres-sive stories in its past. For example, it was shown at the 1989 and 2002 Peb-ble Beach Concours d’Elegance. At that event, it was ceremoniously reunited with its sister car, now located in a mu-seum, Petersen Automotive, as men-tioned above. In case you’re wondering, the 1953 Cadillac Series 62 Coupe by Ghia is fitted with a 331 cubic-inch OHV V8 making 210 BHP and a four-speed automatic transmission from GM’s Hy-dra-Matic series. The front suspension is coil spring independent while the rear has a live axle with semi-elliptical leaf springs. All wheels use hydraulical-ly operated drum brakes. Cadillac dra-matically reworked its model lineup for the 1959 model year. The series 62s re-ceived a toothier grille,
a dummy grille, acroos the tail, bright win-dow surrounds, and a trim spear along the side. Most fa-mously, a gargantuan fin topped each rear fender, with taillights on each side. The 62s also had rear fender skirts. There were four body styles in the Series 62 – four- and six-window hardtop sedans, a two-door hardtop coupe, and a con-vertible. The six-window sedans had a curved rear window, like the coupe, while the four-window sedans were known as “flattops” with a rear drip-rail and wrap-around rear window. Series 62s were the most affordable Cadillac at $4,800 to $5,400, and the model was a sales leader for the division at nearly 71,000. The Cadillac 390-cid V-8 developed 325 horsepower, Hydra-Matic transmission was standard, and most of the accesso-ries now taken for granted on Cadillacs were offered by this time: power steer-ing, windows, brakes, and seats, as well as air conditioning.
1953 Cadillac Series 62 Coupe by Ghia Photo Credit: Courtesy of RM Auctions Sotheby ©2015
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Model Editha Dussler wearing a panther headband, made of two panther-head brooch on a triple diamond line, 1967. © Cartier M. Gerard, Collection Cartier © Cartier.
ANIMAL INSTINCTS Cartier panther synonymos with the brand itself, JEWELRY STATEMENT The celebrates one hundred years as an alluring icon.
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“CARTIER HAS ALWAYS TOYED WITH THE RULES OF ELEGANCE”
I
t was among the first of the 20th-century brand icons, and certainly the fiercest and most fabulously unforgettable: for a hundred years, the panther has made its way, proud and provocative, through Cartier’s great theatre of design and through the story of 20th-century jewellery. It is almost inconceivable that this enigmatic creature, who seems so timelessly and effortlessly modern, made its first appearance as a stylised suggestion of its luxuriant pelt on a bracelet watch in Cartier’s early design books in 1914. From that moment, the panther became an integral part of the Cartier legend. It has been the leader of the pack in the jeweller’s famed menagerie, the symbol of bold, determined, fearless femininity and the epitome of high-octane glamour. The panther became the badge of belonging for an elite group of style-leaders, led by the Duchess of Windsor, Daisy Fellowes, Nina Dyer, Barbara Hutton and Mexican actress María Félix, who had commissioned an immense panther jewel from Cartier before adopting the crocodile necklace as her personal style signature.
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Made by Cartier for the Duchess of Windsor in 1949, this brooch centres around one 152.35-Carat Kashmir Sapphire Cabochon. © Cartier M. Gerard, Collection Cartier© Cartier.
In 1987, when Sotheby’s sold the Duchess of Windsor’s collection, her panther jewels were amongst the most talked-about and fiercely fought-over treasures. As a new book charting the story of the Cartier panther shows (Cartier Panthère, Assouline), there is virtually no decade, era or style in which the panther doesn’t make a dazzling appearance, always lithely adapting to the social and cultural climate. When Cartier’s talented designer Charles Jacqueau anticipated Art Deco in 1914 by translating the panther’s skin into a pattern of diamonds flecked with onyx, he picked up on the prevailing fascination with this creature, an erotic and exotic symbol of colonialism, and like the new female, fast, free and unfettered. The cats were the perfect expression of sophisticated barbarism: the Marchesa Casati, naked under her fur coat, paraded her two pet cheetahs, while Josephine Baker’s pet panther watched her perform from a stage box. As a new book the story of the Cartier panther shows (Cartier Panthère, Assouline), there is virtually no decade, era or style in which the panther does
not make a dazzling appearance, always lithely ad apting to the social and cultural climate. When Cartier’s talented designer Charles Jacqueau anticipated Art Deco in 1914 by translating the panther’s skin into a pattern of diamonds flecked with onyx, he picked up on the prevailing fascination with this creature, an erotic and exotic symbol of colonialism, and like the new female, fast, free and unfettered. Through the decades, the concept of the panther evolved, first into a full representation of the animal, on a series of vanity cases, the first of which was owned by Louis Cartier’s lover Jeanne Toussaint, whom he nicknamed Panthère. Mentored by Cartier, who spotted her innate talent and nurtured her natural taste and aesthetic sensibility, Toussaint became Cartier’s Creative Director of Jewellery in 1933 and went on to mould the panther into one of the most evocative and iconic jewels of the 20th century.
A platinum, pink gold and onyx wacth with rose-cut diamonds and miore strap.Cartier Paris, 1914. © Cartier N. Welsh, Cartier Collection © Cartier.
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B
y the 1970s, the panther was recognised across the world as a Cartier signature – rich in association and emotion, an object of desire – and it reflected the trend for less formal, younger, more vibrantly exciting but still opulently precious jewels. The democratised “boutique” era brought a proliferation of panthers in different guises, poses, materials and combinations. The original pavage was revisited and reinvigorated – the goldand-black flecked figure was posed on various carved hardstones, contrasting with arresting coral or turquoise. Under new ownership and the creative direction of Micheline Kanoui in the 1980s, Cartier entered a new era, and the energy and verve of the iconic panther was cleverly distilled into a fluid, gold chain link, suggesting the rippling movement of the animal. A depiction of the panther – always in a different style – is included in each of Cartier’s collections, and today the panther continues to evolve. It is still proud, still provocative, sometimes playful, sometimes predatory and ever more refined and sophisticated, always pushing the barriers of concept and craftsmanship.
ELIZABETH TAYLOR’S MOST MEMORABLE CARTIER’S JEWERLY Panther Necklace of Platinum, diamonds, fine pearls, yellow-green sapphires, carved black jade, onyx and a 121.81- Carat yellow cushion-cut beryl. Cartier Paris, 1914. © Cartier N. Welsh, Cartier Collection © Cartier.
“REDISCOVER THE MAGIC OF THE MAISON CARTIER”
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In 1957, Mike Todd proposed to Elizabeth Taylor, who this time was gifted a 29.4 carat emerald cut Cartier engagement ring. It was gorgeous, and while again the marriage was short-lived – Todd died in a plane crash the following year – the piece has gone down in celebrity history as one of the most dazzling diamond rings ever. Mike Todd also presented to Elizabeth her famous Cartier tiara, which she unforgettably wore to the 1957 Academy Awards. “When [third husband Mike Todd] gave me this tiara, he said, ‘You’re my queen, and I think you should have a tiara,’” Taylor wrote in A Life in Jewelry. “I wore it for the first time when we went to the Academy Awards. It was the most perfect night, because Mike’s film Around the World in 80 Days won for Best Picture. It wasn’t fashionable to
wear tiaras then, but I wore it anyway, because he was my king.” He also added to her collection a Cartier diamond-and-ruby set while she was taking a swim. She wrote: “I got out and put my arms around him, and he said, ‘Wait a minute, don’t joggle your tiara.’ Because I was wearing the tiara he had bought for me in the pool! He was holding a red leather box, and inside was a ruby and diamond bib necklace, which glittered in the warm light. It was like the sun, lit up and made of red fire. First Mike put it around my neck and smiled. Then he bent down and put matching earrings on me. Next came the bracelet. Since there was no mirror around, I had to look into the water. The jewelry was glorious, rippling red on blue like a painting. I shrieked with joy, put my arms around Mike’s neck, and pulled him into the pool after me. It was a perfect summer day and a day of perfect love.”
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