Suzy Parker and the film were publicized in various magazines from 1959:
http://www.minimadmod60s.com/gallery2/main.php?g2_itemId=25110

November 1959 Cosmopolitan Magazine

Suzy Parker & Model Bill Albans
Photographer: Richard Avedon
July 20, 1959 Life Magazine

1959 Life Magazine

1959 Life Magazine

1959 Life Magazine

Linda Morand and Susan Camp

SUPER MODELS HALL OF FAME Nominee, Heather Hewitt is a Los Angeles based actress and model, writer and producer. Although she considers herself a country girl at heart, her career has been long and and very glamorous. Heather is an ageless beauty and a very talented painter, sculptor, and chef.  She is currently developing two exciting film projects based on scripts she has written. “Love is All”  is a romantic comedy based on a novel she wrote. It has an important female role, with some surprising comedic and dramatic elements, taking  place in Manhattan and Vermont.  The other script is entitled “Anna’s Extra Life.” It is a dramatic, family oriented story set in the film and TV industry and the social milliues of Beverly Hills and Hollywood.

Let’s take a look at some of the highlights of Heather Hewitt’s remarkable modeling career.

Current Photo

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Heather Hewitt was chosen to launch the “new look” for Cosmopolitan Magazine, which was being made over by Helen Gurley Brown, whom she refers to as “an editorial genius and tireless promoter.”  For several years she was featured in a series of ads as “That Cosmopolitan Girl.  They appeared everywhere, even on the sides of buses. It was a great  boost to an already super career

Heather on the coveted Cosmo Cover 1968

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The Perfect Red

Heather was featured on the cover of Playboy in a tasteful photo showing her to be the epitome of glamour, elegance and sex appeal

Heather Hewitt - 1968 by Roy Volkman. This lovely photo became Heather's "signature picture" which got her many assignments. It was one of hundreds of ads for Alexander's Department store, which appeared in all the new York papers every day.

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Heather for Germain Montiel 1964

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Heather was featured in an eye-catching image of beauty and sophistication. as an elegant high fashion model  in one of L’Oreal‘s biggest ad campaigns, appearing in Vogue, The New York Times Magazine and  posters in all the major beauty salons nationwide.

Heather as an elegant high fashion model Vogue 65

Heather was Maybeline’s leading model for more than four years. She was featured in their TV commercials and in their famous, record breaking ad campaign entitled “For the Many Faces of Eve” The ad ran in 44  magazines and hundreds of newspapers.

Heather was a favorite of the renowned jewelry designer Van Cleef and Arpels. The jewelry was so valuable that Rik van Glittencamp had to shoot it in basement of the New York store, because Van Cleef and Arpels would not allow it to leave the store. The ad appeared in Harper's Bazaar.

Heather in 1987 continuing to portray her special brand of sophisticated allure.

Heather’s natural beauty and versatility and her skills in evoking a mood, creating a character and bringing her energy and personality to the assignment led to her being cast in the principal role in over 150 TV commercials.  Heather met the love of her life, publishing executive, book editor and photo journalist, Andrew Ettinger. They married and had two daughters and now live in the Hollywood Hills in a lovely, woodsy home filled with dogs, cats, unusual birds and an exotic fish pond.  Andrew is a literary/media consultant as well as a writer/producer.

Heather and husband Andrew Ettinger

Heather with her husband, Andrew Ettinger and Cheri LaRoque at the 2010 West Coast Model's Reunion.

Linda Morand

Born in 1925 in New York City, Gleb Derujinsky was taking photographs, then developing and printing them by the time he was six years old. With the help of his apartment building superintendent, he built an enlarger when he was ten, using a paint can as a light source and a camera as the optical system. He was also one of the few, if not the only, teenager ever to be invited to join the prestigious New York Camera Club. Through his membership, Derujinsky was exposed to the great photographers of the time, such as Steichen and Steiglitz.

Straight out of Trinity School in New York, Derujinsky was drafted to serve in World War II, reaching the rank of staff sergeant by the time he was nineteen. After the war, he obtained a GI loan in order to open his first photographic studio. He subsequently photographed for Esquire, Look, Life, Glamour, Town and Country, and The New York Times Magazine. Ultimately, he worked almost exclusively with Harper’s Bazaar. During his trip around the world for Bazaar inaugurating the Boeing 707, he photographed fashions in exotic places from Turkey to Thailand and created some of the most exciting photographs of the 1960s. In the late 1960s, Derujinsky began directing television commercials and became a member of the Cameraman’s Union and the Director’s Guild. He won the Cannes and Venice Film Festival awards for best direction and cinematography, as well as the New York Art Directors award.

Derujinsky has raced autos and was sponsored by Ferrari America. He has flown sailplanes in cross country competition. In the late 1960s and early 1970s, he was one of the top ten sailplane pilots in the country. He also has designed and built carbon fiber bicycles for the U. S. Olympic team.

In 1976, Derujinsky moved to southwest Colorado. He opened a custom jewelry shop and, as an avid skier, eventually became a ski instructor, too. He continued his passion for photography and has been regularly photographing many facets of the west.

In the past, his deep interest in music led to his photographing several jazz musicians. And recently he has again taken up the piano, playing Chopin and a bit of boogie woogie now and then. [/i]

Here is a small representation of Gleb Derujinsky’s extraordinary body of work:

Simone d’Aillencourt
March 1959 Bazaar Magazine

Carmen Dell’Oerfice May 1958

Carmen Dell’Orefice
May 1958 Bazaar Magazine

Revolutionary Concept

Carmen Dell’Orefice
Bazaar Magazine

Duke Ellington, Jimmy Rushing, Louis Armstrong & Billy Strayhorn
1962 Newport Jazz Festival
Bazaar Magazine

Sammy Davis, Jr.

Susan Camp

The unique face of Ulla Bomser was everywhere during 1965-1968 and after. She was a Danish import, discovered by Eileen Ford and invited to come to New York. Ulla was one of the first models to sport a Vidal Sassoon haircut, which made her stand out amongst the other gorgeous Scandinavian models taking New York by storm in the Sixties. Her straight strong blonde hair was ideal for the head hugging ergonomic asymmetrical cut which help to springboard them both to fashion stardom.

1965 Ulla Bomser and Vidal Sassoon

1967 Ulla Bomser in a shorter cut a couple of years later,

1968 Ulla Bomser was a chameleon in this double page spread which featured saveral hair pieces and extensions.

Ulla Bomser

Ulla Bomser Celebrity Endorsement

Ulla Bomser Coty

1968 Claudia Duxbury - Clairol produced a popular make-up line choosing beautiful Claudia Duxbury as the image. Claudia was named one of 19 Supermodels in 1968 according to Glamour magazine.

1968 Toni Clayton was a natural for Clairol too. Her thick blonde naturally wavy hair was easy to style.

1968 Erika Toth - German model Erika Toth was known for her beautiful thick blonde hair. She helped introduce one of the first spray in conditioners.

1968 Cheryl Tiegs - Cheryl Tiegs was born to model for Clairol having beautiful naturally blonde hair. Here she poses for Clairol Perfume.

“Does she or doesn’t she?  Only her hairdresser knows for sure.”

1967 Sandy Hilton

Clairol was a top employer of Sixties Super Models and used only the best.  Here are some of the most popular and successful models. You can see them in this slide show.  Their names appear in the thumbnails below.

Click to view slideshow.

Image via Wikipedia

Modeling in Paris

Francois Lano, the owner was such a dear, so fastidious and good humored. He was dapper, elegant and well dressed with a little mustache, who treated the models as ladies. Maria was his partner. I remember they were measuring our hips. They were excited about sending me over to Pierre Cardin for a fitting. I would be modeling his spring 1967 Collection on the runway for private clients, exclusive buyers and the invited World Press. Diana Vreeland and all the top editors were going to be there, including my editor friends from Mademoiselle, Nonie Moore and Deborah Blackburn.

The photos were to be taken in the evening when the clothes could be borrowed from the designers. They had to be photographed quickly and sent back an hour later. Hundreds of couture dresses were being sent around Paris all through the nght by special messengers. Thew would appear in newspapers and magazines through the news bureaus, sometimes the very next day. By dawn all the dresses had to be back and put into order for the fashion show the next day. it was a frantic time, fraught with anxiety. Sometimes an important dress might be lost for awhile or delayed.

These pictures have resurfaced today in the book Cardin: 60 Years of Innovation.

The regular house mannequins were still used for private showings to the actual clients, the aristocrats and movie stars that could afford these super expensive one of a kind fabrications. They hated us for taking their places at the main press show, and we really couldn’t blame them. In New York, we had to put up with the influx of Swedish, Danish, German, Dutch, Swiss, French and British models, being imported by the Ford Agency. It was the survival of the fittest. Models were sent to Europe to get tear sheets from European magazines.

There were no model scouts, no great chains of modeling schools, no Internet to post your pictures to. If you wanted to be a model you could find out who was the best agent and send your pictures in. Ford used to get 1000 pictures a week from would be models.

About this time I met my lifelong friend, the irrepressible Susan Brainard.  She was the best friend of Wallis Franken, who stayed on in Paris for years.

NEW GIRLS IN TOWN: Left to right: Wallis Franken, Joane Bellefontaine, Susan Brainard, Yaffa Turner and Linda Morand. Paris 1967 at the Cafe Flore

Joan Bellefontaine

Wallis Franken

Linda Morand

One great model of the Sixties and Seventies  is Willy van Rooy.  She was a muse to Yve St. Laurent and David Bailey.  Newton loved her  sultry Dietrich mystery.  She inspired many classic photo shoots which have been preserved by miniMadMOD60s, with the cooperation of Ms. van Rooy.

WILLY VAN ROOY’S BLOG 

Willy is a wonderful jewelry and clothing designer and a gifted story teller. Her fascinating blog can be seen here. Well worth a look, if you like model and fashion history and a glimpse into the artistic and modeling world of  late Sixties and Early Seventies.

Click the link to NY TIMES to read more and see more pictures

Willy’s Story in NY TIMES

Photo Montage by Angora Sox

MMM60s: First of all, we would like to thank you for sharing your photographs and stories with us. It is not often one gets such an intimate glimpse into that vivid and wildly romantic era. We understand that because of your visibility on MMM60s, you were recently contacted by Italian Vogue to participate in a photo shoot.

Willy: Yes I got an email to ask if I would be available and interested to do a shoot for Italian Vogue the 9th and 10th of June. The photographer would be Steven Meisel. I was a bit nervous and nothing was for sure but I answered that I would be thrilled. I kept my fingers crossed. I have learned to not make myself any illusions and I figured I would probably be an extra and appear in some picture in the background… Still, I was excited about it and just to work with Meisel is already a trip.

I am only 5.7″ and I do know now my measurements because I had to give them to Vogue, 35- 27-36. Not as thin as I used to be, but carry the same weight always, somewhere between 116 and 122 pounds.  They asked me for some recent snapshots.

Self Portrait

MMM60s: We saw the test shots, they are really good. You look amazing! Who took the pictures?

Willy: I took them myself. You know I don’t know why they came out so good, I was really surprised. Make up makes a lot of difference. I really did only 12 pictures around the house. You know when you do it yourself, you click the button but than have to run to your place and strike the pose and you have no idea what it looks like. That’s why I was surprised they came out so well, no Photoshopping, only the levels to make them nice and light.

MMM60s: I’ll say. You look incredible. Are you thinking of getting back into modeling?

Willy: I think if something is bound to happen it will. Of course I do all my best to keep my mind lucid and free so things can happen. Anyway it is very important to know what one really wants but once you know the doors will open by magic. You know that just a few days before I got the email I was talking with my friend, Rory Flynn, who was a model too in the 60′s and 70′s, and now is a head shot photographer, that we both should go back to modeling and that we could have fun making a whole day of pictures of each other and then find an agent (still with the illusion that they are really waiting for us).

Willy in Paris 1975 in an outfit for Pierre Dalby. Designed by WILLY VAN ROOY

And then out of the blue comes that email and I was working for Italian Vogue! It is a sort of miracle. Of course, I realize that it would be totally impossible for me to be a commercial model unless I would really be allowed to look like a grandmother, no glamour or beauty, and only with the very best people. Then it becomes interesting because you know they wanted you because they saw something that inspired them.

Steven Meisel for Vogue Italia

MMM60s: So how was the booking? How was it working with a fabulous photographer again?

Willy: To work with Steven was a great pleasure. You know you are going to look great because you know he wants to make a good picture and you also know he can. Everybody was very kind and what a setup! There were at least 60 people and tents and dressing-room-cars and toilets and an incredible catering and many people walking around doing something.

The make up was by Pat Mc Grath and her artists, and Jeffrey did mine. He was very funny! All the hair was by Guido and his equipe and several young stylists supervised by KARL TEMPLER the Vogue editor, I know he is one of the fans of your site. All this was done in a big cemetery and of course all the clothes were black. Beautiful clothes, D&G, Chanel, Dior, YSL etc.

Autographed picture from YSL to Willy van Roy

MMM60s: Wow, just like the kind of clothes you modeled in the Sixties and Seventies. Were there any other models?

Willy: Linda Evangelista was there and she is very beautiful and very kind. There were three other girls, one by the name of Karen and she is soooo beautiful, too. Wow! And two very young lovely models named Iris and Guinevere as well as three handsome male models. All together, on the first day, I did five pictures, two group shots and three by myself.! I think it went well and it was a very nice day.

They even came to pick me up in a beautiful car with chauffeur who opens the door for you and in between shoots they immediately came running with a chair and a bottle of water and you see the pictures straight away ( I never dare to look at mine) they have enormous computerized machines, enfin unbelievable! .

MMM60s: Did you work a second day?

Willy: I did work the second day too and all together I was in nine pictures ,of which three of them were solo. It was fun to work with Linda, she is very kind and at a point even said to me that she it was an honor to work with me! What do you know!?

Some of the models are interested in seeing my jewelry which is great. Now I realize, though, that it is not that easy to start modeling again, for me at least. Of course to work with Steven Meisel or another very good photographer is OK.  They can make you look good, especially for magazines like Vogue and so on, which is fun but does not bring home the bacon and I am afraid I am not commercial at all. The clothes fit me perfect though, really amazing and the stylist even said they looked so elegant on me, that’s why I thought of maybe returning to the catwalk, but the heels…….We will see…

MMM60s: We think you are being too modest, Willy. You have not lost a thing. . Once again, thanks for all your very interesting input. You really brighten up the site.

Willy: My working for Vogue again is all because of MMM60s. They never would have found me if not for this site. Many people on the set there read your website and some knew all about it and follow my story and told me it was fascinating, so funny! Thank you, Linda.

Colleen Corby Sixties Supermodel

by miniMadMOD60s

After walking into Eileen Ford’s modeling agency, as a young teen to look for a summer job,Colleen was signed to an exclusive contract with Eileen Ford, founder of the renowned Ford Model Agency. That “summer job” would last for the next twenty years. Colleen’s career took off right from the start.

By the end of that first summer her assignments were coming so steadily that her parents enrolled her in Manhattan’s Professional Children’s School,which allows for the irregular schedules of actors and models. By her last year of High School she was so busy she hardly ever attended classes. However she was bright and a hard worker. She was able to complete her assignments and earn good grades. She was more than a model, she was a role model.

Starting her career at a very young age, posing for American Girl, The Girl Scout magazine, Co-ed,Teen, Ingenue, she was already an experienced model by age 16 when she first appeared on the cover of Seventeen in April 1963. According to one of her fellow kingpin models at Seventeen, the editors for all teenage oriented magazines knew they had a hot property in COLLEEN CORBY.

And what a young beauty she was, according to her peers. She had that amazing dewiness, the perfect glowing skin, hair and innocent on-camera movement that gradually became more stylized as this young model grew into herself and her signature look.

Colleen Corby loved working with the camera and the camera simply loved her. She knew exactly where her best light was and always played to that. She was one of the first young models who capitalized on the sultry look while retaining that innocent sweetness in the same breath, a la junior VOGUE. By the time she’d been in Seventeen regularly for a year or so, she would only crack a big smile if she was asked to do so. She was a leader of sorts in “taking it to the next level.” Cutesy young model poses were okay sometimes,but we were beginning to get beyond that, finally, and to have fun with it.

There was a fairly small group of models who seemed always to be together in the ads and editorial pages shot for Seventeen, and those ads often also appeared in Mademoiselle and Glamour, which appealed to older teens, college students, career girls and young marrieds. This tight group worked so smoothly together,playing off one another, just like a band playing music, naturally finding the perfect harmonies. It was true creativity,and Colleen was often at center position, quietly commanding the position she loved. She was a great team player too, and was always ready to compliment the lead taken by a cohort. That synergy was what commanded the higher daily rates for ads that eventually came with that territory.

The 60s was a magic era of modeling and the editorial pages of Seventeen were made for developing an almost decade-long following for its favorite models of the time. They were true supermodels to their millions of fans know in the trade as “the readership.”

With her dark hair and piercing innocent eyes, Colleen was the perfect cover girl. She was a bit more petite than some of the other regular Seventeen models and yet had a boldness about her mixed with that unmistakable innocence, a very alluring combination of qualities that the Seventeen readership practically worshiped. She was a hero for a whole generation of 13 to 18 year old girls, and boys, and received a healthy-sized pile of fan mail on a monthly basis during her hottest years.

The young readership would choose their favorite brunettes and favorite blonds “Oprah Winfrey, said: ‘My teen idol was Colleen Corby, who was a model in Seventeen Magazine.

That’s what we all love to do, to have our icons to relate to. It’s all part of the fun of growing up,feeling a part of what’s happening, being up with what works to maintain health and beauty, and of the utmost importance, as always, WHAT DO I WEAR?, to school, to work, to dinner, to a party or concert, or on a great vacation trip, so that I’m exuding the confidence of my fave models.

What would Colleen Corby or Terry Reno, or Joan Delaney, or Rinske Hali or Wendy Hill or Jennifer O’Neil, or any of my favorites wear to this event? And, where’s that new issue that just came in the mail?!! I NEED ITNOW!! There was no Internet then and magazines were what we had. Big slick glossy magazines full of amazing fashions, styles, new make-up and hair styles and stories, columns and articles geared to the teenage at a time when 50,000 Americans a day were turning 18.

Holly Forsman Rinske Halle Barbara Bach (who grew up to marry an Italian Count and Beatle Ringo Star)

And so, the beat goes on. Here we all are again, lapping it up, reminiscing together about our glorious era, whether we were the models, or the readership who made them famous in the Sixties. Thanks to Colleen Corby and her cohorts of the 60s, we had a great time, and now, we get to relive it here on MiniMadMods60s!! Come back for more stories.

Colleen Corby was Oprah's favorite model as she was growing up.