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Behind-the-scenes photos of ‘Barbarella,’ 1968
Here are some fun behind-the-scenes of the 1968 science fiction film Barbarella. I’m primarily posting these images because of the amazing costumes and because everyone is just so gosh darned gorgeous. Talk about intergalactic glamor. How could it ever be topped?
Sci-fi babes and boys at their finest.
Jane Fonda and director (and then husband) Roger Vadim
Roger Vadim and Jane Fonda
Roger Vadim and Jane Fonda
Jane Fonda with co-star John Philip Law and director Roger Vadim
Jane Fonda
Claude Dauphin and Roger Vadim
Roger Vadim and Jane Fonda
Jane Fonda and Roger Vadim
Jane Fonda and Ugo Tognazzi
Jane Fonda and Roger Vadim
Uncredited little girls, Jane Fonda and Roger Vadim
Uncredited little girls, Jane Fonda and Roger Vadim
Ugo Tognazzi and Jane Fonda
Jane Fonda, Roger Vadim and son (Christian Vadim)
Roger Vadim, Jane Fonda and Ugo Tognazzi
Jane Fonda
Talitha Pol and Roger Vadim
Below, opening titles for Barbarella:
©2021 Dangerous Minds | Privacy Policy
By Sarah Vine 01:05 BST 04 Oct 2013 , updated 14:49 BST 04 Oct 2013
Making a woman as elegant and beautiful as Gwyneth Paltrow look vulgar is no mean feat. But this week Hugo Boss managed it in spades, by sending the actress out onto the streets of Los Angeles in a black tuxedo jacket, slashed to the waist, with nothing at all underneath.
Presumably the stylist was going for something a bit wanton and pre-coital. In fact, poor Gwynnie just had the slightly confused, half-dressed air of a woman who has over-indulged a little at the roulette table and woken up in the wrong bed to find she’s lost not only her shirt but every last shred of self-respect.
On the other side of the world, reality TV star Kim Kardashian headed out in Paris in a bizarre cut-out dress that was not only hideously unflattering (doily chic?) but also made her breasts look like you could safely park a Boris Bike between them. She’s just had a blooming baby, for heaven’s sake! Hasn’t the poor woman earned the right to wear a bra?
Not to be outdone, earlier this week the Australian model Miranda Kerr was snapped in-between shows with her own breasts bobbing around the inside of her slashed-to-the-navel Stella McCartney dress like a couple of buoys in a force 10 gale.
And that wasn’t the worst of it, either: the dress, which was cream, was teamed with a white jacket. Two faux pas for the price of one.
All three looked utterly ludicrous — as one does when walking around in public with one’s bosoms on a plate. Three really beautiful, successful women, humiliating themselves like half-cut hookers in the name of … what? Money? Power? Attention? No, fashion.
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All three (and the small army of minor celebrities/models/whatevers trailing in their wake) are depressingly on-trend. For the how-low-can-you-go, bra-less, shirt-less and generally topless look is the fashion world’s latest wheeze.
Actually, to call it a wheeze makes it sound rather light-hearted, when really it’s anything but.
The fact that such high-profile women — with huge global followings and lucrative careers — think it acceptable to appear in public this way shows that this kind of bare-breasted cheek has become all too mainstream; that fashion — like so much of modern culture — thinks that pseudo-pornographic behaviour is not just okay but is positively chic.
There are some quite disturbing parallels between pornography and fashion. Like the porn industry, the fashion world is built on a completely warped view of women.
In pornography, women are always available, plucked, primed and ready for action, the antithesis of your slightly tired and grumpy girlfriend/wife. Likewise, in fashion, women are always young, pretty and rail-thin (and they walk funny, too, as anyone who has ever seen a fashion show will know).
In fashion, as in porn, the models bear no resemblance to women in real life. As a result, modern designers have no real respect, regard or understanding of the female body. They are simply designing for a fantasy, an ideal, that represents only a fraction of the population.
If anything, they seem to regard the female form as a massive inconvenience. All those lumps and bumps and wobbly bits. Ugh.
What do you mean, you want a sleeve? Or shoes you can actually walk in? Or a hemline that doesn’t cause your ovaries to freeze, or maybe the occasional pocket for putting things in? How could you be so dull and bourgeois?
But all this is really an excuse to hide their own inadequacies. It takes talent and tailoring, see, to make a normal woman look fabulous.
Clothes have to be carefully cut and structured. It’s not enough just to sew two squares together and slap a hefty price tag on it. You’ve got to study the fabric, learn to pattern cut, understand the dynamics of human movement.
So much easier just to pay some breastless, bottomless waif to shove something incredibly revealing on and show a bit of boob for the camera. It’s not style they’re selling, it’s rags.
These are not things that can be worn again and again, that will survive from season to season. They are lust in sartorial form, as grubby and as transient as anything you might see in a pornographic movie.
What’s really sad, though, is how much we normal, baggy, saggy women want this glittering, glamorous world to love us and accept us, and how much it, in turn, scorns and derides us.
That is why fashion loves an unwearable trend — an under-boob or a side-boob or a bare midriff or a hot-pant. It keeps the riff-raff out.
The only women who can wear a navel-grazing jacket or see-through shirt, Cara Delevingne style, are a) young b) thin or c) both.
Which is fashion’s way of saying: Bog off you old bags, and keep your nasty fat fingers off our designs.
Women’s fashion wasn’t always this shallow. Britain used to produce clothes for women that were the epitome of skill and styling. Perhaps this partly explains the popularity of vintage clothing: we long for things that fit and flatter.
David Sassoon, 82, is a veteran couturier, one half of Bellville Sassoon, and a man who remembers the heydays of British fashion. He has just curated a show at the Fashion And Textile Museum celebrating 60 years of style.
Together with Belinda Bellville, his business partner, he designed clothes for all types of women, from fashion icons like Jackie Kennedy and Princess Diana, to mothers of brides-to-be looking for that special wedding outfit.
‘The great thing about working with Belinda,’ he says, ‘is that she would always remind me that the clothes had to work on real women.
‘For example, with a dinner dress, the neckline is all-important, as that is what can be seen above the table. It should never be strapless and would often have sleeves.
‘At Bellville Sassoon [which dressed every member of the Royal Family except the Queen], it was only ever acceptable to create a strapless dress for cocktail or evening wear. Likewise, there are important conventions in society dressing that exist for a good reason.’
The exhibition, which highlights clothes for a range of social events, from Diana’s going away outfit to Princess Michael of Kent’s wedding gown, as well as eveningwear, is a masterclass in the kind of stylish, sophisticated fashion that is so lacking from too many of today’s designers.
‘Belinda,’ says Sassoon, ‘was always quick to point out that women wear bras, so backless dresses were only for those who could get away without one.’
History does not relate what she thought about frontless ones.
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Lowest of the low: Bra-less, brazen, this trend for breast baring outfits is an insult from a fashion industry that can't bear real women
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