Lud, a Russian Exile, one of Horst P. Horst’s favorite Models

4 Oct
Lud by Horst P. HorstLud wearing Cartier jewels, ph. Horst P.Horst

Lud looked, and was, solidly Russian. She had the cheekbones, the lips at once frankly sensual and playfully amused, the slightly upward slanted eyes that hinted at something distantly, fantastically oriental. Those eyes were her greatest feature, because they were different in every photo, from every angle the blue of ice one moment, the blue of warm bright gemstones the next, powerful proof of the Russian’s proverbial variety of moods.

Lud by Horst P. HorstLud by Horst P. Horst

Born Ludmila Feodoseyevna in St Petersburg in 1913 to a vice-governor of Vladimir province, Lud escaped with her family to the Crimea after the Bolshevik revolution, thence to Constantinople, Greece and France. In exile, Lud proved to be more than just a pretty face. While her widowed mother struggled to make ends meet, Lud took high grades at a French lycée and planned to enter university to study philology.

Fate determined a different course for Lud when the famed photographer Horst espied her delivering dresses to Vogue’s Paris studios (she got the wrong ­studio and ended up throwing it at the photographer in a temper, and became one of his favourite models) . Thus at age eighteen, Lud began what was to be a fabulous modeling career, first with the house of Countess Vera Borea, then Patou, then Chanel. She married a French marquis, and knew the delicious experience of having rivals Elsa Schiaparelli and Coco Chanel vie graspingly for her services. In 1937, wearing a draped white gown from Alix  (Madame Grès) and posed like some lethally beautiful Medea between fluted columns, Lud was photographed by Horst in what Alexandre Vassiliev  (writer of ‘Beauty in Exile’) describes as “one of the immortal images of twentieth century fashion.”

Alix Dress, Lud, 1938 Horst P HorstLud in Alix (Madame Grès) Dress, by Horst P Horst, 1937

We all know beauty and wealth do not guarantee happiness, but the gods sought to use Lud to press the point home. First her marriage to the marquis failed; she married again, to a naval engineer, and began to appear in films. She left France for a time, living first in Argentina and later in the United States, and her second marriage broke up. By the time she returned to France in the early 50’s and began working for Balenciaga, she sensed that somehow her sun had set. There were financial woes, brought on by her unflagging addiction to high living. She ended up taking a job at the Slenderella beauty institute, earning some cash on the side by singing in the chorus of the Paris Opéra. In 1959, the once glorious Lud was living in the resort town of Le Touquet, where the only work she could find was as an airport clerk. When that job ended, she found a new position, as head of curriculum at a private school, and when that job ended, Lud was hired as director of a home for aged Russians, where among the charges she oversaw was another faded Russian model, Princess Maria Eristova. Still, there was a little happiness for Lud at the end: in 1982, she married a childhood friend, Pierre de la Grandière, and lived with him in the French Alps until her death from cancer in 1990.

Lud in more photographs by Horst

Ludmila Feodoseyeva aka Lud in Chanel 1937 Ivory cuff bracelet by Verdura Photo by Horst P. HorstModeling a Chanel dress & Ivory cuff bracelet by Verdura, 1937
Schiaparelli hat modeled by Lud photograph by Horst 1946Moddeling a Schiaparelli hat 
Lud by Horst P. Horst
Ludmila Feodoseyeva (aka Lud), 1937
Lud by Horst P. Horst
Lud by Horst P. Horst

In describing her mother, Lud’s daughter also gives a fair account of most of the other artistic Russian émigrés. Lud feared nothing and no one, remembered her daughter, never hesitating to sail a boat out onto a stormy lake or take a stroll through a crime-ridden Paris purlieu. Lud was in love with living: “She was the daughter of Epicurus”.

Life for Lud, and indeed, for most of the Russian exiles living in Europe or Great Britain, America northern or southern, was far more colorful and probably far more blessed with longevity than it would have been had they or their parents remained in Soviet Russia. Thanks to Alexandre Vassiliev’s  study of just where these many-colored threads began and ended, we can know that there was, after all, a future for them.

1937 Paris Vogue cover. Lud by Horst P. Horst1937 Paris Vogue cover ph. by Horst P. Horst

Lud was once described as “a lethally beautiful Medea”.

It is said that she cut off parts of her breasts and thighs to make her figure the perfect silhouette for Horst photographs! Prove of this cannot be found…..




Beauty in Exile

The Artists, Models, and Nobility who Fled the Russian Revolution and Influenced the World of Fashion

by Alexander Vassiliev


The Russian model Lud, a favorite of Horst 1939 photographer unknown.Lud in 1939, photographer unknown




Lauren Hutton, Facts of her Life & Career

27 Sep
Lauren HuttonPh. by Richard Avedon, 1973

Lauren Hutton was advised to correct the slight gap in her teeth and tried using morticians’ wax to cover the gap, cutting a line in the middle of it; this was followed by the use of a cap, which she would often swallow, laugh out or misplace. She eventually retained this “imperfection”…..

Lauren Hutton

Hutton, who is now 71, was the Kate Moss of her time – almost as famous for her partying as for her incredible and enduring fashion career – and the outspoken beauty explained that there were millions of dollars to be made from modelling, even in the Seventies.

She was illiterate until age 11. After her mother remarried (Hutton never knew her father), the family of three moved from Charleston to the swamplands of Tampa, which she calls “a magical place.” Hutton spent her days as a carefree tomboy, and learned how to interact with wildlife from her stepfather.

She first came to NYC for a few-month stint, earning her rent as a “Lunchtime Bunny” at the Playboy Club. (She explained that the position of “Lunchtime Bunny” was reserved for 18-20 year-olds). She was there around the same time that Gloria Steinem and Debbie Harry were also working at the Club, although they never interacted, since the ladies who would later be known as the godmother of feminism and Blondie, respectively, had the distinction of being Nighttime Bunnies.

Lauren HuttonLauren Hutton as a Lunchtime [Playboy] Bunny

She was born as Mary Laurence Hutton, but blame it on Playboy for the switcheroo: There were apparently too many cocktail waitresses named Mary, so she decided to riff on her middle name and go with Lauren, inspired by none other than Lauren Bacall.

Hutton got into moddeling after she saw a want ad in the New York Times for a Christian Dior model, “experience required.” Her friend’s boyfriend told her she needed to go to the audition anyway. “I said, ‘I don’t have experience,and he said, ‘Of course you do.’ I had my first great New York lesson: Lie.” She did get the job—though the fact that she offered to do it for less than minimum wage ($50 a week) was probably also a factor.



Hutton about her first meeting with Vogue editor Diana Vreeland. “‘You have quite a presence,’ Vreeland told me. I did not know what presence meant.  I figured it was good. I said, ‘Yes ma’am, so do you.’ She said, ‘You stay after.’ I opened my book and she said, ‘I think I’ll call Dick [Avedon.]'” 

It was her first big shoot with famed photographer Richard Avedon, and things were not going well. “I was trying to be Veruschka, and that was terrible,” she says. When, in the hopes of finding something that would inspire her, Avedon asked her questions about her childhood, she revealed that she used to love jumping over snakes. He told her to leap and jump in the photo, and the rest was history. “That started the run-and-jump pictures…because I couldn’t model.”

Run-and-Jump Pictures by Richard Avedon

Lauren Hutton by Avedon

Lauren Hutton by Avedon

Lauren Hutton by Avedon

Lauren Hutton by Avedon

Lauren Hutton by Avedon 1971

Lauren Hutton by Avedon 73

She was the very first model to nab a beauty contract—and it was all her idea. Up until then, modeling was an occupation that was paid by the hour. But Hutton knew that she was a hot commodity. “Twiggy had quit, Veruschka was doing something else, Shrimpton was off doing something else—everyone had quit. I was the only one left!” But when she caught a glimpse of a New York Times article about a man who had received a $1 million contract for his own job, she said, “How can I do that?” She mentioned her idea to Avedon, who told her to up the ante and make it exclusive. She pitched it to Revlon, and in 1973, at age 31, she signed the first-ever modeling contract with Revlon for a sum of $400,000. She was the face of the mega-brand until they let her go about 10 years later.


Lauren Hutton appeared on the front cover of Vogue magazine a record 41 times!

Lauren Hutton by Irving Penn, December 1968.


Irving Penn vogue


lauren-huttonLauren Hutton & Christy Turlington
Veruschka, Isabella Rossellini Lauren Hutton by Steven Meisel 1988.Veruschka, Isabella Rossellini Lauren Hutton, Steven Meisel 1988


In October 2000, Hutton joined a motorbike group, which included actors Dennis Hopper, Laurence Fishburne and Jeremy Irons, to celebrate “The Art of the Motorcycle” exhibit at the Hermitage-Guggenheim museum in Las Vegas, Nevada. Prior to the journey, Hutton informed the Las Vegas Review-Journal: “I love the feeling of being a naked egg atop that throbbing steel. You feel vulnerable — but so alive.” En route, Hutton crashed near Hoover Dam, on the border between the US states of Arizona and Nevada, going over 100 miles (160 km) per hour, and suffered multiple leg fractures, a fractured arm, broken ribs and sternum, and a punctured lung. Hopper later recalled from before the start of the ride: “She had on a little helmet, sort of tied under her chin. It was cute. And Jeremy [Irons] came up to her and said, ‘You got to be kidding.’ He took it off her and gave her a proper helmet.”

Lauren Hutton



About American Gigolo:

“Everyone knew it was great, that it was ahead of its time. Paul [Schrader] had been trying to get it made for ten years. He’s a genius idea man, and a genius producer. He was one of the first people to use popular music the way he did in that film, with Blondie. Originally, John Travolta had the lead role. He was fresh off of Saturday Night Feverand Grease, which together had made a quarter of a billion dollars. There were entire rooms in Paramount stuffed with his fan mail. What happened was, two weeks before we were to start, John’s mother died. He was just a 24 year-old kid. He was in real agony. Then his dad had a heart attack. So John asked for a two week extension so he could pull himself together emotionally, and also lose some of the weight he’d put on during this time. And they wouldn’t give him an extension. Everyone was going to sue him. It was just a mess. So what John had to do to get out of it, was give Paramount a deal where they chose his movies, and he had no say. And prior to that, John had what no other actor in town had, which was final cut. Plus, John was very romantic. If John had played the role, it would have been much more romantic and you would have seen the gigolo kiss. With Richard [Gere], you never really see the gigolo kissing. You see everything leading up to it. You see his expertise in dressing, more than his expertise at romance.”

“The character of Julian Kaye was a bit removed and completely narcissistic. It was his narcissism that blinded him to the conspiracy around him, but you would have had a populist hit if there had been more romance in the film. As it was, it wasn’t a hit when it came out, but became a classic in retrospect on cable and home video. So we ended up being lucky, because Richard is such a wonderful actor, and he became a star because of that role, deservedly.”



Lauren Hutton

“We have to be able to grow up. Our wrinkles are our medals of the passage of life. They are what we have been through and who we want to be. I don’t think I will ever cut my face, because once I cut it, I’ll never know where I’ve been.” 

Lauren Hutton






Jane Forth, Teenage Model & Warhol Superstar

20 Sep

Jane Forth by Jack MitchellJane Forth by Jack Mitchell

In July 1970 Jane Forth, teenage supermodel appears on the cover of Life magazine. The four page colour spread with photos by Jack Mitchell was titled “Just Plain Jane” and described Forth as “a new now face in the awesome tradition of Twiggy and Penelope Tree.” It also noted that she had just turned seventeen and “claims no special talents.”

She was featured not only in several of Andy Warhol’s movies, but in the pages of American Vogue,Harper’s Bazaar, and many more magazines of the time. She modeled early wrap dresses for Diana Von Furstenberg and apprenticed with Halston. Known for her original style, and creative hair and makeup – she inspired many with her look then and now – including the creators of Dallas Buyers Club, who referenced her photos as inspiration for Jared Leto’s character in his Oscar winning role.

Jane Forth

Jane Forth & Antonio LopezJane Forth & Antonio Lopez

Jane-ForthForth became a sensation, Warhol Superstar and the downtown New york It Girl. Discovered working as a receptionist at the infamous Factory, she appeared in Warhol’s films ‘Women in Revolt’, ‘Trash’ and ‘L’Armour’. She also became the creative inspiration to fashion’s editorial elite.

In een interview in 2014, Forth (born 1953) recalls the inspiration behind her own famous use of make-up. She was being pulled toward older movies, particularly black-and-white films “due to their contrast,” she says. Forth’s favorites included Clara Bow, Claudette Colbert, Bette Davis, Hedy Lamarr, Dorothy Lamour, Vivian Leigh, and Myrna Loy. To develop her own style, she says, “I experimented with many different looks as a young adolescent. I was not consciously looking to create something new as an image. I took my inspirations one step further and mixed it with my own creativity and artistic eye and my look appeared. It felt right and it felt very comfortable to me when I finally found it.

Jane Forth

Jane Forth

“There were no hair products in those days. There was like Aquanet hairspray and shampoo. There were very little choices for products. I started to like the idea of very shiny hair– shiny hair pulled back, very flat and put in a bun. So that’s how I started to use Wesson oil. I would use cooking oil and I’d slick my hair and make it almost like patent leather!

To the question how she met Andy Warhol, Forth answers: “I had a boyfriend by the name of Jay Johnson. He was my first boyfriend and he had a twin brother. His twin brother was Jed Johnson, who was Andy’s boyfriend for many, many years. Jed lived with Andy for many years. I was seeing Jay, who is still alive and kicking. We had to go meet his twin brother Jed and that was in Andy’s home on Madison Avenue in his brownstone, where he lived with his mother. It’s odd because very rarely did anyone ever get to enter that brownstone, and that was my first meeting, which was actually in his home in his bedroom. It was a very unusual situation, because so many people (except for maybe Paul Morrissey and Jane Jett) were ever in that brownstone—and Fred Hughes. So, Jay had picked something up, and I was sitting in Andy’s bedroom. I remember there was a beautiful powder blue satin quilt on the bed. I was sitting there not even knowing whose home I was in, and just sort of rubbing my hand on this quilt, and I heard a voice go, ‘And who are you?’ I turned around and I said, ‘Oh, hi. I’m Jane. And I’m Jay’s girlfriend’ and that was it.”

Jane Forth & Andy Warhol

Jane Forth & Andy Warhol

Jane Forth & Andy Warhol in der Kutsche, Bayern 1971

Jane Forth & Andy Warhol

Jane Forth & Andy Warhol

Forth traveled with Warhol and attended events with him. Yet her recollections are marked by more private moments Forth recalls, “My most vivid memory of Andy was receiving phone calls in the middle of the night from him to see if I was watching the same classic movie that he was watching.” And she usually was, she remembers. Forth also recalls spending summer weekends in Southampton with Warhol, Jed Johnson, Peter Brant, and Fred Hughes. On Sunday mornings, Warhol would sit under a giant tree and read the newspaper. Hughes would play Gershwin’s Rhapsody in Blue and the group would at times venture into town to buy rhubarb pies, lobster salad, and fresh berries. She adds, “I would always buy my Yoo-hoos [chocolate milk]. I loved Yoo-hoo. […] It would be so quiet, relaxed, beautiful, so normal and peaceful and tranquil.”

About Andy Warhol:

There were many faces of Warhol and it depended on your relationship with him and where you came into play with him. I can only speak to my relationship with Andy, in which he was very warm; he was very talkative with me. He was also flirtatious! He could be very flirtatious, absolutely.”

Jane-Forth-Jane Forth & Corey Tippen
Jared Leto in Dallas Buyers ClubJared Leto in Dallas Buyers Club

Forth decided to give up her unique spot among the Factory Superstars. Warhol and her had a fight about it. “I found myself pregnant and did give up my career. I went into a whole different mode. In those days there weren’t a lot of single moms having babies on their own. I raised my child, my son, until I met my husband at that time, Oliver Wood, who I stayed married to for 22 years. He was a director of photography from England and he actually ended up doing  a lot of big movies in Hollywood. That’s who I ended up having two other children—my daughters—with. Later I went into makeup. After I had my son Emerson–when he was about six years old–I decided to start doing makeup for film work and special effects. I went to school at night, I self-taught myself and I got into the union. For many, many years I worked in the film business with makeup and special effects.”






Film poster Trash

Jane Forth, then 17 years old, is best known for appearing in Paul Morrissey’s ‘Trash” (1970), alongside Joe Dallesandro. About her part in the movie, she says: “I played an upscale, richer woman who was a very bored, stay-at-home housewife. Well, I created this myself. This was the most exciting thing in the world– to have this junkie break into my apartment. It’s like, I was so bored day in and day out that this was like ‘Wow, this is fun!’”




Jane-Forth-Veronica-Ibarra-2012Jane Forth in 2012, ph. by Veronica Ibarra



Donna Jordan, among the Most Influential Models of All Time

13 Sep
Donna Jordan

Though perhaps lesser known than some of her disco-era colleagues, Donna Jordan ranks among the most influential models of all time. Before Lara Stone was even born, Donna was the bleach browed, gap-toothed beauty who set the trend. Whether she was being shot by photographers like Helmut Newton, Guy Bourdin and Oliviero Toscani, or appearing in Andy Warhol films Donna demanded the attention of the fashion crowd.

Donna Jordan. Antonio Lopez & Pat Cleveland, Donna Jordan, Antonio Lopez & Pat Cleveland Donna Jordan with photographer Oliviero ToscaniDonna with photographer Oliviero Toscani Donna Jordan, Andy Warhol & Jane Forth promoting the 1971 film, L'AmourDonna Jordan, Andy Warhol & Jane Forth promoting the 1971 film, L'Amour

Once dubbed ‘Disco Marilyn’, Donna Jordan wasn’t very interested in becoming a model. But illustrator Antonio Lopez saw something special in her. Together with his life partner Juan Ramos, Antonio bleached Donna’s hair and eyebrows and a new model was ‘born’. “Antonio was magical,” says model Donna Jordan. “When I first met him in 1967, he was coming down the steps to Bethesda Fountain, in Central Park, dressed in a red suit. He was quite a vision.”

jane forth& donna jordanJane Forth & Donna JordanDonna Jordan

Donna Jordan

Donna Jordan
Donna Jordan & Pat ClevelandDonna Jordan & Pat Cleveland
Vogue Italia, July 2015.Vogue Italia, July 2015, ph. by Steven Meisel

Donna was part of YSL’s clique in Paris and a muse to Karl Lagerfeld. She was a firm believer in 40’s inspired shoulder pads, red lipstick and glamour! Like any Andy Warhol Superstar…she was also an “actress”! She starred in Andy Warhol’s L’Amour as an American gold digger in Paris (a role in which she had a steamy kissing scene with Karl Lagerfeld!!!).

november 1971Donna Jordan cover Vogue Paris, November 1971
Donna JordanDonna Jordan cover Vogue Italia, 1971
Donna Jordan, 1977 

Donna Jordan tells:

In New York, late 1960’s, there used to be Be-Ins at Bethesda Fountain in central Park. Everybody would just go and hang out… real hippie stuff.  I was there one day with Jane Forth, when out of nowhere appeared Antonio Lopez in head-to-toe red: red suit, red top hat, red cane. All of that coming down the Bethesda stairs was such an amazing vision and for some reason there was a real connection. Antonio looked at Jane and me and we became immediately his muses. It was an instantaneous karmic kind of thing. We were just little kids, 17 years old – we’re talking 1967 – and suddenly are lives were transformed.

antonio lopez, corey tippin donna jordan, st. tropez 1970

Donna Jordan, Antonio Lopez & Juan RamosAntonio Lopez, Corey Tippin & Donna Jordan, st. Tropez 1970

Every other night it was Carnegie Hall or Max’s Kansas City. Max’s was my living room and we would dance all night.  I was the only of my friends who had a job at – Paraphernalia, one of the first boutiques in New York City –  so I’d work all day and go out all night.

In 1969, after I’d had enough of New York and the whole Warhol scene, I went to London and kind of floated. Antonio found me again, I went to Paris and the rest is history.

Those were wild, crazy, fun, ridiculous times. I was living in the moment so much, I never thought about tomorrow and it all happened so fast, like a huge rush.

Aesthetically I think the Europeans were attracted to me, because I have such an open, American face. I booked the cover of French Vogue-their “pop” issue- which led me into an exiting time because Antonio’s influence was growing in Paris and we were like family. It was the midpoint of a transformation that changed my life.

Donna Jordan

by Andy Warhol

Donna Jordan


Info: CR Fashion Book, September 2013

Laurene Stone, rose to Fame during the 1960s

6 Sep

Laurene Stone

Former magazine cover girl Paulene Stone may not be as well-known as other models from the era but Paulene’s style was certainly what everyone wanted. The statuesque beauty embodied Swinging London more than any other, and her work with David Bailey is what the photographer has attributed to kicking off his career in 1960.


Paulene talks about her life

Paulene Stone has led an extraordinary life. A fashion model and three-time Vogue cover girl, she rose to fame during the 1960s, rubbing shoulders with many glittering names of the day and creating some of the decade’s most enduring images.

Stone was born in Hove in 1941. Her mother was a talented dressmaker with Katharine Hepburn looks, while her father was a commercial artist. She fell in love with fashion at a young age and quit school aged 16 with aspirations to become a model.
Paulene Stone

 Ph. by John French

Paulene Stone

Laurene Stone, 1964 by David BaileyPh. by David Bailey, 1964

She took a holiday job at a knotweed wholesale business in the local town, on a vague promise that it might involve some modelling work. “Well, I soon realised there was none and I ended up stacking shelves,” says Stone, who with her large eyes, enviable cheekbones and delicate features, still looks every inch the model.

One day, the owner’s daughter spotted an article in Woman’s Own, which invited readers to enter a modelling competition. “She said, ‘You’ve got to send a photograph of yourself,’” recalls Stone. “So I trotted down to the high street photographer and had an absolutely terrible picture taken. I sent it off and I won.

The prize was a three-week modelling course with the prestigious Cherry Marshall Model Agency on Jermyn Street. Marshall, a former model herself with a 22-inch waist, became famous in the 1950s under the moniker Miss Susan Small. “Cherry was wonderful, she really pushed me.”

Paulene Stone

floral-projection-on-model-1960s-photo-john-frenchPh. by John French

Soon tiring of the daily commute to London, an 18-year-old Stone packed her bags and moved to the big smoke, taking a room in a boarding house on Cranley Place in South Kensington. Armed with an A to Z and a Tube map, she quickly settled into London life. 

“I actually remember the last pea souper we had. I was driving to my boyfriend’s house and the fog was so thick. I drove down Buckingham Gate to turn left into Petty France and accidentally turned into Buckingham Palace, because in those days they just left the gates open. A policeman came up with a big hand through the fog and said, ‘’Ere, where do you think you’re going?’”

Paulene Stone photographed by David Bailey, Daily Express, 1960.

Stone’s modelling career began to take off in a big way. In 1960, aged 19, she was snapped posing with a squirrel by David Bailey for the Daily Express, in an iconic image that is credited with launching the photographer’s career. She landed her first Vogue cover three years later and went on to grace the front page twice more.

The King’s Road was the epicentre of the Swinging Sixties and the atmosphere was “fabulous”, declares Stone. “There were so many individual shops – Granny Takes a Trip, Top Gear, Countdown. By the time I was really hitting the King’s Road, I was dating Laurence Harvey (an Academy Award nominated actor). We would go down in a chauffeur-driven car, and people would stop to catch a glimpse of him. It always seemed to be sunny, and I’d be wearing my shortest hot pants or a miniskirt.

Stone met Harvey – whom she affectionately calls Larry – through her journalist friend Peter Evans. “He said, ‘I’m having drinks with Laurence Harvey at The Connaught tonight, why don’t you come with me?’ Well, I’d seen him in Darling, and his character was so sleazy and horrible. But Peter persuaded me, so I went along. Larry opened the door of his suite and I just thought, ‘Wow.’ He was very tall, very handsome and great fun.”


Ph. by Brian Duffy, 1964
Vogue August 1964 COVER HELMUT NEWTON MODEL Pauline StonePh. Helmut Newton, August 1964

Harvey “had one foot in old Hollywood, and one foot in new Hollywood”, says Stone. He made two films with Elizabeth Taylor and the couple socialized with her and her husband Richard Burton. “Richard was hypnotic. He had amazing green eyes and when he talked to you, he would just lock onto you.

Then there was Sammy Davis Jr, Peter Lawford, Leslie Bricusse and his wife Evie, Michael Caine, Terence Stamp, former model Sandra Paul (now married to the politician Michael Howard) and Joan Collins, who Stone says is “wonderful”. “She’s so much fun.”

The couple married on New Year’s Eve, 1972, but tragically Harvey died of cancer just 11 months later. “He was only 45 and we didn’t know he had it,” told Stone. “It was very sad.” They had one daughter, the bounty hunter Domino Harvey, who died in 2005. A film based on her life, starring Keira Knightley and directed by Tony Scott, was released the same year.

Laurene Stone

Laurene Stone

Photo by Brian Duffy 1966

Stone has another daughter, Sophie, from her first marriage to Take 6 fashion-chain founder Tony Norris, and a son, Harry, by her third husband Peter Morton, who co-founded the Hard Rock Café. Her fourth husband, the actor Mark Burns, passed away in 2007 after a struggle with cancer. Stone herself has battled the illness three times. “I feel lucky that I’m alive.” 

Despite being a model, Stone doesn’t wear many fancy clothes. “I like to wear separates. I never wear a dress. I’ll put on a sweater and jeans, or a T-shirt in the summer, with a nice jacket. I’ve always spent a lot of money on accessories, but I’ve never really gone in for fancy outfits, probably because when I was modelling, I was wearing them all day.

Paulene Stone with Mrs Sylvia StonePaulene Stone & her mother Mrs Sylvia Stone


Her first Vogue cover was a thrilling moment, she says. “I was quite chuffed, but I took it all in my stride. My mother was very proud – she kept all the cuttings.” Modelling was very different in the 1960s, she adds. “In those days you didn’t have a make-up artist or hairdresser. You even had to provide your own shoes – a neutral pair and a black pair.”

“You had to do it all yourself and you had to be pretty perfect too, because they didn’t retouch. There was none of this Photoshop stuff, thank you very much. Everything is so smoothed out now, I can’t believe it. We didn’t have any of that – we were the way we were.”

Paulene Stone.





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