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Today's Inspiration

August 11, 2010
Let’s do another give away! This time we’re offering a selection from the Personal Library of Betty Draper. Send in the receipt for your Mad Men Unbuttoned order and you’ll get a complimentary copy of Mary McCarthy’s The Group. It’s all about the restlessness and dissatisfaction in the post-college lives of young bright women in the starting in the 1930’s. It’s the proper blend of insight and satire about ladies trying to find hapiness outside of the roles of wife/mother. There’s also a lesbian!  A big best seller in 1963, required reading. Favorite passage # 1 Things had never stood still long enough for her to decide. It sometimes struck her that Harold would not let her be sure of him for fear of losing his attraction: it was a lesson he had learned in some handbook, the way he had learned about those multiplication tables. But Kay could have told him that he would have been far more attractive to her if she could have trusted him. Favorite passage # 2 But so far nursing, like most of sex, was an ordeal she had to steel herself for each time it happened by using all her will-power and thinking about love and self-sacrifice. The nurse was watching her now, to make sure that the baby was drawing at the nipple properly. ‘Relax, Mrs. Crockett,’ she said kindly. ‘Baby can sense it if you’re tense.’ Priss sighed and tried to let go. But naturally the more she concentrated on relaxing, the more tense she got. ‘Bless braces, damn relaxes,’ she joked feebly. ‘You’re tired this evening,’ said the nurse. Priss nodded, feeling grateful that someone knew and disloyal, at the same time, to Sloan, who did not know that it wore her out to have company, especially mixed company that sat there discussing her milk. *Image above done by the magnificent Dyna Moe

Let’s do another give away!

This time we’re offering a selection from the Personal Library of Betty Draper. Send in the receipt for your Mad Men Unbuttoned order and you’ll get a complimentary copy of Mary McCarthy’s The Group.

It’s all about the restlessness and dissatisfaction in the post-college lives of young bright women in the starting in the 1930’s. It’s the proper blend of insight and satire about ladies trying to find hapiness outside of the roles of wife/mother. There’s also a lesbian! 

A big best seller in 1963, required reading.

Favorite passage # 1

Things had never stood still long enough for her to decide. It sometimes struck her that Harold would not let her be sure of him for fear of losing his attraction: it was a lesson he had learned in some handbook, the way he had learned about those multiplication tables. But Kay could have told him that he would have been far more attractive to her if she could have trusted him.

Favorite passage # 2

But so far nursing, like most of sex, was an ordeal she had to steel herself for each time it happened by using all her will-power and thinking about love and self-sacrifice. The nurse was watching her now, to make sure that the baby was drawing at the nipple properly. ‘Relax, Mrs. Crockett,’ she said kindly. ‘Baby can sense it if you’re tense.’ Priss sighed and tried to let go. But naturally the more she concentrated on relaxing, the more tense she got. ‘Bless braces, damn relaxes,’ she joked feebly. ‘You’re tired this evening,’ said the nurse. Priss nodded, feeling grateful that someone knew and disloyal, at the same time, to Sloan, who did not know that it wore her out to have company, especially mixed company that sat there discussing her milk.

*Image above done by the magnificent Dyna Moe

9:38pm  |  59 notes   |  The Group |  Betty Draper |  Mad Men Bookshelf 
August 3, 2010
Betty Draper loves a makeover. She’s redone her home, her hair, and her wardrobe, all in attempts to be her own woman, and yet! Betty’s reinventions are all tied (like she’ll always be tied!?) to Don, and this latest incarnation of Elizabeth Francis nee Draper nee Hofstadt? No different than the rest.  As Don’s wife, Betty was Grace Kelly at her height. Like a movie star dropped in Ossining, her wardrobe, hair, and makeup all served to enhance her youthful yet polished beauty. She looks like a living, breathing Barbie Doll, ready to be shown off at industry events in Manhattan.   As her first marriage starts to disintegrate, Betty, no fool, has her second lined up—and a new look to go along with it. If Betty is some 6 or so years younger than Don, and Don is at least 6 years younger than Henry (based on greyness of hair and age of adult children, approximately), then she’s at least a decade younger than her new husband. Unlike that strumpet Jane Siegel Sterling, Betts realizes the gravity of her situation—now the wife of a respected lawyer/political figure in the Republican Party, she’s going to dress the part. You can see her transformation begin in Season 3—by the time Margaret’s wedding rolls around, Betty has swapped out her trademark candy confection-gowns for an icy blue suit (a suit!) with a fur collar. Dancing with Don and gazing longingly at Henry, she’s already beginning to look the part of Mrs. Francis, and not unlike Grace Kelly post-addition of royal husband.  When we meet again in Season 4, Betty’s overhaul is even more striking. At Thanksgiving Dinner, 1964, she looks, well—old. Her brocade suit is mother-of-the-fall-bride, and her hair and makeup are pure Lady Bird Johnson, the First Lady after the Most Fashionable First Lady of All Time.   The funny thing about Betty’s new looks? They never seem to stick. Not a moment after her fancy (and expensive) decorator placed 42 Bullet Park road in the ‘success’ category, her id went and put a fainting couch right in front of her hearth. The Anita Ekberg Betty of Rome was left behind in the Hilton courtyard, but her resentment at being forced to give it up somehow made it past airport security.  Only time will tell if Betty’s new look (and the marriage that inspired it) will last. *Footnote by Angela Serratore

Betty Draper loves a makeover. She’s redone her home, her hair, and her wardrobe, all in attempts to be her own woman, and yet! Betty’s reinventions are all tied (like she’ll always be tied!?) to Don, and this latest incarnation of Elizabeth Francis nee Draper nee Hofstadt? No different than the rest. 

As Don’s wife, Betty was Grace Kelly at her height. Like a movie star dropped in Ossining, her wardrobe, hair, and makeup all served to enhance her youthful yet polished beauty. She looks like a living, breathing Barbie Doll, ready to be shown off at industry events in Manhattan.  

As her first marriage starts to disintegrate, Betty, no fool, has her second lined up—and a new look to go along with it. If Betty is some 6 or so years younger than Don, and Don is at least 6 years younger than Henry (based on greyness of hair and age of adult children, approximately), then she’s at least a decade younger than her new husband. Unlike that strumpet Jane Siegel Sterling, Betts realizes the gravity of her situation—now the wife of a respected lawyer/political figure in the Republican Party, she’s going to dress the part.

You can see her transformation begin in Season 3—by the time Margaret’s wedding rolls around, Betty has swapped out her trademark candy confection-gowns for an icy blue suit (a suit!) with a fur collar.

Dancing with Don and gazing longingly at Henry, she’s already beginning to look the part of Mrs. Francis, and not unlike Grace Kelly post-addition of royal husband. 

When we meet again in Season 4, Betty’s overhaul is even more striking. At Thanksgiving Dinner, 1964, she looks, well—old. Her brocade suit is mother-of-the-fall-bride, and her hair and makeup are pure Lady Bird Johnson, the First Lady after the Most Fashionable First Lady of All Time.  

The funny thing about Betty’s new looks? They never seem to stick. Not a moment after her fancy (and expensive) decorator placed 42 Bullet Park road in the ‘success’ category, her id went and put a fainting couch right in front of her hearth. The Anita Ekberg Betty of Rome was left behind in the Hilton courtyard, but her resentment at being forced to give it up somehow made it past airport security. 

Only time will tell if Betty’s new look (and the marriage that inspired it) will last.

*Footnote by Angela Serratore

5:06pm  |  90 notes   |  Betty Draper |  Fashion |  Grace Kelly |  Makeover |  Angela Serratore 
July 24, 2010
If you are throwing a Mad Men viewing party for the Most Important Night of our Eyes and Soul, you should be asking yourself one question: WHAT WOULD EMILY POST DO?* Well, fortunately, the lovely ladies at the Emily Post institute have planned out a whole party for you. Including your manners: First of all, a hostess must show each of her guests equal and impartial attention.  Engrossed in the person she is talking to, she must be able to notice anything amiss that may occur. No matter what goes wrong she must cover it as best as she may, and at the same time cover the fact that she is covering it. To give hectic directions merely accentuates the awkwardness. Click for more Postian insight! It’s truly lovely.  *Additional questions you can ask yourself: is there anything that could protect these characters from the throes of history? Would Ken Cosgrove make a good boyfriend? If the show depicts the chaotic transition from the Eisenhower era to the counter culture revolution of the 1960’s, what transitional moment are we in? Where is Paul Kinsey?!

If you are throwing a Mad Men viewing party for the Most Important Night of our Eyes and Soul, you should be asking yourself one question:

WHAT WOULD EMILY POST DO?*

Well, fortunately, the lovely ladies at the Emily Post institute have planned out a whole party for you. Including your manners:

First of all, a hostess must show each of her guests equal and impartial attention.  Engrossed in the person she is talking to, she must be able to notice anything amiss that may occur. No matter what goes wrong she must cover it as best as she may, and at the same time cover the fact that she is covering it. To give hectic directions merely accentuates the awkwardness.

Click for more Postian insight! It’s truly lovely. 

*Additional questions you can ask yourself: is there anything that could protect these characters from the throes of history? Would Ken Cosgrove make a good boyfriend? If the show depicts the chaotic transition from the Eisenhower era to the counter culture revolution of the 1960’s, what transitional moment are we in? Where is Paul Kinsey?!

8:49pm  |  30 notes   |  Emily Post |  Dinner Parties |  Betty Draper |  Joan Holloway 
July 21, 2010
This is one of the memorable passages from The Group. Betty’s bath time paperback: But so far nursing, like most of sex, was an ordeal she had to steel herself for each time it happened by using all her will-power and thinking about love and self-sacrifice. The nurse was watching her now, to make sure that the baby was drawing at the nipple properly. ‘Relax, Mrs. Crockett,’ she said kindly. ‘Baby can sense it if you’re tense.’ Priss sighed and tried to let go. But naturally the more she concentrated on relaxing, the more tense she got. ‘Bless braces, damn relaxes,’ she joked feebly. ‘You’re tired this evening,’ said the nurse. Priss nodded, feeling grateful that someone knew and disloyal, at the same time, to Sloan, who did not know that it wore her out to have company, especially mixed company that sat there discussing her milk. *Image snapped by Meredith Blake  of the New Yorker’s Book Bench Blog 

This is one of the memorable passages from The Group. Betty’s bath time paperback:

But so far nursing, like most of sex, was an ordeal she had to steel herself for each time it happened by using all her will-power and thinking about love and self-sacrifice. The nurse was watching her now, to make sure that the baby was drawing at the nipple properly. ‘Relax, Mrs. Crockett,’ she said kindly. ‘Baby can sense it if you’re tense.’ Priss sighed and tried to let go. But naturally the more she concentrated on relaxing, the more tense she got. ‘Bless braces, damn relaxes,’ she joked feebly. ‘You’re tired this evening,’ said the nurse. Priss nodded, feeling grateful that someone knew and disloyal, at the same time, to Sloan, who did not know that it wore her out to have company, especially mixed company that sat there discussing her milk.

*Image snapped by Meredith Blake  of the New Yorker’s Book Bench Blog 

7:30am  |  8 notes   |  mad men bookshelf |  The Group |  Betty Draper 
June 15, 2010

Here’s a gorgeous clip of Blue Room sung by Perry Cumo.

Over living room cocktails this tune comes on the radio and Betty recalls how much she loved the song in high school, then tries to coax Don into dancing. Don smirks and says Cumo “makes everything sound like Christmas.”  

But then he relents, takes Betty’s hand, and serriptiously grabs her ass.

Ah, afternoons with Don! 

6:25pm  |  9 notes   |  mad men playlist |  Mad Men season 1 |  perry cumo |  Blue Room |  Betty Draper 
June 9, 2010
While reeling from the Kennedy killing Betty witnesses the on-camera murder of Harvey Lee Oswald and now, she is onthe verge.  Frantic, she turns to Don hoping some one can make sense of what she just saw or at least share in her despair. No use, Don seems unfazed. He and can only offer her some vague stoicism. Betty’s out the door! She drives to see her boyfriend, the Snug Like a Daddy’s hug Harry Francis. He can’t make sense of it either. Betty says doesn’t know what to do. Maybe see a movie? She tells Francis her favorite movie is ‘Singing in the Rain’ Oh, Betty! What’s there not to love about ‘Singing the Rain’? While Don’s at the art house taking in those mopey black and whites, there’s Betty watching Gene Kelly splash around on MGM lot. I love it!   Kelly, Kelly, Kelly. Look at him. He was a different kind of leading man/dancer than Fred Astaire. Kelly was more adventurous and athethetlic; Brawnier, even. As David film Oracle Thomson put it, ‘As a dancer he is not equal of Astaire. Kelly is balletic, Romantic, and sometimes mannered as a dancer who thinks and feels, where Astaire is a man who dances before he thinks.” But like all great men, there’s a darkness to Kelly. For me, and for Thomson there is a creeping chill Kelly’s performances (perhaps that’s why he was less successful as a straight leading man).  There’s a nascent aggression Kelly that gets blown up on the screen. You can also hear it in his singing voice which was always just a bit strained.   Thomspson wrote of it: “Too often, Kelly’s teeth glared out at us, as the filling for a smile.’ The title song, and the best number in the movie, is set at night; Kelly is alone, for the most part, doing what you would expect. He is impervious to the elements because of his cheerful mood. Beyond the intricacy of the dance, perhaps one of the reasons why that scene is so indelible is because it’s what so many Americans, like Betty, wanted from the movies: a quick respite from the hard rain falling outside, alone, in the dark.

While reeling from the Kennedy killing Betty witnesses the on-camera murder of Harvey Lee Oswald and now, she is onthe verge. 

Frantic, she turns to Don hoping some one can make sense of what she just saw or at least share in her despair. No use, Don seems unfazed. He and can only offer her some vague stoicism. Betty’s out the door! She drives to see her boyfriend, the Snug Like a Daddy’s hug Harry Francis. He can’t make sense of it either. Betty says doesn’t know what to do. Maybe see a movie? She tells Francis her favorite movie is ‘Singing in the Rain’

Oh, Betty! What’s there not to love about ‘Singing the Rain’? While Don’s at the art house taking in those mopey black and whites, there’s Betty watching Gene Kelly splash around on MGM lot. I love it!

 

Kelly, Kelly, Kelly. Look at him. He was a different kind of leading man/dancer than Fred Astaire. Kelly was more adventurous and athethetlic; Brawnier, even. As David film Oracle Thomson put it, ‘As a dancer he is not equal of Astaire. Kelly is balletic, Romantic, and sometimes mannered as a dancer who thinks and feels, where Astaire is a man who dances before he thinks.”

But like all great men, there’s a darkness to Kelly. For me, and for Thomson there is a creeping chill Kelly’s performances (perhaps that’s why he was less successful as a straight leading man).  There’s a nascent aggression Kelly that gets blown up on the screen. You can also hear it in his singing voice which was always just a bit strained.  

Thomspson wrote of it: “Too often, Kelly’s teeth glared out at us, as the filling for a smile.’

The title song, and the best number in the movie, is set at night; Kelly is alone, for the most part, doing what you would expect. He is impervious to the elements because of his cheerful mood. Beyond the intricacy of the dance, perhaps one of the reasons why that scene is so indelible is because it’s what so many Americans, like Betty, wanted from the movies: a quick respite from the hard rain falling outside, alone, in the dark.


10:00am  |  23 notes   |  Mad Men Movie Club |  Betty Draper |  Harry Francis |  kennedy assassination |  Gene Kelly 
June 1, 2010
Swathed around Joan’s sumptuous hips or bubbling over Betty’s delicate shoulders is a clothing style called the New Look.  In 1947, Christian Dior, introduced his line of women’s clothing that revolutionized women’s clothing and fashion manufacturing. Up until Dior’s models sauntered down the runway, the fashion world had also been suffering the deprivations of WWII. In response to women working on factory floor workforce, war rations, and the morose atmosphere that comes with something like economic devastation from warring empires, clothes coming out of Europe were plain and functional.  Dior’s 1947 line rejuvenated the fashion world with his voluptuous new collection infused femininity back into fashion with yards and yards of luxurious fabric. The line combined long billowing skirts with pleats folded , narrow waitslines, soft rounded sleeves, flowering dresses, hour glass silhouettes, and accessories such as umbrellas and gloves. “It’s quite a revelation dear Christian,” Carmel Snow, the editor of Harper’s Bazaar remarked at the time, “Your dresses have such a new look.”  French Couture patrons (ie, rich ladies) were in a frenzy to wrap themselves in such elegant and cutting edge designs.  But Dior’s biggest clients were Americans: Hollywood stars, New York socialites and most importantly, department store buyers who purchased exclusive rights to individual designs to be reproduced by their factory houses. Even discount retailers were allowed to attend Dior’s private fashion shows if they promised to buy the rights to nine outfits. Other clothing companies would send sketch artists to European fashion shows, copy the design, and mass produce inexpensive clothing to American population. And that’s how the steno pool got pretty.

Swathed around Joan’s sumptuous hips or bubbling over Betty’s delicate shoulders is a clothing style called the New Look.  In 1947, Christian Dior, introduced his line of women’s clothing that revolutionized women’s clothing and fashion manufacturing.

Dior's New Look line

Up until Dior’s models sauntered down the runway, the fashion world had also been suffering the deprivations of WWII. In response to women working on factory floor workforce, war rations, and the morose atmosphere that comes with something like economic devastation from warring empires, clothes coming out of Europe were plain and functional. 

Dior’s 1947 line rejuvenated the fashion world with his voluptuous new collection infused femininity back into fashion with yards and yards of luxurious fabric. The line combined long billowing skirts with pleats folded , narrow waitslines, soft rounded sleeves, flowering dresses, hour glass silhouettes, and accessories such as umbrellas and gloves.

“It’s quite a revelation dear Christian,” Carmel Snow, the editor of Harper’s Bazaar remarked at the time, “Your dresses have such a new look.” 

French Couture patrons (ie, rich ladies) were in a frenzy to wrap themselves in such elegant and cutting edge designs.  But Dior’s biggest clients were Americans: Hollywood stars, New York socialites and most importantly, department store buyers who purchased exclusive rights to individual designs to be reproduced by their factory houses. Even discount retailers were allowed to attend Dior’s private fashion shows if they promised to buy the rights to nine outfits.

Other clothing companies would send sketch artists to European fashion shows, copy the design, and mass produce inexpensive clothing to American population. And that’s how the steno pool got pretty.

4:17pm  |  161 notes   |  Betty Draper |  Dior |  Joan Holloway |  The New Look |  mad men fashion |  Fashion 
May 17, 2010
“A friend suggested I watch the series, “Mad Men”. It feels like deja vu….this photo was taken in 1960 in Manhattan (the series takes place in the same year and place)….my mother and stepfather (a television executive) look a lot like the main characters Don Draper and his wife Betty. It all feels so familiar…the hair styles, the thin ties, the smoky air, the cocktails…….the extra-martial affairs……” This photoset of childhood in Manhattan is delicious. Give it a click through, you will enjoy. I promise.

“A friend suggested I watch the series, “Mad Men”. It feels like deja vu….this photo was taken in 1960 in Manhattan (the series takes place in the same year and place)….my mother and stepfather (a television executive) look a lot like the main characters Don Draper and his wife Betty. It all feels so familiar…the hair styles, the thin ties, the smoky air, the cocktails…….the extra-martial affairs……”

This photoset of childhood in Manhattan is delicious. Give it a click through, you will enjoy.

I promise.

1:19pm  |  177 notes   |  Betty Draper |  Fashion |  history |  Don Draper 
December 3, 2009
Given her modeling background, it’s no wonder Betty is big on appearances. Before modeling was a awash with coke-addled tanoerxic teenagers it was industry for ‘nice girls’. Plucky, pretty young ladies who wanted swish around department stores, a local 4H club, and even a small run way show for the newest manufactured styles. If you were lucky enough to be immortalized in advertisement, say for a national soda pop brand, There were some guidelines outlined by a 1958 modeling pamphlet: What to include in your model-bag: half slip strapless bra dress shields extra hose (seamless) black opera pumps clean, short white gloves (fabric and string) strand of pearls pearl choker two pairs of earrings (plain pearl and simple gold) clean comb, spray net scarf to protect hair Further, the pamphlet echoes Betty’s philosophy that “You’re painting a masterpiece; be sure and hide the strokes.”: ’ Beautiful models and beautiful diamonds are not unlike. Both evolve by perfecting each and every facet so that the whole product or being will shine with brilliance. By giving all the phases of modeling the attention they deserve, you’ll polish every facet of the diamond - and the diamond is, of course, you!’ You better work, Betts!

Given her modeling background, it’s no wonder Betty is big on appearances. Before modeling was a awash with coke-addled tanoerxic teenagers it was industry for ‘nice girls’. Plucky, pretty young ladies who wanted swish around department stores, a local 4H club, and even a small run way show for the newest manufactured styles. If you were lucky enough to be immortalized in advertisement, say for a national soda pop brand, There were some guidelines outlined by a 1958 modeling pamphlet:

What to include in your model-bag:

  • half slip
  • strapless bra
  • dress shields
  • extra hose (seamless) black opera pumps
  • clean, short white gloves (fabric and string)
  • strand of pearls
  • pearl choker
  • two pairs of earrings 
    (plain pearl and simple gold)
  • clean comb, spray net
  • scarf to protect hair

Further, the pamphlet echoes Betty’s philosophy that “You’re painting a masterpiece; be sure and hide the strokes.”:


’ Beautiful models and beautiful diamonds are not unlike. Both evolve by perfecting each and every facet so that the whole product or being will shine with brilliance. By giving all the phases of modeling the attention they deserve, you’ll polish every facet of the diamond - and the diamond is, of course, you!’

You better work, Betts!

4:42am  |  21 notes   |  mad men season 2 |  betty draper |  modeling 
November 26, 2009

Betty meet Grace.

4:48pm  |  3 notes   |  Betty Draper |  Grace Kelly |  Mad Med Movie Club