Jose Eber described hairdressing as "an artistic profession." Artistic because "your hair is very important in how you feel about yourself," Janis Clemmons claimed. "It frames your face, and it has such an important impact in how you look." Parris Monfort went further, "Next to your dogs your hairdresser is your best friend." Timothy Cahill of the 'Albany Times Union' wrote in 2004, "Sociologically, hair separates us as much as it unites us, along lines of race, class, education, wealth. The history of hair is a narrative of sex and power, the story of how what is – and isn't – on our heads, faces and bodies shapes, controls and distorts the way we think of ourselves."
On television in the 1980s, the night time soap operas brought back the popular 1960s looks - the American beehive hairdo. Le Maire hailed the '80s "a time for 'classic glamor.'" Gene Shacove created the "wispy bangs" for Linda Evans and her alter ego Krystle Carrington. Ilona Farkas of the Bill Palmer salon styled Joan Collins' hair. Nolan Miller had said, "Style, not fashion, fads or labels, molds a woman's image and makes an impact. Style is the knack or ability of being able to adapt the latest trends to suit your own distinct perceptions of fashion."
The written history of the beehive dated back to the 15th century. However Richard Corson believed Marie Antoinette of the 18th century was "the precursor of the modern (in the 1960s) beehive." Bambi Breakstone maintained, "No matter how many times you see something in 'Vogue' magazine, it doesn't match the impact of what you see on television. Television comes into your home. It has a tremendous impact on your lifestyle, on what you eat, how you talk, what you think about. You don't even have to listen to it. It's just there. People who wouldn’t normally even pay attention to what's in fashion see what's going on."
"If hair is practical and beautiful, it solves a big dilemma in the hearts and minds of American women," Raquel Welch remarked. Since 1957, ten trend-setting hairstylists and their influential clients were nominated in the yearly voting by the Helene Curtis Guild of Professional Hairstylists for Best Coiffured Awards. It was said throughout history only a handful of trendsetters could set hair fashion trends that inspired the public to rush out and copied. Jackie Onassis was one with her bouffant coiffure by Kenneth Battelle back in 1961 and 1962. Princess Diana was another with her "Lady Di" cut by Kevin Shanley which became the most sought-after look of 1981.
On reflection, Alexis Smith insisted, "A hairstyle should be a part of your being; it should be you, not an imitation of someone else." It was pointed out Audrey Hepburn's "gamine" style in 1967 "was at the forefront of the decade's trend to short hair fashions." Audrey's hairstylist from Alexandre's salon in Paris told the press in 1983, "In all my career, the greatest sensation I have had is Audrey Hepburn. On her, one can see immediately the results of one's work."
Rocco Altobelli explained in 1988, "Hair is like a pendulum. It swings from one extreme to the other (for example: the '50s bob; the '60s beehive; the '70s Farrah's leonine locks; in the '80s it was back to the '50s bob). The curly, bushy full head of hair is swinging back to the sleek, shorter hair." When the TV series 'Dallas' returned in the 1982-83 season, Linda Gray's "hair is suddenly (shockingly) short . . . The producer was not thrilled." However Linda reasoned, "I've had my hair the same way for 4 seasons (1978-82) and decided to make a small change. (Jose Eber) cuts it so that I can make it more 'coiffured' for Sue Ellen Ewing and casual for myself." Linda also hinted she was considering cutting it "shorter, especially for filming in the heat of the Dallas summers."
In the 1984-86 seasons, William Travilla brought glamor to the set of 'Dallas' after Lorimar Productions raised the show's wardrobe budget from $3,000 to $15,000 per episode. Until then "all the women on 'Dallas' looked middle class." Hence in order "to make these women look like rich Texan ladies they were meant to look like," viewers would see them wear "Valentino, Genny and Ungaro, and Armani" brand of fashion. "Clothes for the screen are not clothes for regular life," Bill stressed. "You have to do things to the top because the majority of the shots are from here (chest) up."
During those 2 seasons, Bill supplied Lorimar Productions with 54 costumes every 7 days to dress the stars of 'Dallas' and 'Knots Landing'. Bill Travilla's efforts won him an Emmy Award in 1985. It was noted, "'Dallas' has carried the Western world through years of recession with a curious cushion – knowledge that the rich have it rough too, that there is agony with the ecstasy."
Bill read all the scripts then discussed with the show's stars how they intended to play the scenes. "In designing for 'Dallas', I change the colors of the clothes to fit the mood of the star." For example, "If a woman is going to walk into the scene feeling very angry, red is the color," or "if one of the ladies from 'Dallas' tells me she is going to feel desperation, even though the script doesn't say that, I'm not going to put her in a pink or blue print. That's not desperation."
On 'Dynasty', Aaron Spelling made known, "it isn't uncommon for a dress to cost $4,800." In one scene on show, Linda Evans wore a blouse. After the episode went on air, one boutique owner remembered, "Once the word was out that Krystle wore it, the demand skyrocketed. We couldn't make enough of them." The boutique owner nicknamed the private label "Dynasty blouse".
In 1983, Luis Estevez was handed a budget of over $100,000 to design costumes for the TV series, 'Bare Essence.' The budget would cover for 12 one-hour episodes. Some of the clothes Louis supplied included a dress costing around $6,000. It was also reported lingerie, shoes and hosiery bills totaled roughly $3,000 per episode. The first 4 episodes of 'Bare Essence' attracted an average rating of 14.8% of all the television households; winning an average 22% share of the audience in its time slot.
About perfume manufacturing, 'Bare Essence' sought to explore the world of money, lust, power, greed and decadence against the backdrop of New York, Paris and Hollywood. Esther Shapiro expressed, "I'm not sure money brings happiness but it does bring control." Aaron Spelling added, "Part of the fun is seeing Joan Collins the next day after almost being killed (in a burning cabin) on 'Dynasty' wearing a turban and eating caviar in the hospital, which is much more fun than watching someone wearing a bandage-headband and eating a Big Mac."
That burning cabin episode was the last for the series in the 1982-83 season. The episode attracted a rating of 27.3% of the total homes with TV sets. Roughly 22.7 million households were counted watching Blake cursed, "I'll be damn if I'm going to let 2 gays raise (my grandson)," and Alexis and Krystle met to discuss "the sad sisterhood of beautiful women who fall in love with powerful men." One commentator observed 'Dynasty' often "pulls out all the stops for its season finale which should have viewers hanging off the edge of their seat."
That burning cabin episode was the last for the series in the 1982-83 season. The episode attracted a rating of 27.3% of the total homes with TV sets. Roughly 22.7 million households were counted watching Blake cursed, "I'll be damn if I'm going to let 2 gays raise (my grandson)," and Alexis and Krystle met to discuss "the sad sisterhood of beautiful women who fall in love with powerful men." One commentator observed 'Dynasty' often "pulls out all the stops for its season finale which should have viewers hanging off the edge of their seat."
