The Marienbad Cut: Gloria Vanderbilt Models A French Movie Hairdo

The French New Wave became a force in cinema in the late 1950s and early 1960s, expanding ideas about the way movies told stories. One sign of the New Wave’s cultural influence was that even a movie which left many viewers befuddled was able to inspire a fashion trend in both Europe and the United States.

The film was 1961’s Last Year at Marienbad, directed by Alian Resnais, and its narrative, such it was, centered around a nameless man and woman at a luxury hotel who may or may not have a past together. The film is polarizing enough that it merited both a Criterion Collection edition and also inclusion in a book about the 50 worst films ever. The Criterion Collection edition, even while exalting Last Year at Marienbad, describes the film as a “fever dream” whose plot “has been puzzling appreciative viewers for decades.”

But even if fans didn’t know what the movie meant, they knew that it was stylish (the costumes were done by Coco Chanel), and many women wanted to mimic the hairstyle of lead actress Delphine Seyrig. Here’s what LIFE had to say about the trend in its issue of June 22, 1962.

Not since Veronica Lake’s pageboy bob completely hid one eye from view has a movie hairdo caused such a stir…Cut short and straight with back ends pushed forward under ears and a deep diagonal bang on the forehead, the Marienbad hairdo looks sleek and sophisticated, but appealingly artless at the same time.

Modeling the hot new look for LIFE was none other than socialite and future fashion icon Gloria Vanderbilt. The hairstyle had initially taken off in Europe, and LIFE wrote that Vanderbilt was the first New Yorker to adopt the Marienbad look, “after persuading hairdresser Kenneth to go to the film to study it.”

LIFE staff photographer Paul Schutzer ALSO seems to have also studied the film; the setups for his Vanderbilt photo shoot echo locations from the movie.

And while the film is difficult to understand, the hairstyle was appealingly simple to maintain. Vanderbilt said that while the style requires frequent cutting, in between it could be kept in place “merely by running a comb through it.” The story concluded that “women of all ages, types and places have begun to demand the short cut, glad of a fashionable excuse to give up overly teased bouffant hair for a comfortable, easy-to-keep summer style.”

Socialite Gloria Vanderbilt modeled a new hairdo inspired by the 1961 film Last Year at Marienbad.

Paul Schutzer/LIfe Picture Collection/Shutterstock

Socialite Gloria Vanderbilt modeled a new hairdo inspired by the 1961 film Last Year at Marienbad.

Paul Schutzer/Life Picture Collection/Shutterstock

Socialite Gloria Vanderbilt modeled a new hairdo inspired by the 1961 film Last Year at Marienbad.

Paul Schutzer/Life Picture Collection/Shutterstock

Socialite Gloria Vanderbilt modeled a new hairdo inspired by the 1961 film Last Year at Marienbad.

Paul Schutzer/Life Picture Collection/Shutterstock

Socialite Gloria Vanderbilt modeled a new hairdo inspired by the 1961 film Last Year at Marienbad.

Paul Schutzer/Life Picture Collection/Shutterstock

Socialite Gloria Vanderbilt modeled a new hairdo inspired by the 1961 film Last Year at Marienbad.

Paul Schutzer/Life Picture Collection/Shutterstock

Socialite Gloria Vanderbilt modeled a new hairdo inspired by the 1961 film Last Year at Marienbad.

Paul Schutzer/Life Picture Collection/Shutterstock

Socialite Gloria Vanderbilt modeled a new hairdo inspired by the 1961 film Last Year at Marienbad.

Paul Schutzer/Life Picture Collection/Shutterstock

Socialite Gloria Vanderbilt modeled a new hairdo inspired by the 1961 film Last Year at Marienbad.

Paul Schutzer/Life Picture Collection/Shutterstock

Socialite Gloria Vanderbilt modeled a new hairdo inspired by the 1961 film Last Year at Marienbad.

Paul Schutzer/Life Picture Collection/Shutterstock

Socialite Gloria Vanderbilt modeled a new hairdo inspired by the 1961 film Last Year at Marienbad.

Paul Schutzer/Life Picture Collection/Shutterstock

Socialite Gloria Vanderbilt modeled a new hairdo inspired by the 1961 film Last Year at Marienbad.

Paul Schutzer/Life Picture Collection/Shutterstock

Socialite Gloria Vanderbilt modeled a new hairdo inspired by the 1961 film Last Year at Marienbad.

Paul Schutzer/Life Picture Collection/Shutterstock

Socialite Gloria Vanderbilt modeled a new hairdo inspired by the 1961 film Last Year at Marienbad.

Paul Schutzer/Life Picture Collection/Shutterstock

Before Moo Deng: Little Hippos in LIFE

Hippos are the third largest mammal on the planet, behind only the elephant and the white rhino. But there is a variety of hippo known as the pygmy hippo that is tiny by comparison, especially when it is very young. And that makes the animal a natural curiosity. Witness the popularity of Moo Deng, a pygmy hippo who lives in a Thailand zoo and became a viral sensation in 2024.

The editors of LIFE shared the fascination.

The magazine’s June 2, 1941 issue included a story headlined “World’s Smallest Hippopotamus Arrives in U.S. From Liberia.” The pygmy hippo in question had been abandoned by its mother, found by Liberian natives and turned over to a man named Silas E. Johnson, who worked in Liberia and was an amateur zoologist.

Johnson then sailed to New York City for his “biannual three-month vacation in the U.S,” according to LIFE, and brought the baby hippo with him. When the hippo arrived in America, he was two months old, weighed nine pounds, was 18 inches long, and had acquired the name Skipper during the course of his sea journey. Legendary LIFE staff photographer Alfred Eisenstaedt was there to capture the magic.

LIFE explained exactly what made Skipper so precious:

The rarity of Mr. Johnson’s pet lies in the fact that pygmy hippopotamuses, found only in Liberia, are stalwart fighters which fiercely protect their young….When he is full-grown, Skipper will weight about 400 pounds. Normal hippos weight 30 pounds at birth, three tons at maturity.

While Skipper was rare, he was not entirely unique. In 1952 LIFE featured another pygmy hippo that had come to the U.S. This little fellow was named Gumdrop, and he and his zookeeper were photographed for the magazine by George Skadding. Unlike Skipper, Gumdrop came to the U.S. in the company of his mother.

How rare is a pygmy hippopotamus? Outside of zoos, the animal’s primary habitat remains in Libera and other neighboring West African countries. According to an estimate in 2015, only about 2,500 pygmy hippos remain alive in the wild.

This rare baby pygmy hippopotamus, named Skipper, was abandoned by his mother in Liberia and brought to the U.S. by boat in 1941 in the company of an amateur zoologist.

Alfred Eisenstaedt/Life Picture Collection/Shutterstock

This rare baby pygmy hippopotamus, named Skipper, was abandoned by his mother in Liberia and brought to the U.S. by boat in 1941 in the company of an amateur zoologist. Skipper needed to be kept wet to prevent his skin from peeling.

Alfred Eisenstaedt/Life Picture Collection/Shutterstock

This rare baby pygmy hippopotamus, named Skipper, was abandoned by his mother in Liberia and brought to the U.S. by boat in 1941 in the company of an amateur zoologist.

Alfred Eisenstaedt/Life Picture Collection/Shutterstock

Amateur zoologist Silas E. Johnson brought this baby pygmy hippopotamus abandoned by his mother from Liberia to the U.S.; during the boatride from Africa to New York, the hippo acquired the nickname Skipper.

Alfred Eisenstaedt/Life Picture Collection/Shutterstock

This baby pygmy hippopotamus, abandoned by his mother in LIberia and brought to the U.S. by an amateur zoologist, consumed a half-pint of condensed milk and pablum from a bottle four times a day, 1941.

Alfred Eisenstaedt/Life Picture Collection/Shutterstock

A baby pygmy hippo named Gumdrop received a bath, 1952.

George Skadding/Life Picture Collection/Shutterstock

A baby pygmy hippo named Gumdrop and his mother, 1952.

George Skadding/Life Picture Collection/Shutterstock

A zookeeper administered a bath to Gumdrop, a baby pygmy hippo, 1952.

George Skadding/Life Picture Collection/Shutterstock

Gumdrop, a baby pygmy hippo, was toweled off by a zookeeper following his bath, 1952.

George Skadding/Life Picture Collection/Shutterstock

Gumdrop, a baby pygmy hippo, fed with his mother, 1952.

George Skadding/Life Picture Collection/Shutterstock

The Arrival of Jesus Christ Superstar

The musical Jesus Christ Superstar began its life as a 1970 concept album by Andrew Lloyd Webber and Tim Rice before becoming a 1971 stage show and then a 1973 movie. The original work inspired some controversy, as was inevitable for a rock musical retelling of the story of Jesus, but thanks to its earnest spirit and songs such as “Everything’s All Right” and “I Don’t Know How to Love Him,” the show transitioned from blasphemous to beloved as it became a part of the pop culture firmament. The show is now produced regularly around the world, and in 2018 NBC aired a concert version featuring John Legend as Jesus.

The show was enough of a phenomenon that before it even came to Broadway in 1972, LIFE magazine had already devoted a cover story to it, based on early stagings in London and other locations. And LIFE wrote about the show again when the Jesus Christ Superstar finally came to New York. This version of the musical had a more elaborate staging that made for some eye-popping photos by LIFE staff photogapher John Olson, But the magazine felt that these embellishments were a needless distraction. LIFE’s headline on its Oct. 22, 1972 story about the Broadway production was “`Superstar’ Becomes a Circus.'”

Here’s LIFE’s critique of that version of the show:

Thanks to director Tom O’Horgan, the stage floor doubles as a curtain, there are smoke machines laser beams and wind machines. People descend from the ceiling on intricate bridges and appear out of the floor wearing incredible costumes….Superstar’s appealing music and lyrics are still there, and there are compelling performances by Ben Vereen as Judas and Yvonne Elliman as Mary Magdalene. But the humanness of Christ, a central concept of the work, has been buried under the ruck of show-biz gimmickry.

Even while enumerating what it saw as the production’s shortcomings, LIFE acknowledged that it would be a massive hit with audiences—which it was, and that set the stage for the film version.

Directed by Norman Jewison, the movie was filmed in locations around Israel and Palestine. LIFE staff photographer John Dominis was on set to document the making of the movie.

Alas, those photos never made it into the magazine. The movie came out in the summer of 1973, but by then LIFE ended its original run with its issue of Dec. 29, 1972.

Actor Jeff Fenholt as Jesus, wearing giant golden robe with followers seated around hem, is elevated with angels and Judas, played by actor Ben Vereen, on a wing-shaped set platform in a scene from the Broadway musical Jesus Christ Superstar, 1972.

John Olson/Life Picture Collection/Shutterstock

Jeff Fenholt in his role as Jesus, surrounded by his disciples, in a scene from the Broadway musical Jesus Christ Superstar, 1972.

John Olson/Life Picture Collection/Shutterstock

Jeff Fenholt, in his role as Jesus, is carried by his followers in the Palm Sunday scene from the Broadway musical Jesus Christ Superstar, 1972.

John Olson/Life Picture Collection/Shutterstock

Ben Vereen as Judas hangs limply from a rope in a scene from the Broadway musical Jesus Christ Superstar, 1972.

John Olson/Life Picture Collection/Shutterstock

Jeff Fenholt as Jesus in the Crucifixion scene from the Broadway musical Jesus Christ Superstar, 1972.

John Olson/Life Picture Collection/Shutterstock

A scene from the filming of the 1973 movie Jesus Christ Superstar.

John Dominis/Life Picture Collection/Shutterstock

A scene from the filming of the 1973 movie Jesus Christ Superstar.

John Dominis/Life Picture Collection/Shutterstock

A scene from the filming of the 1973 movie Jesus Christ Superstar.

John Dominis/Life Picture Collection/Shutterstock

A scene from the filming of the 1973 movie Jesus Christ Superstar.

John Dominis/Life Picture Collection/Shutterstock

Actor Ted Neeley, as Jesus, in scene from the 1973 film Jesus Christ Superstar.

John Dominis/Life Picture Collection/Shutterstock

“For Here Was Born Hope”: Christmas and Easter in Bethlehem, 1955

In 1955 LIFE magazine devoted its entire Dec. 26 issue to the topic of Christianity. The first section was focused to the heritage of the religion. Then came a series of stories about contemporary Christianity in the United States. And the final section had an international flair, concluding with a photo-driven piece on how Christmas and Easter were celebrated in Bethlehem, renowned as the site of the Nativity of Jesus.

Here’s how LIFE described the importance of Bethlehem:

In Bethlehem priests speak many languages, for this is a place sacred to Christians of all lands and groupings—Orthodox, Catholic and Protestant. Through the ages pilgrims have come here in reverence and love, for here was born hope.

The photo essay by Dmitri Kessel, who was born in Russia and handled many international assignments for LIFE, covered the celebrations of both Christmas and Easter. In addition to taking photos of the rituals of those holidays, he also captured images of young shepherds at work in the nearby hills. Those photos are particularly evocative because—setting aside the technological impossibility of it—the images look as if they could have been taken in the time of Jesus, imparting the feel of a history that is still very much alive. `

An aerial view of the Church of Nativity in Bethlehem, 1955.

Dmitri Kessel/Life Picture Collection/Shutterstock

A Christmas celebration in Bethlehem, 1955.

Dmitri Kessel/Life Picture Collection/Shutterstock

The Church of the Nativity (center) in Bethlehem, 1955.

Dmitri Kessel/Life Picture Collection/Shutterstock

In the Grotto of the Nativity, the sacred site of Christ’s birth was marked by a silver star on the floor, with a hole in the middle for pilgrims to peer through, 1955.

Dmitri Kessel/Life Picture Collection/Shutterstock

People looked through a hole in the Grotto of the Nativity during Christmas in Bethlehem, 1955.

Dmitri Kessel/Life Picture Collection/Shutterstock

A Franciscan friar placed a figure in the manger during a celebration of Christmas in Bethlehem, 1955.

Dmitri Kessel/Life Picture Collection/Shutterstock

A Christmas celebration in Bethlehem, 1955.

Dmitri Kessel/Life Picture Collection/Shutterstock

A shepherd stood in his field in Bethlehem, 1955.

Dmitri Kessel/Life Picture Collection/Shutterstock

Shepherds in Bethlehem, 1955.

Dmitri Kessel/Life Picture Collection/Shutterstock

A shepherd stood in his field in Bethlehem, 1955.

Dmitri Kessel/Life Picture Collection/Shutterstock

A camel near Bethlehem, 1955.

Dmitri Kessel/Life Picture Collection/Shutterstock

A camel near Bethlehem, 1955.

Dmitri Kessel/Life Picture Collection/Shutterstock

Easter in Bethlehem, 1955.

Dmitri Kessel/Life Picture Collection/Shutterstock

Easter in Bethlehem, 1955.

Dmitri Kessel/Life Picture Collection/Shutterstock

A scene from Good Friday in Bethlehem, 1955.

Dmitri Kessel/Life Picture Collection/Shutterstock

A Joyful Thanksgiving and a “Marriage Experiment”

In 1972 LIFE magazine ran a cover feature on what it termed “Marriage Experiments.” The issue featured several examples of nontraditional domestic units. These ranged from a collective family in Berkeley, California to unmarried parents living in the Boston suburbs. If the Boston couple doesn’t sound all that experimental, keep in mind that this was at a time when raising children out of wedlock was still relatively rare, with percentages just starting to climb out of the single digits. (In 2024, about one of four children are being raised by unmarried parents).

Another one of the “experiments” in the issue featured Joy and Stan Potts, a couple who had what the magazine termed a “frontier partnership.”

Here’s how that partnership worked, as described by LIFE:

For three months each year they disappear into the Idaho Primitive Area where, as a team, they operate a commercial hunting camp. To do this they leave behind their three girls, ages 11, 12 and 17, who willingly—and successfully—remain entirely on their own at the alfalfa ranch the Pottses run in Nevada during the rest of the year.

Joy Potts said leaving the children on their own for so long benefited the kids as well as the parents. The kids, she said, learned to be independent. And running the camp together with her husband was good for their relationship. “Marriages get down in the dumps because people sort of ignore each other,” Joy told LIFE. “I know I am an important person to Stan.”

As for Stan, he told LIFE that the key to a happy marriage was sharing in everything—including the inevitable failures. “Then you know how it all works, that it’s not any one person’s fault,” he said. He added that if he were running the camp on his own, “It would be a lot more lonely and a lot harder without Joy, that’s for sure.”

The story was photographed by John Dominis, and he visited the Potts’ camp during Thanksgiving, when their daughters had come to visit. Their holiday dinner, which also included the hunters at the camp, looks as welcoming as it was rustic.

The Potts’ “frontier partnership” was an enduring one. In 2021 Stan and Joy were recognized by the Hall of Fame of the Idaho Outfitters and Guides Association, Salmon River Chapter. Later that same year Joy died at age 87, survived by her husband of 67 years. Her obituary included a delightful detail on how Joy and Stan first met, while she was Mackay, Idaho visiting family: “During that first conversation, she told him she milked cows, and he was hooked.” 

Joy and Stan Potts shared a light moment during Thanksgiving dinner at the hunting camp they ran in Idaho, 1972.

John Dominis/LIfe Picture Collection/Shutterstock

Joy and Stan Potts leave their alfalfa farm and children three months a year to brave the frontier wilderness in Idaho. Here they and their daughters, on the left side of the table, enjoy a Thanksgiving feast, joined by hunters at the camp, 1972.

John Dominis/LIfe Picture Collection/Shutterstock

Joy and Stan Potts would leave their alfalfa farm and children three months a year to run an Idaho hunting camp. Here Joy (second from right) handed out sandwiches to a hunting party before they set out, 1972.

John Dominis/LIfe Picture Collection/Shutterstock

Joy Potts carried water from a stream to use for cooking and cleaning at the Idaho hunting camp that she and her husband ran, 1972.

John Dominis/LIfe Picture Collection/Shutterstock

Joy Potts took a bath in water heated from a stove at the Idaho hunting camp that she and her husband Stan ran, 1972.

John Dominis/LIfe Picture Collection/Shutterstock

Stan Potts chopped firewood at the hunting camp run by him and his wife Joy, 1972.

John Dominis/LIfe Picture Collection/Shutterstock

Joy and Stan Potts, 1972.

John Dominis/LIfe Picture Collection/Shutterstock

Joy and Stan Potts would leave their three daughters, ages 11, 12 and 17, at the family alfalfa farm for months at a time while they went off to run their hunting camp.

John Dominis/LIfe Picture Collection/Shutterstock

Pamper House: America As It Was Learning to Treat Itself

The term “day spa” is as much a part of the modern vocabulary as “smart phone” or “Zoom meeting,” which makes sense, because one can feel like an antidote to the others.

But the concept of a day spa was just coming into being when LIFE magazine devoted several pages in its June 4, 1952 issue to a new business called Pamper House, which was located at 5th avenue and 48th street in Manhattan.

These were the rules of the Pamper House, as described in LIFE’s story:

At this unique club, in which a yearly membership costs $1, members can take a shower, wash their hair, give themselves a manicure or a home permanent, freshen their make-up, change their clothes or just drop in to read or watch television in the modern lounge, or to rest in the quiet alcove. Each visit to Pamper House costs 25¢. A dime is the fee for almost every service or item. Five trained beauticians are on hand to give free advice about hair styling and make-up, and to help customers help themselves.

LIFE staff photographer Nina Leen documented what went on at the Pamper House. Perhaps the most interesting novelty there was a perfume vending machine in which women could pay a dime for a spritz of Chanel No. 5.

To the modern eye Pamper House looks like the first draft of a concept that has since been much refined over the years. There is plenty to recommend it, starting with the basic idea of a private enclave for women to have their needs attended to. It’s easy to envy the women who stop by for a nap after lunch. But what stands out about the Pamper House is how much members had to do for themselves. One photograph shows a member doing her own nails, with no manicurist in sight. In another photo a woman irons her own blouse—she basically looks like she’s doing housework. A modern version of Pamper House would have a lot more pampering.

Pamper House was founded by Tanya Pitt, a former French model. LIFE reported that the business at Pamper House was brisk, and that she had plans to add locations both around New York and across the country.

But that doesn’t seem to have happened. Internet searches for Ms. Pitt or Pamper House yield little more than reports about the launch of her venture, which happened to be located just a couple blocks from the old Time-Life Building and many other media outlets.

Even if Pamper House didn’t become a lasting brand, the basic impulse behind the venture was right on. We were on our way to a world where “treat yo self” has become a catch phrase. America is now home to more than 20,000 spas. In short, there are descendants of Pamper House all across the country.

Members of the Pamper House in midtown Manhattan applied cosmetics in the club’s make-up nooks, 1952.

Nina Leen/LIfe Picture Collection/Shutterstock

At the Pamper House in New York, some women stopped by for a quick nap after lunch, 1952.

Nina Leen/LIfe Picture Collection/Shutterstock

Women relaxed at Pamper House, a midtown Manhattan club that catered to working women and suburban housewives, 1952.

Nina Leen/Life Picture Collection/Shutterstock

This vending machine at the Pamper House in midtown Manhattan dispensed perfume at a nickel per spray, 1952.

Nina Leen/LIfe Picture Collection/Shutterstock

Using the hair dryers at Pamper House in New York City cost ten cents for fifteen minutes, 1952.

Nina Leen/LIfe Picture Collection/Shutterstock

Members of the Pamper House in midtown Manhattan paid ten cents to use the shower, plus another ten cents if they needed a towel, 1952.

Nina Leen/LIfe Picture Collection/Shutterstock

A member of the Pamper House in Rockefeller Center, NYC, got her hair done by one of the staff beauticians, 1952.

Nina Leen/LIfe Picture Collection/Shutterstock

Members of the Pamper House in midtown Manhattan enjoyed a snack while their hair was setting, 1952.

Nina Leen/LIfe Picture Collection/Shutterstock

Two members of the Pamper House in Rockefeller Center in New York enjoyed a conversation, 1952.

Nina Leen/LIfe Picture Collection/Shutterstock

A member of the Pamper House in Rockefeller Center in New York stopped by to iron her own blouse, 1952.

Nina Leen/LIfe Picture Collection/Shutterstock

A member of the Pamper House in Rockefeller Center, NYC, gave herself a manicure, 1952.

Nina Leen/LIfe Picture Collection/Shutterstock

A member of the Pamper House in Rockefeller Center, NYC, washed her hair in the shampoo booth, 1952.

Nina Leen/LIfe Picture Collection/Shutterstock

Using the lockers at Pamper House in New York City cost ten cents a day, 1952.

Nina Leen/LIfe Picture Collection/Shutterstock

Tanya Pitt, a French former model, was the founder of the Pamper House in midtown Manhattan, 1952.

Nina Leen/LIfe Picture Collection/Shutterstock

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