Reality Radio Challenge: Keeping Your Mouth Shut For $1000

People have been known to do some crazy things on reality television, but rest assured, it’s not an entirely new phenomenon. In fact, stunts like this were happening back when most Americans got their entertainment from the radio.

In 1948 LIFE wrote about one such stunt, taken on by Virginia Taylor of Pasadena. She went a week without talking in order to win $1,000. While that sounds manageable enough—these days people pay good money to go on silent retreats and not speak for that long—the show that ran the contest, People Are Funny, escalated the drama with another condition. Taylor would be monitored for the week by a young actress who would be living in the Taylor home—one who could talk to her husband when she could not.

And the actress sounded like she was ready to have fun with it. Here is how LIFE’s described the contest in its Jan. 17, 1949 issue:

The week of Dec. 14 to 21 was a grueling one for Mrs. Charles R. Taylor of Pasadena, California. Radio’s give-away craze, so desperate that recently everything from Adolphe Menjou to $1,000 worth of books has been pressed on winners, made her the victim of its most frantic stunt to date. If Mrs. Taylor could refrain from talking for the entire week, the program People Are Funny would pay her $1,000. But if so much as one word passed her lips, the $1,000 would go to a very attractive movie bit player, Maralyn Peterson, whom the program had sent not only to keep tabs on Mrs. Taylor but also to entertain Mr. Taylor. “This’ll be a snap,” said Maralyn beforehand, “and besides I’ve brought along a black silk neglige.”

Yes, that’s right, she was bringing a black negligee. One can imagine how that detail sparked the imaginations of listeners to this popular show—a slinky temptress gads about while the housewife must hold her tongue!

LIFE staff photographer Peter Stackpole was there to document the week, and while negligee was nowhere to be seen, he did capture a couple photos of the actress chatting up the husband while Virginia Taylor say by looking helpless. Stackpole’s photos from Taylor’s week of silence also showed her being teased by family members, communicating with a chalkboard, and, strangely enough, taking the stage with her church choir but keeping silent all the while. LIFE said “her narrowest escape was when she almost began singing in church.”

For her week of silenece was rewarded with “two crisp $500 bills,” LIFE wrote. Peterson earned $150 for playing the apple in the garden of Eden. Stackpole’s photos showed the two women “burying the hatchet” afterward and celebrating their bounty.

Taylor’s first words after winning: “I can’t think of a thing to say.”

Virginia Taylor wore tape on her mouth (which she would later take off) during the first day of a challenge in which she stayed silent for a week to win $1000 from Art Linkletter’s radio program People Are Funny, 1948.

Peter Stackpole/Life Picture Collection/Shutterstock948.

Marilyn Peterson (right) lived in the home of Virginia Taylor to see if Mrs. Taylor could keep silent for one week and win $1000 from Art Linkletter’s radio program People Are Funny, 1948.

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Virginia Taylor (left) sat quietly in a beauty shop while attempting to keep silent for one week and win $1000 from Art Linkletter’s radio program People Are Funny, 1948.

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Virginia Taylor (right), who was trying to keep silent for a week to win $1000 from a radio show, sat by while her husband got to know Maralyn Peterson, the actress that the radio show People Are Funny had assigned to shadow the Taylors and monitor Virginia’s silence, 1948.

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Virginia Taylor (left) wrote messages for Marilyn Peterson to relay on phone; Mrs. Taylor was attempting to keep silent for one week and win $1000 from Art Linkletter’s radio program People Are Funny, while Peterson was her monitor,1948.

Peter Stackpole/Life PIcture Collection/Shutterstock

Virginia Taylor (right) communicated with a door-to-door saleswoman using a slate and chalk during her attempt to keep silent for one week and win $1000 from Art Linkletter’s radio program People Are Funny, 1948.

Peter Stackpole/Life PIcture Collection/Shutterstock

Virginia Taylor (center) read the newspaper sulkily in the background while husband Charles chatted with Marilyn Peterson, an actress who was living with the couple to make sure Mrs. Taylor remained silent for one week while attempting to win $1000 from Art Linkletter’s radio program People Are Funny, 1948.

Peter Stackpole/Life PIcture Collection/Shutterstock

Virginia Taylor (right) resisted the temptation to talk to fellow church members during her efforts to keep silent for one week and win $1000 from Art Linkletter’s radio program People Are Funny, 1948.

Peter Stackpole/Life PIcture Collection/Shutterstock

Virginia Taylor (second from left) in church while attempting to keep silent for one week and win $1000 from Art Linkletter’s radio program People Are Funny, 1948.

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Virginia Taylor (right) was teased by relatives during her efforts to keep silent for one week and win $1000 from Art Linkletter’s radio program People Are Funny, 1948.

Peter Stackpole/Life PIcture Collection/Shutterstock

Virginia Taylor tried to deal with her nephew without talking while she was trying to keep silent for one week and win $1000 from Art Linkletter’s radio program People Are Funny, 1948.

Peter Stackpole/Life PIcture Collection/Shutterstock

Virginia Taylor (left) communicated with her husband, a plumbing salesman, using sign language during her attempt to keep silent for one week and win $1000 from Art Linkletter’s radio program People Are Funny, 1948.

Peter Stackpole/Life PIcture Collection/Shutterstock

Art Linkletter (center) with Virginia Taylor (right) during his radio program People Are Funny, for which he challenged her to stay silent for a week in order to win $1,000 in 1948.

Peter Stackpole/Life PIcture Collection/Shutterstock

Virginia Taylor (center), her husband (right) and Marilyn Peterson celebrated after Mrs. Taylor won $1000 from Art Linkletter’s radio program People Are Funny for keeping silent for one week, 1948. LIFE described this scene as Taylor and Peterson “burying the hatchet.”

Peter Stackpole/Life PIcture Collection/Shutterstock

Jane Greer: The Actress Whose Career Howard Hughes Tried to Quash

In 1947 Jane Greer starred opposite Robert Mitchum in the film noir classic Out of the Past, and the success of that film helped earn her a place on the cover of LIFE. That movie was a crowning moments of a career that had elements of a film noir story on its own.

The actress, born Bettyjane Greer, had actually been in LIFE magazine twice before that ’47 cover. In 1942 she appeared, unnamed, as one of three women modeling the uniforms of the W.A.A.C.s, the new all-female military unit that came into being during World War II. She got the modeling job because her mother worked in the War Department. The very businesslike picture, included in this story, is not the sort of photograph that you would necessarily expect to draw attention to a young woman—but it hit the radar of singer Rudy Vallee. According to the magazine, Vallee “tried unsuccessfully to worm Miss Greer’s address out of LIFE.” He did connect with Greer eventually when she came to Hollywood, resulting in a brief marriage between the two. She and Vallee separated after three months. The uniform modeling job, which also made it to newsreels, had led to a screen test with David O. Selznick, reported LIFE. But “Miss Greer signed up elsewhere, however—with Howard Hughes.”

In its 1947 story LIFE described her audition for Hughes:

She prepared for her first interview with Mr. Hughes by carefully learning the script with which she had heard he tested all aspiring stars. It was a comedy, The Awful Truth, and, because Howard Hughes is a little deaf, Miss Greer read it at the top of her lungs.

Hughes was charmed. And this is when the noir aspects of Greer’s story really took hold. Greer not only signed with Hughes but for time was in a relationship with the eccentric billionaire. She eventually bought her way out of Hughes’ contract and caught on with RKO. LIFE wrote about Greer again for a story about starlets in training, and that studio soon gave Greer the female lead in Out of the Past. By that time she was also married to attorney Edward Lasker, and seemingly set up for superstardom.

But then who should come out of Greer’s past but Howard Hughes, now feeling jealous toward Greer. He bought RKO, which meant that Hughes now controlled her contract. “He said to me, while you are under contract to me, you will never work,” Greer recounted in an interview decades later. “And I said, `But that will be the end of my career.’ And he said, “I guess it will, won’t it?”

Hughes didn’t completely end her career, but he put a damper on it at a time she should have been reaching new heights. Eventually Greer got herself out of her RKO contract and returned to regular work, including multiple appearances in the 1950s on The Ford Television Theatre. And she enjoyed a late-career revival in the 1980s, including an appearance in Against All Odds, the 1984 remake of Out of the Past that starred Jeff Bridges and featured Greer as the mother of the movie’s female lead, played by Rachel Ward. Greer also had a six-episode run on the prime-time soap opera Falcon Crest, and appeared in three episodes of the David Lynch television show Twin Peaks.

She died in 2001 of complications from cancer, just shy of her 77th birthday.

Jane Greer modeled the uniforms for the new WAAC units in LIFE, 1942.

Charles Steinheimer/Life Picture Collection/Shutterstock

This montage was the opening photo of a LIFE story on actress Jane Greer in a 1947 issue of LIFE; the caption said that she was “dreaming that she is pursued by the men she has been bumping off all day on the movie set.”

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Actress Jane Greer, 1947.

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Actress Jane Greer, 1947.

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Actress Jane Greer (C) performing in scene from the 1947 movie Out of the Past with actors Steve Brodie (left) and Robert Mitchum.

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Actress Jane Greer, 1947.

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Actress Jane Greer, 1947.

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Actress Jane Greer acting like drunken type, 1947.

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Jane Greer on set of The Company She Keeps, 1950.

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Jane Greer (left), with Jeff Bridges and Swoosie Kurtz, costars in the 1984 film Against All Odds, which was a remake of Greer’s 1947 classic Out of the Past.

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What Became of This Rookie Class of RKO Starlets?

The mechanics of movie stardom have changed plenty over the years, and a story that ran in LIFE in 1946 gave a window into how things used to be done. Headlined “LIFE Visits With Nine Hopeful Starlets,” the story serves as a snapshot of a bygone system in which studios hired and trained aspiring actresses to—if all went well—appear in their movies.

Here’s how LIFE described the world of these young women, which is something other than a dream:

The nine girls on this page are all movie starlets whom the RKO Studio is paying and training in the hope that it may find one of them to be a new and different version of Katherine Hepburn or Ginger Rogers. Each girl is on a seven-year contract starting at $100 a week, but the studio may terminate the contract every six months.

A starlet leads a life of work and worry—the dedicated and ordered sort of existence enforced on officer candidates in the Army. Usually she knows little about acting and therefore must be instructed. Grooming and posture must be improved. Diction must be changed to remove all trace of local accent.

All the while she worries about getting her contract renewed and about getting publicity. Even more than by schooling she helps herself by getting her picture in newspapers when she is chosen “Miss Poppyseed Roll” by the baker’s association or “The Girl We Would Most Like to Tie Up To” by the docker’s union. Finally comes a real screen test and, in most cases, the ax.

Among the nine starlets who where photographed by LIFE’s Bob Landry, two can be said to have made their mark on the cinema. One was Martha Hyer, who was nominated for an Academy Award for supporting actress for the 1958 drama Some Came Running, which was directed by Vincent Minelli and also starred Frank Sinatra, Dean Martin and Shirley MacLaine.

Then there’s Jane Greer, who came to RKO as the ex-wife of singer Rudy Vallee (they married when she was 19 and divorced eight months later), and had actually been in LIFE before, in 1942, when she modeled a WAAC uniform. Greer went on to earn a leading role in the 1947 noir classic Out of The Past opposite Robert Mitchum, but then her career went on standstill for a while after RKO was bought by billionaire Howard Hughes, her former lover. (For more on Greer and that drama, see this story). Greer eventually moved on from RKO, and her career had a late second wind that included appearing in Against All Odds, the 1984 remake of Out of the Past, and also three episodes of the David Lynch TV show Twin Peaks.

The results for the other starlets were mixed at best. Nan Lesilie worked plenty, with 82 IMDB credits from movies and television. Virginia Huston who was heavily featured in the LIFE pics, appeared in Out of the Past with Greer, and wound up with about a dozen credits in her film career. Nancy Saunders had a lead role in the 1947 crime drama The Millerson Case, and after a dormant period she collected some relatively recent credits, including appearing as a landlady in an episode of Dawson’s Creek.

Vonne Lester had 11 roles but only one credited, when she played a messenger girl in the TV version of The Thin Man. Debra Alden had one credit, 1947’s Code of the West. Of Mimi Berry’s four roles, three were uncredited. Bonnie Blair‘s career had a similar fate.

As the LIFE’s story made clear, success for such starlets was more the exception than the rule. The process in Hollywood has changed a great deal since 1946, but one constant remains: it’s tough to make it as an actress.

RKO Studio starlets Nancy Saunders, Debra Alden, Virginia Huston (top row, left to righ)t; Martha Hyer, Mimi Berry, and Bonnie Blair (middle row, left to right); and Vonne Lester, Jane Greer and Nan Leslie (bottom row), 1946.

Bob Landry/Life Picture Collection/Shutterstock

Actor Robert Clark (foreground left) and starlet-in-training Virginia Huston (right, foreground) take lessons from a drama coach with other students in the background, 1946.

Bob Landry/Life Picture Collection/Shutterstock

RKO starlets trained with studio dance director Charlie O’Curran, 1946.

Bob Landry/Life Picture Collection/Shutterstock

RKO starlets trained with studio dance director Charlie O’Curran, 1946.

Bob Landry/Life Picture Collection/Shutterstock

Hollywood starlets being trained by RKO Studio, 1946.

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RKO starlets in training, 1946.

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Hopeful RKO Studio starlet Virginia Huston posed in front of a measurements board, 1946.

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Hopeful RKO starlet Virginia Hoston posing in front of a measurements board, 1946.

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Virginia Huston, RKO starlet, 1946.

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Hopeful RKO Studio starlet Virginia Huston was dressed in an evening gown, 1946.

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Virginia Huston, RKO starlet, 1946.

Bob Landry/Life Picture Collection/Shutterstock

RKO starlets-in-training tanned on the studio roof during their lunch hour, 1946.

Bob Landry/Life Picture Collection/Shutterstock

RKO starlets-in-training tanned on the studio roof during their lunch hour, 1946.

Bob Landry/Life Picture Collection/Shutterstock

RKO starlets-in-training tanned on the studio roof during their lunch hour, 1946.

Bob Landry/Life Picture Collection/Shutterstock

A collection of starlets being trained at RKO Studio, 1946.

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“DeMille’s Greatest”: Making The Ten Commandments

The seasonal favorite The Ten Commandments was a crowning achievement for Cecil B. DeMille, the master of the Biblical epic. He started his career with a version of the film in 1923, and he returned to the story in the 1956 version, which turned out to be its last film. And what a way to go out— LIFE magazine dubbed it “DeMille’s Greatest” when it wrote about his technicolor telling of the Book of Exodus, starring Charlton Heston in the role of Moses.

“DeMille tells this story sumptuously,” LIFE wrote. “He built a huge set on Egypt’s sands—the gates of Per-Rameses and a 16-sphinx avenue—that drew more tourists than Giza’s single sphinx….The result is a film of reverent and massive significance.”

LIFE’s Ralph Crane went to Egypt to capture the scale of this grand production, and his pictures show what it took to make a big movie in the days before digital effects. (Though of course the film is remembered in part for a scene that did require special effects, however old school, the parting of the Red Sea. DeMille filmed that sequence back in Hollywood and used shots of pouring water in reverse to create the illusion of seawater pushed aside by the hand of God.) Plenty about this film required extraordinary effort, as can be seen in Crane’s shots of the massive sets and the hordes of extras—not to mention the caring of the many horses needed for the chariot scenes.

Another LIFE.com story shows captures a more intimate moment from this film, with baby Moses in the rushes—it was Heston’s son in the crib. Those moments great and small help make DeMille’s masterpiece one that families keep coming back to.

Charlton Heston (lower right), playing Moses, in a scene from the 1956 biblical epic ‘The Ten Commandments,’ directed by Cecil B. DeMille, Egypt.

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Charlton Heston, playing Moses, in a scene from the the 1956 biblical epic ‘The Ten Commandments.’ directed by Cecil B. DeMille, Egypt.

Ralph Crane/Life Picture Collection/Shutterstock

On the Egypt set of 1956 Biblical epic The Ten Commandments.

Ralph Crane/Life Picture Collection/Shutterstock

On the Egypt set of 1956 Biblical epic The Ten Commandments.

Ralph Crane/Life Picture Collection/Shutterstock

On the set of the 1956 film The Ten Commandments in Egypt.

Ralph Crane/Life Picture Collection/Shutterstock

On the Egypt set of the 1956 film The Ten Commandments.

Ralph Crane/Life Picture Collection/Shutterstock

On the Egypt set of the 1956 film The Ten Commandments.

Ralph Crane/Life Picture Collection/Shutterstock

On the Egypt set of the 1956 film The Ten Commandments.

Ralph Crane/Life Picture Collection/Shutterstock

On the Egypt set of the 1956 film The Ten Commandments.

Ralph Crane/Life Picture Collection/Shutterstock

On the Egypt set of the 1956 film The Ten Commandments.

Ralph Crane/Life Picture Collection/Shutterstock

On the Egypt set of the 1956 film The Ten Commandments.

Ralph Crane/Life Picture Collection/Shutterstock

Cecil B. DeMille on location in Egypt during the filming of the 1956 movie The Ten Commandments.

Ralph Crane/Life Picture Collection/Shutterstock

Extras from the movie “The Ten Commandments” heading home after a day of shooting, Egypt, 1955

Ralph Crane/Life Picture Collection/Shutterstock

A group of horses from The Ten Commandments drinking water at camp, Egypt, 1955

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Cecil B. DeMille directing a scene from the 1956 movie The Ten Commandments; on location in Egypt.

Ralph Crane/Life Picture Collection/Shutterstock

Extras pretending to a family during the filming of ‘The Ten Commandments in Egypt.

Ralph Crane/Life Picture Collection/Shutterstock

LIFE’s Big Look the Beauty Industry, 1956

Much has changed for women in America since LIFE magazine had its original run from 1936 to 1972. But when it comes to the beauty industry, much remains the same. That is, women still spend an awful lot on their appearance. According to one survey 52 percent of Gen Z females regret how much money they spend on makeup, with a majority saying that social media has contributed to their overspending.

This generation is experiencing its own version of what has been going on for ages. The price of beauty was also an issue way back in 1956, when LIFE magazine ran an article headlined “Billions of Dollars For Prettiness: Big Industry Thrives on Woman’s Struggle to Stay Young.”

The story began by setting out the dilemma confronting women: “With youth and good looks bestowed upon her at birth, the American woman matures to face two mortal enemies. In a land where youth is at a premium, she finds age stalking her. And in a land of fried chicken and fudge sundaes, fat is dangerous sabotage.”

While the story presents the beauty industry as an “ally” for women, it also sound makes it sound like an enemy in some ways. Consider LIFE’s description of what women endure as they try to look young and slim:

In countless beauty shops and salons her flesh is mortified. She is shaken on tables, beaten by machines, starved, steamed, packed in mud and needled with cold water. In earnest conferences she picks her hair shades and face powders. And she pays. This year her defense budget will be: cosmetics and toiletries, $1.3 billion; beauty treatments, $600 million; soap and electric devices, $400 million; reducing, $65 million—a total more than double the defense budget of Italy.

The photographs by Leonard McCombe are impressive in their range. In addition to portraits of beauty moguls such as Elizabeth Arden, Lily Dache and Helena Rubenstein, McCombe shows women encountering the beauty industry at the grassroots. He is there for a moisturizing mask demonstration in San Antonio, at the cosmetics counter of a fancy department store in San Francisco, and during a salesperson’s visit to a California trailer park. The most distinctive pictures he took are inside an Elizabeth Arden weight-loss spa in Arizona called “Main Chance”; McCombe followed opera singer Martha Lipton as she went through treatments that ranged from the conventional (getting a scalp massage and pedicure by the pool) to one in which she is wearing a mask that was supposed to stimulate her circulation and looks better fit for Hannibal Lecter.

The technology has obviously advanced since 1956, but the quest goes on.

Customers at a beauty product demonstration in Joske’s department store, San Antonio, Texas, 1956.

Leonard McCombe/Life Picture Collection/Shutterstock

Customers at a beauty product demonstration in Joske’s department store, San Antonio, Texas, 1956.

Leonard McCombe/Life Picture Collection/Shutterstock

Customers learned how to use a moisturizing facial mask in Joske’s department store, San Antonio, Texas, 1956.

Leonard McCombe/Life Picture Collection/Shutterstock

Customers learned how to use a moisturizing facial mask in Joske’s department store, San Antonio, Texas, 1956.

Leonard McCombe/Life Picture Collection/Shutterstock

The Charles of the Ritz powder bar at the I. Magnin department store in San Francisco, 1956.

Leonard McCombe/Life Picture Collection/Shutterstock

Edna Courtney of Beauty Counselors Inc. operated a home demonstration in a trailer camp in Burbank, Calif.

Leonard McCombe/Life Picture Collection/Shutterstock

Slenderella VP Irene Ward measured a client’s bust at a Slenderella salon; in 1956 the company operated 152 “slenderizing parlors.”

Leonard McCombe/Life Picture Collection/Shutterstock

Women at a New York hair salon watched an instructional film on hair curling, 1956.

Leonard McCombe/Life Picture Collection/Shutterstock

Women at a New York hair salon watched an instructional film on hair curling, 1956.

Leonard McCombe/Life Picture Collection/Shutterstock

Women exercised at Elizabeth Arden’s reducing resort in Phoenix, 1956.

Leonard McCombe/Life Picture Collection/Shutterstock

Singer Martha Lipton enjoyed a breakfast tailored and delivered to her at an Elizabeth Arden spa in Phoenix, 1956.

Leonard McCombe/Life Picture Collection/Shutterstock

At Elizabeth Arden’s ‘Maine Chance’ spa, singer Martha Lipton (center) sat poolside, along with several other women, as she received a simultaneous scalp massage and pedicure, Phoenix, 1956.

Leonard McCombe/Life Picture Collection/Shutterstock

At Elizabeth Arden’s ‘Maine Chance’ spa, singer Martha Lipton sat in a heat box, called a ‘Howard Cabinet,’ as attendant May Walsh applied ice eater to her forehead, Phoenix, 1956.

Leonard McCombe/Life Picture Collection/Shutterstock

At the ‘Main Chance’ spa, American singer Martha Lipton received circulatory stimulation from a heat mask operated by therapist Gladys Horton, Phoenix, 1956.

Leonard McCombe/Life Picture Collection/Shutterstock

At Elizabeth Arden’s ‘Maine Chance’ spa, singer Martha Lipton received a hot paraffin treatment, called an ‘Ardena Bath,’ Phoenix, 1956.

Leonard McCombe/Life Picture Collection/Shutterstock

At one of Elizabeth Arden’s spas, women sat under hair dryers in a rooftop garden, San Francisco, 1956.

Leonard McCombe/Life Picture Collection/Shutterstock

Hat designer Lily Dache trying on a new model, 1956.

Leonard McCombe/Life Picture Collection/Shutterstock

Hat designer Lily Dache trying on a new model, 1956.

Leonard McCombe/Life Picture Collection/Shutterstock

Lilly Dache, president of General Beauty Products and hat designer, read over advertising plans with her staff, New York, NY, 1956.

Leonard McCombe/Life Picture Collection/Shutterstock

Cosmetic executive Elizabeth Arden Graham in her salon. 1956.

Leonard McCombe/Life Picture Collection/Shutterstock

Cosmetics magnate Helena Rubinstein (right) at work, 1956.

Leonard McCombe/Life Picture Collection/Shutterstock

Revlon President Charles Revson (left) showed his hand painted with Revlon fingernail polish while executive Martin Revson (second from right) watched the demonstration of the new Revlon fingernail polish on model Suzy Parker’s hand.

Leonard McCombe/Life Picture Collection/Shutterstock

Singular Spring Looks with Bill Ray

LIFE magazine loved to cover the spring fashion shows in Paris. In 1968 the news coming in from France was that there was no news—or at least, no specific emerging trend about how high or low hemlines should be. “This season it’s a potpourri, not pronouncements,” read the headline of the story in the March 1, 1968 issue (which also happened to feature on its cover a major feature on artist Georgia O’Keeffe).

For LIFE photographer Bill Ray the lack of a specific trend to highlight gave him license to be creative in his coverage, and he delivered a stunning set of photos with a singular feel. It was as if the fashion houses couldn’t decide on a look, so Ray created his own—one that is both sleek and striking and with hints of punk rock culture, just as its earliest seeds were starting to take hold.

This set includes the works of such big-name designers as Pierre Cardin, Marc Bohan and Yves Saint Laurent. If you like this collection, here’s a look at LIFE’s coverage of another picturesque fashion week in 1951. Enjoy!

Danielle Sauvajeon modeled an Yves St. Laurent dress with a Spanish influence, 1968.

Bill Ray/Life Picture Collection/Shutterstock

Danielle Sauvajeon wore an Yves St. Laurent dress at a Paris fashion show in 1968.

Bill Ray/Life Picture Collection/Shutterstock

Danielle Sauvajeon modeled Yves St. Laurent’s evening Bermudas with schoolboy-size silk scarf, Paris, 1968.

Bill Ray/Life Picture Collection/Shutterstock

Sin-May Zao modeled a late day dress (left) and a evening dress (right) from Pierre Cardin in this composite photo that appeared in LIFE magazine, 1968.

Bill Ray/Life Picture Collection/Shutterstock

Sin-May Zao modeled a Pierre Cardin dress in Paris, 1968.

Bill Ray/Life Picture Collection/Shutterstock

Sin-May Zao modeled spring fashions in Paris, 1968.

Bill Ray/Life Picture Collection/Shutterstock

Sin-May Zao modeled a Pierre Cardin dress. Paris, 1968.

Bill Ray/Life Picture Collection/Shutterstock

Sin-May Zao modeled spring fashions in Paris, 1968.

Bill Ray/Life Picture Collection/Shutterstock

Prunelia showed off a 1930’s style look while modeling this dress by Marc Bohan of Dior, 1968.

Bill Ray/Life Picture Collection/Shutterstock

Prunelia modeled a Marc Bohan daytime suit in Paris, 1968.

Bill Ray/Life Picture Collection/Shutterstock

Prunelia modeled a chiffon evening dress by Marc Bohan of Dior in Paris, 1968.

Bill Ray/Life Picture Collection/Shutterstock

NIneteen-year-old model Agneta Bylander, who worked under the name Mouche, wore a dress of organza by Michel Goma with matching head scarf, Paris, 1968.

Bill Ray/Life Picture Collection/Shutterstock

Spring fashions from Paris, 1968.

Bill Ray/Life Picture Collection/Shutterstock

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