The Wizard of Oz

Posted on August 25, 2015 by barbara

Over 75 years ago today (August 25, 1939) the spectacular “Wizard of Oz” premiered at the Grauman’s Chinese Theatre in Los Angeles, CA. The MGM movie is one of the best-loved films of all time and it starred Judy Garland as Dorothy, Ray Bolger as the Scarecrow, Jack Haley as the Tin Man and Bert Lahr as the Cowardly Lion. The movie was one of the most expensive films that MGM studio had produced to date and it is based on the 1900 novel “The Wonderful Wizard of Oz” by L. Frank Baum.

A brief synopsis of “The Wizard of Oz” movie

The movie is centered on a young girl named Dorothy Gale who is suddenly blown away with her little dog Toto by a tornado which carries her house from the farmlands of Kansas to the magical world of Oz. It seems that when she landed in Oz at a place called Munchkin Land her house has fallen on the Witch of the East. The munchkins are happy that the Witch was dead and there is a celebration. Dorothy is confused and anxious to be surrounded by all the little people celebrating the demise of the horrible witch when suddenly Glinda, the Good Witch of the North, appears to explain it all to Dorothy. (when Dorothy accidentally killed the Witch of the East the ruby red slippers of the witch suddenly appeared on Dorothy’s feet and the Wicked Witch of the West wants the shoes back because they have magical powers!) The Good Witch sets Dorothy on the path along the yellow brick road which leads to the Emerald City where she will find the Great Wizard of Oz who can help her get back to Kansas.

The Wicked Witch with Dorothy and Glinda

Along the yellow brick road, Dorothy meets a trio of characters that are also in need of help from the Wizard of Oz and they join her and Toto on the journey to the Emerald City. The first character Dorothy encounters is the Tin Man who is in need of a heart, then the Scarecrow who is in need of a brain and lastly the Lion who is in need of courage. Dorothy tells them to come with her to see the Wizard who could possibly grant them their wishes too. Meanwhile, during their journey to the Emerald City they encounter the Wicked Witch of the West who warns them that Dorothy will pay for killing her sister, the Witch of the East, and she will take back the ruby slippers.

Upon arriving at the Emerald City, the Wizard says that maybe if the trio brings him the Wicked Witch’s broom he will be able to grant them their wishes and find some resolution to their problems. But unfortunately when they return to the Emerald City after accidentally killing the Wicked Witch the trio quickly learns that the great and powerful Wizard of Oz is simply an ordinary traveling salesman who had also been swept away from Kansas many years earlier in another dangerous storm. Dorothy and her friends are sadly distressed when the Wizard turns out to be a fake and they were hoping that he would be able grant them their wishes and help with the things that they so desperately needed. (a trip back to Kansas for Dorothy, a heart for the Tin Man, a brain for the Scarecrow and courage for the Cowardly Lion!) The Wizard tells them that they didn’t need him all along and that maybe they had what they needed the whole time but that they just didn’t know it. Dorothy learns that all she had to do to return home is to click the heels of the ruby slippers three times while saying the words “there’s no place like home”. Suddenly Dorothy is back in Kansas and reunited with Aunt Em and Uncle Henry.

The making of “The Wizard of Oz” movie

In 1934, Samuel Goldwyn bought the film rights to the children’s novel “The Wonderful Wizard of Oz” by L. Frank Baum which was originally published in 1900. Goldwyn paid $75,000 for the rights and was hoping to turn it into a major motion picture and considered casting Shirley Temple as Dorothy and Eddie Cantor as the Scarecrow. (The Oz story had been previously adapted into a Broadway musical, which debuted in 1903, and also several different versions of the story were made into silent films)

At the beginning of 1938, Metro Goldwyn Mayer (MGM) studios bought the rights from Samuel Goldwyn. The screenplay went through several revisions before the final draft was approved in October 1938. The principal roles were cast with Judy Garland as Dorothy (she was only 17 years old at the time production started and after the movie was released it would make her a major motion picture star), Ray Bolger as the Scarecrow, Jack Haley as the Tin Man and Bert Lahr as the Cowardly Lion, Margaret Hamilton as the Wicked Witch of the West and Frank Morgan as the Wizard of Oz. Buddy Ebsen was originally cast in the role of the Tin Man; he filmed a few scenes and then was eventually replaced with Jack Haley. (For more interesting casting notes, please see “The Wizard of Oz” movie trivia section later in this post)

From the start of production, George Cukor was the creative advisor but soon left in November 1938 to direct Gone with the Wind and Victor Fleming was brought in to take on the directorial duties of “The Wizard of Oz”. The first scenes filmed were with Judy Garland wearing a blonde wig as the character of Dorothy dressed in a rather garish costume but it was soon changed to her natural brown hair and wearing the iconic checkered jumper with a white blouse, although the white blouse was actually light pink in color because it photographed better in Technicolor. Also, to disguise Judy’s more mature figure and to give her the appearance of a much younger Dorothy are depicted in the book she had to wear a tight corset under her costume. The Wicked Witch (played by Margaret Hamilton) costume and make-up were also changed from the one described in the book to reflect a more sinister character that the movie screenplay required. As a result of these changes, those first scenes need to be re-filmed.

The original Baum book was an important inspiration to the production team and it determined several ways in which the movie was to be filmed. Let me explain … in the book Baum describes Kansas as having landscape and even buildings severely weathered with colors muted into shades. Even Dorothy’s Aunt Em and Uncle Henry are described as an older couple having gray hair and wearing clothes lacking in color. So, when the first portion of the movie was filmed it was cleverly shot in black and white for the scenes in Kansas and later colored sepia tone in post-production. Then, for the portion of the movie with scenes taking place in the Land of Oz, it was filmed in Technicolor which helped to create the bright and colorful look of a fantasy land, filming of the Technicolor scenes took over six months to film. Special attention was given to the numerous details pertaining to color, such as the perfect shade of yellow used to paint the yellow brick road and the silver slippers mentioned in the book were changed to a vibrant ruby red color, which was the idea of MGM head Louis B Mayer, because it worked better in Technicolor.

During filming there were numerous problems involving the actor’s costumes and make-up, especially when filming required long hours spent on set under the heat of the klieg lights. Also during production there were other difficulties involving the cast members and even some serious accidents. One accident that happened during filming involved the actors playing the Winged Monkeys of the Wicked Witch and they were injured when the piano wires used to hold them up during their “flying” scene in the enchanted forest snapped during filming and they fell to the ground. Another dangerous accident happened to Margaret Hamilton (the Wicked Witch) during the scene in Munchkin Land. When the elevator used to make her disappear in a puff of fire and smoke malfunctioned and the result was that she suffered second-degree burns on both her face and hands requiring a six week convalescent stay in the hospital. (For more interesting production notes, please see “The Wizard of Oz” movie trivia section later in this post)

Then in February 1939, while the movie was still in production, Victor Fleming left the film to replace George Cukor as director of “Gone With the Wind” which was having some problems between Cukor and the cast members. King Vidor was brought in as director to finish the filming of “The Wizard of Oz” and at that time most of the Oz scenes had been completed and just a few Kansas scenes such as the tornado scene and the scene in which Judy Garland sings “Over the Rainbow”, needed to be filmed.

After an extremely long and tedious production schedule, principal filming finally ended in March 1939 and then post-production started which required sound editing and filming re-shoots that lasted until June. One of the most complicated post-production processes was the section of the film that transitions the story from the sepia tone Kansas into the Technicolor Land of Oz. Initially it was planned to hand-tint each frame of the Kansas scenes to maintain a consistent sepia color but this proved to be too expensive as well as a long and tedious process. Instead the scenes when Dorothy lands in Oz and opens the door of the house that has fallen on the Witch of East were re-shot. Dorothy (actually Judy Garland’s stand-in) was filmed wearing a sepia colored duplicate of the gingham dress standing just inside the house set which was completely re-painted in sepia color and then as Dorothy (now using footage previously shot of Garland as she steps into the doorway and walking into the colorful land of Oz) was only section of film that was hand-painted in sepia color.

Finally, after several test screenings the movie was finished and on August 25, 1939 the film premiered at the Grauman’s Chinese Theatre in Los Angeles, CA. When the movie was first released it received good reviews but ticket sales were very disappointing and this was unfortunate because at the time it was one of the most expensive films that the MGM studio had produced. The Wizard of Oz was nominated for six Academy Awards that year, unfortunately it lost the Best Picture award and the Oscar went to Gone with the Wind but it did win Best Original Song for “Over the Rainbow” which was sung by Judy Garland in the film.

Many years later, the “Wizard of Oz” finally achieved its long overdue commercial success when it was broadcast on CBS in 1956, it would eventually become an annual tradition for families to watch. With the release of the movie first on VHS and then of DVD, “The Wizard of Oz” became one of the most favorite movies for several generations and a perennial classic film.

“The Wizard of Oz” movie trivia

Several sets of the iconic ruby red slippers were made for the character of Dorothy which was played by Judy Garland; this was not unusual for a movie studio to do with an important piece of costume. The ruby red slippers started out as white silk pumps made by the Innes Shoe Company of Los Angeles. The shoes were then dyed red, a burgundy organza overlayed with approximately 2,300 hand-sewn red sequins attached and the finishing touch was a red leather bow with a large rectangular buckle that was embellished with red rhinestones. The shoes range in size from 5 to 6 in a variety of widths, Garland specifically requested a large size to use because her feet became slightly swollen after many hours on the set. Three of the pairs of shoes had orange felt soles to deaden the sound while walking or dancing during a scene. Five pairs of the ruby red slippers are known to still exist, one pair is in the Smithsonian Museum in Washington D.C. and unfortunately one pair was stolen in August 2005 and never recovered.

As previously mentioned, Buddy Ebsen (best known as Jed Clampett on the classic TV show, “The Beverly Hillbillies”) was originally cast in the role of the Tin Man. Shortly into filming Ebsen suffered a severe reaction to the aluminum powder make-up that he wore for the part. He was hospitalized for a lung condition after having to daily breath in the aluminum powder as it was applied. His long recovery time to clear his lungs required the part to be re-cast with Jack Haley and Ebsen’s scenes were re-shot.

When Jack Haley took over the role as the Tin Man, the make-up process changed. First, a thin layer of white greasepaint was applied and then the aluminum paste (which replaced the powder that was used before) was applied. Even with this change Haley still contracted an eye infection. The Tin Man’s costume was very stiff and Haley was unable to sit down comfortably so in between scenes and during breaks a “leaning board” was used for him to relax.
Because of the use of the toxic make-up for the other cast members, they could not eat any food while wearing the make-up and many of the actors had to drink from straws during filming.
The Cowardly Lion costume worn by Bert Lahr was made from real lion pelts creating a very heavy costume, it was reported to weigh 90 pounds, and it caused him to become extremely overheated when wearing it to shoot the scenes under the hot Klieg lights.

The part of the Wicked Witch was originally cast with Gale Sondergaard set to play the role, but during the writing of the screenplay the character was changed from a somewhat glamorous witch to the one seen in the movie that is (well, let’s be honest) not the most attractive witch. Sondergaard was displeased with the changes and she dropped out even before the production started, Margaret Hamilton was cast into the role three days before filming started. Hamilton’s performance was so good that some of her scenes were thought to be too frightening and were edited or cut entirely from the final film.

While the screenplay was being written, the part of the Wizard was specifically written with W.C. Fields playing the part. After salary and contract negotiations with Fields went on too long and proved too difficult so another actor named Frank Morgan was given the role.

The part of Dorothy’s dog Toto was played by a small female Cairn terrier named Terry. During the scene of Dorothy, Toto and the others skipping down the yellow brick road caused quite a problem for trainer Carl Spitz and Terry, it took over 12 takes for Toto to be shot running alongside the actors. Despite all the troubles caused, Terry the terrier was paid $125 a week for her work in the film (it was more money than what the salary of most of the little people playing the Munchkins, they only received $50 per week)

Speaking of Munchkins … the celebration scene after the death of the Witch of the East required over one hundred little people were hired to play the parts of the numerous Munchkins. To organize the chaos with that many actors, the MGM costume and wardrobe department devised a plan to stay organized and each Munchkin was photographed in costume and detailed notes were taken regarding make-up so that everything could be duplicated during the long days of filming.
The film had many special effects that seem very primitive now with our modern techniques of film production. The tornado that sweeps Dorothy’s family house away in the movie was actually a 35 foot-long muslin stocking that was spun around among a miniature dusty set of the Kansas farms and fields. To show Dorothy’s house falling into the Land of Oz, a miniature house was dropped from reasonable height onto a sky painted onto a canvas placed flat on the stage floor, then the film was reversed to make it appear as if the house was falling from the sky and towards the camera.

It is hard to believe that the most famous song from “The Wizard of Oz”, “Over the Rainbow”, was almost cut from the final version of the film. Some studio executives thought that the song felt out of place in the storyline and the meaning would be lost on the targeted children audience, the movie’s producers and the director had to fight to keep it in the film. It was a good decision, the song went on to win the Academy Award for Best Song and Judy Garland became forever identified with “Over the Rainbow”.

Of course “The Wizard of Oz” is known for some classic movie lines, such as: “I’ll get you, my pretty, and your little dog, too!”, “Toto, I have a feeling we’re not in Kansas anymore”, “Are you a Good White or a Bad Witch?”, “Pay no attention to that man behind the curtain” and “There’s no place like home”.

Craft – Chanel-Inspired Shadowbox

Posted on August 19, 2015 by barbara

This month, in honor of Gabrielle “Coco” Chanel (born: August 19, 1883 died: January 10, 1971), I wrote a Celebration Post about the famous French fashion designer. In Part One of a two part series I discuss her personal and professional life in which she changed what women had been previously wearing. As a result of my research in writing the post, I decided to create a Chanel-inspired Shadowbox. I made two variations of the shadowbox; one a traditional Chanel style version and a second one that was more personalized using the first initial of my daughter’s name.

Chanel-Inspired Shadowbox – supplies

Shadowbox frame, size will be determined by the size of letters used
Letters, version #1 uses the traditional double C that mimics the Chanel logo and version #2 uses the first initial of my daughter’s name, which happens to be a C
Quilted fabric, used to mimic a classic Chanel purse. Craft note: while shopping in my local craft stores I could not find black quilted leather fabric but I did find a dark purple one, so I decided to use black paint to cover the purple color and it turned out great!

Pearls, version #2 used pearls stickers
Glue gun, glue sticks
(Optional) gold or white paint

Chanel-Inspired Shadowbox – instructions

Disassemble the shadowbox, remove glass and frame backing and keep to cardboard backing to use later.
Cut a piece of quilted leather fabric to fit the size of the selected shadowbox. Craft tip: Wrap the fabric around a piece of strong cardboard to create a more solid and stable surface.
Attach the initial to the quilted fabric. Craft note: in version #1 the gold initials used had a self-sticking back and in version #2 I attached the white initial that I used with a glue gun and glue stick.
(Optional ideas: Use pearls to embellish the display. Version #1 – the edge of the fabric surrounding the frame could have a string of pearls attached to further enhance the “Chanel” look (I opted not to add the pearls). Version #2 – I add self-stick pearls attached to the white initial.
Re-assemble the shadowbox, replace glass and frame backing.

For more information about the personal and professional life of Coco Chanel,please click on the link to Coco Chanel (Part One)

Coco Chanel (Part One)

Posted on August 19, 2015 by barbara

Gabrielle “Coco” Chanel (born: August 19, 1883 died: January 10, 1971) was a French fashion designer who drastically changed the dress design style of what women had been previously wearing for a century. When Chanel began her first business designing fashionable hats, women had been wearing long dresses, stiffly corseted and made in heavy materials. Then, when Chanel could not find stylish and comfortable clothing to fit her own needs, she started her own fashion line which featured innovative designs of loose fitting dresses made in easy care fabric. Her clothing line proved to be an enormous success and her designs set many of the trends that women are still wearing. Chanel also expanded her fashion line to include accessories, such as jewelry, handbags and fragrance Chanel No. 5 still remains one of the bestselling perfumes of all times.

In Part One of the two part series on Coco Chanel I will discuss her personal and professional life. In Part Two I will discuss some of Chanel’s contributions to the world of fashion.

The Personal and Professional Life Of Gabrielle “Coco” Chanel

Gabrielle “Coco” Chanel had an improvised childhood, her mother was Eugenie “Jeanne” DeVolle who was a laundrywoman and her father was Albert Chanel a traveling salesman who was frequently absent. Sadly, when Gabrielle was only 11 years old her mother died of bronchitis. With her father constantly away from home, the decision was made to send her brothers to work as farm laborers and Gabrielle and her two sisters were sent to a convent. Aubazine, located in central France, was run by the nuns of the Sacred Heart of Mary as a home for abandoned or orphaned girls.

Life at Aubazine was harsh and when Gabrielle turned 18 years old, she went to live in a Catholic girls boarding home in the small town of Moulins. During her years at the convent, the nuns had taught Gabrielle how to sew and she soon found work as a seamstress at a small store in Moulins. To earn more money, Gabrielle often sang at the local cabaret which was frequented by French cavalry officers. It has been said that the beautiful and flirtatious Gabrielle received the name “Coco” from the officers because one of the most popular songs she sang was “Ko Ko Ri Ko” or another more scandalous possibility was that the name was a reference to cocotte, the French word for a prostitute.

In 1906, Chanel had moved to the small resort town of Vichy to seek work as a stage performer but she failed at finding employment as a singer. Eventually, she was able to find work in a small shop dispensing glasses of mineral water for the tourists, Vichy was known as a spa town and the water there was said to have curative powers. Unfortunately the work at Vichy was only seasonal and Chanel soon moved back to Moulins.

Soon after returning to Moulins, Chanel met a former cavalry officer and wealthy heir to a textile fortune named Etienne Balsan. By the age of twenty-three Chanel had become his mistress and she moved into his chateau, Royallieu, located in Compiegne. Chanel’s lifestyle improved immensely and she was soon living a leisurely and lavish life with days spent in equestrian pursuits and nights socializing with Balsan and his friends. Balsan indulged Chanel’s every whim and showered her with gifts of beautiful dresses and jewelry. But Chanel had many hours of idle time and she was looking for a diversion to fill the hours of the day. So, she began making her own hats mostly because she could not find the styles that she preferred. Some of the women that came to Royallieu liked her hats and requested that Chanel make ones for them.

In 1908, while Chanel was living at Royallieu, she met the man that would become the “love of her life”. Captain Arthur “Boy” Capel was an English aristocrat and he was a close friend of Balsan. By 1908, Chanel and Capel had fallen deeply in love and Chanel had left Balsan and she moved to Paris staying in an apartment paid for by Capel.

Capel also financed Chanel’s first venture into the fashion industry. After Chanel arrived in Paris she wanted to earn her own money which she felt would give her more independence. In 1910, she decided to start a milliner business and she opened up a small store, Chanel Modes, located at 21 rue Cambon. Initially she sold to the upper class acquaintances that she met through Balsan and Capel but her business grew when a French actress named Gabrielle Dorziat wore one of Chanel’s hats in a play and it caught the attention of the fashionable women in Paris. This led to Dorziat wearing several of Chanel’s hats in a French fashion magazine, Les Modes, in 1912. The ladies of Paris all wanted a Chanel hat.

Then, while on a vacation with Capel to Deauville, Chanel once again came up with a fashion idea out of the necessity of not finding any resort clothing that met her style. She borrowed clothing from Capel, such as a striped shirt, a knit sweater, a pair of comfortable pants and she even wore a mariniere, a shirt usually worn by sailors. Chanel caused a sensation wearing these outfits and immediately found a need for women visiting the resort who also wanted comfortable clothing. Chanel soon developed a line of loose fitting dresses made in an unusual light-weight jersey fabric. Capel, aware of another good business opportunity, decided to finance a store for Chanel located in Deauville where she would be able to easily sell her new fashion line. She recruited her two sisters, Antoinette and Adrienne, to wear her dress designs on promenades down the boardwalk and around the town to advertise. Business was so good that Chanel opened a second store location in Barritz, which opened in 1915, it also proved to be very successful and Chanel was able to pay back the loan from Capel.

Despite the fact that Chanel and Capel were very much in love, their affair ended in 1918 when Capel was obligated to marry an English women, Lady Diana Wyndham. After being together for almost ten years, Chanel was heartbroken and then totally devastated when a year later Capel died in a tragic car accident. After the death of Capel, Chanel dedicated herself to her new clothing business concentrating on new designs and marketing to increase sales. After a period of mourning, Chanel also moved forward with her personal life and she briefly became romantically involved with the Grand Duke Dmitri Pavlovich, the cousin of Nicolas II who was the last czar of Russia. After their relationship ended, Chanel and the Grand Duke were still able to maintain their friendship which lasted throughout the years.

In 1919, Chanel’s fashion business had become so profitable that she was able to buy the entire building at 31 rue Camdon, the site was not very far from her previous location in Paris. After the building renovations were completed she opened the doors of the beautiful new store and it set the standard for future fashion stores where not only dresses but an extended variety of accessories could be sold.

In 1920, Chanel met the composer, Igor Stravinsky, who was working with the Ballets Russes in Paris. When Stravinsky needed a place for his family to stay, Chanel let them stay at a property she owned in a suburb of Paris. During that time Chanel took on a commission for Stravinsky to design the costumes for the Ballet Russes production of “The Rite of Spring” as a personal favor but in the end when the project had been completed Chanel had taken a huge financial loss.

The first real relationship that Chanel entered into after the death of Capel was with the French poet, Pierre Reverdy. Chanel and Reverdy were together from 1921 to 1926 and afterwards they went their separate way they were still able to maintain a forty year friendship. Reverdy became a great mentor for her and he is largely credited for writing many of Chanel’s published statements.

Chanel continued to find professional fulfillment in her fashion designs but throughout the years was still constantly looking for ways to expand her business. In 1922 she was introduced to Pierre Wertheimer, the director of the Bourgeois perfume and cosmetics company through her connections to Theophile Bader. Chanel worked with Ernest Beaux, a Russian-French perfumer to create the chemical formula for a special fragrance. At that time upper class women wore traditional perfumes made from the pure essence of a single flower while ladies of the lower class wore more sensual perfumes made from animal musk. Chanel No. 5, which was sold exclusively in the Chanel stores, was a combination of the two different scents perfectly blended for the new modern women of the 1920s.

After entering into the agreement with Wertheimer and Bader, a separate company was created called Parfums Chanel. The arrangement was that Wertheimer would receive seventy percent, Bader would receive twenty percent and Chanel would have the remaining ten percent but she would have no involvement in the actual running of the business. Years later, Chanel realized her error in being “tricked” into such a low percent of the company when the profits of the sale of the perfume reached nine million dollars annually. She was also concerned that the original formula for Chanel No. 5 had been altered and was being produced inexpensively with inferior ingredients to meet the high consumer demands. It would take twenty years of legal battles to finally reach a settlement and a new arrangement was agreed upon paying Chanel retroactive outstanding profits not paid to her and also increasing her percentage of the future profits, her earnings from Chanel No. 5 sales would be almost twenty-five million dollars annually.

In the mid-1920s, Chanel was introduced to Hugh Grosvenor, the Duke of Westminster while on a trip to Monte Carlo. This would be her opportunity to enter into the privilege world of the British nobility moving in the same circles as Winston Churchill and Edward, the Prince of Wales. Chanel and the Duke quickly became romantically involved and he set her up in an apartment in the prestigious area of London known as Mayfair. The Duke lavished Chanel with extravagant jewels and expensive gifts and paintings. In 1927, the Duke gave Chanel the deed to land that he had purchased on the French Riviera. A charming villa was built on the property and she named it La Pausa which translated as “restful pause”. When planning her new home Chanel had included the architect included features inspired by Aubazine, the convent where she spent her childhood. The love affair of Chanel and the Duke lasted ten years and during that time the Duke introduced her to Edward, the Prince of Wales. The Prince and Chanel enjoyed a brief flirtation but he was destined for another romance that would eventually cost him the throne of England.

In 1931 Chanel met Samuel Goldwyn, the famous Hollywood movie studio owner, through an introduction by her longtime friend, the Grand Duke Pavlovich. Goldwyn would eventually hire Chanel to design costumes for MGM. She traveled twice a year to Hollywood but, despite the fact that she was paid an exorbitant salary, she disliked the work and her fashion designs did not translate well on the movie screen. Chanel went on to design costumes for several French films but these projects were temporary work and her fashion design business remained her major focus.

On a personal level, Chanel had associated herself with a group of elite members of the Parisian art world; one of those was her good friend Misia Sert. It was said that this bohemian group was known to be right-wing politics and they were also known to be sexually provocative and emotionally unstable probably fueled by their drug addictions. French illustrator, Paul Iribe, was one of the members of this group and Chanel and Paul soon became romantically involved. The couple was together from 1931 until Iribe’s death in 1935. During that time Chanel collaborated with Iribe on designs for a jewelry collection featuring diamond set in platinum which was commissioned by the Guild of International Diamond Merchants, the exhibition of the jewelry drew large crowds. Chanel was to become Iribe’s muse and her image appeared in several of his published drawings throughout the years.

By 1935, the House of Chanel had become a very prosperous business that employed four thousand people but a year later, everything changed with the onset of World War II, Chanel closed several of her stores and 3,000 employees were let go during the general labor strike. Even though Chanel retained her apartment above the store on 31 rue Camdon, during the German occupation of France, Chanel choose to live at the Hotel Ritz. Most citizens of Paris fled with the invasion of France by the Germans, so it seemed an unusual choice for Chanel to remain in the occupied city living at the Ritz where several German military officers had move into. Years later there has been some documentation that proves that Chanel was possibly working with the Germans as a Nazi spy during the war. When charges were brought against Chanel it is said that Wintson Churchill intervened on her behalf and the charges were dropped without further inquiry.

In 1945, after World War II had ended, Chanel moved to Switzerland where she stayed until 1954 but before returning to Paris, Chanel sold her French Riviera villa. With her personal life in order, Chanel decided to revive her professional career. The world of fashion had drastically changed and the industry was dominated by men, such as Christian Dior and Cristobal Balenciaga. But once again, Chanel thought that the 1940s style of padded shoulder jackets and tight waisted skirt and dresses were impractical and very restrictive for women to wear and she was inspired to design again. Oddly, Chanel’s new venture back into fashion and the reestablishment of the House of Chanel was financed by an old enemy, Pierre Wertheimer.

In 1954, when Chanel’s new fashion line debuted there was very limited favorable response for most of Europe, this could possibly be attributed to the stories because of Chanel’s association with Nazis but it did not stop the British and American customers from favoring her collection. It was during this time that Chanel designed some of her most iconic fashions, such as the classic Chanel two piece day suits made in tweed and fully lined that is still very popular today.

By 1971, Chanel had grown noticeably disagreeable and sometime hostile to her employees and was generally unhappy in her professional life. She also felt very lonely in her personal life and had been without a male companion for several years. On the day before she died, she had been working on her Spring fashion collection and when she returned from a long drive she was feeling very ill. The next morning, January 9, 1971, she died of natural causes at the Hotel Ritz, she was 87 years old. Coco Chanel is buried in the Bois de Vaux Cemetery in Lausanne, Switzerland.

For more information a fun craft post including a list of supplies and instructions, please click on the link to Chanel-Inspired Shadowbox.

Decor – Displaying Hawaiian Vacation Souvenirs

Posted on August 11, 2015 by barbara

As I mentioned in a previous Décor Post, Displaying Travel Souvenirs, in the library of our home nestled among the books are several items that we have collected over the years during our travels across the United States and other distant places such as Europe and Asia. I have found that shadowboxes are an excellent way to display these travel souvenirs.

One of the keys to displaying travel souvenirs is thinking about how the items will be framed. For items that have some depth, I have found that shadowboxes are an excellent way to display those souvenirs. An example of using a shadowbox for travel memorabilia is the shark tooth weapon that we got at the Polynesian Culture Center in Hawaii. This wonderful piece of craftsmanship is beautifully displayed in a shadowbox but the real purpose of the frame is to that the sharp edges of the shark teeth are enclosed to prevent anyone from handling this dangerous weapon. (For more information about the Polynesian Culture Center located on the Hawaiian island of Oahu, please click on the link)

In front of the shadowbox is a piece of driftwood draped with a Hawaiian shell and nut lei. On the same shelf is a photo of our daughter dressed in her Hawaiian outfit that was taken at the Polynesian Culture Center display in a frame embellished with bamboo and palm trees, also displayed on the shelf is the artificial Hawaiian floral that she is wearing in the photo. On the other side of the photo is a small glass jar filled with black sand from Hawaii and shells we had gathered from the beach during our trip.

Also displayed on the bookshelf is a small trinket made of seashells and straw that I bought in Honolulu, it was a very inexpensive item but it is given more importance by displaying it in a small shadowbox. Two more Hawaiian souvenirs are displayed on the wall of our library near the bookcases; they are more framed Hawaiian souvenirs. The first is a framed sheet music cover of “Aloha Oe” I had purchased at the small gift shop at the Iolani Palace in Honolulu, Hawaii. This song was written by Princess Lili’uokalani in 1877 and has become synonymous with Hawaii. The second piece is hung below and is a beautiful print of the Hawaiian Islands (formerly known as the Sandwich Islands) that was purchased at the Polynesian Cultural Center. Tucked under the framed “Aloha Oe” music cover is an interesting item from one of the demonstrations at the Polynesian Cultural Center, it is an intricately woven palm leaves shaped into a bird.

All these items are a wonderful way to remember our fantastic trip to Hawaii and are an example of grouping travel souvenirs that tell the story of a vacation trip. (For some great travel suggestions on what to see and do in Hawaii, please click on the link)

Travel – Polynesian Cultural Center

Posted on August 7, 2015 by barbara

A few years ago I did a Travel Post, Hawaii – the 50^th State, which discussed the history of Hawaii and offered travel suggestions and points of interest to see when planning a trip. One of those places to visit was the Polynesian Cultural Center located on the island of Oahu about 32 miles from Honolulu. The Polynesian Cultural Center is a great place to experience the many cultures of the islands of the Pacific Ocean. In this post I will discuss the origin of the Center as well as important tourist information pertaining to the various activities available for visitors.

A brief history of the Polynesian Cultural Center

The Polynesian Cultural Center is located in Laie on the island of Oahu. The Center is operated by the Church of Jesus Christ of Latter Day Saints (known as the LDS or the Mormon Church) and it opened on October 12, 1963. The Center occupies 42 acres located near the Brigham Young University – Hawaii and the LDS Laie Hawaii Temple and for this reason the Center is mostly staffed by BYU students.

Back in the 1940s and the 1950s, the local LDS Church would hold traditional luaus and hukilaus (a festive beach gathering with Hawaiian song and dance entertainment) as a way to earn money to rebuild the local church that was destroyed in a fire. The gatherings proved to be very popular with the locals and the tourists, so in the 1960s the idea expanded into a permanent theme park/living history museum. The original purpose of the Center was to provide employment for the BYU students and also to preserve the cultures of Polynesia.

Polynesian Cultural Center Visitor information

When visiting the Polynesian Cultural Center there are several different admission packages. General admission includes: access to explore the different island villages, the canoe pageant, tram tour of Historical Laie, and the IMAX film “Hawaiian Journey”. Other packages include a variety of dining and entertainment experiences selections, such as Ali’i Luau dinner/show, the Island or Prime Rib buffets and the evening spectacular “HA: Breath of Life” evening show. Visitors may also take a free shuttle tour of the BYU campus, the Laie Hawaii Temple ant the LDS visitor center. For more information regarding the different types of package options and pricing, please see the Polynesian Cultural Center website – www.polynesia.com

“Hawaiian Journey” IMAX film –

A great place to start a visit at the Polynesian Cultural Center is by seeing the IMAX “Hawaiian Journey” film. The 14-minute film offers spectacular scenes of Hawaii and features special effects that allow visitors to feel the ocean spray and the rumble of a volcano. (Special Note: There are “regular” seats available if visitors do not wish to experience the special effects)

“HA – Breath of Life” evening show –

The “HA – Breath of Life” evening show is a shown once nightly in the 2,700 capacity Pacific Theatre, the amphitheater is beautifully landscaped with tropical plants and waterfalls. The show, which premiered in 2011, is an extravagant special effects production with a cast of over 100 performers and tells the story of a Polynesian man named Mana and his journey through life experiencing love, tragedy and triumph. The show features songs and dances from the different villages featured at the Polynesian Cultural Center. Of course, one of the highlights of the show is the dramatic fireknives performers. (Special Note: The amphitheater has terraced seating; according to the Center website they recommend seating in the Ambassador sections although any seat in the house will provide good viewing. Also, Hawaiian evenings can sometimes get chilly and the theater is open-air, so I would recommend having a light sweater or jacket handy just in case)

Canoe Pageant –

Meandering throughout the villages is a canal of water and lagoon where once daily there is a special performance featuring the different Polynesian regions. On each double-hulled canoe, one from each of the different villages, there are performers dressed in colorful traditional costumes which dance and play the music of their region. The current canoe pageant premiered in May 2010 and is called “Rainbows of Paradise”. (Special Note: Be sure to check for the Canoe Pageant current show time when you first arrive at the Center and arrive early to the lagoon area before the show to get a good viewing spot)

Polynesian Cultural Center Villages –

As visitors enter the Polynesian Cultural Center, to the right of the visitor/orientation center there are several different Polynesian villages set around the main canal and lagoon. Starting to the right of the main entrance and moving counter clockwise, the first village visitors will encounter is Samoa, then Aotearoa (islands of New Zealand), Fiji, Hawaii, the Marquesas Islands, Tahiti and Tonga. Each village showcases their individual culture through entertainment performances and cultural learning experiences through demonstrations, exhibitions and crafts. There is also a special exhibit on Rapa Nui (Easter Island).

Listed below are the Polynesian Cultural Center villages and a brief description of each:

Samoa Village –

Samoa is comprised of two separate areas located about halfway between Hawaii and New Zealand, the independent nation of Samoa and the smaller American Samoa, the only U.S. territory located south of the equator. Both nations speak the same language and share the same cultural traditions. Samoans are generally known for their good nature and enjoyment of life.

The Samoa village has several presentation times throughout the day and the demonstrations are interesting and very entertaining. Some of the demonstrations are how to start a fire with two sticks, how to crack open a coconut and how to climb a coconut tree.

Aotearoa (New Zealand) Village –

Aotearoa is the Maori name given to the northern island of New Zealand, the most common translation is “the land of the long white cloud” which has been used by the Maori people for 1,000 years. (Special note: As visitors enter the Aotearoa village listen for the traditional Maori greeting “Kia Ora”, which means good health)

The Aotearoa village has a limited number of presentation times throughout the day. After visitors enter the Maori meeting house, the guides will give a brief explanation of the intricate carving and the symbolic significance of the various architectural features. The guides will also explain the unusual Maori facial tattoos and their ancient origins, they will also explain the meaning behind their iconic protruding tongue gesture. Performances at the Aotearoa village include the haka (the Maori war dance) and a rhythmic dance using poi balls (originally made of dried moss wrapped with raupo or flax). Demonstrations include the tititorea (a Maori stick game) which is used in training hand and eye coordination, the object of the game is not to drop the sticks as they are passed in various patterns and in rhythm to the music. (Special note: Before leaving the Aotearoa village, a fun idea for children or adults is to receive a temporary Maori tattoo)

Fiji Village –

The independent nations of the Fiji Islands are located near the equator. Historically, the people of Fiji have been known as seafarers that have traveled throughout the Pacific over several thousand years interacting with many of the other Polynesian people. In 1874 Fiji became a British colony and laborers from India were brought in to work on the sugar plantations then, after almost one hundred years, the British government granted Fiji independence in 1970.

When visiting the Fiji village, be sure to see the cultural presentations and demonstrations which are given several times during the day. Visitors will see a Lali (log drum) musical presentation and a poi ball dance. While in the Fiji village be sure to see the various types of Fiji weapons made from tropical hardwoods, such as the I wau (a type of war club) and I ula (a throwing club with a short handle and bulbous head.

Also be sure explore the Fiji village temple (Bure Kalou or “spirit house”) and other village houses, such as the Vale Levu (Fijian chief’s house) which has specific doors for servants and visitors, another for the chief’s family and one exclusively for the use of the chief. Tradition states that anyone entering the chief’s door can be put to death.

Hawaii Village –

Hawaii became the 50^th state on August 21, 1959 and is an archipelago (a group of islands stretched over a body of water). The volcanically formed islands stretch over 1,500 miles in the Pacific Ocean and the eight main islands from northwest to southwest are: Nihau, Kauai, Oahu, Molokai, Lanai, Kahoolawe, Maui and the “Big Island” of Hawaii. In 1778 James Cook, a British explorer, visited the area and named the islands “the Sandwich Islands” to honor the sponsor of the expedition John Montagu, the 4^th Earl of Sandwich. Throughout the centuries, with the increasing influence of European and Chrisitanity, much of the Hawaiian culture was lost or banned and later through the concerned efforts and encouragement of both King Kalakaua and Princess Liluokalani, there was a resurgence of Hawaiian traditions and customs.

The Hawaii village features several different presentations and demonstrations shown several times throughout the day and many will seem very familiar to visitors. Visitors will see a dance demonstration of the hula which is the iconic and beautiful dance set to music or a chant using the body, specifically the hands and hips to tell a story. Another interesting demonstration is how tropical leaves and flowers can be made into a Hawaiian lei (a floral garland which can be given as a traditional Hawaiian greeting or to show affection). Visitors should also take the time to tour several of the hale (a Hawaiian house or building) which are traditionally made with pili grass thatched roofs, thus the Americanized nickname of “grass shack”.

Before leaving the Hawaii village, visitors should see the taro (a root plant that is a staple in the Polynesian diet) presentation and demonstration of how it is prepared for eating. The taro root is baked or steamed in water and then mashed to make poi which is slightly purple in color and the consistency can vary from very thick to thin depending on the preference of the cook or their guests. (Special Note: If you are interested in tasting poi, visitors are given the opportunity at the end of the presentation and I would recommend giving it a small taste!)

Tahiti Village –

Tahiti is a French Polynesian archipelago comprised of volcanic islands located in the southern portion of the Pacific Ocean. Modern Tahiti is a wonderful blend of ancient Polynesian heritage with French sophistication and style.

The Tahiti Village has many presentations and demonstrations that are scheduled throughout the day. Visitors will see a demonstration of the ote’a, a traditional Tahitian dance with fast hip-shaking to loud rhythmic to ‘ere drum beats. The Tahiti Village also has demonstrations which show how the Tahitians make both flower and shell leis, visitors can also sample delicious Tahitian coconut bread or participate in a spear-throwing competition.

Tonga Village –

Tonga is a Polynesian sovereign state, has never been ruled by a foreign power and is an archipelago made up of 177 islands that are spread over 500 miles. Fifty-two of the islands are populated and most have white sand beaches, coral reefs and tropical rain forests.

Tonga is known as the “friendly islands” and as visitors walk around the village it is easy to see why. Presentations and demonstrations include performances of both the lakalaka (considered the national dance of Tonga) and the mauluulu (a type of sitting dance). Be sure to see one of the most popular presentations of the ta nafa (Tongan drum)

Other Exhibits at the Polynesian Cultural Center-

Rapa Nui (Easter Island) Exhibit

As visitors move through the many Polynesian villages, there is an exhibit on Rapa Nui also known as the Easter Island. Rapa Nui is a Chilean island in the southeast portion of the Pacific Ocean and, according to Polynesian ancient oral history and supported by linguistic specialist, a Marquesas Island chief that led his people to the island about 1,500 years ago. The name Easter Island was given by the Dutch explorer, Jacob Roggeveen, when he visited it on Easter Sunday in 1722.

Rapa Nui is world famous for the several hundred mo’ai (monolithic human figures) which are scattered around the island, the god-like statues are ringa ora (living faces) of the Rapa Nui natives’ ancestors which are positioned on the island to look toward their original homeland. The mo’ai built at the Polynesian Cultural Center were made from specially formulated cement to closely duplicate the scoria (a type of volcanic rock) found on Rapa Nui, natives from the island were also brought to the Center to carve the cement statues of the exhibit.

Iosepa “Voyage of Discovery” Exhibit –

Tucked away among the villages of the Polynesian Cultural Center is a halau (a place of learning) which holds an almost 60 foot long double-hulled canoe made of Fijian dakua wood. Twice a day there is a presentation about how the Iosepa is used by BYU – Hawaii as a sailing classroom where students learn about now the ancient Polynesians navigated across the Pacific Ocean, when the Iosepa is not being used during the spring and summer months it is stored at the Center. Visitors to the exhibit will also learn about how a celestial navigation compass is used, how the canoe is prepared and the activities the “crew” will perform during an ocean voyage.

This concludes the Travel post on the Polynesian Cultural Center and for more specific visitor information, please check out their website- www.polynesia.com For more tourist information about planning a trip to Hawaii with suggestions on places to visit, please click on the Travel post link to Hawaii – the 50^th State.

The Enchanted Manor

a lifestyle blog by Barbara Jones

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