HISTORY OF THE BIKINI : URSULA ANDRESS EMERGES FROM THE SEA TO ENTER HISTORY.

We saw in a previous article that the bikini was not immediately adopted by women in the 1950s, after its bold creation, deemed too daring for the morality of the time, by the French engineer Louis Réard, after the Second World War, in 1946.

Condemned by religious authorities who influenced civil authorities, the bikini was banned from public spaces in almost every country until the 1960s, when major changes occurred in Western societies.

Artists have often been at the forefront of change, whether in fashion (Similar to the commercialization of the mini skirt in 1962 by stylist Mary Quant, as shown in the video above) or other aspects of popular culture. 

This was the case with the bikini when famous actresses wore it in films. The incredible success of the James Bond films, the first of which, in 1962, was Dr. No (cost $ 950 000 → Box Office 60 M.), helped establish the bikini as a legitimate fashion item. From that moment on, bikini sales began to accelerate.

The famous scene from the film showing actress Ursula Andress emerging from the sea in her famous white bikini enhanced by a wide belt has become a cult scene.

  

To fully grasp the shock caused by this famous cinematic scene, one must consider the context of the time. It's one of the most striking and "sexy" scenes in the history of film. This excerpt from the first James Bond film ( Dr. No , 1962, check out the scene at the end of this article) resembles a dream imbued with beauty, grace, and poetry, and, according to polls, remains the most memorable of all the spy and action films based on the work of British author Ian Fleming . 

Fifty years ago, to the sound of a captivating calypso, in the enchanting setting of Laughing Waters beach in northern Jamaica, a new actress, beautiful as a goddess, the Swiss Ursula Andress , emerged from the Caribbean Sea, holding seashells in her hands. These “maritime sculptures” harmonized perfectly with the super sexy white bikini worn by this glistening beauty, her body adorned with sun-kissed pearls.

This appearance, this moment of grace, this character of Honey Ryder (a diver collecting seashells), would haunt the torrid dreams of men in the 1960s. This scene would also determine the rest of the life and career of this seductive newcomer, from a Protestant family of German origin. Unaccustomed to seeing such a scantily clad beauty on the big screen, and in all her splendor, English filmgoers were very impressed and humorously nicknamed the new pin-up "Ursula Undress ."

 

It's worth noting that the voice of the character Honey Ryder in Dr. No was dubbed by Nikki van der Zyl , because at the beginning of Ms. Andress's film career, her English was imperfect and she had a strong German accent. And in that famous scene, when she sings a song on the beach, it's actually Diana Coupland 's voice we hear. Another trick: the tan, which further enhances the Swiss actress's beauty, was artificially enhanced by the film's technicians.

Like Marilyn Monroe in the 1940s, and later Brigitte Bardot , Raquel Welch , and Gina Lollobrigida, Ursula Andress became a sex symbol, an enchantress of men. Her meteoric rise to fame coincided almost exactly with the emancipation of women and the accompanying sexual revolution. 

The spectacular way in which this ravishing Bernese woman showcased that stunning white bikini (which she is said to have designed herself and which sold for $59,755 at auction in 2001) helped popularize these tiny swimsuits, while also challenging some taboos imposed by religion and the prevailing moral standards of the time. 

Deemed indecent after its creation in 1946 by the French engineer Louis Réard (above), the bikini was hardly fashionable before the power of cinematic imagery helped change things in the most progressive societies of Western countries. But, in essence, this popular movement was merely an extension of the immense thirst for freedom that manifested itself after the end of the Second World War.

Like all great stars and legendary figures, Ursula Andress, now 89, still basks in an aura where it's sometimes difficult to separate fact from fiction, and to distinguish rumor from historical fact. 

Saying she never ceases to be amazed by the extraordinary luck that has made her a woman fulfilled by an exciting life, enriched by captivating experiences and encounters with exceptional people, the long-retired actress now prefers to stay out of the public eye so that the public can cherish beautiful images and fond memories of her. 

Because she has always taken care of her appearance and has had plastic surgery, Ursula has been able to maintain her legendary beauty well into old age. But when she looks at photographs from her youth, the inimitable former Bond girl humorously remarks that in those days, getting beautiful was much easier and quicker than it is now, in her old age!

In recent years, her public appearances have been mostly limited to her advocacy work to raise awareness about osteoporosis, an insidious disease from which she suffers. She fears losing her health because she has always been an active woman: "I would be miserable if I had to stay in bed. I would be embarrassed and unbearable if someone had to take care of me. If I can't be active, I want to leave..."

The movies are definitely over for her, unless, perhaps, she were offered a role in a film about art... These days, she laments, there is too much violence and too many special effects on the big screen. Producing good films is far too expensive. In the past, you could make action-packed adventure films with just the right amount of special effects. The focus was on simple yet coherent plots.

 

Throughout her life, Andress has maintained a deep appreciation for beauty. She studied painting, sculpture, and dance in Paris. She remains a passionate collector, loving to browse antique shops and flea markets wherever she goes. It's her favorite pastime. She buys antique furniture, rugs, paintings, frames, pottery, porcelain, woodwork, and more. 

"My home is the world. I live part of the time in Spain, the United States, Italy, and Switzerland, and I collect objects all over the globe—Shanghai, the Andes, Kuala Lumpur, Hungary, Romania." Her many trips abroad have allowed her to become fluent in English, French, and Italian.

If Ursula hadn't pursued an acting career, she would have been a decorator or interior designer. She owns so many collectibles that she has to store them in warehouses. Thieves beware of stealing any part of her treasure. A few have already done so, and she chased them for months until she caught them! An adventure worthy of...James Bond!

Ursula Andress never considered herself a great actress, even after winning a Golden Globe in 1964. Cinema wasn't her main focus in life. It was more a means to achieve the life she had always dreamed of: traveling the world, experiencing a wide range of authentic cultures, and living among local communities. 

"Today, the world has become so small. It's so sad that everything is becoming the same, that different traditions and cultures are disappearing." The London she knew and loved in the 1960s no longer exists. "I really enjoyed London in the 1960s. Everything about it was pleasant. It was a happy city, an English city. But now there are no English people left in London," she exclaims, dejected. 

Because humans are destroying nature and not taking care of their environment, Ursula is not very optimistic about the future.

The daughter of a German diplomat who was expelled from Switzerland and disappeared during World War II, Ursula spent part of her childhood on her grandfather's farm, a stern and authoritarian man. A very shy child, she dreamed of freedom. Even in her early teens, she realized the power of attraction she held over boys when she went to the public swimming pool! 

Later, at 17, after returning to the canton of Bern, where she was born, Andress captivated the French actor Daniel Gélin , who was filming Julien Duvivier 's L'Affaire Maurizius in the area. Duvivier and his crew had scouted locations at Ursula's school. She had even acted as a guide for the film's cast and crew. Gélin fell in love with her and then took her with him to Paris. She will also follow him to Rome, where he will soon succumb to drug addiction, which will break his relationship with Ursula.

After playing a few minor roles in small Italian films, Ursula met Marlon Brando and had a brief affair with him. The American actor encouraged her to try her luck in Hollywood. She did so, but without much conviction. Whether it was learning the basics of the craft or the English language, Andress didn't put in the necessary effort.

 

By nature fickle, bohemian, and adventurous, this strikingly beautiful brunette was more interested in the actors themselves than in what they did. She flirted with James Dean before succumbing to the charms of John Derek, whom she married in Las Vegas in 1957. The couple divorced in 1966, and Ursula subsequently had a multitude of romantic relationships with other actors (including a rather tumultuous one with Jean-Paul Belmondo → photo overhead). 

Andress explained this constant need to change countries and lovers by her rather fiery, gypsy-like nature. This facet of her personality contrasts strangely with the lack of expressiveness and the rather "icy" or "distant" style of her acting. Away from the film sets, she was a curious nomad, seeking change and new horizons. This "sex bomb," standing at 1.65 meters (5 feet, 5 inches), was restless and would die of boredom if she were condemned to stay put.

Five years after Ursula's marriage, and two weeks before the start of filming for Dr. No, the producers still hadn't found the actress to play Honey Ryder. They stumbled upon a photo belonging to John Derek which, according to the caption, showed his wife, Ursula Andress, very scantily clad, in a wet t-shirt contest! The film's directors offered her the role of Honey Ryder without even meeting her! 

The pretty young Swiss woman hesitated before accepting. Enthusiastic about the quality of the script for this first James Bond film, her friend Kirk Douglas convinced her to seize this wonderful opportunity, which would earn her $10,000 and...instant fame! 

She quickly became the most desirable and most photographed woman in the world. As a result, she set the bar very high for all the other Bond Girls who would follow her, without ever surpassing her, in the hearts of British filmgoers. 

In 1965, she posed nude for PLAYBOY magazine, much to the delight of her many admirers! When asked why she dared to do that, she simply replied: "It's because I'm beautiful."

Ursula Andress always knew that if she was given film roles, it was because of her physical attributes. After her experience with PLAYBOY, this became even more obvious. Films where she wasn't required to perform at least one nude scene were rare. Ursula accepted this situation without complaint, aware that she had become a sex symbol, and that this status confined her to roles linked to her reputation. 

It should be noted that she herself didn't consider herself strong or competent enough to play major roles: "I chose to do light and funny films or action films, excluding dramatic and psychological films, out of modesty, fear, and lack of confidence." (...) "Committing myself entirely to a film where I would have to bring personal feelings, a part of my soul, scares me." 

Andress sometimes broke contracts with production companies (including Paramount) when they tried to mold her into someone she wasn't.

Ultimately, her most important role would be that of mother. From the 1980s onward, after the birth of her only son (Dimitri, whose father is actor Harry Hamlin ), Andress gradually with Drew from acting, contenting herself with a few episodic roles on television and in films in Europe. At that time, giving birth at the age of 43 was rare and frowned upon. But the new mother wasn't one to follow the crowd. 

Free to act and express her often controversial opinions, Ursula never hesitated to go against the grain of conventional society. What truly mattered to her was being honest, happy, and living her life to the fullest.

Ursula Andress rubbed shoulders with the biggest stars of her era. She even starred in a film alongside none other than Elvis Presley (above)... It was reported that the "King" of Rock & Roll was so intimidated by this "super sexy" woman that he was terrified at the thought of having to take his shirt off in front of her. Andress recalls their meeting: "At first, I didn't like him. You know, you judge people by what you've read about them. But Elvis was lovely, so kind, gentle, and affable. We remained friends afterward. I saw him once or twice a year. But he was a tormented soul..."

It's fascinating to consider that a film scene could have such a powerful impact as the one that made Ursula Andress a sex symbol in 1962. But this sensual Swiss woman was no ordinary person. She will still be remembered fifty years from now... Unforgettable, as Nat King Cole sang ...

NO HISTORY OF CHEERLEADING WITHOUT MENTIONING ITS MODERN FOUNDER LAWRENCE HERKIMER...

Lawrence Herkimer (October 14, 1925 - July 1, 2015) contributed more than anyone to elevating cheerleading into an art, a science, an Olympic sport, and a multi-million dollar industry.

Lawrence Herkimer passed away a decade ago in Dallas due to heart failure at the age of 89. His passing served as a poignant reminder of the profound legacy he left in shaping American culture.

If a mural were to be created for the United States of America, it could include a small section depicting a cheerleader performing the iconic "herkie jump," a move invented by Lawrence Herkimer.  It would serve as an emblem embodying the American spirit, defined by leadership, strength of character, youthful enthusiasm, beauty, discipline, cooperation, and sportsmanship.

Herkimer has justifiably earned the nickname "Mr. Cheerleader," as he is widely acknowledged as the father of modern cheerleading.  He elevated the standard, transforming a collegiate pastime into a professional sport and a makeshift operation he began in his garage into a network of companies generating $55 million annually.

A gymnast and cheerleader, Herkimer graduated in 1948 from the University of Illinois, where he earned a master's degree after pursuing studies in physical education at Southern Methodist University in Dallas.  That same year, he founded the National Cheerleaders Association (NCA), with which he served as a teacher.

He went on to establish the first cheerleading camps across the United States and in several other countries. He is credited with training approximately three million cheerleaders.

He and his wife, Dorothy, were remarkable pioneers. In 1951, they established the Cheerleader Supply Company. Initially operating from the Herkimers' Dallas garage, the company rapidly expanded into a thriving retail business specializing in sweaters, skirts, booster ribbons, custom-made shoes, and various cheerleading equipment.

Herkimer patented the spirit stick and introduced a revised version of the pompom, renaming it "pompon" after realizing that "pompom" carried an obscene connotation in certain Asian languages.

The advent of color television prompted Lawrence's innovation of the pompom.  Cheerleaders were gaining increasing camera attention, and Herkimer identified the need to offer vibrant and visually appealing accessories for them. Consequently, he attached paper streamers to a stick to invent the "pom-pom".  

For his subsequent design update, a flameproof Mylar version featuring a hidden handle, Herkimer was awarded U.S. Patent No. 3,560,313 by the Patent Office in 1971. 

It was a frenzy. Pompon sales surged dramatically, as cheerleaders nationwide sought to acquire their own. Herkimer successfully sold millions upon millions of them.  In addition to being an exceptional innovator and an esteemed trainer, he achieved great success as a wealthy entrepreneur— a quintessential example of the true American self-made man.  In 1986, when Herkie sold his training camp business (not his other assets), he pocketed the staggering sum of 20 million dollars.

At the NCA, celebrating both attitude and athletics was integral to Herkimer's philosophy.  «The physical skills we teach the kids are just a part of it,» he said in a 1983 UPI interview.  «We also teach how to build school spirit, we teach crowd control, we teach crowd psychology, we teach them what to do when a crowd boos, we teach how to plan a pep rally.»

Each year, the NCA trains 150,000 cheerleaders in Dallas, and the business established by Herkimer eventually generated annual sales of $50 million. Later, he also founded the larger Universal Cheerleaders Association (UCA), headquartered in Memphis.

Although his hometown was the birthplace of the renowned Dallas Cowboys Cheerleaders, one of the most flamboyant squads in professional sports, Lawrence Herkimer was not an avid admirer.  He stated, around 1972, that "professional cheerleaders are not cheerleaders; they are dancing girls and entertainers."

In 1987, Herkimer stated to the Dallas Morning News that he had elevated cheerleading «from the raccoon coat and megaphone to greater heights."»

When he died, (July 1, 2015), in honor of him, cheerleaders and would-be cheerleaders lighted up social media with photos of themselves doing the "Herkie Jump".

  

«Lawrence Herkimer was a wonderful guy and an SMU legend,» said Brad Cheves, Southern Methodist University vice president for Development and External Affairs.  «He was very proud of his association with his alma mater, and very generous to the University throughout his lifetime in ways that directly impacted students.  We will cherish his memory.»

It is worth noting that, during World War II, he served in the United States Navy aboard the USS Jamestown for two years in the Philippines.  He was awarded the American Campaign Medal, Victory Medal, Asiatic-Pacific Medal, and Philippine Liberation Campaign Ribbon in recognition of his service.

🎖🎖🎖

Cheerleaders worldwide, along with their parents and fans, will always remember Mr. Cheerleader and his enduring legacy to the American people, a true national treasure.

HISTORY OF THE BIKINI : DIFFICULT TIMES IN THE "FIFTIES"...

The bikini emerged as a cultural icon at the end of the 1960s; however, prior to this period, it was not widely accepted.

At the beginning of the twentieth century, the fashion for women's clothing did not evolve significantly. Women's bodies remained concealed from the neck to the ankles. This was also true for swimsuits, which were made of heavy fabrics and were not very comfortable when wet.

After the First World War, in the 1920s, societal morals were liberated. This marked the beginning of women's emancipation, which significantly impacted women's bathing costumes. Gradually, the sleeves became shorter, the legs were exposed, and the neckline began to lower modestly before eventually becoming more revealing.

The fabrics used in the production of one-piece swimsuits have evolved over time. Initially made from wool, which was uncomfortable and impractical, swimsuits began to incorporate synthetic fibers such as rayon in the 1920s. Rayon, a semi-synthetic fiber, is significantly lighter, more breathable, and offers better water resistance compared to wool.

Almost simultaneously, lastex emerged to revolutionize the swimwear worn by women. This elastic synthetic rubber thread enabled the creation of more refined, fitted, tighter, and practical designs in the 1930s. These swimsuits often featured lower necklines and sometimes even belts to accentuate the silhouette.

However, their use remains marginal compared to the woolen uniform, which still largely predominates.

In 1935, the first modern two-piece swimsuit was introduced, featuring a mid-rise top and a high-waisted bottom. This design, considered very daring for its time, marked a significant milestone in the evolution of swimwear and paved the way for the iconic bikini, created in France by Louis Réard in 1946.

The first bikini is a bold and revolutionary two-piece swimsuit that forever changed the landscape of swimwear design. Its minimalist design represented a radical departure from the modesty and conservatism of the time. Consisting of a bra-like top and panties, the bikini was designed to be form-fitting and liberating, accentuating the natural contours of the female body.

On July 5, 1946, at the Molitor swimming pool in Paris, Réard could not find any model willing to present his new invention to the public. Only the famous nude dancer, Micheline Bernardini, volunteered to dare to wear this revolutionary two-piece that was too avant-garde for the morality of the time.

Réard's presentation went largely unnoticed, except by the Vatican's religious authorities in Rome, who condemned and banned the bikini in 1947.

Indeed, the bikini is considered scandalous, and wearing it is perceived as immoral, indecent, and vulgar.

Subsequently, throughout the 1950s, the bikini became a more acceptable garment, especially due to star actresses such as Brigitte Bardot, Jayne Mansfield (photo), Marilyn Monroe, and Diana Dors, who wore it in films or at film festivals in Cannes or Venice. Even British Princess Margaret, photographed on a yacht in 1950 on the outskirts of the Costa del Sol, helped to make the bikini better known.

During the 1950s, swimwear models became more varied, featuring high-waisted bottoms and different styles of tops, such as halter tops and bandeaux. However, the one-piece swimsuit remained far more popular and best-selling, with more flattering cuts. The use of stretchy and elastic materials like lycra and nylon became more common, improving fit and comfort.

However, the wearing of bikinis on public beaches remained forbidden during those years, with the exception of the Mediterranean beaches in the south of France, and in Spain where, In order not to harm tourism, Franco's (photo) fascist regime surprisingly allowed women to wear the two small triangles of fabric that make up this kind of swimsuit.

The bikini was banned in Germany until 1970. However, in other regions, particularly in America, the rise of private swimming pools in the 1960s provided many women with the opportunity to wear this type of swimsuit without the scrutiny of onlookers.

Other reasons delayed the popular adoption of this piece of clothing. In politics, in France, communist thought "embarks" the bikini in the class struggle, due to its very high price, making it accessible only to the wealthy upper bourgeois class.

Feminists, on the other hand, oppose the bikini because, according to them, it reduces those who wear it to the status of an object, or objects of sexual desire.

Fashion magazines such as "Elle," Marie Claire, and Vogue were not particularly enamored with the bikini at this time, until the latter magazine declared it the "garment of the season" in 1959, having scorned it eight years earlier.

There was also a form of self-censorship in the sense that bikinis were deemed appropriate only for young women or teenage girls who conformed to beauty standards, namely: slim, without physical defects, and especially "without a big belly".

It referred to a kind of stereotype, a form of discrimination against imperfect, even unsightly bodies. Perhaps a legacy of the pin-up girls and the beautiful movie stars who made the bikini famous in the 1950s.

It was not until the women's liberation movements and the sexual revolution of the 1960s that the bikini became a staple of popular fashion and conquered beaches worldwide.

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