Sweet charity

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SWEET CHARITY 1969 (detail) The height of 60's chic, costumes by Edith Head. For 'The Rich Man's Frug' dance number Edith turned to Richard Hopper for ideas to dress the impossibly chic mod POMPEII CLUB patrons & the night club dance sequences. He created sequinned black mini skirts, elaborate wigs hairpieces & headdresses for the specialised Bob Fosse dance numbers. 'The Aloof', 'The Heavyweight' & 'The Bg Finish'. EDITH HEAD by Jay Jorgensen 2010 (please follow minkshmink on pinterest) Rich Mans Frug, Sweet Charity 1969, Bob Fosse Costume, Sweet Charity Movie, Sweet Charity Costume, Fosse Dance Poses, Bob Fosse Aesthetic, Fosse Aesthetic, Elaborate Wigs

SWEET CHARITY 1969 (detail) The height of 60's chic, costumes by Edith Head. For 'The Rich Man's Frug' dance number Edith turned to Richard Hopper for ideas to dress the impossibly chic mod POMPEII CLUB patrons & the night club dance sequences. He created sequinned black mini skirts, elaborate wigs hairpieces & headdresses for the specialised Bob Fosse dance numbers. 'The Aloof', 'The Heavyweight' & 'The Bg Finish'. EDITH HEAD by Jay Jorgensen 2010 (please follow minkshmink on pinterest)

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Valerie Atkinson
Jiffy Pop, Gwen Verdon, Charity Poster, Specimen Book, Bob Fosse, Sweet Charity, Robert Mcginnis, Shirley Maclaine, Musical Film

You've seen those Posters. They often tell a story. They seem so full of sheer action the images threaten to pop out three dimensionally. There is poetry in action. There is usually so much happening, your eyes are overwhelmed. The men are immaculately dressed. The women are gorgeous and oh so feminine.

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Lucia
Crotch Shots Galore | by Joan Acocella | The New York Review of Books Angeles, Universal Studios Los Angeles, Bob Fosse, Sweet Charity, Competition Costumes, Steampunk Women, Dance Competition, Tony Awards, Musical Movies

When people think of the work of Bob Fosse, Broadway’s foremost choreographer-director in the 1960s and 1970s, what they are likely to see in their minds is a group of dancers, in bowler hats and white gloves, standing in a stiff configuration and bobbing up and down in a cool sort of way. The dancers may rotate their wrists or splay their fingers, but they don’t stick out too many parts of themselves at one time, and they generally don’t travel around the stage much. They are often dressed…

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Erica Hiersteiner