|21st September 2008||#1|
Join Date: July 2005
Shannon Marie in Seventeen
Yes, you read that subject line correctly. And it's true. This post is not about something that might have been, or could have been, or should have been, in an alternative reality.
It actually happened.
Seventeen magazine has long earned praise for occasionally featuring attractive (if small) pictures of appealing plus-size models in its pages. And when Whitney Thompson earned a cover and legitimate six-page spread in Seventeen as part of her ANTM prize package, this was heralded as a major step forward.
In January of 1998, less than a year after the debut of Mode magazine, Seventeen ran what was then an absolutely unprecedented editorial: a six-page layout devoted to junior plus-size fashions, showcased by full-figured girls.
A closer look (you may click on the image to view it full-size) shows the model wearing multi-hued violet eyeshadow that is both dramatic and fun (so appropriate for Seventeen), and which plays off well against her girlish pink lip colour and golden hair. Those fair tresses drape over her bare shoulders heavily, thanks to the enticing "wet look" hairstyle.
The image offers plenty of narrative suggestions: e.g., a fair maiden has just washed her hair and dressed and made herself up, ready to go out; and while she waits for her suitor, she daydreams pleasantly about . . . well, one can only guess.
Her figure is thin, but soft, suggesting the goddesslike proportions that it would soon possess. The blue camisole--again, very progressive for plus-sizes in 1998--sets off her dazzling fair skin, the thin straps and armband adding a touch of feminine delicacy to the outfit. It is almost impossible to believe that such beauty could exist in human form.
A close-up shows the subtlest of expressions--a half-smile tugging at the corner of her mouth, suggesting a touch of the model's wit and whimsy. Every element of her facial features epitomizes the timeless ideal--the roundness of the face, the wide mouth, the high cheekbones, the feminine chin, and again, those hypnotic eyes. Like history's storied beauties, she only needs to stand there and exist to capture every viewer's heart.
The third page in the layout is quite different, and is another unique presentation of Shannon Marie's talent. If the above two images were breathtaking in their calm and stillness, this one is a study in sinuous motion. So far, fans have only had one video of Shannon Marie's 2000 appearance on The Roseanne Show to gauge the effectiveness of her movements as a model. This page further demonstrates her balletic grace.
Again, although her figure is very thin, there are suggestions of the Classical curves that she would soon possess--a rounded midriff and shapely legs. Her tresses flow freely around her as she moves, matching the twirling of her skirt. Shannon's movements are a study in modelling technique, as her dance-like motions constitute the best possible way to show off the eye-catching appeal of a flared skirt.
Here is one picture in isolation:
One of the mythic attributes of Aphrodite/Venus, the Classical goddess of beauty, was a love of dance, so it stands to reason that Shannon Marie, as the inheritor of the deity's title of "fairest of them all," would possess a similar affinity for movement. It served her very well in her modelling career.
Shannon Marie is that rarest of beauties who is gorgeous in every incarnation. When she was a straight-size model, she was the prettiest of the waifs. During her in-between stage, seen in the above pages, she was the loveliest girl in that category. And of course, when she blossomed into a true plus-size model, she became the loveliest goddess to whom Providence has ever given birth.
We have taken this opportunity to compose a cover page for Shannon Marie, of the kind that we have previously created for other plus-size models. It provides an easily-accessible menu of her links on this site, including the three galleries--which we soon hope to update with the above scans.
Last edited by HSG : 22nd September 2008 at 17:48.
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