In the past, we've devoted numerous posts to the beauty of Irish soprano Chloe Agnew (lead singer of the Celtic Woman ensemble), showing her dressed in white
, in colour
, and in black
gowns; but now, we are delighted to share a collection of images presenting this full-figured goddess wearing her loveliest dress of all--in a very feminine shade of pink.
The images come from Celtic Woman's latest concert titled A Christmas Celebration,
which is available on DVD
, and is also currently airing on PBS stations across the country.
As the images show, Miss Agnew's beauty has not diminished since the last time we saw her--indeed, it has increased considerably--and her new romantic hairstyle enhances the fairy-tale quality of her appearance.
Chloe appears in eleven of the songs performed by the group in this Yuletide collection, and for the first three ("Carol of the Bells
," "White Christmas
," and "Ding Dong Merrily on High
"), she wears a translucent white overlay atop her dress, giving her an ethereal look.
But for the rest of the concert, she removes the overlay, and this is when her beauty becomes most vividly apparent. Note the breathtaking fullness of her facial features, exhibiting that most gorgeous of all physical traits, the "slight rise" of a "slope toward the throat," so adored by Renaissance writers.
These captures are taken from Chloe's performance of "The Little Drummer Boy
," and show her at her loveliest in the entire concert.
With her golden tresses, azure eyes, fair skin, high cheekbones, and overall soft aspect, Chloe is the very embodiment of timeless beauty.
She also possesses one of the most Classically perfect figures of any woman in the world.
Note the roundness of her limbs, and her generous waist-and-lower-hourglass contours.
The dramatic lighting of the concert also shows that she possesses texture on her arms--a lovely, natural trait.
The fashion industry airbrushes features such as this into oblivion, but they actually enhance a woman's beauty,
and confirm her as a real, flesh-and-blood human being, rather than a synthetic creation.
Chloe's expressions are always touching, filled with emotion. Observe the naked vulnerability that she displays in this look (heightened by the gentleness of her baby-blue eyes).* * *
In "The First Noel," Chloe makes a dramatic entrance, and the camera angle offers fans a lovely view of her dress and train. Note how it embraces the curves of her figure snugly, lingering over her contours, but without constricting her movements.
Here, the dress is shown in a profile view:
Notice how the altered lighting for this performance--more concentrated and dramatic--highlights different aspects of Chloe's facial beauty, while still emphasizing softness and fullness. How can the fashion industry possibly prefer the skeletal faces of its fashion models, with their sunken cheeks and cadaverous countenances, to the roundness, the richness, of a face such as Chloe's?
Here we see another one of Miss Agnew's needy, vulnerable looks, which raise her beauty to a still-higher level. And notice once again the soft, lovely texture of her arms.* * *
The performance of "Christmas Pipes" offers a luscious, full-figure view of Chloe in her gown. Most of the songs in this concert are traditional Christmas carols (performed in the enchanting Celtic Woman style), but "Christmas Pipes" is one of two original compositions penned by the group's music director, David Downes (of "Riverdance" fame).
Chloe's stills, showing her generating such captivating expressions, always make fans wish that she would become a plus-size model. If she did, she would be the most beautiful model since Shannon Marie, and would rival her fellow Irish goddess as the most gorgeous woman ever photographed. Here, Chloe presents a dreamy, faraway look,
while a scant moment later, she switches into something more bewitching and coy, but still very gentle.* * *
One single image from the performance of "O Holy Night" speaks volumes about Chloe's beauty. The cooler lighting shows just how fair her skin tone is. The dazzling whiteness of her complexion harmonizes beautifully with her pink lipgloss and dress, creating the epitome of a delicate, feminine look.* * *
"Panis Angelicus" is Chloe's signature song. She recorded it for her solo DVD, for Celtic Woman's Slane Castle concert, and now, for A Christmas Celebration. As Chloe's only solo performance in this concert, it generates many captivating images of the shapely chanteuse.
The song opens with Miss Agnew and a string ensemble in shadow. Note what a womanly, curvaceous silhouette Chloe presents.
For much of the performance, Chloe adopts an especially angelic demeanour, in keeping with the sacred nature of the hymn,
but Chloe is so overwhelmingly beautiful, that she cannot choose but be alluring. Her thick, golden tresses tumble heavily, lazily, over her bare shoulders, attesting to the seductive indolence of the singer.
Note the roundness of Chloe's neck, in the following still.
Alas, these still images only exhibit Chloe's physical beauty. Her sweet, heavenly voice matches the loveliness of her face and figure, but to hear it, fans must watch the Celtic Woman concert when PBS broadcasts it--or purchase the DVD.
But even on physical beauty alone, Chloe is breathtaking. Her dress reveals that she possesses the hourglass+pear proportions that were considered ideal in Classical Antiquity (and in every century prior to the 20th), including a seductively rounded midriff.
How encouraging that young women today have someone like Chloe to admire, providing them with a more positive body image that the vulgar, anorexic pop tarts whose songs fill the modern airways.
Surely the most breathtaking image of all is the following capture, which may be Chloe's ultimate "modelling" still. While "Panis Angelicus" may be a sacred hymn, Chloe's sensuality is unrestrainable--the heavily-lidded eyes, the slightly parted lips, the flowing tresses.
True lady that she is, Chloe ends this magical performance with an elegant curtsey.* * *
"Have Yourself a Merry Little Christmas" provides us with several lovely images of Chloe. She looks too beautiful to belong to this mortal world, with her hair spread over her shoulders like waves of gold.
Never is Chloe more attractive than when she throws her head back, allowing the light to bathe her facial features, and highlight every soft contour of her face.
When she presents her gentlest expressions, she resembles the eternal archetype of an angel that every one of us holds in our hearts; yet her sensual fullness confirms her as a human woman, however divinely attractive.* * *
"Don Oiche Ud i Mbeithil" is perhaps the most singular carol in the concert. The name means "That Night in Bethlehem" in Gaelic (the native tongue of Ireland), and Chloe actually sings it in Gaelic--an innately melodic language, and lovely to hear. Chloe's demeanour in this song is similarly unique. She seems far more sombre in this performance, as if she herself were moved by its lyrics. If anything, she becomes even more gorgeous when her face exhibits such uncommon seriousness.
Her beauty takes on an aristocratic quality in this carol, as if she were more conscious of her own power when presenting herself this way. One feels simultaneously enamoured and in awe of her, thrilled to be witness to such majesty. The luxurious weight of her figure adds to her regal, opulent manner. It is in moments like these that Chloe appears most model-like.* * *
"O Come All Ye Faithful," the next-to-last song, provides fans with several full-length views of Chloe in her beautiful dress. Again, one sees the shapely fullness of her arms,
the generous contours of her figure in profile,
and the alluring manner in which her dress embraces her curvy proportions.
The camera also captures a few treasured moments of seriousness from the usually jovial Miss Agnew:
One wonders what could be passing through her mind at this very moment during the concert, seconds before the big finale.* * *
And then, said finale arrives--and nothing has prepared Chloe's fans for anything as wonderful as this, because in this last number, "Let It Snow!" . . . Chloe dances.
And oh, how she dances. But we will come to that in a moment. First, she steps out before the audience and offers a brief introduction, in her lilting Irish accent:
"We hope you've enjoyed tonight as much as we have. We've had a ball. This next song, 'Let It Snow,' is a little bit different for us, but it's lots of fun. So, we hope you enjoy it."
Chloe now appears more relaxed than at any point earlier in the concert.
We see her skip off to join her fellow group members,
her dress flowing around her, yet still revealing her curves.
Even her figure seems fuller in her gown at this point, and if she had been holding herself in through the rest of the show, but now relaxes completely.
And then, with the familiar lyric, "Oh, the weather outside is frightful,"
Chloe's dance begins.
She moves with the smooth, effortless motion of a ballerina, dancing languidly and fluidly, with natural rhythm and grace (and just look at how lovely her face appears in this capture):
Viewers are to be be forgiven for thinking that they are watching Rita Hayworth in Gilda,
or a Marilyn Monroe musical number--except Chloe is a better performer than both.
And note the attractive curve around the bodice of the dress that the above capture, and the following one, reveal. You may click on this still to view it at a larger size.
Chloe was once quoted as saying that "Celtic Woman is to the voice what Riverdance is to the feet,"
but Chloe's dancing is more captivating than any Riverdance performance.
Voluptuous vixens tend to have an innate gift for dance (a tradition that extends back to Classical descriptions of Venus, dance being the only act of physical exertion that the alluringly indolent goddess ever undertook),
and Chloe too has this natural inclination towards dance. It has something to do with the fact that well-fed beauties are so innately physical, so completely governed by their bodies' desires and inclinations.
Taking screen captures of this performance is difficult, as Chloe is a swirl of motion throughout. Only by watching the concert will fans see how gorgeous she is in this performance.
Her beauty is never better displayed that during this song--here, for example, again showing the soft loveliness of her facial features,
here, the visible curve by the bodice of her dress,
and finally, a glimpse of the three-dimensional contours of her Classical figure.* * *
Chloe Agnew's performances throughout this concert constitute a dazzling portrayal of timeless beauty, a reassertion of the appeal of soft, natural femininity in an age that resents and suppresses it.
Miss Agnew is easily one of the most beautiful women in the world today--indeed, of all time--and whether or not she ever accedes to fans' wishes that she add "plus-size model" to her extraordinary list of career accomplishments, her international visibility is providing young women today with a positive role model for body image.
And remember--to see
Chloe is to discern only half of her enchantment. To experience the full measure of her magic, fans need to hear her crystalline voice as well.
So tune in to your local PBS stations this season for Celtic Woman's holiday concert, or obtain the Christmas Celebration
DVD for your own permanent enjoyment. You will never possess a greater gift of timeless beauty, or a greater visual document of Classical femininity.
- A Christmas Celebration