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The Stories Behind 22 Classic Album Covers

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1. Nevermind (1991)

Nirvana
Design by Robert Fisher and Kirk Weddle

Spencer Elden's first time swimming was a memorable one.

At four months old, Elden was one of several babies on hand at a Pasadena public pool to audition for Nirvana's album cover.

"I showed Kurt the baby picture," designer Robert Fisher said, "and he liked it but felt it needed something more. We threw all kinds of ideas around and Kurt jokingly suggested a fish hook. We spent the day thinking of all the things you could put on a fish hook. Although Kurt never gave me a rationale for the design, I must assume that the naked baby symbolized his own innocence, the water an alien environment, and the hook and dollar bill his creative life entering into the corporate world of rock music."

As for Elden, he says, "Most bands around today can't even get near to what Nirvana did on that album, and I'll always be happy to be a part of it."

2. The Velvet Underground & Nico, aka "The Banana Album" (1967)

The Velvet Underground & Nico
Design by Andy Warhol

With apologies to Carmen Miranda and Chiquita, the world's most famous banana is the ripe, peelable print on the cover of the Velvets' debut.

Designed by pop artist Andy Warhol, the image was a silkscreen made from simple black-and-white acetate film. In case the genitalia-esque shape wasn't provocative enough, Warhol added the invitation: "Peel slowly and see." Beneath the sticker a pink, flesh-colored fruit was revealed.

"The banana actually made it into an erotic art show," said Velvets singer Lou Reed.

But for Verve Records, the banana was a production nightmare. "Someone had to sit there with piles of albums, peel off the yellow banana skin stickers and place them over the pink fruit by hand," said Warhol's artistic director Ronnie Cutrone.

By 1968, the peelable banana was dropped. Originals now fetch up to $500 apiece. The fruity image has since thrived on everything from art prints to T-shirts to handbags.

3. Who's Next (1971)

The Who
Design by John Kosh and Ethan Russell

Sometimes you can't go when you need to. That's what photographer Ethan Russell found out when he shot the cover for Who's Next.

Turning away from a concrete piling, located in an old English mining town called Easington Colliery, the band appear to have just left their urine signatures on the stone. But Russell recalled discreetly, "Most of the members were unable to go, so rainwater was tipped from an empty film canister to achieve the desired effect.

In 2003, VH1 named Who's Next the second greatest album cover of all time.

4. Skull and Roses (1971)

Grateful Dead
Design by Stanley Mouse

Talk about vintage. The skull and roses that became the Grateful Dead's enduring trademark has its roots in a 19th century woodcut made to illustrate a poem from the 11th century.

"I found the original image in the stacks of the San Francisco Public Library," said painter Stanley "Mouse" Miller. "It was created by an artist named Edmund Sullivan to illustrate a poem in The Rubaiyat of Omar Khayyam. The block print underscores the verse, 'The Flower that once has blown forever dies.'"

"I thought, 'Here's something that might work for the Grateful Dead.'"

Mouse made a name in the '60s as a hot-rod painting sensation (remember Rat Fink?), modifying dragsters and choppers.

His work with the Dead continued through many classic albums, including Workingman's Dead and American Beauty.

5. Houses of the Holy (1973)

Led Zeppelin
Design by Hipgnosis

It was no fun being one of Robert Plant's love children.

"Freezing rain, bad food and turpentine – a nightmare." That's a male model recalling his experience as one of the naked innocents on the cover of Zep's fifth album.

At 4 a.m., every morning for a week, three adults and two children were sprayed silver from head to toe, then driven to Giant's Causeway in Northern Ireland to crawl on the rocks toward a sunrise that never rose.

Faced with deadlines and a dwindling budget, design company Hipgnosis took the weather into their own hands, painting a honey-peach dawn and hand-tinting bare bottoms to a rosy glow.

Worried that those bare bottoms might cause controversy, Atlantic Records tied the finished album with a Japanese-style band of paper called an "obi." Printed with the title in Celtic style letters, it was the world's first rock 'n' roll Huggie.

6. Dark Side of the Moon (1973)

Pink Floyd
Design by Hipgnosis and George Hardie

For a band who once sang, "We don't need no education," it's ironic that the cover image of their best-selling album is based on a school textbook illustration.

The Floyd was "bored with the photos" from their earlier LP covers and wanted something "smarter."

"The prism represented both the diversity and cleanliness of the sound of the music," designer Storm Thorgerson said. "In a more conscious way, it worked for a band with a reputation for their light show. The triangle is a symbol of ambition, one of the themes Roger was concerned with. So you had several ideas coming together."

Of the finished result, Thorgerson said, "It's either a brilliant piece of art direction or perhaps just a jammy idea... but it worked really well in its context."

7. London Calling (1979)

The Clash
Design by Ray Lowrie and Pennie Smith

Pink and green should never be seen, goes the old fashion dictum.

But the colors, framing a black and white photo of Paul Simonon smashing his bass on stage, made for a vivid combination on the Clash's breakthrough album.

Designer Ray Lowry acknowledge the design's inspiration when he said, "It was intended as a genuine homage to the original unknown genius who created Elvis Presley's first rock 'n' roll record."

As for the photo, Simonon said, "The show had gone quite well that night, but for me, inside, it just wasn't working well, so I took it out on the bass. If I'd been really smart I would have got the spare bass out, as it wasn't as good as the one I smashed up. When I look at it now I wish I'd lifted my face up a bit more."

8. The Joshua Tree (1986)

U2
Design by Steve Averill and Anton Corbijn



The Joshua Tree is a slow-growing shrub with sharp-tapered leaves, indigenous to the desert in the American southwest. It was named by a band of 19th century Mormons. The tree's unique shape reminded them of the Biblical story of Joshua reaching out to the heavens.

It was this strange timeless aspect of the tree that lured U2 into Death Valley National Park in California. The cover photo, snapped by Anton Corbijn, proved a perfect foil to the grand rock hymnals on the album.

"It's supposed to be the oldest living organism in the desert," said drummer Larry Mullen, Jr.

It must have been pretty old, because it fell over and died in 2000. U2 fans have since built a makeshift shrine in the desert to commemorate the famous tree.

9. Licensed to Ill (1986)

Beastie Boys
Design by Steve Byram and World B. Omes


Private jets and fatal plane crashes are the heads and tails of rock 'n' roll's fateful coin.

The Beastie Boys tapped into this idea with a gatefold sleeve whose glamorous front unfolds to a charred and smoking back.

Producer Rick Rubin said the idea came from reading about Led Zeppelin's luxurious private jet. "The Beastie Boys were just a bunch of little guys and I wanted us to have a Beastie Boys' jet. I wanted to embrace and somehow distinguish, in a sarcastic way, the larger-than-life rock 'n' roll lifestyle, the excesses and the destruction."

Collage artist World B. Omes assembled the Beastie Boys jet from photographic elements (American Airlines later complained that it looked like one of theirs), then drew over and hand-colored it with water soluble crayons.

Trivia: The plane's identification number on the tail – 3MTA3 – reads "Eat Me" if you hold the cover up to a mirror.

10. Odelay (1996)

Beck
Design by Beck Hansen and Robert Fisher

Look up in the sky. It's a mop. It's a throw rug. No, it's a Komondor. The airborne dog, a Hungarian breed with matted, cord-like fur, provoked a lot of "Huh?"s when this landmark album was released.

Which was exactly what Beck hoped for. A quirky artist who often relies on found objects and unintentional mistakes to inform his process, Beck stumbled on the Komondor picture in a vintage book of dog breeds.

Art director Robert Fisher said, "The photo was taken by a famous dog photographer called Ludwig, who lived a few blocks from the office. She was in her late seventies, and was enthusiastic to have a visitor.

"Beck felt that it was kind of ambiguous, unrelated to the music, and was chosen almost at random. The viewer could read into the cover whatever they wanted. Odelay also sounded a bit like a dog command."

11. Yankee Hotel Foxtrot (2002)

Wilco
Design by Lawrence Azerrad

In early 2002, fans gazing at the cover of Wilco's fourth album were asking, "What the heck are those things? Stacks of poker chips? A microscopic close-up of hair shafts? An allusion to the recently fallen Twin Towers?"

But to anyone living in Wilco's hometown, Chicago, the image was instantly familiar. Marina City, designed in 1959 by Bertrand Goldberg, is comprised of two cylindrical residential / commercial towers that cut a futuristic profile on the ChiTown skyline.

Wilco wasn't the first to show Marina City to the world. In 1973, Sly and the Family Stone featured the towers in a collage on the back cover of their classic LP There's A Riot Goin' On. And anyone who watched The Bob Newhart Show in the early '70s would've seen those towers in the opening title sequence.

Designer Lawrence Azerrad went on to do more striking artwork for Wilco, including the cover of 2011's The Whole Love.

12. Satan Is Real (1960)

The Louvin Brothers
Design by Ira Louvin

The cover of this country classic walks the line between goofy humor and heart attack seriousness. Look at that buck-toothed devil. He's more Mortimer Snerd than Mephisopheles. But there's something in the rapturous faces of the brothers that makes you think of crazy snake-handling preachers. And that's real fire dancing behind them.

Charlie Louviin said, "Ira built that set. The devil was twelve feet tall, built out of plywood. We went to this rock quarry and then took old tires and soaked them in kerosene, got them to burn good. It had just started to sprinkle rain when we got that picture taken. Those rocks, when they get hot, they blow up. They were throwing pieces of rock up into the air."

The brothers survived the cover shoot to give us their best-selling album ever. Sadly, Ira was killed in a car accident in 1965. Charlie died in 2011.

13. The Freewheelin' Bob Dylan (1963)

Bob Dylan
Design by Don Hunstein

"Meeting her was like stepping into the tales of 1,001 Arabian nights. She had a smile that could light up a street full of people."

That's Bob Dylan in Chronicles, waxing poetic about Suze Rotolo, his girlfriend from 1961 to '64 and the muse clutching his arm on the cover of his breakthrough album.

The picture was taken in February 1963 by photographer Don Hunstein. Dylan was 21, Rotolo 19. The location is Greenwich Village, on Jones Street, near West 4th and Bleecker.

"I didn't do the shoot with a record cover in mind," Hunstein recalled. "I brought only one roll of color film with me, and most of the pictures on it were not good."

But the magic shot captured Dylan in all his bohemian glory, and helped make him a household name. Rotolo passed away in 2011.

14. Rubber Soul (1965)

The Beatles
Design by Robert Freeman and Charles Front

Bye bye moptops, hello Mary Jane.

For their landmark 1965 release, the Beatles traded their clean-cut image for a psychedelic look.

The slightly warped angle of the sleeve was a happy accident. "[Photographer] Robert Freeman was showing us the slides," Paul McCartney recalled. "He had a piece of cardboard that was album cover-size and he was projecting the photographs onto it. We had just chosen the photograph when the cardboard fell backwards a little, elongating the photograph. It was stretched and we went, 'That's it, Rubber So-o-oul, hey, hey! Can you do it like that?'"

Charles Front added the eye drop lettering. (Trivia: Held upside down in front of a mirror, it appears to say "Road Abbey.")

George Harrison said, "We lost the 'little innocents' tag, the naiveté, and Rubber Soul was the first one where we were fully fledged potheads."

15. Eat a Peach (1972)

The Allman Brothers Band
Design by W. David Powell and Jim Holmes

"The images on the cover are found art," says W. David Powell. "They came from postcards we picked up in a drugstore in Athens, Georgia. The postcards had the trucks with the giant peach and watermelon. I added lettering with the band name to the trucks, and pasted the cards onto a background, spray-painted pink and blue."

Inside the gatefold sleeve, Powell and his college buddy Jim Holmes collaborated on a painting of a mushroom wonderland teeming with strange creatures. "It owes a lot in inspiration to Heironymous Bosch," says Powell, then adds with a chuckle, "I don't want to reveal the background psychotropics that were involved, but we were not in a particularly rational state of mind."

Voted by Rolling Stone as one of the Top 100 Album Covers of All-Time, the sleeve image is alive and well on T-shirts and hats.

Trivia: Forty years on, an urban legend persists about the peach truck, claiming that it was the fatal vehicle in Duane Allman's motorcycle accident death. Not true.

16. Brain Salad Surgery (1973)

Emerson, Lake & Palmer
Design by H.R. Giger and Fabio Nicoli

The original title for ELP's fifth album, Whip Some Skull On Ya, was a slang term for oral sex. But the prog rockers ditched it for an even more provocative euphemism, lifted from a Dr. John song.

ELP found a sympathetic soul in Swiss designer H.R. Giger. When the band contacted him, Giger was in the midst of painting a triptych, Landscape XIX – Work Z16, whose themes, coincidentally, were penises, skulls, and a woman's mouth. The main part of this painting became the cover of Brain Salad Surgery – a woman's lips squeezed between a metal vice with a protruding phallus.

Atlantic Records objected, and a reluctant Giger airbrushed the offending member into a shaft of glowing light. If you look hard, you can make it out.

Trivia: Giger went on to design the intergalactic monster in Ridley Scott's Alien.

17. Candy-O (1978)

The Cars
Design by Alberto Vargas

As hood ornaments go, the auburn-haired beauty reclining against the front of the Cars' second album is unbeatable.

The erotic image was created by the legendary Alberto Vargas. The Peruvian artist got his start designing posters for the Ziegfeld Follies and Hollywood movies, then made his name creating iconic WWII-era pin-up girls for Esquire magazine. He was eighty-two when Cars drummer David Robinson coaxed him out of retirement for one last painting.

Vargas had never heard of the Cars, but the aerodynamic model – coincidentally named Candy Moore – was much to his liking. So much so that he imagined her au naturel. Elektra Records had to insist that the old master cover up the nipples and pubic hair with a sheer body stocking.

Of the accusations that the cover was sexist, Robinson said, with his best Spinal Tap chuckle, "Maybe it is. I don't know."

18. Breakfast in America (1979)

Supertramp
Design by Mike Doud and Mick Haggerty

Call her the Statue of Libby. The waitress with the good old-fashioned name replaces Liberty's stone tablet and torch with a menu and a glass of fresh OJ, welcoming us to Gotham made from cups and kitchen utensils.

For this Grammy-winning cover, designers Mike Doud and Mick Haggerty set out to capture the mood of the recently relocated Brits of Supertramp to America.

"The cover expressed with wry humor our mental and physical place at that time," said sax player John Helliwell. "The imagery appealed to us – living in the land of dreams and ambitions, and substituting the English transport café for the friendly diner."

Libby was originally going to be a cheesecake-type model, but the band ended up choosing a more matronly gal from the Ugly Model Agency. She later went on tour with the band, announcing them from the stage.

19. She's So Unusual (1983)

Cyndi Lauper
Design by Janet Perr

The primary color-rich cover of Lauper's debut perfectly caught her bubbly persona.

"Cyndi kept saying how she wanted peeling paint and walls that looked distressed," recalls designer Janet Perr, "and I thought Coney Island. I knew that there were a lot of abandoned, boarded up buildings there. And of course, because it was by the beach, the lighting would be really beautiful.

"We were on the boardwalk with a boom box, and Cyndi had on a great vintage dress, and she was dancing with her shoes off. She was really like that – flouncy and jumping around – and I think that really came out in the photo shoot."

Annie Leibovitz snapped Lauper in a pose like a new wave marionette.

The result: 16 million albums sold and a Grammy for design to Perr. "It was a great thing for me," Perr recalls, "because the Rolling Stones called the week after."

20. Post (1995)

Björk
Design by Paul White and Stephane Sednaoui

This cover was Björk's postcard to herself.

"The motivation behind it was her desire to be surrounded by her possessions from home," designer Paul White said. "She felt very isolated from everything in Iceland while recording the album. She was away from friends and family and communicating with them via messages. Post was about her state of mind – remote communication and a sense of awe and surprise at the changes in her life after the success of her first album."

The garishly colorful blur of a background (orange and pink are notoriously difficult for designers to bring off) is meant to symbolize both flying postcards and a tumbling house of cards. Meanwhile, Björk remains still, with the airmail braiding around her jacket communicating her longing for home.

Trivia: A discarded cover design featured Björk surrounded by silver balls with her tongue extended towards a falling silver ball.

21. OK Computer (1997)

Radiohead
Design by Stanley Donwood

"Someone's being sold something they don't really want, and someone's being friendly because they're trying to sell something – that's what the cover means to me," said lead singer Thom Yorke. "It's quite sad, and quite funny as well."

The chilly collage of images and text was created by Stanley Donwood, who has designed all the Radiohead covers.

As for the album's title, Yorke said, "We did this promo trip to Japan, and on the last day, we were in a record shop and this one kid shouted at the top of his voice, 'OK COMPUTER!' really, really loud. Then he had 500 people chant it all at once. I got it on tape. It sounds amazing. It reminds me of when Coca-Cola did 'I'd Like to Teach the World to Sing,' that amazing advert in '70. The idea of every race and every nation drinking this soft drink. It's actually a really resigned, terrific phrase."

22. A Rush of Blood to the Head (2002)

Coldplay
Design by Sølve Sundsbø

In 2002, singer Chris Martin was flipping through a back issue of Dazed & Confused magazine when he fell in love with a face. Or half a face.

Looking like some graphic novel version of an ancient Greek head bust, the striking image had been produced by fashion photographer Sølve Sundsbø. When the magazine asked him for a portrait with a "technological feel, something all white," Sundsbø swapped his camera for a 3-D scanner (of the kind often used for industrial design and prosthetics). The computerized machine couldn't read color, so the model's cape resulted in motion-like spikes. And since the scanner also had limited range, the top half of the model's head was lopped off.

Sundsbø went on to do more designs for Coldplay. And in 2010, his cover design was chosen by Britain's Royal Mail for one of their "Classic Album Cover" postage stamps.

See Also:

The Stories of 10 People Featured on Historically Bad Album Covers

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Paramount Pictures
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11 Surprising Facts About Fatal Attraction
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Paramount Pictures

Written by James Dearden and directed by Adrian Lyne, 1987’s Fatal Attraction showed audiences just how dangerous sex could be. Michael Douglas plays Dan Gallagher, a married man who has a weekend-long affair with single career woman Alex Forrest, played by Glenn Close. When he breaks off their affair, Alex goes a little nuts. Despite drawing the ire of feminists and frightening men everywhere, the film grossed an impressive $320 million worldwide, earned six Oscar nominations (including one for Close), and ranks number one in the “Psycho/Stalker/Blank from Hell” genre. Here are 11 scintillating facts about the movie, which was released 30 years ago today.

1. THE MOVIE IS BASED ON THE SCREENWRITER’S SHORT FILM.

In 1980, Fatal Attraction screenwriter James Dearden wrote and directed a short film called Diversion. “I was sitting at home thinking, ‘What is a minimalist story that I can do?’ My wife was out of town for the weekend, and I thought what would happen if a man who has just dropped his wife at the railroad station rings this girl who he's met at a party and says, ‘Would you like to have dinner?’” he told The New York Times. “It’s a little fable about the perils of adultery. It is something that men and women get away with 99 percent of the time, and I just thought, ‘Why not explore the one time out of 100 when it goes wrong?’”

Fatal Attraction producers Sherry Lansing and Stanley Jaffe saw the short and asked Dearden to elaborate on the story. “To turn it into a mass-audience film, I knew there would have to be an escalation of the psychological violence, which in the end becomes physical,” Dearden explained. He says he wasn’t trying to make a social statement about AIDS, but he was trying to say “we can have the most intimate sexual relationships with somebody we know nothing about.”

2. GLENN CLOSE WANTED TO PLAY AGAINST TYPE.

By the time Fatal Attraction came around, Glenn Close was a three-time Oscar nominee who had never been asked to play a sexy role. “When Glenn made it known she was prepared to test, I became fascinated with the idea of using her,” Adrian Lyne told People. “She’s a person you’d least expect to have this passion and irrational obsession. When she and Michael tested, an extraordinary erotic transformation took place. She was this tragic, bewildering mix of sexuality and rage—I watched Alex come to life.” 

Close recalled her nerve-racking audition to Entertainment Weekly: “My hair was long and crazy. I’m very bad at doing my hair. I got so nervous, I took a little bit of a Valium. I walked in and the first thing I saw was a video camera, which is terrifying, and behind the video camera in the corner was Michael Douglas. I just said, ‘Well, just let it all go wild.”’

A year after Fatal Attraction’s release, Close kept the sexiness going in Dangerous Liaisons, which garnered her yet another Oscar nod.

3. ADRIAN LYNE WANTED TO DO A DIFFERENT TYPE OF SEX SCENE.

According to Lyne, the only thing audiences remember about the movie is the spontaneous and somewhat goofy kitchen sink sex scene. “But what people take away from the movie is not Glenn Close putting acid on the car or even the last 10 minutes when they are flailing around in the bathroom,” he told MovieMaker Magazine. “What they remember is Michael f*cking her over the sink early on—which was like 30 seconds—and another 30 seconds of them making out in the elevator … but there’s another two hours and five minutes! And I guess it worked or they wouldn’t have gone to the movie.”

In John Andrew Gallagher’s book Film Directors on Directing, Lyne said he didn’t want the love scene to take place in a bed “because it’s so dreary, and I thought about the sink because I remembered I had once had sex with a girl over a sink, way back. The plates clank around and you’ll have a laugh. You always need to have a laugh in a sex scene.” During filming he yelled at the couple, praising them. “If they know that they’re turning you on, it builds their confidence.” He used a handheld camera to film it “so there was no problem with the heat going out of the scene.”

4. CLOSE HAD A HUGE PROBLEM WITH THE NEW ENDING.

Paramount Pictures

Two endings of the film were shot: The first had Alex planting Dan’s fingerprints on a knife and then killing herself while Madama Butterfly played in the background. Test audiences felt unsatisfied, so Paramount decided to re-shoot the ending and make it more violent. They had Dan’s wife, Beth (Anne Archer)—the only untainted character—shockingly shoot and kill Alex as a statement on preserving the American family.

“When I heard that they wanted to make me into basically a psychopath, where I go after someone with a knife rather than somebody who was self-destructive and basically tragic, it was a profound problem for me because I did a lot of research about the character,” Close told Oprah. “So to be brought back six months later and told, ‘You’re going to totally change that character,’ it was very hard. I think I fought against it for three weeks. I remember we had meetings. I was so mad.”

In Entertainment Weekly, Close said she thought Alex was a deeply disturbed woman, but not a psychopath. “Once you put a knife in somebody’s hand, I thought that was a betrayal of the character,” she explained. The main reason the ending was changed was because moviegoers wanted revenge. “The audience wanted somebody to kill her,” Michael Douglas told Entertainment Weekly. “Otherwise the picture was left—for lack of a better expression—with blue balls.” Though audiences wanted Alex dead, Douglas saw that as a compliment. “You were so good in the part that everybody wanted you to be killed,” he told Close on Oprah.

In hindsight, Close thinks they did the right thing in changing the ending. “Bloodshed in a dramatic sense brings catharsis,” she told Entertainment Weekly. “Shakespeare did it. The Greeks did it. That’s what we did. We gave the audience my blood. It worked.”

5. THE MOVIE CAUSED THE PHRASE “BUNNY BOILER” TO BECOME A PART OF THE LEXICON.

In probably the most disturbing scene in the movie, Alex boils Dan’s kid’s pet bunny. The phrase is listed in Urban Dictionary and on the U.K. site Phrases.org. Urban defines it as “after a relationship break-up, the person who wants some kind of revenge, like stalking, or harassment,” and Phrases says, “an obsessive and dangerous female, in pursuit of a lover who has spurned her.” Close herself was uneasy about the scene. “The only thing that bothered me was the rabbit,” she said on Oprah. “I thought it was over the top.”

6. CLOSE HAD THE KNIFE SHE TRIED TO KILL MICHAEL DOUGLAS WITH FRAMED.

In the theatrical ending of the movie, Alex comes after Dan with a knife but doesn’t succeed in getting away with murder. Close told Vanity Fair that she framed the fake knife, and that it’s hanging in her kitchen. “It’s all an illusion. It’s a cardboard prop!” she said. It’s also a rather creepy reminder of the film.

7. THE MOVIE SAVED MORE THAN A FEW MARRIAGES.

The film shows what happens when a married man lets his guard down and embarks on an affair, only to have it destroy his life. “That movie struck a very, very raw nerve,” Close told Daily Mail. “Feminists hated the movie and that was shocking to me. They felt they'd been betrayed because it was a single, working woman who was supposed to be the source of all evil. But now Alex is considered a heroine. Men still come up to me and say, ‘You scared the s**t outta me.’ Sometimes they say, ‘You saved my marriage.’”

8. CLOSE WOULD PLAY ALEX DIFFERENTLY TODAY.

One of the reasons the film was so controversial is the negative way it depicted mental illness. Psychiatrists have said Alex suffered from erotomania, a condition in which a person wrongly believes a person is in love with them. Close spoke to two psychiatrists in preparation for her role, and neither said Alex’s behavior—especially the bunny-boiling—was because of mental illness. “Never did a mental disorder come up. Never did the possibility of that come up,” Close told CBS News. “That, of course, would be the first thing I would think of now.” She also said, “I would have a different outlook on that character. I would read that script totally differently.”

9. DEARDEN ADAPTED FATAL ATTRACTION INTO A PLAY, WITH THE ORIGINAL ENDING INTACT.

In 2014 a stage version of the movie went up in London, starring Natascha McElhone as Alex and Kristin Davis as the long-suffering wife, Beth. Dearden reimagined the script in making Alex more sympathetic, Dan more blameworthy, and returning to the original ending.

“[I] wanted to return to my original conception of the characters in a sense to set the record straight,” Dearden told The Atlantic. “Because while Alex is undeniably borderline psychotic, she is also a tragic figure, worn down by a series of disappointments in love and the sheer brutality of living in New York as a single woman in a demanding career. So whilst remaining faithful to the storyline, I have introduced the ambivalence of my earlier drafts … nobody is entirely right and nobody entirely wrong.”

10. DEARDEN AND CLOSE DON’T BELIEVE ALEX IS A MONSTER.

“Alex is emphatically not a monster,” Dearden wrote in The Guardian. “She is a sad, tragic, lonely woman, holding down a tough job in an unforgiving city. Alex is not a study in madness. She is a study in loneliness and desperation.” He goes on to write that he regrets “that audiences shouted ‘Kill the bitch!’ at the screen … Did Fatal Attraction really set back feminism and career women? I honestly don’t believe so. I think that, arguably, it encouraged a vigorous debate from which feminism emerged, if anything, far stronger.”

Close doesn’t see Alex as monstrous either. “I never thought of her as the villain, ever,” she said on Oprah.

11. A TV VERSION OF FATAL ATTRACTION WAS KILLED.

In 2015 it was reported that Paramount would be bringing the film to the small screen in what was described as “a one-hour event TV series.” Mad Men producers Maria and André Jacquemetton were set to write and executive produce the show, with Deadline writing that the TV version would show how “a married man’s indiscretion comes back to haunt him,” just like in the movie. The show was set to air on Fox. But in early 2017, it was announced that the project was being killed—at least by Fox—after the producers encountered troubles with both the title and casting (The Hollywood Reporter wrote that both Megan Fox and Jenna Dewan Tatum were both said to have passed on the project.)

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Lucy Quintanilla
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13 Stylish Facts About dELiA*s
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Lucy Quintanilla

Millennial women across the United States will remember rushing to their mailboxes after school to grab the hottest catalog of the ‘90s: dELiA*s. The groundbreaking magalog, which debuted in 1994, was, by 1998, sending out 55 million catalogs a year. REaD oN fOr A fEw fUN fACts aBoUt dELiA*s.

1. THE COMPANY WAS FOUNDED BY TWO MALE YALE GRADS.

Stephen Kahn and Christopher Edgar, former Yale roommates, were in their 20s when they started dELiA*s in New York in 1993. Kahn—who, after Yale, had studied political philosophy and Victorian history at Oxford—had taken a job at the brokerage firm PaineWebber and was studying for his MBA at night. But he was bored. He wanted to run his own company. “I was interested in being more creative,” Kahn told Crain’s New York Business in 1998. “And I wanted to make a lot of money.” He convinced Edgar to leave his comparative literature Ph.D. program at Columbia University to start the company. Kahn provided $100,000 of his own money, and his father provided another $100,000.

2. DELIA*S WAS ORIGINALLY AIMED AT COLLEGE-AGED WOMEN.

In the early ‘90s, 90 percent of catalogs were aimed at women aged 30 to 50; it was seeing fashionable undergrads at Columbia that inspired Kahn and Edgar to launch a catalog aimed at selling clothes to college-aged women. They called the catalog dELiA*s. (Where that name came from is a mystery.) Initially, they created 20,000 catalogs and, in 1994, hired students to distribute them around college campuses.

But the response from college women, Kahn told Chief Marketer in 1998, was “lukewarm.” After running ads for the catalog in a few magazines, they found a new market: the college students’ little sisters. “We got a huge response from high school kids,” Kahn said. “So basically the market found us.”

They expanded their customer base to include 10- to 24-year olds with the goal of giving girls who might not live in areas with tons of shops for them an opportunity to buy cool clothes. (Fortune’s summation of the company’s strategy, from a 1997 article, is too amazing not to share: “Today’s average 14-year-old girl in Des Moines is just as hip to what’s hot as the 14-year-old in suburban Los Angeles … She, too, wants shiny avalanche pants and baby-T’s, but she’s stuck in the backwoods with nowhere to shop but her local Wal-Mart. Delia’s body glitter, like Dorothy’s red shoes, transports her from the farm to Melrose Avenue.”) “We felt that this group was not well served,” Edgar told The New York Times in 1997. “There wasn’t a recognition of these kids as real consumers.”

The first catalog hit campuses in the fall 1994, and quickly became a hit: Within four years, the company had annual sales of $158 million. When it went public in 1996, Kahn’s 57 percent share of the stock was worth $163 million.

3. KAHN AND EDGAR WOOED INVESTORS BY COMPARING dELiA*s TO MTV.

In the ‘90s, it was tough to get investors to put their money into catalogs. According to the Los Angeles Times, they “often doubted that teens will bother to leaf through pages and manipulate measuring tapes.” But dELiA*s was able to land financing by comparing its catalog to MTV’s programming. “We told them to think of us as a ‘channel’ through which you can program different types of apparel brands,” Evan Guillemin, the company's chief financial officer, told the Los Angeles Times in 1997. “We, like MTV, stay constant … but we’ll provide them with a constantly changing assortment of designs and brands.”

4. CREATIVE DIRECTOR CHARLENE BENSON HAD A DAY JOB AND WORKED ON DELIA*S AT NIGHT FOR THE FIRST YEAR.

The cover of the first-ever dELiA*s catalog
The cover of the first-ever dELiA*s catalog.
Courtesy of Charlene Benson

With its irregular capitalization and engaging photos, dELiA*s was a standout from the start. That strategy came from creative director Charlene Benson and her collaborators. Benson was the art director of Mademoiselle magazine when she got the dELiA*s gig—and she kept that day job for a full year while producing the catalog at night.

How Benson got the dELiA*s job is what she calls a “folksy” story: One of her friends, the writer Hilton Als, met Kahn at an art show, and they got to talking about the catalog. Benson went in for an interview. The office was casual; “it looked like they had collected all the furniture off the street,” Benson tells Mental Floss. “They didn’t really have an idea of what it should be yet. They wanted to know if I knew how to put together a photo shoot, how to do the layout, how to talk to printers. It was more of the business part of it.”

Given pretty much free rein—albeit on a shoestring budget—Benson hired some help and got to work … at night, after she finished at her day job. And though she loved working at Mademoiselle (which was, she says, “wonderful”), dELiA*s gave her a different kind of opportunity. “I did all of the things that I didn’t get to do at Mademoiselle—choose the pictures where the girls were making faces, and have kind of more chaotic layouts, and just have a certain kind of fun and a certain kind of real girl-ness that I always missed working at a Condé Nast fashion magazine,” she says.

That included randomly capitalized type. “We really liked that mixed up and down type,” Benson says. “Sassy had kind of done something like that [before dELiA*s] and we really liked it. But because I was such a bad typist a lot of times my typing would kind of look like that, so it was like, ‘This feels right.’”

Benson didn’t do any market research to create the catalog, but she did look at teen magazines that were available at the time. “When I looked at teen stuff it was a lot of ‘how to kiss a boy,’ or ‘how to know if he likes you.’” She and her team decided to do the opposite: “It was kind of like, ‘Let’s do something where that’s not in the picture yet or maybe it’s not the most important thing to her—that she’s more creative, and she’s more interesting, and she’s more about her friends still.”

The copy in the catalog (an example: “wOulD YoU rAtHeR bE iN a cAve oF sNakEs oR a bAthTub fUlL oF sluGs?”) also reflected that—something Benson says parents appreciated. “I got a lot of nice notes from moms that would be like, ‘Oh thank you for the funny copy. My daughter and I had a really beautiful moment reading it together.’”

The first catalog, which Benson says “wasn’t totally baked,” was a huge success; Edgar came back to Benson in two months and said they’d sold every piece of merchandise. “He was like, ‘So we want to do another one,’ and I was like ‘Wow, didn’t you find that first one really difficult?,” Benson says, laughing. “And so we did another one. ... I did that for a year and was still working at Mademoiselle and I just basically had no life,” Benson says. After that year, Kahn and Edgar asked Benson to come on full-time, and she left Mademoiselle. “That’s really when we made the catalog grow.”

5. THERE WAS A “FICTIONAL DELIA.”

Though no one knows where the name Delia came from (Benson calls it "one of the great mysteries"), according to Jim Trzaska, dELiA*s' photo producer, there was a fictional Delia who “was supposed to be a girl’s girl who loved hanging out with her friends above all else, and dressed for herself rather than to attract boys. That naturally set the tone at the photo shoots as well.”

6. THE CREW HAD A STRATEGY FOR MAKING PHOTO SHOOTS FUN.

A page from the Summer '97 dELiA*s catalog.

Rarely will you find a girl in a dELiA*s catalog smiling; she’s more likely to be making a funny face or looking like she’s having the time of her life. They were looking for a particular type of girl, Benson says—someone who was expressive. "Sometimes I would ask them, 'Do you want to be an actress someday?' The actual shoots were super fun. We just had the funniest crew, and the stylist that we worked with consistently, Galadriel Masterson, was just really, really funny and she had this way of teaching the girls how to be on set and how to express themselves. She had a really good idea for how to put the stuff together because we weren’t match-y and we weren’t outfit-y. We just shot a lot of film until we got the funny pictures we wanted." Benson brought on Kevin Hatt to photograph the early catalogs, and later, Mei Tao shot them.

According to the models who participated in those shoots—who typically had already appeared in teen mags like Seventeen—they really were awesome. “Every single one was fun,” model Kim Matulova told MTV. “There was always a lot of energy and it was very natural, unforced, and spur-of-the-moment. [The photographer] would just turn on the music and let us girls do our thing, and he’d capture it.”

The photographer shot on Polaroid, and the models would get to take some photos home at the end of the shoot. “I have a huge box at my mom’s house full of old Polaroids and outtakes,” Matulova said.

A page from the Summer '97 dELiA*s catalog.

The crew also had a strategy for getting girls to let loose. “One thing that always got a big reaction from everyone on set was a fake boy named ‘Billy’ who was invented by our lead stylist, Galadriel Masterson,” Trzaska told Refinery 29. “Depending on what kind of mood we needed from the model, ‘Billy’ could be anyone from a shady ex-boyfriend to a bratty little brother or a gay best friend. He definitely helped us get the shot on more than one occasion.”

7. YOU MIGHT FIND SOME FAMOUS FACES IN YOUR OLD CATALOGS.

Miranda Kerr, Brooklyn Decker, Rosie Huntington-Whiteley, Cassie, and Krysten Ritter all struck a pose for dELiA*s back in the day.

8. AT ITS PEAK, THE COMPANY GOT THOUSANDS OF CATALOG REQUESTS DAILY.

Courtesy of Charlene Benson

According to Chief Marketer, by August 1998, Delia’s was receiving 3000 to 5000 catalog requests every single day. (Some outlets suggest the number was as high as 7000 requests a day.) The company had a whopping 5 million names in its database, each one accompanied by its precise order history.

According to The Cut, 4 million people—or 10 percent of the 40 million female Millennials currently living in the United States—have requested a dELiA*s catalog.

9. THERE WERE PLENTY OF COPYCATS.

Not surprisingly, dELiA*s' massive success led to a number of “magalog” competitors, including Zoe, Wet Seal, moXiegirl (or mXg), Alloy, Airshop, and Just Nikki. But Kahn was not threatened by the competition. “People will try to play catch-up,” he told Chief Marketer. “There will be a shakeout on the imitator side. Most of these guys will lose a lot of money for a long time.”

10. THERE WAS A SPIN-OFF FOR BOYS.

Droog, a.k.a. dELiA*s for boys, launched in 1998. Though it, too, aimed for a market Kahn and Co. thought was untapped, its approach was different than its big sister’s: Instead of being shot in a studio, Droog was shot in fields and parking lots. Its centerfold featured a car, shot head on, bearing a license plate which read “Droog.” The name was the result of a company contest. It was, Kahn told Catalog Age in 1999, a “natural progression from dELiA*s” that featured “streetwear, workwear, and urban and athletic lines.”

Sadly, Droog did not find the same success as dELiA*s; according to Catalog Age, it folded in 2000.

11. THERE WAS A CATALOG FOR HOME FURNISHINGS, TOO.

Contents, which featured roomwares for teens, launched in the late ‘90s. Says Benson, who collaborated with a designer named Whitney Delgado on the catalog: "I love the pictures so much, and those crazy rooms that we built."

12. THE BRICK-AND-MORTAR STORES POSED A PARTICULAR CHALLENGE FOR BENSON.

A Delia's storefront.
Mike Mozart, Flickr // CC BY 2.0

Following the launch of its website in 1998 (which, according to Chain Store Age accounted for two to three percent of the company's total sales in just two weeks online), dELiA*s began opening brick-and-mortar stores in 1999. Creating the look of the stores was, according to Benson, a tough but rewarding assignment.

To help, the company enlisted visual merchandiser Renee Viola and hired store designer John Farnum, who had worked with Nike. “The tricky part was like ‘OK, we have this thing, it looks like this and feels like this in print. How do we bring what’s happening here into the stores?’” she says. “We didn’t want to lose what we had. From a design standpoint and a building creative team standpoint, it was super fun—I haven’t been in a store development process that was so collaborative since. It was quite wonderful.”

13. THE COMPANY WAS SOLD, WENT OUT OF BUSINESS, AND CAME BACK FROM THE DEAD.

In 2003, amidst decreasing sales, dELiA*s was sold to Alloy, its former competitor, for $50 million. (Catalog Age called it “one of the hottest pairings in teendom since Britney and Justin.”) Alloy at first absorbed the company; then, two years later, spun it off again so it was a separate entity. In 2014, after it lost $57 million, dELiA*s filed for bankruptcy; all of its retail locations and its website were shuttered by March 2015.

But that wasn’t the end. In early 2015, Delia’s was purchased by Steve Russo and other investors and relaunched that August. “In speaking to women who came of age in the ‘90s, they all said they couldn’t wait to receive their dELiA*s catalog in the mail after school,” Russo told The Huffington Post. “The company in those days was visionary, with its inclusive product assortment. We saw an opportunity to revive that excitement in every girl again through print catalogs, exciting new social media campaigns, and a strong e-commerce presence.” You can shop here.

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