It celebrates a less-is-more sexuality rooted in old-fashioned cinched-waist skirts, corsets, bullet bras and high-waisted panties. The style is suggestive and subtle - the girl next door with a hint of mischief. In a girls-gone-wild, reality-TV culture, modern pinups such as Miss V embody a more classic, demure form of naughty. In one of her come-hither poses, she evokes as much “Va-va-voom!” as Page or those other bombshells, Betty Grable and Mamie Van Doren, did decades ago.īut 21st-century glamour pusses aren’t so easy to pin down. The “Bettie-bangs” (inspired by the late revered pinup model Bettie Page) that top her cascading ebony locks are splashed with a touch of red, giving her ’50s look an updated twist. “It’s all dress-up is what it is,” she says.Īffectionately known as “Miss Vhaven,” or simply “Miss V,” Orso-Flores is a modern pinup, wholesome and elegant, a curvy dish with an hourglass figure encased by porcelain skin, with dark, doelike eyes and star-wattage teeth. At one point she lies curled on the floor like a caterpillar. Orso-Flores indeed is a natural - poised and confident, adept at using her eyes to create the look she wants, either smiling or smoldering. “Everything is airbrushed,” she said, and everyone is super-skinny with large breasts.“You are just ready for the camera, girl,” gushes photographer Angela Morales, snapping away. “Playboy is so gross now,” said Nicole Aiello, 23, an artist in New York. To say nothing of the blowup-doll look popular in girlie magazines and on Web pornography sites. “The pinup looks of the ’40s and ’50s are tame and quite glamorous when compared with the spray tans, breast implants and emaciated figures of today’s lingerie models.” Emulating the pinup, “has more to do with rebelling against today’s version of man bait,” said Ms. To some ears, that message seems subversive, indeed bracingly so.
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“She was saying to readers, ‘It’s all right for a woman to be shapely.’ ”
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“She wanted to show her curves and not be retouched,” he said. Enninful, who helped conceive the brooding, faintly lurid Bettie Page homage in the March W, followed that fashion feature the next month with another devoted to Jessica Biel looking buxom as she emerged from a pool or lounged, legs apart, on a chaise. Pinup photographs like those by Lawrence Schiller of Marilyn Monroe in the June issue of Vanity Fair and a coming show at the Steven Kasher Gallery in Chelsea have become a common reference point for marketing campaigns by Guess, with its still shots and video clips of Monroe look-alikes, photographed by Ellen von Unwerth by Louis Vuitton and Ugg, with its demiclad beauties on the beach and by Coca-Cola, which has commissioned Jean Paul Gaultier to enhance the iconic curves of its Diet Coke bottle with a lacy corset design. It’s reflected in the headlines every day, and circulated on cellphones and iPads.” Wallis said, “not just in theoretical circles but in the culture at large.
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“Campy interest in the soft-core photography of the ’50s and ’60s is on the rise,” said Brian Wallis, the chief curator for the International Center of Photography in New York. Devotees of the trend can dip into a cultural well that includes coffee-table books showcasing illustrations by midcentury masters like Alberto Vargas or George Petty and photographs by Irving Klaw and Bunny Yeager, whose self-portraits and pictures of Ms. Nostalgia driven, they are drawing inspiration from a trend that is only now hitting its stride, gaining currency through a recent spate of television period dramas like “Pan Am” and “Magic City,” movies (“My Week With Marilyn”), Web sites, photography shows, advertising campaigns and fashion features revisiting the era of tail-fin sedans and voluptuous babes in skimpy lingerie.