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Dorian Leigh

Dorian Leigh (born Dorian Elizabeth Leigh Parker; April 23, 1917 – July 7, 2008) was an American fashion model and one of the earliest icons of the industry, renowned for her work during the 1940s and 1950s as a pioneering who graced over 50 magazine covers in just six years, including seven for in 1946 alone. Born in , , to a and inventor father, George Lofton Parker, and Elizabeth Kirkpatrick, she was the eldest of four daughters, including sisters , Florian, and Georgibell. Standing at 5 feet 5 inches with striking blue eyes, dark hair, and an , Leigh combined intelligence and allure, studying English at Randolph-Macon Woman's College and calculus at before entering modeling at age 27 after meeting editor at Harper's Bazaar. Leigh's career skyrocketed in 1944 when she signed with Harry Conover's agency and debuted on the June cover of , quickly becoming a favorite of photographers such as , , and . She appeared on covers of major publications like , , LIFE, Elle, and , establishing herself as a versatile "" known for her pristine features, curling eyelashes, and intoxicating sexuality. In the 1950s, she starred as Revlon's first "Fire and Ice" girl in a groundbreaking campaign photographed by Avedon, which famously asked, "Are you Fire or Ice?"—cementing her status as a multifaceted who influenced cultural icons, including Truman Capote's character in Breakfast at Tiffany's. Leigh also mentored her sister Suzy, launching her into the industry while protecting her from its excesses, though their relationship was marked by differences in temperament—Leigh's carefree socialite vibe contrasting Suzy's seriousness. During her modeling career, Leigh opened the Fashion Bureau in in 1946; after retiring in the late 1950s, she founded one of France's first modeling agencies in and later ventured into gourmet cuisine as a cordon-bleu-trained chef who ran restaurants and authored cookbooks like Pancakes and Crepes and Doughnuts and Fritters. She married seven times, including to businessman Iddo Ben-Gurion from 1964 to 1966, and had five children, two of whom predeceased her. Leigh detailed her tumultuous life in her 1980 autobiography, , reflecting on her highs and scandals. She died of in , at age 91, leaving a legacy as a trailblazer who elevated modeling to an art form and inspired generations of women in fashion.

Early Life

Family and Childhood

Dorian Elizabeth Leigh Parker was born on April 23, 1917, in , , to George Lofton Parker, a and inventor, and Elizabeth Mae Kirkpatrick, who became a homemaker after their early marriage as teenagers. The family relocated to in , , shortly after her birth, and later settled in , where her father's invention of a new form of etching acid, used in printing plate production, supported an upper-middle-class lifestyle. As the eldest of four daughters, Dorian grew up with sisters Florian, Georgiebell, and Cecilia—later known as , who would follow a parallel path to success in modeling.

Education and Early Adulthood

Dorian Leigh graduated from high school in , , in 1935. She subsequently enrolled at Randolph-Macon Woman's College in , where she majored in English and completed two years of study. During her sophomore year, she married Marshall Powell Hawkins, a student at the , in , on May 2, 1937. The couple had two children: son Thomas Lofton Hawkins, born in 1939, and daughter Marsha Lyn Hawkins, born in 1940. Their marriage ended in divorce in 1944. In her 1980 autobiography , Leigh claimed to have been born in 1920, which would have made her only 15 at high school graduation and 17 at marriage; however, official records and obituaries confirm her birthdate as April 23, 1917, in , . Following the divorce, Leigh supported her family through wartime employment. From 1941 to 1943, she worked as a at Bell Laboratories in , leveraging her interest in mathematics and engineering. In 1943 and 1944, amid , she served as a flight attendant and hostess for while also contributing to aircraft design efforts in the company's Eastern Aircraft division, where she assisted in developing airplane wings as a tool designer. These roles marked her transition into professional independence before entering the modeling industry in 1944.

Modeling Career

Beginnings in Modeling

In 1944, at the age of 27, Dorian Leigh Parker decided to pursue modeling as a means to supplement her income, driven by financial pressures after working in technical roles such as a tool designer for Eastern Air Lines during World War II and as an advertising copywriter in New York. Despite being considered too old for the industry—where models typically started in their late teens—and shorter than the ideal at 5 feet 5 inches, she persisted, even advised by Harper's Bazaar editor Diana Vreeland to claim she was 19 to secure opportunities. Parker signed with Harry Conover's prominent modeling agency in , a key player in the emerging scene, which helped launch her professional trajectory. To protect her family's reputation and avoid association with her surname amid her career shift, she adopted the professional name Dorian Leigh. Leigh quickly secured early assignments in print modeling, appearing on the cover of in June 1944 and later gracing seven covers in 1946 alone, which solidified her presence in high-fashion publications during the industry's tentative recovery. These gigs established her as a versatile print model, emphasizing her distinctive arched eyebrows and poised features in editorial spreads. Throughout her initial years, Leigh faced significant challenges, including balancing her burgeoning career with motherhood of her two young children—and navigating the world's slow rebound from wartime fabric shortages and economic constraints. These obstacles tested her resilience as she adapted to irregular schedules and the demands of a competitive field still reshaping itself after the .

Rise to Prominence

Following her initial signing with the Harry Conover Agency in 1944, Dorian Leigh transitioned to freelance modeling in the late 1940s, allowing her greater control over her bookings and leading to lucrative contracts, including with cosmetics for campaigns such as the 1945 Poison Apple promotion. This shift marked a pivotal escalation in her career, as she capitalized on her distinctive angular features and versatility to secure high-demand assignments across and work. To expand her industry network, Leigh actively promoted her younger sister, , into modeling by introducing her to in 1947 and stipulating that the newly formed Agency represent as a condition of her own affiliation. This mentorship not only launched career but also strengthened Leigh's position within New York's emerging modeling ecosystem, where agencies like were professionalizing the field. Leigh's visibility surged with her first feature in Life magazine in 1946, which propelled her to widespread recognition in the United States and abroad, complemented by seven Vogue covers that same year. These appearances in major publications highlighted her as a fresh face in postwar fashion, drawing attention from photographers like Irving Penn and Louise Dahl-Wolfe and solidifying her appeal for both American and European audiences. Through these high-profile bookings in and , Leigh established herself as one of the earliest supermodels, embodying the era's shift toward celebrity-like status for top models. By 1949, her success had elevated her to one of the highest-paid models in the industry, commanding rates of $1 per minute—equivalent to $60 per hour—and annual earnings reportedly reaching $300,000.

Key Campaigns and Achievements

Leigh's most celebrated campaign was Revlon's "Fire and Ice" in 1952, a groundbreaking advertisement photographed by that featured her in a sparkling silver gown and scarlet cape, earning her the title "The Fire and Ice Girl" and popularizing bold red lipstick shades as a symbol of confident femininity. This two-page spread, which included a provocative to engage consumers ("Are you made for Fire & Ice?"), ran in major magazines like Life and , revolutionizing cosmetic advertising by blending high fashion with interactive marketing. Throughout the late 1940s and early 1950s, Leigh dominated print media, gracing over 50 covers for prestigious publications such as , , and between 1945 and 1955, often under the lenses of photographers like Louise Dahl-Wolfe and Avedon, which elevated her status as a quintessential beauty icon. Her covers, starting with in June 1944, showcased versatile looks from elegant evening wear to sporty ensembles, capturing the era's shift toward aspirational glamour. In the early 1950s, Leigh expanded internationally, modeling in prominent photographs for leading designers including and in , where she showcased innovative silhouettes like Dior's structured New Look gowns and Balenciaga's fluid evening dresses, bridging American and couture scenes. These appearances, frequently documented by Avedon in iconic locations like the , highlighted her adaptability and helped globalize American modeling talent. Leigh is recognized as a pioneer in the modeling industry for advocating better contracts, higher pay, and greater visibility for models, earning up to $300,000 annually at her peak and setting precedents for professional standards in an era when models often lacked bargaining power. Her influence extended to her sister Suzy Parker's parallel rise, whom she introduced to key photographers and agencies, fostering a family legacy in . She maintained an active modeling schedule until the mid-1950s, retiring from full-time work around 1956 amid personal transitions, though her work continued to define the golden age of mid-century fashion.

Business Ventures

Modeling Agency

In the late 1940s, Dorian Leigh founded the Fashion Bureau, a pioneering modeling agency in New York City, leveraging her experience as a top model to address inefficiencies in the industry, such as slow bookings from established agencies like Harry Conover's. The agency operated on an innovative business model that advocated for fairer pay and contracts for models, introducing a voucher system that provided weekly payments to talent rather than relying on delayed client reimbursements, which helped stabilize income and build trust among models. This approach marked a shift toward more professional management, with the agency taking percentage-based commissions on bookings—typically around 10-20%—instead of rigid flat fees, setting a precedent for future agencies. Leigh initially funded the venture using her peak modeling earnings, which reached approximately $300,000 annually in the mid-1940s, allowing her to scout and represent emerging talent, including her sister , whom she tested with photographers and promoted internationally. However, the Fashion Bureau faced challenges from competition with entrenched agencies like Conover and Powers, as well as Leigh's own semi-retirement from active modeling due to personal commitments, leading to its closure shortly after founding in 1948 following her marriage and pregnancy. By the late 1950s, Leigh expanded her entrepreneurial efforts to , establishing one of France's first modeling agencies around in collaboration with , focusing on managing international talent amid the growing European fashion scene. This operation faced initial legal hurdles, including French laws prohibiting agency fees and police suspicions of modeling agencies as fronts for , but she ran it successfully for about eight years until its closure around due to and illegal activities by her then-husband Iddo Ben-Gurion. In the , after the agency closed, Leigh affiliated with , contributing her expertise by scouting and promoting new faces, including helping to advance careers like that of her sister , thereby influencing the agency's global roster during a period of industry expansion. Despite ongoing challenges from established competitors and her shifting personal priorities, these ventures solidified her role as a trailblazer in professionalizing model representation.

Industry Influence

Dorian Leigh played a pioneering role in elevating the status of models from anonymous figures to recognized celebrities, earning bylines in major publications and securing high-profile endorsements that set a new standard for the profession in the mid-20th century. Her frequent appearances on more than 50 magazine covers, including seven for in 1946 alone, helped transform modeling into a glamorous, aspirational career path that attracted public attention and media coverage beyond mere advertisements. This shift was instrumental in professionalizing the industry, as Leigh's visibility demonstrated that models could wield cultural influence comparable to film stars. Through her mentorship efforts, Leigh actively launched and guided emerging talents, notably introducing her sister to key industry figures like , which propelled Parker's rise to prominence as a top model of the . Her work extended to nurturing new faces via personal connections and professional networks, fostering a generation of models who benefited from her experience in navigating bookings and negotiations. Leigh's establishment of one of the first modeling agencies in Paris in the late 1950s had a lasting impact by introducing techniques—such as structured training and placements—to the market, thereby globalizing the profession and bridging transatlantic practices despite initial regulatory resistance from authorities. This venture not only supported her own transition from modeling but also expanded opportunities for models abroad, influencing the industry's shift toward a more interconnected global network. In fashion histories, Leigh is posthumously honored as an early icon, with numerous accounts crediting her as the first to embody the term through her commanding presence and entrepreneurial spirit. Her legacy underscores the evolution of modeling from a transient job to a cornerstone of high .

Personal Life

Marriages and Relationships

Dorian Leigh's first marriage was to photographer Marshall Hawkins in 1937, with whom she had two children; the couple divorced in 1944. Her second marriage was to businessman Roger Mehle in 1948, with whom she shared a lifestyle in and Palm Beach; the union ended in divorce in 1954. During the final years of her marriage to Mehle, Leigh began a highly publicized affair with Spanish aristocrat and race car driver in 1954. The couple attempted to marry in later that year, but the union was declared void because de Portago's prior divorce from his wife, American showgirl Carroll McDaniel, had not been finalized. Their relationship continued intensely until de Portago's death on May 12, 1957, when he was killed in a catastrophic crash during the road race in , where a tire failure on his Ferrari caused the car to veer off the road, resulting in the deaths of de Portago, his co-driver, and several spectators. Following her divorce from Mehle, Leigh married French antique dealer Serge Bordat in 1958 in a brief union that lasted only until 1960, when they divorced. Her fourth marriage came in 1964 to Israeli writer Iddo Ben-Gurion; this relationship also ended in divorce two years later in 1966. Throughout her life, Leigh was known for her romances within elite and celebrity circles, though she maintained discretion about many details in public accounts.

Children and Family Challenges

Dorian Leigh had five children from her multiple marriages and relationships. Her first two children were born during her marriage to Marshall Hawkins: son Thomas Lofton "T.L." Hawkins (1939–2014) and daughter Marsha Lynn Hawkins, later Smith (1940–1992). From her second marriage to Roger Mehle, she had daughter Young Eve Mehle, born March 27, 1949, who later became Young Eve Paciello. Her son Kim Blas was born in 1955 from her relationship with racing driver . Her youngest child, daughter Miranda Olga Bordat, was born in 1961; she was the daughter of Dorian Leigh and Serge Bordat. Leigh faced significant family tragedies, beginning with the sudden death of in a racing accident during the , which left her to raise their two-year-old son alone without paternal support. This loss compounded her challenges as a single mother navigating her career and personal life. The most devastating blow came in 1977 when , then 21, died by in after struggling with drug addiction, an event that profoundly impacted Leigh emotionally and prompted her to write her 1980 as a tribute to him. Additionally, her daughter Marsha died in 1992, leaving Leigh to grieve another child. Throughout her life, Leigh grappled with the practical and emotional strains of raising her children amid multiple divorces, including concerns over custody and financial support, particularly after her separation from Mehle, where she feared losing access to Young Eve. Kim's battles with addiction and mental health issues required ongoing intervention, exacerbating the family's difficulties during his adolescence and early adulthood. Despite these hardships and her frequent relocations between , , and other cities for modeling and business pursuits, Leigh maintained close relationships with her surviving children, providing support and fostering family ties across distances.

Later Career

Culinary Pursuits

After retiring from modeling and managing her Paris-based agency in the 1960s, Dorian Leigh developed a deep passion for cooking, influenced by her immersion in French culture during her years abroad. Having relocated to earlier that decade to expand her professional endeavors, she absorbed the city's renowned culinary traditions, learning techniques from local chefs and the vibrant food scene that surrounded her agency operations. This exposure ignited her lifelong interest in , which she had nurtured since childhood but fully pursued in her later years. In the early 1970s, Leigh formalized her skills by enrolling at cooking school in , where she honed her expertise in . At age 56, she channeled this training into opening her own restaurant, Chez Dorian, located south of near , which operated from 1973 to 1975 and specialized in classic dishes. The establishment was a success initially, reflecting her entrepreneurial spirit and love for entertaining, but it closed after two years amid financial difficulties that left her nearly bankrupt by 1976. These challenges marked a turbulent period, yet cooking remained a constant source of fulfillment for her. Returning to the United States in the late 1970s, Leigh transitioned to catering and food production, collaborating with Martha Stewart on recipe development and establishing businesses in New York and Washington, D.C., where she specialized in pâtés and en croûte dishes sold to gourmet shops. She later authored several cookbooks that showcased her travels and personal recipes, including Pancakes: From Flapjacks to Crepes (1987), which featured easy-to-follow international variations, and Doughnuts: Over 3 Dozen Crullers, Fritters and Other Treats (1995), emphasizing low-fat options like a chocolate doughnut recipe tailored for health-conscious readers. Her culinary work was driven by a therapeutic joy in creating comforting, indulgent foods—contrasting her modeling days—especially as a way to cope with personal tragedies, such as the loss of her son in 1977.

Other Activities

In her later career, Dorian Leigh made occasional forays into , appearing in minor roles across film, television, and theater. She portrayed a character in the 1953 episode of the The Man Behind the Badge, titled "The Case of the Missing Badge," and took on a supporting role in the 1958 French short film Anna la bonne, directed by Guy Lefranc and based on a poem by . Leigh also featured in the 1961 drama Naked Autumn (original French title Les mauvais coups), starring , and performed on in the comedy The Fifth Season starting in 1953, where she remained with the production for over a year. Leigh's personal life involved significant travels and changes in residency that shaped her lifestyle in the mid-to-late . At age 40, around 1957, she relocated to , where she resided during the , immersing herself in the city's cultural scene before returning to in the . This period of international mobility reflected her evolving interests beyond professional modeling, though specific details on daily routines during these stays remain sparsely documented. A profound family tragedy influenced Leigh's later spiritual pursuits; following the 1977 suicide of her son Kim at age 21, she became a born-again Christian. Documentation of her religious activities is limited, but it marked a shift in her personal life. In her final decades, Leigh faced health challenges, including the onset of , which contributed to her semi-retirement by the and eventual residence in a nursing home in , where she passed away in 2008 at age 91. Documentation of Leigh's miscellaneous hobbies is limited, with available records focusing primarily on her more prominent engagements rather than private pursuits.

Autobiography

Writing and Publication

In the late 1970s, Dorian Leigh decided to write her autobiography following the suicide of her son Kim in 1977, seeking to share her life story and dispel public misconceptions about the glamour of modeling while emphasizing its personal costs. The full title, The Girl Who Had Everything: The Story of "The Fire and Ice Girl", was published by Doubleday in 1980 as a collaborative effort with Laura Hobe, who contributed to the writing while preserving Leigh's personal voice. The book faced initial reception challenges due to factual disputes, including Leigh's claimed birth year of 1920 in the narrative, which contrasted with her actual birth in 1917. Promotional efforts included interviews in , such as a February 1980 session at Doubleday offices that revisited her modeling career and the Fire and Ice campaign.

Content and Reception

The Girl Who Had Everything: The Story of "The Fire and Ice Girl" chronicles the stark contrast between the glamour of Dorian Leigh's modeling career and the profound personal tragedies that marked her life, particularly the devastating impact of her son Kim's drug addiction and his in 1977 at age 21. The narrative delves into the emotional toll of these events, portraying Leigh's grief and her search for meaning amid fame's excesses. The book's arc follows Leigh from her childhood in , , through her ascent to stardom in the and , including her iconic "Fire and Ice" campaigns, to the strains of multiple failed marriages and motherhood's challenges. It culminates in her later reflections on the hedonistic lifestyle that defined her era, offering introspective commentary on the personal costs of celebrity and indulgence. However, the autobiography contains several embellished accounts, such as Leigh's claim of starting her modeling career at a younger age; in reality, she began at 27 but was instructed by her agent to pose as 19 to appeal to editors like at , a detail later clarified in obituaries.

Death and Legacy

Death

Dorian Leigh died on July 7, 2008, at the age of 91, in a in , from complications of . In her later years, Leigh's health declined due to , leading to her residence in a near . Her death was announced by her grandson, Thibaut Dubois. Two of her children had predeceased her: daughter Marsha Lynn Smith in the early and son Kim Blas in 1977. No public was reported.

Legacy

Dorian Leigh is recognized in modern histories as a pioneering figure who bridged the era of print modeling with the emerging celebrity-driven glamour of the , establishing standards for professional poise and versatility in the industry. Her work, which included over 50 magazine covers and high-profile advertising campaigns, helped professionalize modeling as a career, influencing the transition from anonymous mannequins to named icons. This foundational role is highlighted in retrospectives that position her as a trailblazer for the structured, business-oriented world that followed. Leigh's contributions extended to shaping the supermodel archetype through her instinctive understanding of photography and client needs, as noted by industry leaders, paving the way for later figures who embodied cultural influence alongside commercial success. She inspired the evolution of the model as a multifaceted , with sequential histories of icons linking her 1940s prominence directly to 1960s archetypes like , who built on the visibility and autonomy Leigh helped normalize. Additionally, her collaboration with , including co-founding France's first modeling agency in in the late 1950s, expanded Ford's global reach and professionalized international scouting, underscoring Leigh's entrepreneurial impact on the industry's infrastructure. In cultural depictions, Leigh appears in mid-century literature, such as the Metropolitan Museum of Art's "The Model as Muse: Embodying Fashion," which credits her alongside contemporaries like for redefining feminine ideals through editorial work. Her legacy also includes amplifying her sister Suzy Parker's career by introducing her to the , where Suzy succeeded as a ambassador and film actress, creating a familial in modeling. Posthumously, assessments beyond obituaries have emphasized Leigh's entrepreneurial ventures and amid personal hardships, portraying her as a resilient innovator whose candid 1980 autobiography offered unvarnished insights into the era's glamour and grit. Following her death in , these elements have solidified her enduring influence on narratives.

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