Les Fleurs du Mal: Iris and Violet

Jodie Foster as Iris in Taxi Driver (1976) and 

Brooke Shields as Violet in Pretty Baby (1978)

For those like me, born in February, the iris and violet are flowers that hold special significance; the former taking its name from the ancient Greek goddess of the rainbow (coming as it does in a wide array of colours); the latter a symbol of fertility associated with Saint Valentine, that holy fool adored by lovers and epileptics the world over.   

But iris and violet are not just types of flower; they are also popular (if slightly old-fashioned sounding) girls' names.

Indeed, they happen to be the names of cinema's two most famous child prostitutes: Iris, played by 12-year-old Jodie Foster, in Taxi Driver (dir. Martin Scorsese, 1976); and Violet, played by 12-year-old Brooke Shields, in Pretty Baby (dir. Louis Malle, 1978). 

I was of a similar age to the above girls when these films came out, so don't really remember the reaction at the time; probably there was some controversy and a certain degree of moral outrage from the usual quarters, but I'm pretty sure that today giving these roles to such young actresses would be inconceivable.

Indeed, the only recent film I can think of employing a child actress in a similarly controversial manner is Kick-Ass (2010). But 12-year-old Chloë Grace Moretz was playing a comic-book character (Hit-Girl), not a prostitute. And whilst she certainly participated in the on-screen violence and freely used obscene language, neither Moretz nor her character were overtly sexualised (if one overlooks the schoolgirl uniform, etc.).  

Looking back, Foster has spoken of the at times uncomfortable atmosphere on set whilst filming Taxi Driver and confessed that she cried when she first met the costume designer and put on Iris's (now iconic) hooker outfit. A self-confessed tomboy, she naturally hated having to wear hot pants, halter tops, platform shoes and a big, floppy hat. In other words, it was her wardrobe rather than the psycho-sexual complexities of her role that upset Foster.

Shields, too, seems not to have been psychologically or emotionally damaged in any way by her experiences as a child actress and has stated she has no regrets starring in Pretty Baby alongside Susan Sarandon and Keith Carradine. Indeed, she remains resolutely proud of the movie and her role in it: "It was the best creative project I've ever been associated with, the best group of people I've ever been blessed enough to work with," she told Vanity Fair in an interview to mark the 40th anniversary of the film's release [click here].  

Quite how she feels about the Sugar and Spice series of eroticised nude photographs she posed for, aged ten, taken by Garry Gross, I don't know ... But that, as they say, is a post for another day ...

Notes

For a related post to this one on the case of Iris Steensma as fashion icon, click here.

For a musical bonus - Blondie's 'Pretty Baby', from the album Parallel Lines, (Chrysalis, 1978) - click here. 

The above track was inspired by the film; the film, however, took its title from an earlier ragtime song called 'Pretty Baby', written by Tony Jackson, that has been recorded by (amongst others) Bill Murray (1916), Bing Crosby (1947), Doris Day (1948), and Dean Martin (1957).

A Short History of Hot Pants with Reference to the Case of Iris Steensma

Jodie Foster as Iris Steensma in Taxi Driver 

wearing a signature pair of hot pants

Although the term hot pants is often used generically, they are more than merely short shorts, as worn for example by athletes. For hot pants belong to the world of fashion, not sport. Thus it is that the term was first used by Women's Wear Daily in 1970 to describe garments made from glamorous materials such as velvet and satin and designed explicitly to catch the eye, unlike gym shorts made from cotton or nylon that serve a dreary practical function.

Personally, I would also distinguish hot pants from the tight denim cut-offs known as Daisy Dukes. For the latter have a distinctive history and allure all of their own and should only be worn by feisty Southern gals who drive like Richard Petty, shoot like Annie Oakley, and know the words to all of Dolly Parton's songs (and if they like to go barefoot whilst wearing them, all the better).

I suppose what I'm saying is that, in my mind, hot pants - like the mini-skirt - are associated very much with Swinging London and when I think of someone wearing them I visualise women such as Madeline Smith, Jenny Hanley, and Carol Hawkins, rather than all-American beauties like Raquel Welch.

There is, however, one exception to this: Iris Steensma, the twelve-year-old prostitute played so brilliantly by twelve-year-old Jodie Foster in Taxi Driver (dir. Martin Scorsese, 1976); a character renowned for her signature outfits assembled from hot pants, crop tops, platform shoes, a silver studded white belt and floppy sunhat.

As fashion historian Valerie Steele rightly notes, by the mid-seventies hot pants had long ceased to be an item associated with the playful character of the sixties; instead, they had entered the darker regions of the pornographic imagination and were increasingly associated with underage prostitution. Such sleazy associations meant that they quickly fell out of favour with the majority of women.

However, forty years on and Iris Steensma is now regarded by fashionistas as a style icon and her distinctive look has captured the imagination of many designers. Marc Jacobs, for example, produced a spring/summer collection in 2011 that was openly indebted to the character (see image below) and Alessandro Michele's penchant for soft pinks frequently paired with deep reds has also been said to owe something to Iris.

Ultimately, is there anything the fashion world loves more than illicit eroticism twinned with nostalgia ...?