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Wallis Franken was among the first Ford models to sport one of Vidal Sassoon’s 60s-defining geometric haircuts. She was part of the trend started in 1965. Some of the new models were thinner, with dark, short hair which was a revolution in the modeling business. She started modeling at 16 when photographer, J. Frederick Smith, noticing Wallis’ coltish grace, friendly smile and breezy personality, offered to take a few pictures. With her parents’ permission he took a few test shots and showed them to Eileen Ford. Always astute, Eileen recognized the new trend toward models who were not teeny-boppers but who were not yet so
Wallis Franken was among the first Ford models to sport one of Vidal Sassoon’s 60s-defining geometric haircuts. She was part of the trend started in 1965. Some of the new models were thinner, with dark, short hair which was a revolution in the modeling business. She started modeling at 16 when photographer, J. Frederick Smith, noticing Wallis’ coltish grace, friendly smile and breezy personality, offered to take a few pictures. With her parents’ permission he took a few test shots and showed them to Eileen Ford. Always astute, Eileen recognized the new trend toward models who were not teeny-boppers but who were not yet sophisticated women. This was called the Misses category.
Sometimes a model could do Junior, Misses and High Fashion. Most liked to stay in the junior category for as long as possible because of the lucrative catalog jobs, TV commercials and fashion ads that ran in Seventeen. There was always time to grow up and do Vogue and Bazaar.
Wallis had the girl next door looks, yet chic and always elegant. Her family was in the fashion industry. She had innate style and even as an up and coming unknown, WWD would snap photos of her in the street as an example of unique style. She immediately started working for the Teen magazines, the top ads, bridal magazines and Mademoiselle.
Wallis was always ahead of the times even in high school. She was wearing short skirts and colored tights when the other girls sported the collegiate look with loafers and knee socks.
In New York, she became very friendly with Susan Brainard, another young Ford model, who used to stay at the family apartment in Manhattan sometimes when it was too late to go home to Westchester. Modeling was a very respected profession and the Ford girls were the crème of the crop. Thousands of girls applied from all over the world, but Eileen Ford sought something extra, much more than good looks. The young women had to have self discipline and impeccable habits. Wallis and Susan were two of the lucky few. They dreamed of going to Paris together.
In 1966, Wallis was sent on a job for Ingénue Magazine to Greece with another new Ford discovery, Joan Thompson. She decided to come home via Paris because most of her model friends were there. There was plenty of work for young American models. As soon Wallis she saw the French city and was offered a modeling contract with Paris Planning, she was captivated and intrigued. She felt as if she had come home and indeed, Paris was to be her home for the next thirty years.
Signing with the Paris Planning agency, she caught on instantly with the French. Friends said she was a people pleaser; she would go out of her way to be nice. She was a favorite or the stylish set, renowned for her boisterous laugh, her flawless taste and her vivacious, care-free spirit. Flying to glamorous locations, making easy money the model’s life seemed a dream come true, and so it was.
Wallis had a natural grace and she was an elegant dancer. Legendary nightclub owner, Régine loved to have Wallis and some of her modeling pals dance at her renowned disco; New Jimmy’s every night to help attract a crowd. Even the French conceded: she had become a genuine Parisienne. She was never catty, or jealous, never competitive, but constantly sincere, creative, and ready for a good time.
Wallis was a catwalk queen in the 70s, before the era of the supermodel. Well-paid product-endorsement contracts for models were uncommon then but she had a great career doing everything from catalog to Vogue. She married the dashing Frenchman, Philippe de Hennigg a young Formulas Three racecar driver. Continuing her career, she quit going to nightclubs and settled down to a strenuous lifestyle of taking care of her family and working long hours as a model. “Une vraie Parisienne.”
She was a favorite of illustrious photographers like Steven Meisel and Tyen. Models and designers praised Wallis Franken’s innate sense of style. More than a model she was like an inspired fashion editor. If designers put an outfit on Wallis, they would know immediately if it was right.
What kept her going was her vitality and her temperament more than her looks. The French were charmed by Wallis running around from booking to booking in overalls and clogs. She was the original “hippie vegetarian model,” who took her babies on shoots. She let her signature short bob grow long and lustrous. Her journeys took her on exotic trips. Wallis was a chameleon who loved to act for the camera, to become what photographers asked her to be. By this time she and her family were living in the country outside Paris.
In 1976 Runway Star Wallis’s life changed dramatically. She met the up-and-coming designer Claude Montana in Japan where she appeared in 21 fashion shows in 21 days. By now she was a legend in the modeling world. Designers clamored for her, and in the 1978 season she reportedly did more shows than any other model, a breath of fresh air. As a muse to Claude Montana she was like a brilliant editor, well-ordered, razor-sharp, and empathetic. For the newly emerging Claude Montana, it was quite a coup to have Wallis Franken become his muse. He produced his first actual collection in 1977, and Wallis helped pave the way for him. Her knowledge of fashion and her instinct for style were vast. They became collaborators and friends.
Even as a grandmother, Wallis Franken was pretty cheeky. Her ageless beauty charmed Madonna who invited her to dance in her video Justify My Love. Wallis, clad in black leather was sensational.She continued to inspire the great photographers. Steven Meisel used her for the cover of Vogue Italia along with other of the star models of the Seventies and Karl Lagerfeld styled her as the embodiment of Coco Chanel.
She married Claude Montana several years later. For the wedding at the town hall in the Seventh Arrondissement, the bride wore a white satin cowboy jacket over a tunic and pants. The groom wore buckskin and snakeskin cowboy boots. The wedding took place during Fashion Week and all the important fashionistas were there.
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