Grant Harper: One thing about New York - its restaurants. They are the greatest.
Colette Ferrier: I love everything about New York. One could conquer the world from this city.
Grant: How's our weather been treating you? Too cold?
Colette: Not at all. It's very much like Switzerland - crisp, clear, very healthy.
Plot line purposes brought Lauren Hutton on the set of 'Paper Dolls' as Nancy Olson's character departed due to lack of storyline. "Ferrier (Cosmetics) in America is my father's (Emil) great dream and now it's mine and I want to do it the American way," Colette told Grant in one scene. In another, Grant indicated he would like to buy Ferrier Cosmetics arguing, "Why should we spent millions expanding into Europe? If we buy Ferrier, the job has already been done for us."
It was mentioned Harper Cosmetics which earned $29 million a year had spent $17 million launching the Expectations perfume in Europe but revenue showing the product was still earning more than half less than Ferrier Cosmetics. Colette indicated she would sell Ferrier Cosmetics to Harper World Wide but insisted on retaining full creative control and "I want my products manufactured in America not in Europe."
Grant told Wesley in one scene he would not consider importing Ferrier because "that was the problem Ferrier has 5 years ago (in 1979). There's too much government red tape if we import." At a staff meeting, Grant announced he would allocate $3 million for budget to launch Harper Cosmetics new Tangier perfume line domestically. 'Paper Dolls' gained momentum during the 1984 Olympic Games in Los Angeles.
Leonard Goldberg recounted, "When we started shooting in New York this summer, the promos started appearing on ABC, and in a few days we had thousands of spectators on our locations. Our producer, Michele Rappaport, asked one woman why she was there, and the woman answered, 'I love this show.' Michele said, 'I don't think it's on the air yet.' The woman was very adamant and replied, 'Yes, it is, I saw it during the Olympics.'
"Now all we have to do is make 22 twelve-second spots, and we'll have a hit. The only problem is that the network gets this feedback and starts to believe it. They're convinced the show is going to be a smash. Our first several weeks will be bumpy. I just hope the network stays with the show, because if they do, I think we have a chance. TV has never done a show built around the world of fashion, and I think that arena will be attractive to people."
Then 70, Lauren Hutton described of meeting Diana Vreeland the first time to 'Vogue' magazine in 2014, "'You have quite a presence,' Vreeland told me. I did not know what presence meant. I figured it was good. I said, 'Yes ma'am, so do you.' She said, 'You stay after.' I opened my book and she said, 'I think I'll call Dick (Avedon).' I went around and told all the photographers I wanted a beauty contract. Dick (Avedon) said to make it an exclusive contract, and next thing you know, I was making a million bucks in 3 years. I only worked 20 days a year."
In the 'Interview' magazine in 2013, Lauren also pointed out, "We worked by the hour—we made $60 an hour—and we rushed from one job to the next and we had half an hour in between to get someplace. If you got a whole-day job once every two weeks, then that was a great thing, but mostly we worked by the hour. Sometimes we did 'Vogue' covers in two hours, and for a 'Vogue' cover, you'd do your own makeup, but you'd have a hair person there.
But there was a turning point where I was finally taken on by an agency. There were only about 5 agencies back then and maybe 300 working models in New York, and we all pretty much knew each other. Now (in 2013) there are probably 35 agencies and who knows how many thousands of working models."
