To: pml1@yahoogroups.com
From: Mark Tomlonson
Date: Thu, 30 Oct 2003 09:24:36 -0500
Subject: [PML1] Classic Centerfold: Melissa Holliday

Sometimes a Centerfold is a Classic because it uses common elements and 
language with an extraordinary degree of skill and quality. But some 
centerfolds are Classic because they use uncommon elements with that 
same degree of skill. Such is the case with the January, 1995 photo of 
Melissa Holliday by Richard Fegley.

In other Classic Centerfold critiques I've mentioned the some of the 
more common elements of artistic expression - underlying compositional 
geometry, light, color, texture and so on. Melissa's centerfold has all 
these elements, and all of them are strong contributors to the success 
of the centerfold.

The composition consists of two triangles formed by Melissa's arms on 
either side of a horizontal line formed by her torso. The triangles are 
close enough to each other that the effect is a diamond in the center 
panel of the centerfold. This diamond draws our eyes not to Melissa's 
face, but to her beautiful breasts. Our eye is further drawn by the 
jeweled necklace delightfully wending its way among the curves and 
valleys. But the diamond is just the underpinning, the basic structure 
of a voluptuous and sinuous picture that echoes the erotic paintings and 
posters of Beardsley and Moucha of 100 years ago.

The lighting is even, with just enough shadow to define shape, and 
giving a cozy feel without being too warm. It's subtle, hard to 
duplicate at home and typical of Playboy's work in the '80's and '90's.

Also typical of the '90's is the color scheme. Lots of green and gold in 
the bedding and robe are an excellent contrast to Melissa's creamy skin 
and blonde hair. This "Cream and Green" combination is very much a part 
of our contemporary world, from trendy mail-order stores to automobiles 
to public rooms to railroad locomotives. It's a very attractive (to my 
eyes) combination, and it evokes feelings of richness and elegance. I 
wonder, though, if twenty years hence it will look as dated as the earth 
tones of the '70's look today? A small touch adding to the sense of 
elegance is the French cuffs on the robe, fastened with diamond links.

But the unique element that makes this centerfold a Classic is the use 
of pattern. Most centerfolds use form and shape to define themselves. 
But in Melissa's centerfold Richard Fegley uses a wavy or rippled line 
pattern over and over again as the design motif that ties the picture 
together. Melissa's golden hair cascades in waves over the pillow and 
her robe. The wave pattern is repeated in the pleats in the lapel of her 
robe, and further by the way the robe is arranged on the bedding. The 
robe's fabric has a moiré effect that extends the wavy motif even 
further. The bedsheets are rumpled, but not wadded into a ball - they 
too have been carefully arranged to repeat the wave motif. The wavy line 
is expanded into its most complex incarnation in the gold brocade 
pattern on the pillowcase. About the only thing in the photo not using a 
rippled line is Melissa's lovely body! But even then her head has been 
posed so that the outline of her nostrils forms a reverse curve.

The situation implied by the foldout is a common one. It would seem that 
romance is somewhere soon on the agenda, and the foldout is arranged to 
increase this sense of intimacy. The lighting is arranged to highlight 
the soft, downy hair on Melissa's stomach. You have to get pretty darn 
close to see this hair on a blonde woman in real life. Secondly all that 
waving and rippling bedding implies softness and a sense of envelopment 
as the viewer slips in between the folds with Melissa. Thirdly, Melissa 
is posed so that the softness, rather than the form, of her breasts is 
accentuated. Finally, on an almost subliminal level, the wave motif, 
especially in Melissa's hair and the pleats on the robe's lapel, 
simulates the natural waves and pleats of a woman's genitalia. All four 
of these elements, along with the sense of closeness and the image of 
losing oneself in the folds and ripples, make for a very intimate and 
pleasing setting.

It may just be me getting old, but what makes looking at this particular 
setting uncommon, and what makes it a Classic is that I find it as easy 
to fantasize myself making love to Melissa as it is to fantasize 
settling in for a good two-hour "cuddle". The directness of the sexual 
invitation varies among centerfolds, of course, but I don't remember one 
that seemed to be so deliberate about offering a range of possibilities.

It's been reported on this List that Melissa Holliday has had serious 
problems in her life since her appearance in front of Richard Fegley's 
camera. I'm sure all of us wish her a speedy return to better times.

Mark Tomlonson
Kalamazoo MI