They asked me to change my name. I suppose they were afraid that if my real name Diana Fluck was in lights and one of the lights blew…
Diana Dors (born Diana Mary Fluck 23 October 1931 – 4 May 1984)
I will admit that I love all things camp and kitsch. I do try to keep a firm check on my purchase of animal print clothes despite my secret admiration for the wardrobe of Dorien Green (Lesley Joseph) in Birds of a Feather. My husband, a potter, has a strict no-ornaments- unless-he-or-one-of-his-friends-has-made-it rule. He has placed a restraining order against any of the Royal Doulton ladies passed on by my gran entering our home. (I particularly loved this one, sad but true.)
Growing up in the Seventies and Eighties in Britain it is probably no surprise that I have a fondness for kitsch. I recall that the tabloid press were obsessed intermittently with one or another of the famous blondes of the time – i.e. Diana Dors, Barbara Windsor and Paula Yates.
Each of them are excellent examples of the gritty yet camp British interpretation of the Hollywood blonde bombshell.
As a non-blonde, non-buxom person I once aspired (and possibly still aspire to the over the top sex appeal displayed by these ladies.) Interestingly though for someone packaged and delivered to the public as an over made-up, artificial studio starlet, Diana Dors had the ability to look and to act completely naturally on screen. In one of my favourite films, Yield to the Night (1956) she plays the role of a woman sentenced to hang for the murder of her lover with incredible restraint and skill.
Diana, Barbara and Paula Yates are the kind of women who went grocery-shopping in marabou mules. Today I pay tribute to them with my boudoir heels bought ironically enough in staid UK high street store BHS.