Hat, Scarf and Mittens '74

pics of Shelley in Simplicity Pattern no. 5885

from a spread on the Simplicity Craft Catalog, 1974

Shelley appeared on many Simplicity pattern catalogs, brochures and packaging during the 1960s and 1970s. The Simplicity Pattern Company is the leading manufacturer of sewing patterns and sewing pattern guides which are distributed throughout the world. They have been manufacturing sewing patterns since 1927 and have allowed fashionistas on a budget and sewing aficionados to create clothes in a reliable manner. In 1974, she appeared on the cover of the Simplicity Craft Catalog and on several spreads within the catalog.

Shelley on a spread that appeared

on the Simplicity Craft Catalog, 1974

Shelley appeared on the spread which featured Simplicity Pattern no. 5885. It was a pattern for a Crocheted Hat, a Scarf and a pair of Mittens. On the spread, Shelley wore two versions of the Crocheted Hat and one pair of the Crocheted Mittens. The hat had a rolled ribbed cuff and looked great worn pulled down or towards the back of the head. The mittens also had ribbed cuffs. Shelley wore white versions of the hat and mittens with a black turtleneck sweater which she topped with a shiny red jacket. She wore a green version of the hat with a red turtleneck sweater. And Shelley looked fab in both versions.

pics of a young Brooke Shields

in Simplicity Pattern no. 5884 from a spread 

on the Simplicity Craft Catalog, 1974

Also on the spread was a very young Brooke Shields. Brooke was also represented by Ford Models Inc., Shelley's modeling agency. Ford Models matriarch Eileen Ford said of Brooke, "She was the best in our children-models department." Brooke modeled Simplicity Pattern no. 5884, which was also for a Crocheted Hat, a Scarf and a pair of Mittens. Brooke modeled all three pieces and looked absolutely adorable in them. Of course, Brooke Shields became a huge name in the modeling industry herself by the dawn of the 1980s. Both Brooke and Shelley became Supermodels and cultural icons in their own right. For more, check out: Best-Built Fords

Photoplay Interview '86

Shelley in the magazine show Photoplay, 1986

check it out at:

Photoplay- September 25, 1986 (most)

https://www.youtube.com/watch?v=CvvEIE1ppoQ

Thank you to pannoni14 for posting

United Support of Artists for Africa (USA for Africa) was the name used by 45 U.S. artists (joined by Canadian Dan Aykroyd and Irishman Bob Geldof) when they recorded the phenomenal hit single "We Are the World" in 1985. Profits from the project went to the USA for Africa Foundation and was used for the relief of famine and disease in Africa. The endeavor opened people's minds to the idea of performers speaking out, of entertainers using their fame to take a stand and using it for a good cause. The magazine show Photoplay tackled this subject in one segment of their September 25, 1986 episode - using footage from the 1985 USA for Africa music video hosted by Jane Fonda. Shelley Hack, Charlton Heston, Whoopi Goldberg, Carroll O'Connor, Ed Asner, Howard Hesseman and Barbra Streisand appeared in the segment, with words to say about the subject.

screen captures of Shelley

from the magazine show Photoplay, 1986

Thank you to "Shelley Hack capturas" on FB

for posting the screencaps

In the Photoplay episode, Shelley had this to say about the subject:

"I think I'm a person who takes stands on public issues. I'm always a little confused by the idea of a performer who takes stands on public issues. I must say that I think that people who are in my business have an enormous gift in that we deal with the media and the media is enormously powerful. And you can use it for entertainment. You can also use it for education and for good. And I think it could be used for all three things at the same time."

Shelley began delving in grassroots politics and political fund-raising in the 1990s. In 1994, she set her sights on a county Democratic Central Committee seat in the Westside and San Fernando Valley district but was disqualified due a signature-gathering technicality (She came down with the flu and her surrogate signature-gatherer didn't live in the district.) She would receive her MBA from the New York Institute of Technology (NYIT) and, in 1997, she formed Shelley Hack Media Consultancy (SHMC), a media consultancy firm that worked internationally in pre- and post-conflict countries. She would go into war-torn countries and help them establish democracy through media. She worked extensively in Eastern Europe and Western Asia and traveled all over the world. She became a member of the Pacific Council on International Policy (PCIP) whose mission was to give a more effective voice to West Coast perspectives on critical global policy issues. She also spent two years working with the largest media conglomerate in Eastern Europe helping to develop and build the infrastructure for a new state of the art film studio complex in the region.

screen captures of Shelley

from the magazine show Photoplay, 1986

Thank you so much to "Shelley Hack capturas" on FB

for posting the screencaps

Trickier

Shelley in an ad for Napier, 1976

Shelley appeared in many ads for Napier in the mid-1970s (The Napier Co. is an American jewelry manufacturing company that specialized in fashion-forward and affordable jewelry designs). In 1976, she appeared in the ad with the tagline "Napier is Trickier" where she modeled one of four designs of double geometric-style earrings. She wore the version which had a golden finish. The four earring designs were all available in both golden and silvery finishes. And Shelley, as always, looked sensational in it. For more, you can check out Shelley's other glamorous and fabulous Napier ads at: Tonier,  Gleamier,  Moodier,  Sterling,  Sassier and  Glossier.

a pic of Shelley from an ad for Napier, 1976

Trackdown Telefilm 4

screen captures from the telefilm

Trackdown: Finding the Goodbar Killer, 1983

October 2023 will be the 40th anniversary of the telefilm Trackdown: Finding the Goodbar Killer. Initially released on October 15, 1983, the film was based on the case that inspired the Judith Rossener novel Looking for Mr. Goodbar. Based on the brutal and shocking murder of Roseann Quinn in January of 1973 (Quinn was a late-20s schoolteacher for deaf children in New York City), this particular telefilm was a dramatization and recreation of the investigation into the 1973 homicide - with Quinn renamed Mary Alice Nolan. In the film, George Segal played New York detective John Grafton who only had a cartoon drawing found at the crime scene as lead. In the course of his investigation, he meets Logan Gay (Shelley Hack), Mary Alice's friend and co-teacher. Logan would later help Grafton in his investigation. Tracy Pollan played Eileen Grafton, John Grafton's daughter.

screen captures from the telefilm

Trackdown: Finding the Goodbar Killer, 1983

1983 was a landmark year for Shelley. It was the year she starred in the Martin Scorsese feature film The King of Comedy with Robert De Niro and the filmed-for-TV play Close Ties. It was the year she starred in Found Money alongside comedy greats Dick Van Dyke and Sid Caesar. It was also the year she starred in her second TV series, Cutter to Houston, with Alec Baldwin and Jim Metzler. And it was the year she starred in Trackdown: Finding the Goodbar Killer with industry veteran George Segal (in his first made-for-TV movie). The best part was, Shelley received critical acclaim for all her acting efforts for that year.

screen captures from the telefilm

Trackdown: Finding the Goodbar Killer, 1983

Hit Colors of the Year

gorgeous Shelley in a promo pic

for Charlie perfume, 1979

Shelley was THE quintessential Charlie Girl and appeared in many, many ads for the brand around the world. In 1980, she appeared in a German-language ad that presented and promoted the New Super Hit Colors of the Year from the Charlie Collection - Jazzy Lilac, Bongo Berry, Punk Pink, Boogie Woogie Blue, Rose Sonata, Be Bop Grape, Rock 'N Roll Red, Fantasia Plum and Keyboard Curry. Included in the ad was The Charlie Hit Parade Competition, a promo that was a tie-up between the Charlie Collection and the Charlie Hit Parade musical album. The grand prize was an all-expense paid trip for two to Luxembourg. Bottles of The Top-Hit by Charlie, a giant size version of Charlie Eau de Cologne, were also being given away as prizes. Of course, Shelley appeared in the ad, Charlie Girl gorgeous as always. (Check out the French-language version of the Charlie Hit Parade promo ad at: Setting the Tone)

Shelley in a German-language ad promoting

Charlie perfume and the Charlie Collection

as well as the Charlie Hit Parade musical album, 1980

The German text in the ad translates as follows:

CHARLIE HIT PARADE

Charlie presents:

The New Hit Colors of the Year!

There's a melody to them! And they're all here!

The Top-Colors for the young, bold, confident and carefree Charlie girls.

The delightful Melodic-Color Hits for disco-dancing,

sporting activities and even work.

Now available at every Charlie counter!

Great prizes in the big Charlie Hit Parade Competition:

Choose your Charlie Color Hit!

On each entry form, you will find the complete

Charlie Hit Parade musical selection

with each song corresponding to a Melodic-Color Hit.

You just have to pick your favorite,

cross it out, and you're all set to take part in the big competition.

Grand Prize:

A Weekend Trip to Luxembourg (for two people)

Of course, first-class hotel accommodations

and everything else is included.

More Prizes:

Bottles of The Top-Hit by Charlie,

a very special giant size Charlie Eau de Cologne.

Entry forms are now available at every Charlie counter.

Or order them directly from:

Charlie GmbH, Mundelheimer Weg 34. 4000 Dusseldorf 30.

Submission date is October 15, 1980.

Filming Angel Hunt

Shelley on a break

from filming the Charlie's Angels

episode "Angel Hunt," 1979

Shelley became Charlie's Angel Tiffany Welles in 1979. After a long search, executive producers Aaron Spelling and Leonard Goldberg chose Shelley to fill the spot vacated by Kate Jackson in the spring of 1979. Shelley said, "I remember there was a big Angel hunt going on, and they asked me to audition. The hunt seemed to go on for a long time. A lot of my girlfriends went in to be tested, but I wasn't involved until sometime later when my agent called and said, 'It's a terrific show - you really should think about testing.' So, I thought about it again and went in."

Shelley and Cheryl Ladd (that's her leg) on a break

from filming the Charlie's Angels

episode "Angel Hunt," 1979

The second episode she filmed for the series was "Angel Hunt". Filmed in August of 1979, parts of it were shot on location at Zuma Beach in California (where the paparazzi and fans had a field day taking snaps of the Angels as they were filming). As mentioned in Mike Pingel's book Channel Surfing: Charlie's Angels, in the scene where she was up a tree, Shelley remembers being left up that tree when the whole crew broke for lunch (How could they do that?). And in the scene where she fell into the water, she swallowed some of it, so she was given a hepatitis shot.

Shelley and Cheryl Ladd (that's her shoulder)

on a break from filming the Charlie's Angels

episode "Angel Hunt," 1979

McCall's Booklet A

a closeup of Shelley from a spread

for the Carefree Patterns From McCall's booklet, 1974

Shelley appeared on the pages of the Carefree Patterns From McCall's booklet, the July/August 1974 issue. The booklet was a condensed version of the big book catalog and it featured spreads with models wearing the latest fashion patterns from McCall's for that season. Shelley appeared on several spreads throughout the booklet. In the spread called "New Under The Sun: The Long And Short Of It," she modeled a long, body-hugging summer dress, McCall's Pattern no. 4103. It was a long dress (that could also be made shorter, as preferred) with a scooped out back as well as sides. It was designed for unbonded stretchable knit fabrics and had buttoned back straps and an elastic in the back waistline casing. A matching headband, a bracelet and heeled espadrilles finished her look. With Shelley in the spread was Patti Hansen (who later married musician and songwriter Keith Richards of The Rolling Stones). And both Supermodels were super gorgeous in the spread.

Shelley with Patti Hansen in a spread

for the Carefree Patterns From McCall's booklet, 1974

Crocheted Tops '74

a pic of Shelley in Version 1

of Simplicity Pattern no. 6065

from a spread on the Simplicity Craft Catalog, 1974

Shelley appeared on many Simplicity pattern catalogs, brochures and packaging during the 1960s and 1970s. The Simplicity Pattern Company is the leading manufacturer of sewing patterns and sewing pattern guides which are distributed throughout the world. They have been manufacturing sewing patterns since 1927 and have allowed fashionistas on a budget and sewing aficionados to create clothes in a reliable manner. In 1974, she appeared on the cover of the Simplicity Craft Catalog and on several spreads within the catalog. Check out: Craft Catalog 1974

Shelley on a spread that appeared

on the Simplicity Craft Catalog, 1974

Shelley appeared on the spread which featured Simplicity Pattern no. 6065. It was a pattern for Crocheted Tops that could be worn during the day or on a night out in town, on its own or as a vest to finish an outfit. The dressy casual pullovers could be made quickly using the traditional broomstick lace stitch. She wore two versions of the Crocheted Top. She wore Version 1, a Crocheted Top with 2 colors of mohair yarn - one in a solid color and one in a variegated color. She wore it over a long-sleeved turtleneck sweater and pants ensemble and accessorized it with a matching necklace. She also wore Version 4, a Crocheted Top with one color of mohair yarn - in tweed. She wore it over a long-sleeved collared shirt and pants ensemble and accessorized it with a matching scarf around her neck. In both versions, Shelley looked spectacular.

a pic of Shelley in Version 4 

of Simplicity Pattern no. 6065

from a spread on the Simplicity Craft Catalog, 1974

From Consultant To Producer

a paparazzi pic

of Shelley at a 1982 event

with Canadian producer Pierre David

Shelley had always been interested in not just acting in front of the camera but on the goings-on behind it. Although she was determined to grow as an actress, she was always open to learning more about what it was like to be on the other side of the camera. She said about her stint on Charlie's Angels, "The series was good for me because I learned a lot of technical stuff involving cameras and lights." In 1980, Canadian film producer and film financier Pierre David hired her as a consultant for one of his films. Check out: Consultant 1980 David is best known as executive producer of the films Scanners (1981) and Videodrome (1983). Shelley had been spotted by the paparazzi with David at several events during the 1980s. In fact, Pierre David was the executive producer of the film feature Blind Fear (1989) which starred Shelley. In 1997, Shelley formed Shelley Hack Media Consultancy (SHMC) a media consultancy firm that worked in pre- and post-conflict countries. Then she would eventually become a producer herself. In 2010, Shelley and her husband Harry Winer would become co-presidents at their very own production company called Smash Media Inc.

a paparazzi pic of Shelley at a 1982 event

Art of Sewing 1974

a pic of Shelley from an ad

for the book series The Art of Sewing, 1974

Shelley appeared on on many magazine covers, fashion spreads and ads during her tenure as Supermodel. In 1974, she appeared on an ad for book series The Art of Sewing. The book series by the editors of Time Life Books featured sewing and needlecraft techniques which catered to both experts and beginners. It featured professional secrets that brought about great results when sewing by hand or machine, knitting, crocheting, embroidering, doing macramé or any kind of stitchery. It featured instructions on creating everything, from clothes to draperies. Shelley appeared on the volume called The Personal Touch. Check out: Proclaiming Yourself and The Personal Touch

Shelley in an ad for the book series

The Art of Sewing, 1974

Trackdown Telefilm 3

screen captures from the telefilm

Trackdown: Finding the Goodbar Killer, 1983

October 2023 will be the 40th anniversary of the telefilm Trackdown: Finding the Goodbar Killer. Initially released on October 15, 1983, the film was based on the case that inspired the Judith Rossener novel Looking for Mr. Goodbar. Based on the brutal and shocking murder of Roseann Quinn in January of 1973 (Quinn was a late-20s schoolteacher for deaf children in New York City), this particular telefilm was a dramatization and recreation of the investigation into the 1973 homicide - with Quinn renamed Mary Alice Nolan. In the film, George Segal played New York detective John Grafton who only had a cartoon drawing found at the crime scene as lead. In the course of his investigation, he meets Logan Gay (Shelley Hack), Mary Alice's friend and co-teacher. Logan would later help Grafton in his investigation. Tracy Pollan played Eileen Grafton, John Grafton's daughter.

screen captures from the telefilm

Trackdown: Finding the Goodbar Killer, 1983

1983 was a landmark year for Shelley. It was the year she starred in the Martin Scorsese feature film The King of Comedy with Robert De Niro and the filmed-for-TV play Close Ties. It was the year she starred in Found Money alongside comedy greats Dick Van Dyke and Sid Caesar. It was also the year she starred in her second TV series, Cutter to Houston, with Alec Baldwin and Jim Metzler. And it was the year she starred in Trackdown: Finding the Goodbar Killer with industry veteran George Segal (in his first made-for-TV movie). The best part was, Shelley received critical acclaim for all her acting efforts for that year.

screen captures from the telefilm

Trackdown: Finding the Goodbar Killer, 1983

Hip-Two-Three Bag

a closeup of Shelley from a promo pic

for Charlie's Hip-Two-Three Bag, 1976

Shelley was THE quintessential Charlie Girl and appeared in many, many ads for the brand. In 1976, she appeared in a newspaper ad for Charlie called "Charlie's Hip-Two-Three Bag. (It's Very, Very Hip)." It was for a promo for the Charlie perfume, skin care and cosmetics line with a great little bag as dividend. The fashion-right and fashion-bright bag could be worn around the waist, slung over the shoulder or held as a clutch - it could be carried around everywhere. Inside, it contained Charlie Body Silk, Charlie Extra-Extra Shine Lipstick and Charlie Concentrated Perfume Spray. Valued at $27.00, it was available for just $5.00 for any $5.00 purchase from the Charlie collection. Of course, Shelley appeared in the ad, Charlie Girl hip and gorgeous as always.

Shelley in a newspaper ad

for the Charlie perfume, skin care

and cosmetics line, 1976

Grows Through The Play

Shelley in a promo pic from the 1980s

Shelley played Billie Dawn in Pennsylvania Stage Company's 1982 staging of Born Yesterday in Allentown, Pennsylvania. After her other stage triumph in Vanities and and her critically-acclaimed performance in Martin Scorsese's The King of Comedy, Shelley tackled stage once again. "Billie Dawn is a complex character who grows through the play," Shelley said, "and that's a challenge for any actor." Shelley added, "Every actor likes to do a variety of things - television, movies, stage. I like the theater because you have the live audience." The play ran from September 29 to October 24 of 1982. Michael O. Smith and Fritz Sperberg were Shelley's co-stars. As for Shelley's performance in the play - she received glowing reviews.

a writeup about Shelley from 1982

C&C Fanny Sweaters C

closeups of Shelley from a pic

on Fanny Sweaters: Coats & Clark's

Studio Card No.10, 1973

In 1973, Shelley appeared on Fanny Sweaters: Coats & Clark's Studio Card No.10, which featured instructions on how to knit sweaters that were long enough to cover the fanny. The studio card was a back-to-back-printed 4-fold leaflet with Shelley modeling the various fanny sweater designs on one side and instructions on how to make them on the other. She wore the Knit Pullover and Cap set (Design A) - a long-sleeved turtleneck sweater with a self-tie belt around the hips that could be made with a matching skull cap. She also wore the Crew Neck Crochet Pullover (Design B) - a long-sleeved crocheted sweater with a crew neck and jagged-stripe detailing. She wore the Knit Cardigan (Design C) - a white long-sleeved cardigan sweater with red and black stripe details around the neckline and in front, as well as around the cuffs. And under the Knit Cardigan, she wore the Pullover Top (Design D) - a white sleeveless knitted top with red and black stripe details around the V-neckline and around the hips. And in all designs, Shelley looked downright chic and modern.

Shelley on the 4-fold leaflet

Fanny Sweaters: Coats & Clark's

Studio Card No.10, 1973

Dritz Product Packaging

a closeup of Shelley

from the product packaging

of the Dritz Electric Scissors, 1971

"The clients respond to my all-American face," Shelley told Cosmopolitan magazine in 1974. She added, "As far as (my father) was concerned, I was in business, the business of selling my face." Her mother, a former model herself, taught her to respect her face and figure. And her face was everywhere - on magazines, on television and even on product packaging. In 1971, she appeared on the box cover/product packaging of the Dritz Electric Scissors. A product by Scovill, the hand-held electric cutting devise had stainless steel blades and came with an 8-foot long cord. It was a useful tool for sewing aficionados as it could cut an entire dress pattern in a fraction of the time. It eliminated fatigue and was deemed safe to use.

Shelley on the product packaging

of the Dritz Electric Scissors, 1971

On the box cover, Shelley wore Simplicity Pattern No. 2910, a pattern design that could easily be made with the use of the Dritz Electric Scissors. The pattern was for a dress or a tunic & pants ensemble - whichever the preference of the maker. Shelley wore the dress version on the box cover. The dress had short sleeves, a contrasting collar and contrasting front bands that buttoned up. Part of the pattern too was a belt that gathered around the waist and into the buttoned bands. A matching scarf finished her look. And Shelley looked modern, fresh and just perfect for the box cover of the handy sewing gadget.

a pic of Shelley

from the product packaging

of the Dritz Electric Scissors, 1971

Fragile But Strong

Shelley on the cover of Neighbors, 1986

Shelley's third foray into series TV was Jack and Mike in 1986. It was about a married yuppie couple living in Chicago, trying to find time for each other in their busy schedules. Shelley played Jackie Shea, a star columnist at The Mirror, a fictional Chicago newspaper. Shelley admitted she loved working on Jack and Mike. "I saw in the script a modern woman who really loves her job and really loves her husband and is trying to balance the two," she told ET in 1986. "I read this and I liked it so much," she added, "that I signed on the dotted line for five years, which is a big chunk of your life. And you don't sign on the dotted line for five years unless you really, really want to do it." And Shelley was no stranger to series TV. Prior to Jack and Mike, Shelley survived several other TV series. She played detective Tiffany Welles for one season on Charlie's Angels. She worked hard on her character Dr. Beth Gilbert on the short-lived but critically well-received Cutter To Houston. And she worked equally hard on her character public defender Christine Sullivan on the sitcom Night Court, which she eventually pulled out of at the last minute (as she felt her character's role had changed somewhere between her first meeting with the producers and her first day on the set). Yet through it all, Shelley was undaunted and took everything in stride, moved forward and allowed herself to grow from her experiences. This delicate beauty was one fiercely strong woman.

a writeup about Shelley from 1986

A Top Ford Supermodel

a glamorous pic of Shelley from 1979

Shelley was spotted by A&P supermarket heir Huntington Hartford at a debutante ball when she was just 14 years old and he urged her to try modeling. Shelley wasn't interested at first. But then she was taught never to close doors on opportunities that came her way; so she decided to take a peek. She ended up in model agent Eileen Ford's office in New York (her mother, a former model herself, and Mrs. Ford were acquainted); and the rest is history. She became one of the top Ford Supermodels of all time and one of the first models to sign those lucrative and exclusive modeling contracts. For Shelley, modeling was a means to an end though. Eileen Ford said of Shelley, "Modeling was just a vehicle she used to get educated. It was never a thing where she wanted to be the best model in the world. She simply became one of them despite herself."

a glamorous pic of Shelley from 1979

Trackdown Telefilm 2

screen captures from the telefilm

Trackdown: Finding the Goodbar Killer, 1983

October 2023 will be the 40th anniversary of the telefilm Trackdown: Finding the Goodbar Killer. Initially released on October 15, 1983, the film was based on the case that inspired the Judith Rossener novel Looking for Mr. Goodbar. Based on the brutal and shocking murder of Roseann Quinn in January of 1973 (Quinn was a late-20s schoolteacher for deaf children in New York City), this particular telefilm was a dramatization and recreation of the investigation into the 1973 homicide - with Quinn renamed Mary Alice Nolan. In the film, George Segal played New York detective John Grafton who only had a cartoon drawing found at the crime scene as lead. In the course of his investigation, he meets Logan Gay (Shelley Hack), Mary Alice's friend and co-teacher. Logan would later help Grafton in his investigation. Tracy Pollan played Eileen Grafton, John Grafton's daughter.

screen captures from the telefilm

Trackdown: Finding the Goodbar Killer, 1983

1983 was a landmark year for Shelley. It was the year she starred in the Martin Scorsese feature film The King of Comedy with Robert De Niro and the filmed-for-TV play Close Ties. It was the year she starred in Found Money alongside comedy greats Dick Van Dyke and Sid Caesar. It was also the year she starred in her second TV series, Cutter to Houston, with Alec Baldwin and Jim Metzler. And it was the year she starred in Trackdown: Finding the Goodbar Killer with industry veteran George Segal (in his first made-for-TV movie). The best part was, Shelley received critical acclaim for all her acting efforts for that year.

screen captures from the telefilm

Trackdown: Finding the Goodbar Killer, 1983

Charlie Body Silk

Shelley in a promo pic for Charlie Body Silk, 1977

Shelley was THE quintessential Charlie Girl and appeared in many, many ads for the brand. In 1977, she appeared in a newspaper ad for Charlie called "Charlie Body Language." It was for a promo for Charlie Body Silk, Charlie's body lotion that had that familiar Charlie fragrance as it softened dry skin all over the body. The 8-ounce container came with its own convenient pump and was both handy and ready-to-use. Valued at $8, it was available for just $2.75 for any $5.00 purchase from the Charlie collection. And, of course, Shelley appeared in the ad, Charlie Girl gorgeous as always.

Shelley in a newspaper ad for Charlie Body Silk, 1977

Filming Her Second Episode

Shelley and Cheryl Ladd on a break

from filming the Charlie's Angels

episode "Angel Hunt," 1979

Shelley became Charlie's Angel Tiffany Welles in 1979. After a long search, executive producers Aaron Spelling and Leonard Goldberg chose Shelley to fill the spot vacated by Kate Jackson in the spring of 1979. Shelley said, "I remember there was a big Angel hunt going on, and they asked me to audition. The hunt seemed to go on for a long time. A lot of my girlfriends went in to be tested, but I wasn't involved until sometime later when my agent called and said, 'It's a terrific show - you really should think about testing.' So, I thought about it again and went in."

Shelley and Cheryl Ladd on a break

from filming the Charlie's Angels

episode "Angel Hunt," 1979

The second episode she filmed for the series was "Angel Hunt". Filmed in August of 1979, parts of it were shot on location at Zuma Beach in California (where the paparazzi and fans had a field day taking snaps of the Angels as they were filming). As mentioned in Mike Pingel's book Channel Surfing: Charlie's Angels, in the scene where she was up a tree, Shelley remembers being left up that tree when the whole crew broke for lunch (How could they do that?). And in the scene where she fell into the water, she swallowed some of it, so she was given a hepatitis shot.

Shelley and Cheryl Ladd on a break

from filming the Charlie's Angels

episode "Angel Hunt," 1979

C&C Fanny Sweaters B

a closeup of Shelley from a pic

on Fanny Sweaters: Coats & Clark's

Studio Card No.10, 1973

Shelley appeared on many leaflets, booklets and brochures for various fashion companies during her tenure as Supermodel in the 1970s. One of them was for Coats & Clark's, a sewing and needlecrafts products manufacturer. Aside from sewing and knitting products, the company came up with reading materials that contained sewing and knitting instructions as well as tips for interested readers and avid sewing aficionados.

Shelley on Fanny Sweaters:

Coats & Clark's Studio Card No.10, 1973

In 1973, Shelley appeared on Fanny Sweaters: Coats & Clark's Studio Card No.10, which featured instructions on how to knit sweaters that were long enough to cover the fanny. The studio card was a back-to-back-printed 4-fold leaflet with Shelley modeling the various fanny sweater designs on one side and instructions on how to make them on the other. She wore the Knit Cardigan (Design C) - a white long-sleeved cardigan sweater with red and black stripe details around the neckline and in front, as well as around the cuffs. Knitted detailing appeared on both the body and the sleeves. She wore it with a matching pair of red pants and accessorized it with a matching red bangle, a sports bag and a couple of tennis rackets. Under the Knit Cardigan, she wore the Pullover Top (Design D) - a white sleeveless knitted top with red and black stripe details around the V-neckline and around the hips. Knitted detailing appeared on the body as well. She wore it with a matching pair of red pants and accessorized it with a matching red bangle, a sporty bucket hat and a tennis racket. And in both, Shelley looked chic and modern.

a closeup of Shelley from a pic

on Fanny Sweaters: Coats & Clark's

Studio Card No.10, 1973