Look Great In '75 B

a closeup of Shelley from a spread

on the JCPenney Fall And Winter 1975 catalog

Shelley appeared on many spreads for many catalogs from the late '60s to the mid-'70s. Mail-order catalogs were at the height of its popularity at the time. They were big-book size publications that contained a list of general merchandise from, usually, a department store that were available for purchase and delivery straight to the homes of consumers. Everything from homeware to toys were featured in these catalogs... as well as garments and the latest fashion pieces. Many Supermodels - like Cheryl Tiegs, Beverly Johnson, Patti Hansen and Shelley Smith, just to name a few - appeared in the most popular catalogs of the era. Many models who eventually became actresses also appeared in these catalogs - like Veronica Hamel, Erin Grey, Kim Basinger and Pam Dawber.

Shelley in a spread

for the JCPenney Fall And Winter 1975 catalog

Shelley appeared on many spreads throughout the JCPenney Fall and Winter 1975 catalog. In the section called "Look Great Without Spending A Fortune," she modeled fashion pieces that could be incorporated into any woman's present wardrobe to give it a fresh, new, high-end and updated look. And, of course, the pieces were so budget-friendly, women wouldn't think twice about buying an armful of them. Over a white long-sleeved shirt, she wore the Pinwale Corduroy Pants which had an elasticized waistband, fly-front zipper, extended tab-and-button closure and flared legs. She topped her outfit with the Multi-Toned Striped Cardigan which had a V-neck, long ribbed sleeves, rib-knit turn-back cuffs and rib-knit bottom and button-placket front. She finished her outfit with the Corduroy Slip-on Shoes that had 4-inch wedged heels. And Shelley looked chic, high-end and so gorgeous on the spread.

Dairy County, Not Chic

Shelley with her dogs

at her farm in upstate New York, 1979

Shelley became a Supermodel in the mid 1970s and was one of the highest-paid models in the modeling world. She appeared in countless magazines and newspapers and did interviews left and right. She was known throughout the world as THE Charlie Girl and was making a fortune for herself and for Charlie perfume. "My father encouraged me to invest my money," she recalled. So Shelley put her earnings into a 244-acre farm in Catskill, New York. "It's dairy county, not chic," she told People magazine in 1979. She renovated the place herself. And, there, she smoked fish, grew vegetables, flowers, herbs and roots; she pressed her own cider; she made her own preservatives jams, jellies and chutneys; and she baked her own bread and pies. "It's a nice contrast to put on my barn clothes and go out and slosh," Shelley explained. She used it as a weekend retreat - away from the hustle and bustle of city life.

Shelley with her dog

at her farm in upstate New York, 1979

Makeup 1971 J

Shelley wearing Makeup Style no. 7

from a spread for Glamour magazine,

September 1971

Shelley appeared on many magazine covers and spreads throughout her modeling career. In September of 1971, she appeared in a spread for Glamour magazine called "Makeup - How Far Do You Want To Go?" It featured seven recommended makeup styles that went from the barest look to the totally made-up face - choices that depended on the readers' preferences and moods. In the spread, Shelley wore makeup from Charles Revson's Great Designer Reds for 'Ultima' II. Maxine Van-Cliffe was the designated makeup artist. And in all the makeup styles, Shelley looked sensational.

Shelley was featured in a spread

for Glamour magazine's September 1971 issue

Shelley was featured in a spread

for Glamour magazine's September 1971 issue

Personal Foul 9

screen captures from the Jack and Mike

episode "Personal Foul," 1986

Shelley's third foray into series TV was Jack and Mike. 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 widely-circulated Chicago paper. Her column was awaited by everyone every week. Her husband was Mike Brennan (played by Tom Mason), a successful restaurateur. Other cast members were: Nora Adler (Jacqueline Brookes), Jackie’s editor;  Anthony Kubecek (Kevin Dunn), Jackie's assistant; Carol (Holly Fulger), the head waitress at Mike's restaurant, Brennan's Grill; and Rick Scotti (Vincent Baggetta), an attorney who appears occasionally. In the episode "Personal Foul," a college professor is suspended for trying to flunk the school's star basketball player, and Mike is upset that Jackie's covering the story, since it's his alma mater and he's the team's No. 1 supporter. The episode was originally aired in September 30, 1986.

screen captures from the Jack and Mike

episode "Personal Foul," 1986

To continue, Mike is having a hot water problem at Brennan's Grill; they have no hot water for that evening, as the problem could only be completely fixed by the next morning. Mike has Carol call the a neighboring restaurant for help with their predicament. In the middle of the crisis, Jackie comes into the restaurant to inform Mike about her meeting with Prof. Powell earlier and what she found out about Lincoln U's star basketball player Andrew Taylor. She wanted to inform him that she was going to write about it and the article will be out that evening. But Mike is so distracted with the goings-on in the restaurant that he isn't able to pay attention to what Jackie is trying to tell him. He leaves her for a moment to see into what his staff are all doing in the kitchen. He catches his new waitress, Belinda, doing an impromptu comedy routine in front of the restaurant staff. Mike breaks it up and rushes back to Jackie. But Carol tells him that Jackie had to rush back to The Mirror in order to make her deadline.

screen captures from the Jack and Mike

episode "Personal Foul," 1986

Coat of '74

a closeup of Shelley

from a spread for Vogue, Sep '74

When Shelley graduated from Smith College in 1970, she decided to become a model full-time. Represented by the top model management company, Ford Models Inc., she began her transition from teen model to top model (and eventually to Supermodel.) Her then boyfriend, photographer Steen Svensson, and make-up artist extraordinaire Rick Gillette came up with test shots of Shelley in the early '70s with the hope that the images could get her on the pages of Vogue and Harper's Bazaar - which eventually happened. She appeared on both the US and international editions of the magazines. According to Rick, "In the early 70’s before "Charlie", before "Charlie’s Angels", Shelley Hack was an ex-teen model looking for a more sophisticated look to get her into Vogue. I was creating a portfolio with the same goal in mind." By the late 1970s, Shelley was a certified Supermodel.

a pic of Shelley

from a spread for Vogue, Sep '74

Shelley appeared on the pages of Vogue's September 1974 issue. In the spread called "The New York Collections: The Undercoat Life All Around Town," she wore a fur-trimmed coat that looked so good, it could be worn on its own. The fur-collared wrap coat was in oatmeal tweed and had a notch-lapel type collar in silky fluffy fox fur. The Nat Kaplan coat was below the knee in length and had a self-tie belt. A printed blouse, dark hose and classic pumps finished her look. A textured scarf, a leather clutch bag, and leather gloves accessorized her look. And Shelley looked every inch the Supermodel she had finally become.

Image + Radio

Shelley on the cover of Bild + Funk

(Image + Radio), Aug 1988

Shelley's second foray into series TV was Cutter to Houston. It was about three young doctors recruited to run a small hospital in the fictional rural town of Cutter, Texas. Shelley played Dr. Beth Gilbert, an ambitious surgeon who aspired to practice at a big hospital in Houston. The series was aired in Germany in 1988 as Die Texas-Klinik (The Texas Clinic) and was a huge hit. Many German-language magazines featured covers and writeups about Shelley in 1988, and one of them was Bild + Funk (Image + Radio). Their August 1988 issue had Shelley on the cover and a promo/writeup called "Drei Ärzte für Texas" ("Three Doctors For Texas") inside the mag. Unfortunately, the short run of the series in the US limited the episodes to just nine in total. It left German fans wanting more.

Shelley with Alec Baldwin

and Jim Metzler in a writeup/promo

for Cutter to Houston (Die Texas-Klink)

from Bild + Funk mag, 1988

Call The Play

a closeup of Shelley from a spread

on Simplicity Young Ideas Catalog's

Fall-Winter 1972 issue

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. Shelley appeared in Simplicity Young Ideas Catalog's Fall-Winter 1972 issue.

Shelley in a spread

on Simplicity Young Ideas Catalog's

Fall-Winter 1972 issue

In the issue, Shelley appeared in the spread called "Sew! You You Call the Plays!" - which featured fashion pieces that could be put together into a cohesive, easy to mix-and-match wardrobe set. The basics featured were tops, skirts and pants that could be planned and constructed (through smart fabric choices and fabric pairings) into fabulous wardrobe separates that mixed well with each other. Shelley wore Simplicity pattern number 5148  which was a shirt with top-stitching and a shaped lower edge. It had a front button closing, forward shoulder seams, shirt-type collar, and long set-in sleeves that gathered to cuffs. She wore it over Simplicity pattern number 5269 which was a reversible mini wrap-skirt that had braid encasing at the waistline edge which formed ties ends. It could be tied either in front or at the back. Over the shirt she wore Simplicity pattern number 5270 which was a top/blouse that had center, back and side seams, a U-shaped neckline with a back opening and short kimono sleeves. A beret accessorized with a brooch, matching hose and footwear finished her look.  A silver pin at the hem of her blouse gave her look a fancy young touch. Shelley looked fab and ready to call the play.