Sun Spectacle, May 1967 by Peter Rand
Traffic Queen, 1960 by Norman Parkinson
With the onset of the sixties, the readership of Vogue became younger and more adventurous. In response to this, Parkinson began to take more experimental shots, communicating to the readership the way that the clothes would move and look when worn out and about.
Phone Box, London, 1963 by Norman Parkinson
During the 1960's, Parkinson's adventurous style was well suited to the more provocative attitudes of the new decade. Here, he captures Melanie Hampshire the model and cast member of Michelangelo Antonioni's infamous film "Blow-Up".
Party Dress and Coat by Elio Berhanyer 1965 | Sharok Hatami
The Spanish Look for Summer--Two-Tone Outfit with Bell Bottoms 1965 | Sharok Hatami
Tiger-printed Rabbit Coat and Cap outside Chez Castel, Paris, 1965 | Ronald Falloon
Spot the Shorts, July 1967 by Ronald Traeger
From one of her most iconic sessions, the ‘Face of the Year’ Twiggy zooms down Pall Mall on her brand new mini-motorbike. The better to show her black-and white polka dot shirt and shorts ensemble by Foale and Tuffin. Like Mary Quant, Foale and Tuffin defined the ‘Swinging Sixties’ fashion – at least for the young. Twiggy, with her boyish hairstyle, epitomised its anything-goes mentality.
Shorts Supply, July 1967 by Ronald Traeger
Ronald Traeger (1936-68)
The American Ronald Traeger had joined the U.S. Navy as a photographer and cinematographer before ending up on his discharge in England. He was taken up by French Elle and then British Vogue, who published his pictures in 1963. He was an instant hit and Vogue advised readers ‘to watch out for more of his work soon…’. He photographed ‘Swinging London’ for the magazine, and, as something of an outsider, being American, he treated the participants as an exotic species. Twiggy was a favourite model and perhaps Traeger's best-known set of images is of her racing around Hyde Park on a mini-motorbike. His promising career was cut short in 1968 at a moment when, as Cecil Beaton noted later, ‘he was well on the way to becoming one of the most brilliant photographers of today’.
Finishing Touches, August 1967 by Norman Parkinson
Throughout the 1960's, British fashion photography went through a phase of gradually becoming less glamorous. Parkinson, who had for some time been interested in a documentary approach to his subjects, found that this trend allowed him to create some of his more inventive and witty images. He stated, "My sort of photography is still a charming deceit. People want to believe that the camera cannot lie."
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