Modern silver gelatine print, 2013
Stamped with photographer’s copyright and estate ink stamps and numbered on reverse
From a limited edition of 50
Illustrated: "Woman’s Mirror, 27 August 1966, ‘Sundae Best’
Provenance: The Estate of Terence Donovan
ABOUT THE WORK
In the 1960s, the capital of England stands for everything hip, fashionable and cool. In April 1966, the American magazine Time even dedicates a full issue to London, “the Swinging City”. The playful, independent woman is the ideal model of the 1960s. The popular models wear simple or androgynous haircuts, have young facial features and a childlike figure. Nowadays, Twiggy is the most famous example of this look.
To reinforce this ideal of the independent, single girl, photographers shoot their models more often outside the studio. They let their models walk, dance and run in nature and interact with the modern urban environment. Sometimes we even see the 1960s model at work; this is a huge contrast with the elegant, formally dressed ladies in the fashion photography of the 1950s. Models such as Jane Birkin, Grace Coddington, Celia Hammond, Jill Kennington, Jean Shrimpton and Twiggy are the faces of the 1960s. They are young models, which is reinforced by the popularity of the girlish look, but they are able to survive among the brutal photographers. Relationships with photographers, pop stars and actors are not rare.
The photographs of Terence Donovan and Brian Duffy, internationally renowned for their fashion photography and portraits of models, musicians and actors, determine our image of the Swinging Sixties. Photographers are as famous as the stars and socialites before their lenses, and equally notorious. With their pioneering styles, Donovan and Duffy distinguish themselves from the older photographers John French and Norman Parkinson. Yet, these “gentlemen” are also important for British fashion photography and had been, in their day, pioneers.
ABOUT THE PHOTOGRAPHER
Diana Donovan, wife of Terence Donovan (1936 - 1996): ‘Terence was the consummate photographer. He had worked incredibly hard as a young photographer not intentionally trying to change the way fashion photographs were taken in the early 60s but because he just saw things differently. He simply pictured the way he thought women and men would look much more interesting by taking them out of the conventional fashion studio.’
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