Twiggy And Justin

Barbie Magazine and the aesthetic commodification of girls' bodies (I.M. O'Sickey). This year's girl: a personal/critical history of Twiggy (L. B. DeLibero). A woman's two bodies: fashion magzines, consumerism and feminism (L.W. Rabine). No bumps, no excrescences: Amelia Earhart's failed flight into fashions (K. Jay). Sonia Rykiel in traslation (H. Cixous). From Celebration (S. Rykiel). Off the (W)rack: fashion and pain in the work of Diane Arbus (C. Shloss). An erotics of representation: fashioning the icon with Man Ray (M.A. Caws). Seduction and elegance: the new woman of fashion in silent cinema (M. Turim). Madonna, fashion and identity (D. Kellner). Fragments of a fashionable discourse (K. Silverman). Womenrecovering our clothes (I.M. Young). Fashion and the homospectatorial look (D. Fuss). Terrorist chic: style and domination in contemporary Ireland (C. Herr). Paris or perish : the plight of the latin american indian in a westernized world (B. Brodman). Tribalism in effect (A. Ross).

She was the first supermodel, a sixties icon, who went on to have a successful career as an actress and singer, most famously in The Boyfriend. Now she describes her relationship with her manager Justin de Villeneuve, her tragic marriage to actor Michael Witney and how she found happiness with actor Leigh Lawson. She talks of rubbing shoulders with the Hollywood elite, the heady days when she was the most famous face on the planet, and her fight to prove that she had other talents. Written with charm and wit, TWIGGY IN BLACK AND WHITE is a unique testimonial to a remarkable woman.

If the World Wars defined the first half of the twentieth century, the sixties defined the second half, acting as the pivot on which modern times have turned. From popular music to individual liberties, the tastes and convictions of the Western world are indelibly stamped with the impact of this tumultuous decade. Framing the sixties as a period stretching from 1958 to 1974, Arthur Marwick argues that this long decade ushered in nothing less than a cultural revolution – one that raged most clearly in the United States, Britain, France, and Italy. Marwick recaptures the events and movements that shaped life as we know it: the rise of a youth subculture across the West; the sit-ins and marches of the civil rights movement; Britain's surprising rise to leadership in fashion and music; the emerging storm over Vietnam; the Paris student uprising of 1968; the growing force of feminism, and much more. For some, it was a golden age of liberation and political progress; for others, an era in which depravity was celebrated, and the secure moral and social framework subverted. The sixties was no short-term era of ecstasy and excess. On the contrary, the decade set the cultural and social agenda for the rest of the century, and left deep divisions still felt today.

If Cleopatra's nose had been half an inch longer, neither Caesar nor Mark Antony would have fallen in love with her. It: A History of Human Beauty treats outstanding physical attractiveness as a quality or possession, comparable to power, intelligence, strength, wealth, education or family, that had a marked effect on history. Beauty in men and women opened opportunities to its possessors not available to the ordinary looking or ugly. While in the past women have had to use the lure of sex to achieve power or wealth, epitomised by royal mistresses or the Grandes Horizontales of the nineteenth century, modern film stars (male and female) can acquire great wealth simply by the use of their images, while attractiveness on television is an essential modern qualification for power, as shown by Ronald Reagan and Tony Blair.

It’s the summer of 1966... The fundamental old ways: chastity, rationality, harmony, sobriety, even democracy: blasted to nothing or crumbling under siege. The city glows. It echoes. It pulses. It bleeds pastel and fuzzy, spicy, paisley and soft. This is how it's always going to be: smashing clothes, brilliant music, easy sex, eternal youth, the eyes of everybody, everyone's first thought, the top of the world, right here, right now: Swinging London. Shawn Levy has a genius for unearthing the secret history of popular culture. The Los Angeles Times called King of Comedy, his biography of Jerry Lewis, "a model of what a celebrity bio ought to be–smart, knowing, insightful, often funny, full of fascinating insiders' stories," and the Boston Globe declared that Rat Pack Confidential "evokes the time in question with the power of a novel, as well as James Ellroy's American Tabloid and better by far than Don DeLillo's Underworld." In Ready, Steady, Go! Levy captures the spirit of the sixties in all its exuberance. A portrait of London from roughly 1961 to 1969, it chronicles the explosion of creativity–in art, music and fashion–and the revolutions–sexual, social and political–that reshaped the world. Levy deftly blends the enthusiasm of a fan, the discerning eye of a social critic and a historian's objectivity as he re-creates the hectic pace and daring experimentation of the times–from the utter transformation of rock 'n' roll by the Beatles and the Rolling Stones to the new aesthetics introduced by fashion designers like Mary Quant, haircutters like Vidal Sassoon, photographers like David Bailey, actors like Michael Caine and Terence Stamp and filmmakers like Richard Lester and Nicolas Roeg to the wild clothing shops and cutting-edge clubs that made Carnaby Street and King's Road the hippest thoroughfares in the world. Spiced with the reminiscences of some of the leading icons of that period, their fans and followers, and featuring a photographic gallery of well-known faces and far-out fashions, Ready, Steady, Go! is an irresistible re-creation of a time and place that seemed almost impossibly fun.

Young models on drugs, sexual abuse, eating disorders - Halperin had heard all these stories as well as claims from industry insiders that they are wildly exaggerated. Investigating undercover Bad & Beautiful is the authors account of world whose beautiful and glamorous facade hides a very ugly reality of sexual slavery, anorexia, racism, alcohol and drugs - a reality some young girls who are thrown into are destroyed by.

Lewis Morley is called "The Man Who Shot the Sixties," and this collection of his black-and-white photography shows why. Dudley Moore, Charlotte Rampling, Brian Epstein, Franois Truffaut: the decade is here, in the style that earned Morley a place among the century's most adept chroniclers. A series of nude portraits of actress Christine Keeler, taken at the height of the scandal that brought down British MP John Profumo, is as much history as art. "I always seem to have been in the right place at the right time," says the photographer. In a career that spanned fashion layouts, advertising, and celebrity portraits, Morley's favorite assignments were for magazines, because of the spontaneity involved. "I like magazine work because it's quick and it's urgent so it relies on an emotional response to a subject, rather than in advertising where everything is minutely planned and you spend more time in meetings than taking photographs," he recalls. His feelings show in street scenes that recall Cartier-Bresson.