0:00:31 > 0:00:33BBC Four Collections -
0:00:33 > 0:00:37specially chosen programmes from the BBC archive.
0:00:37 > 0:00:39TINNY MUSIC AND HUSHED CONVERSATION
0:00:47 > 0:00:49Are they new out, those?
0:00:49 > 0:00:52'I started off at an Australian model agency
0:00:52 > 0:00:56'and worked there for quite a few years doing a variety of things.
0:00:56 > 0:00:58'I decided to come over here and fortunately,
0:00:58 > 0:01:01'I'd worked with one of the top photographers in Australia
0:01:01 > 0:01:03'before I came for French Vogue
0:01:03 > 0:01:06'so I could literally walk into an agency.'
0:01:06 > 0:01:11MUSIC: Gonna Fly Now (theme from Rocky) by Bill Conti
0:01:40 > 0:01:44# You're the model of perfection
0:01:44 > 0:01:48# The others are only copies of you
0:01:49 > 0:01:53# Can't you see the only thing that worries me
0:01:53 > 0:01:57# I wonder if you're too good to be true... #
0:01:57 > 0:02:01It was practically unheard of for a girl to get into modelling
0:02:01 > 0:02:03just after the war unless she knew somebody.
0:02:03 > 0:02:06I was very lucky, I knew a very famous model -
0:02:06 > 0:02:09a half-Burmese model - who took me around
0:02:09 > 0:02:11and introduced me to the right people.
0:02:11 > 0:02:15She took me to the photographers and told me how to make up and
0:02:15 > 0:02:20how to walk and she even got me my first job in a fashion house.
0:02:20 > 0:02:22They didn't want me, I mean...
0:02:22 > 0:02:27They really booked her, but they took me and she said to me
0:02:27 > 0:02:31as she left, "You must ask for £7 a week!" And I got it.
0:02:31 > 0:02:35And that was astronomical. The average wage was about £4.50.
0:02:35 > 0:02:36# Disco light
0:02:39 > 0:02:41# Shining bright... #
0:02:41 > 0:02:44SARAH GRANT: With fashion shows today, they've become more exciting
0:02:44 > 0:02:48because anything DOES go - clothes have changed so much, there is
0:02:48 > 0:02:50no one particular style.
0:02:50 > 0:02:52So therefore, there is such a range of things.
0:02:52 > 0:02:54All right, so one minute you might look incredibly butch
0:02:54 > 0:02:56in your leather gear or whatever
0:02:56 > 0:03:00and the next, you'll have the most wonderful floaty, feminine thing on.
0:03:00 > 0:03:02# Disco lights
0:03:02 > 0:03:05# Come on and dance
0:03:05 > 0:03:06# Shining bright
0:03:06 > 0:03:09# Shine, la la la-la
0:03:09 > 0:03:13# Disco lights Get it on, get it on, get it on
0:03:13 > 0:03:14# Shining through the night
0:03:14 > 0:03:19# I wanna, I wanna dance. #
0:03:19 > 0:03:23As far as fashion shows, live shows were concerned, we were taught
0:03:23 > 0:03:27to walk a little way down the runway, then you do a half-turn,
0:03:27 > 0:03:31go to the centre, do a full turn, put your arms out in a certain way and
0:03:31 > 0:03:36you know, you just might as well have had everything written down for you.
0:03:36 > 0:03:40You took your coat off, you unbuttoned in a certain way
0:03:40 > 0:03:43and held your gloves this way and you smiled at the right time.
0:03:43 > 0:03:48And if you did anything different, first of all it was considered quite
0:03:48 > 0:03:51outrageous and maybe people would laugh, but you wouldn't do it again.
0:03:51 > 0:03:55You stuck to a formula, it reminded me of being in the ATS on a parade -
0:03:55 > 0:03:59that's what you did and that's what you had to continue to do.
0:03:59 > 0:04:02SARAH: It doesn't matter how a model walks today,
0:04:02 > 0:04:05you could look at someone on a catwalk and say that she walks very
0:04:05 > 0:04:07badly, I mean, a lot of them do, their posture - everything.
0:04:07 > 0:04:11But today, you can get away with that because today it's more style,
0:04:11 > 0:04:15more a way a girl does something, rather than the correct
0:04:15 > 0:04:18posture or the way you turn.
0:04:33 > 0:04:37I know that the way they used to turn was terribly stiff
0:04:37 > 0:04:40and it was a set routine, just to turn.
0:04:40 > 0:04:43Whereas today, a girl can run along the catwalk,
0:04:43 > 0:04:45she can jump up and down, she can...
0:04:45 > 0:04:48You know, fall over and it doesn't matter.
0:04:48 > 0:04:50# Trans...Europe...express
0:04:52 > 0:04:55# Trans...Europe...express.
0:04:57 > 0:05:00# Trans...Europe...express
0:05:01 > 0:05:05We had no choreographed shows and we had a straightforward compere
0:05:05 > 0:05:07saying, "And now,
0:05:07 > 0:05:09"we're showing you a delightful dress in navy blue,
0:05:09 > 0:05:11"with stiff whatever-it-might-be, underskirts"
0:05:11 > 0:05:12and if anything went wrong,
0:05:12 > 0:05:15we tripped up... We were told if anything happened,
0:05:15 > 0:05:17we should carry on as if nothing had happened,
0:05:17 > 0:05:19so if you nearly broke your neck,
0:05:19 > 0:05:22you just picked yourself up and carried on.
0:05:22 > 0:05:24MUSIC: Franz Schubert by Kraftwerk
0:05:43 > 0:05:47We were told to wear them as if they weren't good enough for us, you know.
0:05:47 > 0:05:50As if we were used to very much better than that
0:05:50 > 0:05:53and if we were in mink, for example, and fabulous fur coats,
0:05:53 > 0:05:55we were always told to drag them along,
0:05:55 > 0:05:58as if they really weren't worth having.
0:05:58 > 0:06:02So our attitude was that we had to create the illusion that we were
0:06:02 > 0:06:06very much better than anyone else and, you know, the audience loved it.
0:06:06 > 0:06:08They liked to look up to us.
0:06:08 > 0:06:11They liked to think of us as something very, very special.
0:06:11 > 0:06:15MUSIC RESUMES
0:06:31 > 0:06:35You find in England that a lot of the top girls are Australian.
0:06:35 > 0:06:39I think because they have to do such a variety of work there,
0:06:39 > 0:06:41it makes them incredibly versatile
0:06:41 > 0:06:46and they can be much harder working than the European girls.
0:06:46 > 0:06:51Any accent that wasn't absolutely pukka was frowned on and it was very,
0:06:51 > 0:06:55very difficult for girls who didn't speak well, because they were...
0:06:56 > 0:07:01It was a hangover, I suppose, from time beginning, that this
0:07:01 > 0:07:05big social division... And because most of the models became from...
0:07:05 > 0:07:11Let's say the upper-middle classes, or even above that, they...
0:07:11 > 0:07:14Ordinary girls weren't encouraged to take part in it.
0:07:14 > 0:07:17This made modelling respectable because they were upper-class
0:07:17 > 0:07:19girls who didn't really need the money
0:07:19 > 0:07:22and I would say an Australian girl...
0:07:22 > 0:07:26There weren't many of them, I can't remember any, would have had to try
0:07:26 > 0:07:29to disguise her accent if she wanted to be really acceptable.
0:07:32 > 0:07:35A model girl could not look sexy, it was absolutely fatal.
0:07:35 > 0:07:38If a model girl looked sexy, then she was called a showgirl.
0:07:38 > 0:07:42That was one of the things that lasted for years, you don't
0:07:42 > 0:07:43impose yourself on the clothes,
0:07:43 > 0:07:46a model did not impose herself on the clothes
0:07:46 > 0:07:51and she wasn't asked or expected to have either a sexy look in her eye...
0:07:51 > 0:07:54She was either aloof or she was the, er...
0:07:54 > 0:07:58the outdoor English, fresh maiden.
0:07:58 > 0:08:00Are you just going to trim it a little bit?
0:08:00 > 0:08:02Yes. I'm just going to shape around the lengths,
0:08:02 > 0:08:04because it is a little bit...
0:08:04 > 0:08:05SARAH: 'To earn the money,
0:08:05 > 0:08:09'you have to have a hairstyle that you can do anything with,
0:08:09 > 0:08:11'that is just incredibly versatile,
0:08:11 > 0:08:14'plus you have to change your hairstyle with the cut.
0:08:14 > 0:08:18'One year, there's a certain cut, the next year, it's something else
0:08:18 > 0:08:21'and you have to keep up with these things if you want to keep working.
0:08:21 > 0:08:23'You must keep changing it.
0:08:23 > 0:08:26'Colour of hair is very important, to keep it looking healthy.
0:08:26 > 0:08:31'The hair and face is really the most essential things of the job.'
0:08:31 > 0:08:32CHERRY: We didn't have hair shows.
0:08:32 > 0:08:34I don't remember hair shows and
0:08:34 > 0:08:38as for going to a hairdresser's every day, certainly we couldn't afford it.
0:08:38 > 0:08:41You would go once in a blue moon before a big show or big
0:08:41 > 0:08:43photographic session.
0:08:43 > 0:08:45But certainly wasn't part of the model set-up
0:08:45 > 0:08:48to go to the hairdresser - you did your own hair.
0:08:48 > 0:08:52SARAH: 'With make-up, a lot of the time, for very straight jobs -
0:08:52 > 0:08:57'your catalogue or whatever, you tend to do your own.
0:08:57 > 0:08:59'I mean, I love having a make-up artist
0:08:59 > 0:09:01'because they make you look different again.
0:09:01 > 0:09:04'They see you in a different way, so they're constantly changing you,
0:09:04 > 0:09:07'but it does add to the total look of the photographs.
0:09:07 > 0:09:10'It does make a lot of difference and they're always better than
0:09:10 > 0:09:14'you are, anyway, because they've been at it for a few years.'
0:09:18 > 0:09:19CHERRY: There was no alternative,
0:09:19 > 0:09:22we didn't know much about other kinds of make-up.
0:09:22 > 0:09:23There was one kind of make-up.
0:09:23 > 0:09:27We didn't have wigs, for example, we didn't have false eyelashes.
0:09:27 > 0:09:30It was very difficult to get very much make-up.
0:09:30 > 0:09:33We were lucky if we got something from America, for example.
0:09:33 > 0:09:34We were very limited.
0:09:34 > 0:09:36- It's looking really nice. - That's lovely.
0:09:36 > 0:09:38I like the bit of body.
0:09:38 > 0:09:41Yes, it just needed that fullness there.
0:09:41 > 0:09:43That's super, isn't it?
0:09:43 > 0:09:46Looks much healthier, all those bits cut off.
0:09:48 > 0:09:52SARAH: 'You're called on to do so many things unexpectedly.
0:09:52 > 0:09:56'I was doing a hair thing the other week with Vidal Sassoon, showing off
0:09:56 > 0:09:58'new hairstyles, and no-one had really told me
0:09:58 > 0:10:00'what we were going to do. I was just
0:10:00 > 0:10:03'hanging around, waiting for something to happen,
0:10:03 > 0:10:07'somebody to say, we'll all go up and shake our heads, or whatever'
0:10:07 > 0:10:10and suddenly... I was having a quiet gin and tonic in the corner
0:10:10 > 0:10:12and it was, "Quick, quick - you're on!"
0:10:12 > 0:10:15So I went charging out in front of the audience thinking, "My God,
0:10:15 > 0:10:16"what is happening?"
0:10:16 > 0:10:19You get up there and the next thing, he shoves a microphone
0:10:19 > 0:10:21under my mouth, and you can't just say nothing.
0:10:21 > 0:10:24You can't stand there and look stupid, you have to think quickly.
0:10:24 > 0:10:27- So, shall I shake my head? - We're going to call this...
0:10:27 > 0:10:29It's called Shake It. The Shake.
0:10:29 > 0:10:31The new look is going to be called The Shake,
0:10:31 > 0:10:33because that's exactly what...
0:10:33 > 0:10:34APPLAUSE
0:10:34 > 0:10:37In fact, they didn't think we were able to do anything except
0:10:37 > 0:10:41stand in front of a camera and smile on demand - or look very serious.
0:10:41 > 0:10:45That is really all that was expected of us.
0:10:45 > 0:10:47Is there a young man in the audience that would like to come
0:10:47 > 0:10:49and put a hand through this hair?
0:10:49 > 0:10:52We haven't had audience participation, I usually like that!
0:10:52 > 0:10:53Oh!
0:10:53 > 0:10:55LAUGHTER
0:10:55 > 0:10:56The hair, the hair!
0:10:59 > 0:11:03Can you come down a bit lower? I see what you mean! Yeah!
0:11:03 > 0:11:04LAUGHTER
0:11:04 > 0:11:06APPLAUSE
0:11:08 > 0:11:10I didn't think that was very funny!
0:11:10 > 0:11:12Well, we were...
0:11:12 > 0:11:16Very much the glamour girls of the post-war years.
0:11:16 > 0:11:18You know, there was no television...
0:11:18 > 0:11:21The Gaiety Girls had long been finished.
0:11:21 > 0:11:25And we had the film stars and, you know, in the cinema,
0:11:25 > 0:11:27but there were very much celluloid, they were hardly ever seen,
0:11:27 > 0:11:31and so model girls, apart from being seen in photographs,
0:11:31 > 0:11:35were seen doing fashion shows and travelling around the country
0:11:35 > 0:11:39and we were elegant, sophisticated,
0:11:39 > 0:11:41upper-class ladies of fashion,
0:11:41 > 0:11:42I suppose.
0:11:42 > 0:11:45SARAH: Well, I have the image of Sarah Grant when I'm working,
0:11:45 > 0:11:47which can be a million and one things,
0:11:47 > 0:11:50but I find when I'm not working, then
0:11:50 > 0:11:52I'm Sarah Grant the individual, and I like to relax,
0:11:52 > 0:11:54and I don't light to wear make-up
0:11:54 > 0:11:57and I like to be very dressed down.
0:11:57 > 0:12:01Comfort, you know. Just plop round in dungarees and things like that.
0:12:01 > 0:12:03Being seen in the street doesn't bother me.
0:12:03 > 0:12:05I wouldn't be recognised anyway,
0:12:05 > 0:12:07because I look so different in photographs.
0:12:07 > 0:12:10Personally, I think it's great to be able to go out without any make-up on
0:12:10 > 0:12:13and to be in dirty, old clothes - to me, that's relaxation.
0:12:13 > 0:12:16I don't care what people think.
0:12:16 > 0:12:19I just know that I feel good and it's just me.
0:12:19 > 0:12:22Well, you never stepped outside the front door without being
0:12:22 > 0:12:26dressed absolutely as a model, that is with ALL your accessories -
0:12:26 > 0:12:29your gloves and hat and what-have-you and beautifully made up.
0:12:29 > 0:12:32You were very conscious the whole time of being a model
0:12:32 > 0:12:33and was expected of you.
0:12:33 > 0:12:36In fact, the worst thing that could be said about a girl
0:12:36 > 0:12:38was that she didn't look like a model.
0:12:38 > 0:12:42In fact, if a model agent saw a model girl not looking like a model,
0:12:42 > 0:12:45she would be severely told off and threatened with being
0:12:45 > 0:12:48chucked off the agency.
0:12:48 > 0:12:51Apart from the fact that I wanted to look like a model,
0:12:51 > 0:12:52I was very proud of it.
0:12:52 > 0:12:55Liked people to point out and say, "You are obviously a model."
0:12:59 > 0:13:02- Come in, Sarah. - Come on.
0:13:02 > 0:13:04Come on, over here.
0:13:08 > 0:13:12- Bring it over here. - What, are we starting here?
0:13:12 > 0:13:15Yeah, we're starting here. Now, what I want you to do...
0:13:15 > 0:13:20I've got this layout... Have a look. On the first one...
0:13:20 > 0:13:24What I'd really like you to do is... You're a real bitch, OK?
0:13:24 > 0:13:27SARAH: 'You have to play out a situation. The photographer
0:13:27 > 0:13:28'comes up to you and says,
0:13:28 > 0:13:31' "This is what we intend to do with this session".
0:13:31 > 0:13:33'You may be photographing six pages
0:13:33 > 0:13:36'and each page is a different sequence.
0:13:36 > 0:13:38'You're literally acting.'
0:13:38 > 0:13:40First of all, I'll do a Polaroid and see how we go.
0:13:42 > 0:13:45Do you want me to hold the dog or just leave it on the lead?
0:13:45 > 0:13:49Hold the dog, yeah. Jo, if you can get right in close to her.
0:13:49 > 0:13:52Be nice if you can walk across that shot.
0:13:52 > 0:13:54- You want me walking across? - Go.
0:14:00 > 0:14:03Oh, yeah, that's great. Got all the camera crew in there!
0:14:03 > 0:14:05It's quite nice, that.
0:14:05 > 0:14:09If we can have you rushing more, much more bitchy,
0:14:09 > 0:14:12and the hand could come up and almost smack Jo, right?
0:14:12 > 0:14:15CHERRY: For photography, there were just a few positions -
0:14:15 > 0:14:20one foot in front of the other, one foot slightly behind the other
0:14:20 > 0:14:22and then hands in certain positions, you know?
0:14:22 > 0:14:24All sort of...a la Barbara Goalen.
0:14:24 > 0:14:26And, er...
0:14:26 > 0:14:28We could never do our own thing.
0:14:28 > 0:14:31I mean, if you felt you wanted to move in a particular way or
0:14:31 > 0:14:33relax in front of the camera, it was out of the question.
0:14:33 > 0:14:35It wasn't just our fault,
0:14:35 > 0:14:39the photographers were just as hidebound as we were.
0:14:39 > 0:14:43OK, so she's really niggling at you. OK?
0:14:44 > 0:14:47It's looking a bit '60s at the moment.
0:14:47 > 0:14:49Right, there you go.
0:14:50 > 0:14:53- Go away! Oh, sorry! - Lovely.
0:14:53 > 0:14:55CHERRY: If, for example, you appeared in the glossy magazines,
0:14:55 > 0:14:57you couldn't appear in the popular ones
0:14:57 > 0:15:00because the glossy magazines wouldn't use a model whose face had
0:15:00 > 0:15:03been shown with, let's say,
0:15:03 > 0:15:07inexpensive or cheap little dresses or washing powder.
0:15:07 > 0:15:11You could combine beauty ads with high fashion and that was about all.
0:15:11 > 0:15:13Certainly nothing else.
0:15:13 > 0:15:16And a girl would ruin her whole career
0:15:16 > 0:15:18if she stepped down off this pedestal.
0:15:20 > 0:15:24Sarah... I don't really know how to do this, yet.
0:15:24 > 0:15:26- You've got to faint. - Yeah.
0:15:26 > 0:15:28And for... I'm using this area here.
0:15:28 > 0:15:30I don't know whether you should fall that way,
0:15:30 > 0:15:34so I can see the clothes, and Jo is more or less worried,
0:15:34 > 0:15:35with her fingers in her mouth,
0:15:35 > 0:15:39very nervous, she doesn't know what to do with you.
0:15:39 > 0:15:40I'd LIKE to get the action.
0:15:40 > 0:15:44SARAH: You're playing out a situation and you have to make it real, because
0:15:44 > 0:15:48if you're just being very phoney and putting it on, it doesn't work.
0:15:48 > 0:15:53It doesn't come across. You've got to get into it and believe it.
0:15:53 > 0:15:55I find those sort of jobs the most exciting thing.
0:15:55 > 0:16:00You have to fall across the floor - you can't fake things like that.
0:16:00 > 0:16:03If he says, "Right, this is what you've got to do," then you do it.
0:16:03 > 0:16:04I mean, I love it.
0:16:04 > 0:16:07You may have bruises for three days afterwards,
0:16:07 > 0:16:09but I find it very exciting.
0:16:09 > 0:16:13MAN: I think it would be good if you were standing, Jo - yeah.
0:16:13 > 0:16:16Almost anticipating her falling, because she's drunk.
0:16:16 > 0:16:18Jenny, get this bottle open for me, can you?
0:16:18 > 0:16:19Jo...?
0:16:21 > 0:16:22- Jo? - What?
0:16:22 > 0:16:25These jodhpurs are ripped.
0:16:25 > 0:16:28- Oh, pretend that didn't happen. - Yeah, OK.
0:16:29 > 0:16:31I mean, it's just...
0:16:31 > 0:16:34CHERRY: There was no such thing as teenage fashion - the girl of 16
0:16:34 > 0:16:39wore exactly the same clothes as her mother, so everybody looked...
0:16:39 > 0:16:44The sophisticated model always looked about 30, even if she was 18, 19, 20.
0:16:44 > 0:16:47And we wanted to... we wanted to look wealthy
0:16:47 > 0:16:50and unattainable and sophisticated.
0:16:50 > 0:16:53There was no such thing as young fashion,
0:16:53 > 0:16:56you very rarely had your hair blowing in the wind
0:16:56 > 0:16:58and if you did in a photograph, by any chance,
0:16:58 > 0:17:00then there was a wind machine doing it,
0:17:00 > 0:17:03the girl's hair was set in the usual way.
0:17:03 > 0:17:06This is our favourite shot, isn't it?
0:17:06 > 0:17:10SARAH: No, I don't care how I'm seen, as long as it's right for the shot.
0:17:10 > 0:17:14If you're doing a job and they want you to look a certain way,
0:17:14 > 0:17:16then that's great.
0:17:16 > 0:17:19Upside down or sort of make-up streaked down the face,
0:17:19 > 0:17:23hobbling across the picture, whatever - I think that's great
0:17:23 > 0:17:25because it just adds to it.
0:17:25 > 0:17:28One doesn't have to try and look beautiful all the time.
0:17:28 > 0:17:30I don't think it's important.
0:17:30 > 0:17:34OK, Sarah - I've put water in it because we're not to ruin the carpet.
0:17:34 > 0:17:35OK.
0:17:35 > 0:17:38OK? And don't get it over your clothes. Or try not to, anyway.
0:17:38 > 0:17:40Will I get some more water each time?
0:17:40 > 0:17:43Yes, I'll get more water in there, all right?
0:17:43 > 0:17:45OK, Jo? You know what to do?
0:17:45 > 0:17:48Do you want me to crumple, or stretch right out?
0:17:48 > 0:17:49Stretch right out.
0:17:49 > 0:17:52- OK. - There you go. Go, now.
0:17:52 > 0:17:56That's lovely, that's the one.
0:17:56 > 0:17:59SARAH: 'To get good photographs, you must have a rapport'
0:17:59 > 0:18:01and you feed off each other.
0:18:01 > 0:18:04The photographer says something to you and so you try
0:18:04 > 0:18:08and get what he wants you to do and then you have suggestions yourself.
0:18:08 > 0:18:11I'm going to click this on your heel with the dog,
0:18:11 > 0:18:12so if the dog pulls you away...!
0:18:12 > 0:18:14SARAH: You may have your feet up the wall
0:18:14 > 0:18:18and be upside down looking absolutely dreadful, but if it adds to the shot,
0:18:18 > 0:18:22well, then it's good enough for me - I don't care how I look, as long
0:18:22 > 0:18:25as the shot works, which is basically what you're there for, anyway.
0:18:25 > 0:18:27CHERRY: We did nearly all photographic jobs
0:18:27 > 0:18:29against a backcloth, either plain white...
0:18:29 > 0:18:32And before we stood on this, we used to have to take our shoes off,
0:18:32 > 0:18:36because God help us if we dirtied it or if we moved out of position.
0:18:36 > 0:18:39So we usually had three positions in which we could stand.
0:18:39 > 0:18:43Against this backcloth, we'd have our feet in one position
0:18:43 > 0:18:46and the photographer would say "Right, now change over here",
0:18:46 > 0:18:49and then we'd have all these absolutely ridiculous poses.
0:18:49 > 0:18:51Josephine is really going to get in and do it.
0:18:51 > 0:18:54You're showing a little bit too much cleavage!
0:18:54 > 0:18:56That'll get us into too much trouble!
0:18:56 > 0:18:59OK? Your eyes are closed, yeah?
0:18:59 > 0:19:01- OK. - Yeah.
0:19:01 > 0:19:02Keep those eyes closed.
0:19:02 > 0:19:04Do you want them rolling a little bit?
0:19:04 > 0:19:05Can you do it? Can you roll them for us?
0:19:05 > 0:19:07- Yeah. - Great.
0:19:07 > 0:19:09Go on, roll them around, that's crazy!
0:19:09 > 0:19:12- OK! - If we get that, it'll be fun.
0:19:12 > 0:19:14Roll your eyes around a bit. That's it.
0:19:15 > 0:19:19Jump through that window. No, don't literally jump!
0:19:19 > 0:19:20Smelling salts, Jo?
0:19:21 > 0:19:24CHERRY: We showed nothing, we didn't show cleavage,
0:19:24 > 0:19:28we didn't have boned bodices anyway, so even if you had a strapless
0:19:28 > 0:19:31dress, you weren't likely to pop over the top of it.
0:19:31 > 0:19:34There was no such thing, I mean, we didn't show...
0:19:34 > 0:19:36There weren't bikinis, we weren't modelling bikinis
0:19:36 > 0:19:38when I was modelling.
0:19:38 > 0:19:41We hardly showed a leg.
0:19:41 > 0:19:44And the girls who did the swimsuit ads certainly didn't do
0:19:44 > 0:19:46the high fashion - you didn't appear in both.
0:19:46 > 0:19:48You must be kidding!
0:19:48 > 0:19:50Everyone else is getting out of the rain!
0:19:50 > 0:19:52SHE SHIVERS
0:19:53 > 0:19:54Boo!
0:19:54 > 0:19:57Shall I hold the umbrella over you, Parks?
0:19:57 > 0:19:59Well, it's only a question of the cameras, that's all.
0:19:59 > 0:20:01Yes, I know.
0:20:03 > 0:20:04Stay there now, here we go.
0:20:07 > 0:20:09I ought really have a Dinky on this, you know?
0:20:09 > 0:20:11Chin up higher, darling.
0:20:11 > 0:20:13SARAH: One of my most favourite photographers I think
0:20:13 > 0:20:17is Norman Parkinson. I think he, more than anyone, has seen the changes.
0:20:17 > 0:20:21We're using Sarah today because Sarah is an expert on a motorcycle
0:20:21 > 0:20:23and she can do the job properly,
0:20:23 > 0:20:25which means we get believable pictures.
0:20:25 > 0:20:28I think, you know, times have changed,
0:20:28 > 0:20:32and we now need pictures that are totally believable. Totally honest.
0:20:32 > 0:20:34You can't fake it any more.
0:20:34 > 0:20:37It's like people say if someone looks ugly, you better to retouch it.
0:20:37 > 0:20:40You don't - you make sure they start by looking beautiful.
0:20:41 > 0:20:44Right, listen, do you know what we're going to do?
0:20:46 > 0:20:50We're going to drive down, and very, very posh! Right, so let's go.
0:20:50 > 0:20:54SARAH: He works at it all the time and he makes you work so hard.
0:20:54 > 0:20:57When you're going round the track and you're having to keep
0:20:57 > 0:21:00a certain distance away from the car and he's flashing and you have to
0:21:00 > 0:21:06wave, you have to be on your toes or else the shots aren't going to work.
0:21:06 > 0:21:08NORMAN: 'There have been enormous changes and I like to think
0:21:08 > 0:21:10'that perhaps I've been partly responsible for it.
0:21:10 > 0:21:13'I mean, I always hated those girls who sit around with footmarks
0:21:13 > 0:21:17'on the floor and really, they were on their way to the embalmers.
0:21:18 > 0:21:22'But we took them out and we got them to move around and jump
0:21:22 > 0:21:25'and believe that they were real, living, attractive women.
0:21:25 > 0:21:27'And I think this has happened and
0:21:27 > 0:21:29'more and more photographers have cottoned onto it.'
0:21:29 > 0:21:32They were much more concerned that every detail could be seen in
0:21:32 > 0:21:36the garment, because after all, the whole idea was to sell the clothes.
0:21:36 > 0:21:39Even if we went on location, sometimes -
0:21:39 > 0:21:45we went down to Stonehenge a couple of times - I was absolutely static.
0:21:45 > 0:21:48I looked as stony as the bits of stone themselves.
0:21:54 > 0:21:56Right, come on - let's go!
0:22:03 > 0:22:05WHOOPING
0:22:07 > 0:22:09CHERRY: Today, a girl is booked
0:22:09 > 0:22:12and can change two or three times in that hour, to save money, of course.
0:22:12 > 0:22:14So our life was very much more leisurely.
0:22:14 > 0:22:17If we were busy, we probably worked two hours in the morning,
0:22:17 > 0:22:18two hours in the afternoon.
0:22:18 > 0:22:21We didn't have the awful pressure knowing somebody else was breathing
0:22:21 > 0:22:25over your shoulder, that another girl could step into your shoes easily.
0:22:25 > 0:22:29I think the profession is very short-lived.
0:22:29 > 0:22:31There is a lot of strain on you, er...
0:22:33 > 0:22:35I think we're paid outrageously, myself!
0:22:35 > 0:22:38But it's just the way the business is.
0:22:38 > 0:22:41It's like soccer players or whatever, they're a short life
0:22:41 > 0:22:43and they get paid a lot.
0:22:43 > 0:22:46MUSIC: A Real Mother For Ya by Johnny "Guitar" Watson
0:23:11 > 0:23:13Well, I love looking different.
0:23:13 > 0:23:17My whole thing, as far as I'm concerned, is not looking the same.
0:23:17 > 0:23:21Is changing constantly and being everything -
0:23:21 > 0:23:27being sexy or butch or just the whole gamut of looks.
0:23:27 > 0:23:30The thing was to remain looking very much as you were, because
0:23:30 > 0:23:34otherwise people would say, you know, she doesn't look like the same girl.
0:23:34 > 0:23:38It certainly wasn't a good thing to change your image then.
0:23:38 > 0:23:41You had to be instantly recognisable in your photographs.
0:23:41 > 0:23:44I think it's probably much more fun today - a girl today can make
0:23:44 > 0:23:48a lot of money, she goes into it in a tough way, it's a business.
0:23:48 > 0:23:51She can do her own thing, she can express herself,
0:23:51 > 0:23:54she can make a lot of money. I think this must be rather fun.
0:23:54 > 0:23:56It doesn't matter if she doesn't know how to use a knife
0:23:56 > 0:23:59and fork, if she eats with her fingers, it doesn't matter.
0:23:59 > 0:24:01It mattered tremendously, then.
0:24:01 > 0:24:04I think the general feeling is much looser, much more free and easy.
0:24:04 > 0:24:09Um... People are much freer within themselves, even.
0:24:09 > 0:24:11There's not the uptightness that there used to be,
0:24:11 > 0:24:14but then I think that's a reflection of society anyway.
0:24:14 > 0:24:18I think people have become more open and freer within themselves
0:24:18 > 0:24:22and I think it shows in the modelling business. It comes through.
0:24:22 > 0:24:24I regret that the glamour has gone,
0:24:24 > 0:24:27that your average model girl today doesn't look like a model.
0:24:27 > 0:24:29You pass her in the street and she could be anybody.
0:24:29 > 0:24:30I think that's a shame.
0:24:30 > 0:24:34MUSIC: Love In C Minor by Cerrone