Swinging Sixties London | Sotheby's Swinging Sixties London Print LONDON - In March of 1964, a new exhibition opened at the Whitechapel Gallery in east London. Its title, “The New Generation,” promised youth and excitement, and today the cast of painters – including David Hockney, Bridget Riley, John Hoyland, Paul Huxley and Derek Boshier – sounds like a roll-call of the best and brightest of 1960s London. Twiggy modelling her first fashion line. The young satirist, journalist and author Jonathan Miller, reviewing it in the New Statesman, thought the exhibition perfectly captured the essence of the age: the spirit of London at an extraordinary moment in its recent history. “Mod, of course, is the word one is groping for,” he wrote. “There is now a curious cultural community, breathlessly à la Mod, where Lord Snowdon and the other desperadoes of the grainy layout jostle with commercial art-school Mersey stars, window dressers and Carnaby Street pants-peddlers. Style is the thing here—Taste 64—a cool line and the witty insolence of youth.

Tradition has little bearing on any of these individual talents and age can go stuff itself.” A couple hanging around Carnaby Street in pearly king and queen costumes. London in the 1960s – the London of Mods and mini, Terence Conran and Mary Quant, Carnaby Street, Abbey Road and the 1966 World Cup – has become one of the most mythologised landscapes in recent British history. In reality, a time traveller from the 21st century, having read about it in innumerable breathless accounts, would probably be deeply disappointed if his time machine deposited him at Piccadilly Circus in the age of Harold Wilson. For the most part, Britain’s capital was a tired, shabby city in the mid-1960s, its streets battered and careworn, its skyline disfigured by glass and concrete. The shops closed on Sundays; the pubs closed at eleven o’clock. And yet even at the time, the myths were being written. In April 1966 the “Swinging City” became an unexpected Time cover star, but the American magazine had actually been slow off the mark.

A year earlier, the Telegraph had already hailed London as “the most exciting city in the world,” its journalist John Crosby singling out the West End’s Ad Lib club as the epicentre of this stylish scene. There, he wrote, a visitor would see “models, au pair girls or just ordinary English girls, a gleam of pure joy on their pretty faces, dancing with the young bloods, the scruffy very hotshot photographers like David Bailey or Terence Donovan, or a new pop singer – all vibrating with youth.” But this, he thought, was merely a symptom of a wider change, even a revolution. For in the 1960s, “youth captured this ancient island and took command in a country when youth had always been kept properly in its place. Suddenly, the young own the town.” Half a century on, those words look mildly ridiculous. Even John Lennon, one of the stars of the supposedly swinging scene, later admitted that nothing changed, “but we all dressed up.” Still, it would be hard to deny that there was something in the water in London in the mid-1960s, even if it was confined to a few square miles of the West End, Chelsea and Kensington.

A small boutique that had just opened in South Kensington. Most young people were richer, better educated and more mobile than any generation before. Fashion, photography, pop music and film were offering opportunities to those with drive and talent. A good example was a handsome young man called Maurice Micklewhite, who had been born in Rotherhithe to a Billingsgate fish porter and a charlady. Renaming himself Michael Caine, Micklewhite had become one of the most bankable film stars in the world. He too subscribed to the cult of youth. “The only resources we’ve got in this country,” he said, “are the brains of our young people.” And his flatmate, Terence Stamp—another working-class Londoner—went even further. “People like me, we’re the moderns,” he told an interviewer. “We wear elastic-sided boots and smoke Gauloises, we work hard and we play hard. We have no class and no prejudice. We’re the new swinging Englishmen.” At the time, Caine and Stamp seemed to lead lives of impossible glamour. Stamp’s girlfriend, the stunning Jean Shrimpton, was one of the most recognisable and best-paid models in the world.

History remembers her as the model who popularised the mini-skirt at Melbourne Racecourse in 1965 (even though she was actually wearing a white shift dress). Her previous boyfriend had been David Bailey, while her sister Chrissie was going out with Mick Jagger. All appeared in Bailey’s Box of Pin Ups (1965), a photographic collection that cost a princely 63 shillings and seemed the supreme encapsulation of the new mood. Yet as some reviewers commented at the time, there was something off-puttingly solipsistic about it. “The camera, the most characteristic and sinister invention of our time,” wrote the reliably contentious Malcolm Muggeridge in his Observer review, “has ushered in – perhaps, better, crystallized – a religion of narcissism, of which photographers such as Mr Bailey are high priests.” The Rolling Stones on their way to a television appearance. To the stars themselves, all of this seemed to herald an extraordinary social and cultural breakthrough, driven by affluence, consumerism and mass education. The Beatles prided themselves on their working-class roots, even though only Ringo Starr came from a genuinely blue-collar background.

“I’m terribly pleased to be working-class because it’s the most swinging thing to be now, and so it was all my time at Oxford– a tremendous status symbol really,” gushed the writer Margaret Forster, whose novel Georgy Girl was made into a film starring Alan Bates and Lynn Redgrave. And in his autobiography, the former Micklewhite insisted that “for the first time in British history, the young working class stood up for themselves and said, ‘We are here, this is our society and we are not going away. Join us, stay away, like us, hate us—do as you like. We don’t care about your opinion any more.’” Yet half a century on, as the glamour of 1960s London fades inevitably into history, all this feels wildly overblown. Only a few years after Time magazine was hailing the Swinging City, public sector strikes saw bin bags pile up on London’s streets. The IRA bombing campaign of the mid-1970s destroyed the West End’s mood of innocent hedonism, while the myth of a new classless society was shattered by the divisive strikes of the years Prime Ministers Heath and Callaghan.

To the modern observer, much of the art of 1960s London still fizzes with energy and enthusiasm. But the period no longer looks like a social revolution. Far from smashing the old elite, Jagger wanted nothing more than to join it: as his most famous 1960s girlfriend, Marianne Faithfull, remembered, he would eagerly turn up to “dinners given by any silly thing with a title and a castle. He was as smitten as any American millionaire in the movies.” As for Stamp, he liked nothing more, he recalled, than “to get into the Saddle Room [nightclub] and dance with the Duchess of Bedford’s daughter… and get taken down to Woburn Abbey to hang out for a long weekend and have dinner in the Canaletto room with the Duke’s sons.” Swinging London, or Regency London? Well, perhaps there was not much to choose between them.

Historian, author and broadcaster, Dominic Sandbrook has written a history of Britain in the 1960s, White Heat (Little Brown, 2006) Artworks from the 1960s will be offered in The New Situation , a selling exhibition at Sotheby’s London. Photography by Philip Townsend Supermodels of the 1960s - Famous 60s Models 1 Of 9 Jean Shrimpton As one of the world's first supermodels, Jean Shrimpton spearheaded the new wave of cover girls spawned from the Swinging London movement. She was discovered by photographer David Bailey (whom she'd go on to have a higly-publicized 4-year relationship with) in 1960 and went on to cover countless fashion magazines and popularize the mini-skirt. "Getty Images" 2 Of 9 Veruschka For German-born Veruschka, it was an infamous scene in the 1966 film Blow Up that catapulted her to international fame. Richard Avedon called her "the most beautiful woman in the world," and she went on to become one of the highest-paid models in the world.

Back in 2010, 71-year-old Veruschka walked the runway during the Giles Spring 2011 show at Paris Fashion Week. "Getty" 3 Of 9 Twiggy Inarguably the Queen of Mod, Twiggy was crowned "The Face of '66" by the Daily Express at just 16-years-old. Her signature look — a cropped haircut, spider lashes, and boyish frame — was the epitome of modern and landed her on the cover of every major magazine. She retired from modeling in 1970, but continues to be a fashion icon to this day. "Getty" 4 Of 9 Donyale Luna Donyale Luna was the world's first African American cover girl. She was known for her exquisqite 5-foot-11 frame, razor-edged bone structure, and almond-shaped eyes. In addition to modeling, she starred in many of Andy Warhol's underground films, as well as Federico Fellini's Fellini Satyricon (1970). She died tragically due to an accidental overdose at the age of 34.

"Getty Images" 5 Of 9 Penelope Tree Penelope Tree was first photographed by Diane Arbus at the age of 13. After a much-talked-about appearance in a high-slit dress at Truman Capote's Black and White Ball in 1966, Richard Avedon and Cecil Beaton plotted to make the 17-year-old Tree a supermodel. She became a regular on the Swinging London scene and represented a new kind of beauty. When John Lennon was asked to describe Tree in three words, he called her, "Hot, hot, hot, smart, smart, smart!" "Getty Images" 6 Of 9 Peggy Moffitt Peggy Moffitt had one of the most distinct looks in the business thanks to her razor-sharp, asymmetrical haircut by Vidal Sassoon, Kabuki-inspired makeup, and affinity for extreme fashion. She made international headlines in 1964 when she wore a topless monokini bathing suit created by her dear friend designer Rudi Gerenreich in a photograph that appeared in Women’s Wear Daily.

"Getty" 7 Of 9 Patti Boyd Pattie Boyd was the muse behind two of rock 'n' roll's greatest songs: "Something" by The Beatles and "Layla" by Eric Clapton. She began her career as a model in 1962, where she was photographed by the likes of David Bailey and Terrence Donovan. She met her future husband George Harrison when she was cast in A Hard Day's Night. "Getty Images" 8 Of 9 Linda Keith Linda Keith was another model who inspired pivotal musicians of the '60s. She served as a muse to The Rolling Stones (she dated Keith Richards), as well as Jimi Hendrix, whose career she helped catapult after wathcing him perform in a New York City club. She is portrayed by Imogen Poots in the upcoming Hendrix biopic Jimi: All Is by My Side. "Getty" 9 Of 9 Linda Morand The Jackie O look-a-like was discovered while studying art in New York City by Eileen Ford herself in 1965.

She became notorious not just for her resemblance to the former first lady, but for being one of the first American models to model for French haute couture shows. "Getty" Throwback Thursday: Classic Beauty, Twiggy : BEAUTY : Beauty World News Get the Most Popular Beauty World News Stories in a Weekly Newsletter This week we honor classic beauty, Twiggy, as our Throwback Thursday. Still in New York Fashion Week mode, we decided to honor one of the most iconic faces in the industry to ever grace a magazine. This cutely boyish, big eyed girl from London quickly became recognized as the symbol for the swinging sixties mod scene back in the day. Nicknamed "Sticks" as a kid, Twiggy would acquire her more popular name by the time she became a teenager, just in time for her launch as a full-fledged star. (Photo : Getty) Twiggy's short hair, bold eye makeup, and super slim frame made her every fashion magazine's dream. Gracing Elle and Vogue to name a small few, Twiggy soon became much more than a model and morphed into a brand.

With her own Barbie doll, roles in films, and even a line of Twiggy false eyelashes; this model was one of the first to parlay her runway success into a larger business. What made Twiggy so cool? Well one look at her and its clear. Twiggy was the queen of the 1960s mod era. Known for their music and style of dress, Twiggy embodied the movement, and without a glam squad or professional makeup artist on call to help either. (Photo : Getty) "I've done my own eye make-up since I was 14 and in my mod phase," Twiggy explained in an article she wrote for the Daily Mail. "It was a very specific look, heavy round the eyes. I'd mess about with eyeblack - a pot of solid black liner mixed with a bit of spit on the end of a fine brush. I wanted smoky eyes like the 1930s screen goddesses." Twiggy obviously loved to go for the drama. Her lashes are coated to the max, with small bottom lashes even drawn on for added emphasis. But just how did she do it?

"Back then I was layering three pairs of false eyelashes over my own and would paint extra 'twigs' on my skin underneath. The final touch was blocking out my lips with pancake. When I started modeling I would set the alarm for 90 minutes before I had to leave, as it took that long to apply the make-up. It was so therapeutic and such fun." (Photo : Getty) Stealing Twiggy's majorly mod swag is easy. Swoop a dark smoky shadows into the crease of the lid, thickly line top and bottom lashes with black eyeliner, and pour on the mascara. Falsies will create head-turning flair, but if its a modern daytime look you're after, skip this step and instead of drawing on bottom lashes, use your mascara wand to add softer emphasis here. If you're down to try this look, you're just as fearless a makeup maven as Twiggy. "For some women, the idea of wearing make-up fills them with fear, but it's a good way to draw attention to your best features," Twiggy explained. "At the very least, mascara can open up the eyes and add depth to your face." We couldn't agree more!

Check out this fun Twiggy makeup tutorial and let us know if you'll be trying this mod look on for size by dropping s a note below. Like Us on Facebook Christine Keeler, London by Lewis Morley on artnet Auctions SHARE Contact Specialist Lot Details British photographer Lewis Morley (1925–2013) became known for chronicling the 1960s and capturing decade-defining icons like Twiggy, Jean Shrimpton, Leslie Caron, Catherine Deneuve, Charlotte Rampling, and many other fashion models, musicians, and celebrities. Christine Keeler, London, perhaps his most recognizable image, was taken to promote a film about the Profumo scandal, the newsworthy affair between British politician John Profumo and then 19-year-old Keeler. The film was never produced, but the image was stolen and first published (uncredited) in the magazine Sunday Mirror on June 9, 1963. The shot instantly became a symbol of the "swinging sixties," embodying the freedom and sexual liberation associated with the time period.

The model posed in Morley's studio on a knock-off Arne Jacobsen chair purchased on sale at a London department store that now resides in the Victoria and Albert Museum's design collection. This iconic image appears widely in popular culture and has been reenacted in The Simpsons and by the Spice Girls. The only surviving vintage print of this image is held in the collection of the National Portrait Gallery in London. This work was printed circa 1980, at which time Morley did not edition his prints. Only his later prints in larger sizes were editioned. : Ammonite Press Ammonite Press The Swinging Sixties An iconic decade in pictures The Swinging Sixties was the fashion and cultural scene that flourished in Great Britain during the 1960s, with 'Swinging London' as the hip capital. The predominantly youth-orientated phenomenon emphasized all that was new and modern in a period of optimism and hedonism after the austerity of the post-war years, while some fashions harked back to the flourishes of the Edwardian era.

Fashion designers experimented with new materials and styles, notably Mary Quant, who claimed to have invented the mini skirt and hot pants, and widely used plastic and brightly coloured fabrics in her clothing designs. Trendy photographers such as David Bailey snapped evocative images of sultry models such as Jean Shrimpton, the 'Face of the '60s', and the elfin Twiggy, who was crowned 'Queen of Mod'. The latest fashions were sold in trendy shopping areas such as London's Carnaby Street and Kings Road, Chelsea, and the Union Flag became a symbol of the swinging scene. This surge of patriotism was aided by England's home victory in the 1966 World Cup, while the Mini-Cooper car, launched in 1959, became the ubiquitous vehicle of choice for the hip and fashionable, frequently daubed with garish colours, paisley patterns or British flags. Pop music became the theme tune of the decade, disseminated by top TV shows such as Ready Steady Go! hosted by Cathy McGowan between 1964 and 1966, and Top of the Pops, launched in 1964.

This was the decade that saw the emergence of The Beatles, and very British pop bands such as The Who, The Kinks, and The Dave Clark Five. This book takes an affectionate look back at the fashions, music and lifestyles of this vibrant decade in almost 400 photographs hand-picked from the archives of Mirrorpix. Inside pages - click to enlarge Twiggy | America's Next Top Model Wiki | Fandom powered by Wikia Birthdate September 19, 1949 (1949-09-19) (age 67) Lesley Lawson (née Hornby) widely known by the nickname Twiggy, is an English model, actress and singer. In the mid-1960s, she became a prominent British teenage model of swinging sixties London with others such as Penelope Tree. Twiggy was initially known for her thin build (thus her nickname) and her androgynous look consisting of large eyes, long eyelashes, and short hair. In 1966, she was named "The Face of 1966" by the Daily Express and voted British Woman of the Year.

By 1967, Twiggy had modelled in France, Japan, and the U.S., and landed on the covers of Vogue and The Tatler. Her fame had spread worldwide. After modelling, Twiggy went on to enjoy a successful career as a screen, stage and television actress. She has hosted her own series, Twiggy's People, in which she interviewed celebrities, and also appeared as a judge on the reality show America's Next Top Model. Her 1998 autobiography, Twiggy in Black and White, entered the bestseller lists. Since 2005, she has modelled for Marks and Spencer, most recently to promote their recent rebranding, appearing in television advertisements and print media, alongside Myleene Klass, Erin O'Connor, Lily Cole and others. In 2012, she worked alongside Marks & Spencer's designers to launch an exclusive clothing collection for the M&S Woman range. Contents Edit She was born Lesley Hornby, and was brought up in the northwest London suburb of Neasden.

She was the third daughter of Nellie Lydia (née Reeman), a factory worker for a printing firm, and William Norman Hornby, a master carpenter and joiner from Lancashire. Her paternal grandfather was Jewish. Their first daughter, Shirley, had been born fifteen years earlier; their second, Vivien, had been born seven years earlier. Twiggy's mother taught her to sew from an early age. She used this skill to make her own clothing. She attended the Brondesbury and Kilburn High School in Salusbury Road, London. Twiggy's great great grandmother, Grace Meadows, then living under her maiden name Grace Gillies, died in a stampede of shoppers at a bargain sale at Messrs McIllroys store in Mare Street In Hackney in 1897. This event made the news at the time. Personal life Edit Twiggy married American actor Michael Witney in 1977. They had a daughter, Carly, born in 1978. The marriage ended with his sudden death in 1983 from a heart attack. Twiggy met Leigh Lawson in 1984.

In 1988, they worked on the film Madame Sousatzka, and married that year in Sag Harbor, Long Island. Lawson adopted Twiggy's daughter, who took his surname. The couple reside in London, and also own a home in Southold, Suffolk. In her official site, she describes herself as being an ardent supporter of breast cancer research, animal welfare and anti-fur campaigns. Twiggy was one of the celebrities, including Tom Hiddleston, Jo Brand, E. L. James and Rachel Riley, to design and sign her own card for the UK-based charity Thomas Coram Foundation for Children. The campaign was launched by crafting company Stampin’ Up! UK and the cards were auctioned off on eBay during May 2014. Modelling career (1965-70) Edit Twiggy is best remembered as one of the first international supermodels and a fashion icon of the 1960s. Her greatest influence is Jean Shrimpton, whom Twiggy considers to be the world's first supermodel. Twiggy has also been described as the successor to Shrimpton.

In January 1966, young Lesley Hornby had her hair coloured and cut short in London at Leonard of Mayfair, owned by celebrity hairdresser Leonard. The hair stylist was looking for models on whom to try out his new crop haircut and he styled her hair in preparation for a few test head shots. A professional photographer Barry Lategan took several photos for Leonard, which the hairdresser hung in his salon. Deirdre McSharry, a fashion journalist from the Daily Express, saw the images and asked to meet the young girl. McSharry arranged to have more photos taken. A few weeks later the publication featured an article and images of Hornby, declaring her "The Face of '66". In it, the copy read: "The Cockney kid with a face to launch a thousand shapes... and she’s only 16". Hornby's career quickly took off.

She was short for a model at 5'6" (167 cm), weighed eight stone (51 kg; 112 lbs) and had a 31-23-32 figure, "with a new kind of streamlined, androgynous sex appeal" Her hairdresser boyfriend, Nigel Davies, became her manager, changed his name to Justin de Villeneuve, and persuaded her to change her name to Twiggy (from "Twigs", her childhood nickname). De Villeneuve credits himself for Twiggy's discovery and her modelling success, and his version of events is often quoted in other biographies. Ten years her senior, he managed her lucrative career for seven years, overseeing her finances and enterprises during her heyday as a model. Twiggy was soon seen in all the leading fashion magazines, commanding fees of £80 an-hour, bringing out her own line of clothes called "Twiggy Dresses" in 1967, and taking the fashion world by storm.

"I hated what I looked like," she said once, "so I thought everyone had gone stark raving mad." Twiggy's look centred on three qualities: her stick-thin figure, a boyishly short haircut and strikingly dark eyelashes. Describing how she obtained her prominent eyelashes, now known as Twiggy's, she said, "Back then I was layering three pairs of false eyelashes over my own and would paint extra 'twigs' on my skin underneath." One month after the Daily Express article, Twiggy posed for her first shoot for Vogue. A year later, she had appeared in 13 separate fashion shoots in international Vogue editions. 1967-70 Edit Twiggy arrived in New York in March 1967 at Kennedy Airport, an event covered by the press. The New Yorker, Life and Newsweek reported on the Twiggy "phenomenon" in 1967, with the New Yorker devoting nearly 100 pages to the subject." That year she became an international sensation, modelling in France, Japan and America, and landing the cover of Paris Vogue in May, the cover of U.S.

Vogue three times, in April, July and November, and the cover of British Vogue in October. In 1967, an editorial on page 63 of the 15 March edition of Vogue described her as an "extravaganza that makes the look of the sixties" Twiggy was, according to feminist critic Linda Delibero, "the most visible commodity Britain produced that year, and [America] generously complied with the hype, scarfing up skinny little Twiggy pens, Twiggy lunch boxes, Twiggy lashes, an assortment of Twiggy-endorsed cosmetics". The Metropolitan Museum of Art's 2009 catalogue of Style: Model as Muse Embodying Fashion stated that "Twiggy's adolescent physique was the perfect frame for the androgynous styles that began to emerge in the 1960s. The trend was manifested in a number of templates: sweet A-line dresses with collars and neckties, suits and dresses that took their details from military uniforms, or, in the case of Yves Saint Laurent, an explicit transposition of the male tuxedo to women.

Simultaneously, under the rubric of 'unisex', designs that were minimalistic, including Nehru suits and space-agey jumpsuits, were proposed by designers such as Pierre Cardin and Andre Courreges, and, most famously in the U.S.A., by Rudi Gernreich." Twiggy has been photographed by such noted photographers as Cecil Beaton, Richard Avedon, Melvin Sokolsky, Ronald Traeger, Bert Stern, Norman Parkinson, Annie Leibovitz and Steven Meisel. Reaction Edit Twiggy and the magazines featuring her image polarised critics from the start. Her boyishly thin image was criticised as, and is still blamed for, promoting an "unhealthy" body ideal for women. "Twiggy came along at a time when teen-age spending power was never greater," said Su Dalgleish, fashion correspondent for the Daily Mail. "With that underdeveloped, boyish figure, she is an idol to the 14- and 15-year-old kids.

She makes virtue of all the terrible things of gawky, miserable adolescence." At the height of her fame, Mark Cohen, president of Leeds Women's shop, had an even harsher view: "Her legs remind me of two painted worms." Yet Twiggy had her supporters. Diana Vreeland of Vogue stated, "She's no flash in the pan. She is the mini-girl in the mini-era. She's delicious looking." In recent years Twiggy has spoken out against the trend of waif-thin models, explaining that her own thin weight as a teenager was natural: "I was very skinny, but that was just my natural build. I always ate sensibly – being thin was in my genes." On 10 December 1969, despite being 20 years old, she was selected as the special guest for one of the first editions of the UK television series This Is Your Life.

Stage, film, television and singing career Edit After four years of modelling, Twiggy retired in 1970, stating "You can't be a clothes hanger for your entire life!" She broke off with Justin de Villeneuve, who had been overseeing her business affairs since 1966, and released him from his duties as her manager, claiming in later years that "her career had more to do with that famous picture of her with those funny painted eyelashes, which appeared in the Daily Express under the headline 'The Face of '66' " than with his promotional efforts. Twiggy then embarked on an award-winning acting and singing career, starring in a variety of roles on stage and screen, and recording albums. In 1971, she made her film debut as an extra in Ken Russell's The Devils. The same year, she performed her first leading role in features as Polly Browne in Ken Russell's adaptation of Sandy Wilson's pastiche of 1920s hit musicals The Boy Friend. This marked her initial collaboration with Tommy Tune, and won her two Golden Globe Awards in 1972 (New Star of the Year – Actress and Best Actress in a Musical or Comedy).

Also in 1971, Twiggy released the single "Zoo de Zoo Zong", written by Roger Cook and Roger Greenaway, and credited to Twiggy and Friends. In 1974, she made her West End stage debut in Cinderella; made a second feature, the thriller W (co-starring with her future husband Michael Witney); and hosted her own British television series, Twiggs (later renamed Twiggy). In 1973, she appeared with David Bowie on the cover of his seventh album, Pin Ups. which entered the UK chart on 3 November 1973 and stayed there for 21 weeks, peaking at No. 1. In October 1975, she sang at the live performance of Roger Glover's The Butterfly Ball and the Grasshopper's Feast album at the Royal Albert Hall. The concert was filmed and produced by Tony Klinger and released to cinemas in 1976. In November 1976 she made an appearance on The Muppet Show, in which she sang "In My Life", a Beatles song.

In 1976, Twiggy signed to Mercury Records and released the albums Twiggy and Please Get My Name Right, discs that contained both pop and country tunes. Twiggy sold very well, peaking on the UK charts at No. 33, and gave Twiggy a silver disc for good sales. The album contains Twiggy's top-twenty hit single, "Here I Go Again". "Please Get My Name Right" made it to No. 35 in 1977. A single "A Woman in Love" failed to chart for Twiggy in 1977, but was a hit for the Three Degrees in 1978. In 1978, the television distribution arm of American International Pictures, in an effort to gain additional syndication value in the U.S. to the LWT rock music series Supersonic, repackaged the musical performances with Twiggy replacing Mike Mansfield's introductions. The new series was titled Twiggy's Jukebox, and ran in most of the major television markets in the U.S. during the 1978–79 TV season.

Coincidentally, Twiggy herself had performed "Here I Go Again" and "Vanilla Olay" on Supersonic in September 1976, and these performances were included in the refurbished programme. After the initial season, Twiggy left the series, and American International Television continued Jukebox with Britt Ekland as host, using standard music videos rather than clips from Supersonic. She appeared in "There Goes the Bride" with Tom Smothers in 1979. 1980-99 Edit In 1980, Twiggy made a cameo appearance in The Blues Brothers. She starred as Eliza Doolittle in 1981 opposite Robert Powell in the Yorkshire TV production of Pygmalion. In 1983 she made her Broadway debut in the musical, My One and Only, starring and co-staged by Tommy Tune, for which she earned a Tony nomination. She played opposite Robin Williams in the 1986 comedy Club Paradise. In 1987, she played a vaudeville performer in the British television special The Little Match Girl, and in 1988 she appeared in a supporting role in Madame Sousatzka opposite second husband Leigh Lawson.

In 1989, she was cast as Hannah Chaplin, mother to Charles, in the British television movie Young Charlie Chaplin, aired in the United States on PBS' WonderWorks. In 1991, she co-starred in her first American network dramatic television series, the short-lived CBS sitcom Princesses. Of eight episodes completed, only five aired. (Princesses co-star, Fran Drescher, later spent some time with Twiggy and her family in England while developing Drescher's hit series The Nanny, even modeling character Maxwell Sheffield on Twiggy's husband Leigh Lawson.) In 1993, she appeared alongside Mark Hamill in the short segment "Eye" from the made-for-cable horror anthology, Body Bags. In 1997, Twiggy acted in the Chichester Festival Theatre revival of Noël Coward's Blithe Spirit. A year later, she played Gertrude Lawrence in the biographical stage revue Noel and Gertie at Bay Street Theatre in Sag Harbor, Long Island.

In 1999, she returned to the New York stage in an off-Broadway production If Love Were All, a revised version of Noel and Gertie, written and directed by Leigh Lawson; what set this edition apart were its tap numbers in period style. She starred as Gertrude Lawrence opposite Harry Groener's Noël Coward. 2000-09 Edit In 2001, Twiggy co-hosted the British magazine programme This Morning. In 2003, she released another album, Midnight Blue. Seventeen of the CD's 20 tracks had previously unreleased material from 1982–1990, including a duet with Leo Sayer, "Save the Last Dance for Me", and a cover of the Stones' "Ruby Tuesday". Feel Emotion and Diamond have both been released onto CD format since. In 2005, she joined the cast of the television show America's Next Top Model for Cycles 5–9 as one of four judges, and a year later, she appeared on the cover of the "Icons" issue of Swindle magazine.

She also returned to modelling, fronting a major television, press and billboard campaign for Marks & Spencer, the British department-store chain. Her involvement in the advertising campaign has been credited for reviving Marks and Spencer's fortunes. In 2006, she portrayed herself as a nineteen-year-old in the radio play Elevenses with Twiggy for BBC Radio 4's Afternoon Play series. She did not return to America's Next Top Model in its tenth season due to scheduling conflicts. Her replacement was model Paulina Porizkova. Also in 2007, Sepia Records released a previously shelved album that Twiggy recorded in 1979, produced by Donna Summer and Juergen Koppers. Heaven in My Eyes ["Discotheque"] contains the eight original tracks due to be released, plus four remixes by "The OUTpsiDER". The album was also made available on iTunes. She is signed to London agency Models 1. In 2008, she supported the "Fashion Targets Breast Cancer" campaign in support of Breakthrough Breast Cancer, alongside fellow celebrities –comedian Alan Carr, singer Natalie Imbruglia, actress Anna Friel and DJ & presenter Edith Bowman.

In the summer of 2009, beauty company Olay debuted its "Definity Eye Cream" campaign depicting Twiggy. Accusations of airbrushing created a stir with the media and public. A website campaign set up by Jo Swinson, the Scottish Liberal Democrat MP, attracted 700 individual complaints.[50] Procter & Gamble admitted to minor retouching and replaced the image. The Advertising Standards Authority (ASA) announced that the ad gave a "misleading" impression, but that no further action was required because the image had already been withdrawn. Its announcement said: "However, we considered that the post-production re-touching of this ad, specifically in the eye area, could give consumers a misleading impression of the effect the product could achieve. We considered that the combination of references to 'younger looking eyes', including the claim 'reduces the look of wrinkles and dark circles for brighter, younger looking eyes', and post-production re-touching of Twiggy's image around the eye area, was likely to mislead." Later career Edit Twiggy remains in the forefront of fashion for women of her age.

She was one of the few famous celebrities to survive being cut from the Marks & Spencer fashion team in 2009–2010, when Dannii Minogue joined her for the spring/summer women's wear campaign. She also started an HSN fashion line called the "Twiggy London" collection, and has begun a fashion blog to discuss the line. Women in their 60s and 70s are remaining stylish today, and this trend has been termed the "Twiggy effect". On 21 November 2011 Twiggy released Romantically Yours, her first album in 12 years, through EMI. A collection of pop and easy listening standards spanning several generations, the album features versions of such compositions as "Bewitched, Bothered and Bewildered", "Blue Moon", "My Funny Valentine", "Someone to Watch over Me" and "They Can't Take That Away from Me". The album also includes a guest vocal appearance by Twiggy's daughter Carly Lawson on Neil Young's "Only Love Can Break Your Heart", a guitar solo by Bryan Adams, and a version of Richard Marx's "Right Here Waiting" featuring duet vocals with the American songwriter himself.

Romantically Yours was produced by James McMillan, whose résumé includes playing trumpet for Sade and James Brown.

Question: What "stick-thin" model became a symbol of Swingin' Sixties London?
Answer: Twiggy