Happy Birthday, Jean Shrimpton, and Then Some

Today is Jean Shrimpton's 78th birthday. If you're thinking "who?", well, today's post is not for you. Everyone else will remember her as a Supermodel of the '60s (when they were first being called that). Along with Twiggy, Jean Shrimpton represented the '60s ideal. Twiggy, all arms, legs and eyelashes, was the quirky go-go girl. Jean embodied the Bohemian and romantic, a look that has never gone out of style.

British-born country-girl Jean Shrimpton fell into modeling at age 17 via secretarial school in London, a stab at acting, then "charm school". She was spotted by David Bailey, an up-and-coming photographer, while  shooting a Kellog's corn flakes ad in 1960. Jean credits Bailey with discovering her and making her career. Likewise she was his muse, and he quickly climbed the ladder to success.

Bailey and Shrimpton, just starting out

This is where I come in but not in a big way. Glamour Magazine was often a conduit for Conde Nast's untested talent. Before Alexander Lieberman would grant access to Vogue many photographers were vetted by Glamour's Art Director, Miki Denhof. As she was also a sophisticated European émigré, Lieberman trusted Miki implicitly. If a photographer worked out for her, he could be hired for Vogue.

Glamour's art department was the heart of the magazine's offices. In my early years there (1965-70), the vibe was open and welcoming. We didn't have cubbies or desks. The graphic designers worked across from each other, standing, at long counters to hold layouts in progress. Mini page photostats of upcoming issues were pinned to one wall, a row of the past years' covers tacked along another. There were windows along two sides of the room and a jungle of plants, lovingly tended by the senior designer. 

Visitors were always shown the art department, and we were introduced to them all. Sometimes we were alerted so as to be our most gracious. Charles Revson, for instance, looked like any successful businessman. It was important to know that his company, Revlon, bought so much advertising he practically subsidized our salaries. 

The photographers were more fun and hung around longer to chat. They all wanted to know which photos Miki liked (as they were never allowed to choose) and to see how they were being cropped and laid out. Not that we had any influence, but many of them brought gifts (mostly candy) and always remembered us at Christmas.

Being in this right place, at that right time, has never failed to amaze me. It was 1965. I was nobody, the junior member of an art department where that position was often a swinging door. I had no idea I would work at Glamour for 25 years. Some of the people I met were already established in their fields; many were not, like David Bailey. So my briefest encounter was with David Bailey, shorter than Jean and wearing a motorcycle jacket, and Jean, wearing I-can't-remember-what, very pale and quiet next to him.

With Terence Stamp

 
Jean Shrimpton (and David Bailey) shot a lot for Glamour in the next year or two, then went on to Vogue and high fashion work. They split as a real-life team. Jean had a long relationship with actor Terence Stamp. In 1979 she married photogapher Michael Cox, and retired to Cornwall, where she and her family still run a small hotel. 

Retired, early '80s, with family

She's never been persuaded to appear in any kind of Super Model reunion and has never expressed regret that she left the profession. I guess we could say, with Jean Shrimpton, no news is good news.

Avedon's famous 1965 cover