Twiggy photographed in a studio in London, England in October 1966.

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@jessicaday22
Twiggy photographed in a studio in London, England in October 1966.
”there are more of us than you think!” a pride button from genderpress, c. 1990′s
“When you stop talking to people, stop talking about them too.”
— Unknown
“A healthy relationship is where two independent people just make a deal that they will help the other person be the best version of themselves.”
— Unknown
Twiggy by Douglass Kirkland, 1970
i love jane birkin
Gianni Penati - Samantha Jones for Helena Rubinstein (Vogue 1967)
Twiggy photographed during the presentation of her line of clothes for her brand "Twiggy", London, United Kingdom, February 16th 1967.
Grace Slick photographed by Ron Rakow, 1967
“you will never be too much for someone who can’t get enough of you”
— Unknown
Sixties fashions in a pub on King's Road, London.
Photo by David Hurn, 1967
Sam Haskins - Cowboy Kate & Other Stories, from The British Journal of Photography Annual (1966)
our enhanced and colorized photo of a young Jane Fonda wearing a bikini while on location on the French Riviera for the film Big Cats (1965)
Recently watched: psychological thriller The Morning After (1986). Tagline: “Last night she drank to forget. Today she woke up to a murder. Is he her last hope or the last man she should trust?” Dir: Sidney Lumet.
On Thanksgiving morning, washed-up, middle-aged alcoholic actress Viveca Van Loren (Jane Fonda) awakens with a thunderous hangover in an unfamiliar bedroom lying next to an unfamiliar man. (Her first line of dialogue: “What the fuck?”). She was black-out drunk and has zero recollection of the night before. Understandably, Viveca panics when she realizes her bed-mate is a corpse – with a bloody knife protruding from his chest! Is someone trying to frame her for his murder? Is she in danger? Turner Kendall (Jeff Bridges), a sympathetic ex-cop with problems of his own, seemingly offers Viveca a lifeline – and maybe a chance for redemption.
I hadn’t revisited The Morning After (currently streaming for free on YouTube) in many years. I love its atmospheric view of the underbelly of Los Angeles and Viveca’s life on the fringes of show business. (Befitting a fallen glamour girl, she resides in a frou-frou dusty rose apartment in a pink stucco Art Deco building). It probably succeeds best as a downbeat character study of the tentative budding romance between the unlikely duo of Viveca and Turner. Fonda slays, but it would be interesting to see how her peers Tuesday Weld or Faye Dunaway would interpret Viveca (in her broader moments, Fonda sometimes seems to be doing a Dunaway impersonation). And with a few minor tweaks it’s easy to imagine The Morning After making a great woman-in-peril noir vehicle for Crawford, Stanwyck or Davis in the 1950s (it recalls Davis as an ageing actress on the skids in The Star). The cast includes Raul Julia, Diane Salinger (Simone from Pee-wee’s Big Adventure!) and a fleeting appearance from an unknown young Kathy Bates. One nice detail: Viveca relies on loyal gay confidantes for support. On the lam and needing a change of clothes, she visits a drag queen friend. Before that, a sympathetic gay bartender (played by Bruce Vilanch!) comps her a free drink. Best exchange: Alex: “I was being groomed to be the next Vera Miles.” Turner: “Who?” Alex: “See! I was getting ready to replace somebody the public didn't even know was missing!”
our enhanced photo of a young Jane Fonda (Paris, 1963) absolutely devouring in a white turtleneck
Cecil Beaton - Dress by Ceil Chapman (Vogue 1950)
“How you love yourself is how you teach others to love you.”
— Rupi Kaur; milk and honey