Norman Parkinson

I started taking pictures.

I remember Norman, Norman Parkinson.

And in the time, everybody, David Bailey, I don't know, so many.

Because it was not like today where you have a Photoshop and people don't need to travel.

in various different sectors, for the simple reason that loads of men are away, and so they need people to take on their jobs.

And this opportunity is also one that becomes open to Lee Miller, because the great Vogue photographers at the time, people like Cecil Beaton, Norman Parkinson, they're doing work with the war effort, and so an opportunity does arise.

And also, Alastair, the editor of Brogue-

Yes

Fantastic.

And that, I think, is a mock-up of a, I think it was a Norman Parkinson picture that he did of

her.

Nicely backlit and all the rest of it.

But when it happened, it, as I say, it roller-coastered so fast, um, you know, I was in, when it happened in London, and then I was in Paris, and then I went to New York via the Isle of Ireland.

And I mean, in May, I got to work with, you know, by the time I was 20, I'd worked with all the greats, Norman Parkinson.

I decided I wanted to pursue my performing career, and um, because when you do something like a film, you, you know, you get offered other, other work.

So, um, I di- I kind of stopped modeling by choice.