‘If fashion photography until the 1950s was about elitism’, notes Stephen Bull, ‘the theme of the 1960s was accessibility’.1 Charlotte Bertrand’s advertising stills, illustrate this commitment to the bourgeoning youth movements and pop-culture. Dispensing with the traditional modes of refined and purposefully elaborate photographic imagery, the message of these photographs is direct and to the point. The shoes on display are not simply alluring objects; they are explicitly transformed into potent cultural symbols that are as easily available as a 12 inch pop record or a Barbie doll.

1. S Bull, ‘Photography’, New York, Routledge, 2010, p 151