The 1950s was a decade of structured elegance and bold colors in women’s beachwear. Fashion photographers used the coasts of Florida, Italy, and France to showcase new designs. These images captured a transition from heavy, modest suits to lighter fabrics and the early popularity of the bikini.
1951: The Luxury of Velvet
In 1951, photographer Horst P. Horst captured one of the most famous images of the early decade. He photographed model Jean Patchett wearing a pink velvet bathing suit for Vogue. This choice of fabric was unusual for water, but it looked luxurious in print. The suit featured a structured bodice and a deep pink color that stood out against the studio lighting.
1952: Moving Outdoors and the Early Bikini
By 1952, fashion photography moved more frequently to outdoor locations. In December of that year, Richard Rutledge photographed models in tropical settings. Around the same time, Henry Clarke traveled to Olhao, Portugal. He photographed a model seated on a rooftop with a basket. She wore a patterned bikini designed by Calypso. This two-piece design was a bold choice for the early 1950s because many people still preferred the coverage of a one-piece suit.
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1953: The Strapless Trend and Floral Prints
In 1953, the strapless look became a major trend. John Rawlings photographed Liz Pringle in a strapless swimsuit designed by Givenchy. This suit emphasized a clean silhouette and high-fashion tailoring. In the same year, a group of southern belle models were photographed at the Cypress Gardens theme park in Florida. They sunbathed together on the beach to show off the variety of floral prints available to consumers. John Rawlings also produced work for the January 1953 issue of Vogue that focused on these feminine, structured styles.
1954: Playful Patterns and Coordinated Looks
The year 1954 saw a rise in playful patterns and coordinated looks. Model Mara Lane was photographed by Slim Aarons at the Sands Hotel in Las Vegas. She lounged by the pool in a red and white striped bathing costume that matched the hotel’s upbeat atmosphere. In another shoot, Horst P. Horst photographed Sherry Nelms for Vogue. Her suit featured a carefully designed bodice that provided an “hourglass” shape. Roger Prigent contributed to the 1954 Condé Nast Archive with a photo of a model in a grey and white patterned strapless suit. She sat on a striped beach towel to create a contrast between the two patterns. Another popular look that year was the summer dress style. A 1954 photo shows a model under a beach umbrella in pleated short shorts and a matching sleeveless shirt with a light floral pattern. This outfit functioned as both a swimsuit and a casual outfit. For the May issue of Glamour, Leombruno-Bodi photographed a tank-top swimsuit. It featured moss green lace over white broadcloth and came with a zipped beach coat.
1955: Storytelling with Props and European Style
Fashion photography in 1955 often used props to tell a story. Leombruno Bodi photographed a model in a white shark-skin swimsuit by Jantzen. She stood in front of an American flag and held an ice cream cone. She wore a white straw sailor hat over a polka-dotted scarf hat by Betmar. This image connected the brand to classic American summer traditions. In Palermo, Sicily, Henry Clarke photographed models Fiona Campbell-Walter and Ivy Nicholson. They wore elegant suits that reflected the high-fashion style of the Italian coast.
1956: Technology and Fashion Merging
In 1956, technology and fashion merged in several shoots. Richard Rutledge photographed a model looking through a waterproof camera. She wore a black bathing suit and a black velvet bathing cap with red and green bands. This image showed the growing interest in underwater activities. Another photo from that year shows a young woman on a sand dune holding a beach ball. She wore a simple suit that allowed for movement and play. Richard Rutledge also contributed to the January 1956 issue of Vogue with more beach-focused imagery.
1957: Experimental Fabrics and Athletic Themes
The year 1957 brought more experimental fabrics and themes. One model appeared in a bathing suit made of harlequin-diamond wool by Imports Int. This suit used a diamond pattern that was popular in mid-century design. Rose Marie Reid was a major designer during this time. Richard Rutledge photographed two models in her suits. One wore a blue suit with a mask and flippers, while the other wore a white suit with a matching cap. They stood near a tree to show that the suits were durable for active swimming. Another photo featured Gretchen Harris standing in the ocean with an umbrella. She wore a knitted black maillot made of DuPont fiber and a water-velvet cap by Adolfo of Emme. At Eden Roc in Cap d’Antibes, Georges Dambier photographed Barbara Mullen and Marie Helene. They represented the peak of European glamour.
1958: The Power of Red and Social Scenes
In 1958, the red swimsuit became a staple of the beach. Richard Rutledge photographed a model in a bright red Jantzen suit. Jantzen was a leading brand that focused on athletic but stylish designs. In Cannes, France, Slim Aarons photographed a group called the “Sundowners” at the Carlton Hotel. This photo captured the social side of beach fashion, where people gathered in their suits to relax at the end of the day.
1959: Silk, Synthetic Fibers, and the Bikini
By 1959, the decade ended with a mix of high-end fabrics and casual looks. Tom Palumbo photographed a model in a red silk shantung suit by Catalina. The fabric was printed with pinkish flowers. She wore a cyclamen pink straw hat with a dark red silk sash. This outfit was formal for the beach. Another model wore a yellow swimsuit made of knitted cotton and Orlon by Jantzen, shot by William Bell. New synthetic fibers made suits more comfortable and faster to dry. In Deauville, Georges Dambier photographed the “Bikini Girl” on the boardwalk. This image showed how the two-piece suit was becoming more acceptable in public. Slim Aarons also photographed young women at Lake Tahoe to show that beach style was popular at mountain lakes as well as the ocean.
Late 1959 also saw more calico prints. Richard Rutledge photographed a model in a calico print swimsuit and a terrycloth cardigan at the Diplomat Hotel in Florida. This combination was practical for the breeze at the beach. Anne St Marie was another famous model of the time. Tom Palumbo photographed her bathed in light to emphasize the texture of her suit.
