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Premium Framed Print : Black and white minstrels
Framed Photos from Mary Evans Picture Library
Black and white minstrels
A fashion shoot featuring the Black & White Minstrels in Tatler, 1962. The outfit worn by the model in the middle is a white silk, two-piece, the skirt cut both ways with inverted panels of navy silk studded with white by Nettie Vogues at Selfridges. Date: 1962
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Media ID 7185313
© Mary Evans Picture Library 2015 - https://copyrighthub.org/s0/hub1/creation/maryevans/MaryEvansPictureID/10527974
1962 Minstrel Minstrels Outfit Stereotype Stereotyping Nettie Racial
31"x27" (79x69cm) Premium Frame
FSC real wood frame with double mounted 24x20 print. Double mounted with white conservation mountboard. Frame moulding comprises stained composite natural wood veneers (Finger Jointed Pine) 39mm wide by 21mm thick. Archival quality Fujifilm CA photo paper mounted onto 1mm card. Overall outside dimensions are 31x27 inches (787x685mm). Rear features Framing tape to cover staples, 50mm Hanger plate, cork bumpers. Glazed with durable thick 2mm Acrylic to provide a virtually unbreakable glass-like finish. Acrylic Glass is far safer, more flexible and much lighter than typical mineral glass. Moreover, its higher translucency makes it a perfect carrier for photo prints. Acrylic allows a little more light to penetrate the surface than conventional glass and absorbs UV rays so that the image and the picture quality doesn't suffer under direct sunlight even after many years. Easily cleaned with a damp cloth. Please note that, to prevent the paper falling through the mount window and to prevent cropping of the original artwork, the visible print may be slightly smaller to allow the paper to be securely attached to the mount without any white edging showing and to match the aspect ratio of the original artwork.
FSC Real Wood Frame and Double Mounted with White Conservation Mountboard - Professionally Made and Ready to Hang
Estimated Image Size (if not cropped) is 54cm x 59.9cm (21.3" x 23.6")
Estimated Product Size is 68.5cm x 78.7cm (27" x 31")
These are individually made so all sizes are approximate
Artwork printed orientated as per the preview above, with portrait (vertical) orientation to match the source image.
EDITORS COMMENTS
In this striking photograph from Tatler magazine's 1962 issue, a group of models, collectively known as the Black and White Minstrels, pose for a fashion shoot. Dressed in an eclectic mix of costumes that draw upon racial stereotypes, the models don various outfits inspired by minstrelsy, a theatrical tradition that originated in the United States during the 19th century. The photograph, a fascinating snapshot of the sixties fashion scene, showcases the intricate details of the costumes and the models' expressive poses. At the heart of the image is a model wearing a chic two-piece outfit. The top half of her ensemble consists of a white silk blouse, adorned with navy blue inverted panels studded with white, while the bottom half is a white silk skirt, cut both ways to reveal a navy blue underskirt. This exquisite ensemble was designed by Nettie Vogues, a renowned fashion designer of the time, from Selfridges. Despite the undeniable allure of the fashion on display, the photograph raises uncomfortable questions about the racial undertones of the shoot. The use of blackface makeup and the adoption of stereotypical minstrel costumes, such as oversized shoes and curly wigs, are deeply rooted in a history of racial discrimination and dehumanization. This photograph, while a testament to the fashion trends of the 1960s, serves as a reminder of the complex and often problematic relationship between race, fashion, and representation. In conclusion, this photograph of the Black and White Minstrels in Tatler magazine's 1962 issue offers a fascinating glimpse into the fashion world of the 1960s. The intricate details of the costumes, particularly the white silk two-piece worn by the model in the middle, are a testament to the creativity and innovation of the time. However, the racial undertones of the shoot cannot be ignored, and the photograph serves as a reminder of the complex and often problematic relationship between race, fashion, and representation.
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