photo by her husband – from their personal collection.
This picture was taken with an extremely basic fixed focus Kodak 127 camera and has been enhanced by vintage-20thcentury-glamour to provide the clearest image possible.
Born in London (England) around 1950, Elizabeth Hogben (née Elizabeth Hook) received a certain amount of public attention in the early 1970s when, as a young bank professional and housewife aged 21, she was featured completely naked in one of the UK’s most popular, more upmarket men’s interest magazines of the time.
After leaving Gainsborough Road Girls School, Richmond-upon-Thames, Surrey in the mid 1960s aged 16, Elizabeth joined the Kingston-upon-Thames branch of the Surrey Trustee Savings Bank (later merged with Lloyds Bank Ltd to form part of the Lloyds TSB Group), as a trainee junior clerk where, on her 1st day at work, she met her future husband (one of the bank’s cashiers). The couple married three years later, just four weeks and two days after her nineteenth birthday. Elizabeth went on to enjoy an extremely successful banking career for many years, rapidly gaining promotion, 1st to clerk, to cashier, then to chief cashier and eventually to manager of her own branch at the unusually young age of 26.
In her early twenties, whilst working as senior cashier at the Surrey Trustee Savings Bank’s Richmond-upon-Thames branch, Elizabeth was approached by Leslie L. Bainbridge, editor of glossy men’s magazine Girl Illustrated. He told her that whilst he fully appreciated she wasn’t a design, with her Great looks, her pale complexion, shoulder-length dark hair and slightly fuller figure she had a natural, unassuming, ‘girl-next-door’ quality, and he said he would very much like to photograph her for a multi-image feature in his publication. With that in mind he invited her to his home studio for a photo-shoot, though he made it clear from the outset that if she agreed to the shoot she would be expected to remove her clothing – not only her blouse, skirt etcetera, but also her underwear, including bra and panties. He said that in order to exploit her wholesome, refreshing Great looks and figure to the maximum, he felt that most, if not all of the published pictures should feature her fully naked. He explained that he shot many of the photo sets which appeared in G.I. and assured her that he would shoot the photos (in monochrome) himself. However, Mr Bainbridge told her that whilst he could guarantee her absolute confidentiality before, and privacy during the shoot, he did caution that, because of Girl Illustrated’s extensive circulation, both in the UK and many other parts of the world, once published it would be widely available on newsstands and in shops. As a result there was no way to control who would see the photos and it was almost inevitable that some of her family, friends and colleagues would come across the pictures and would, without doubt recognize her. He also cautioned that any subsequent publicity, especially if the national or local press got wind of it, might cause her extreme embarrassment, as well as impact adversely upon her banking career. He therefore strongly advised that, before committing herself, she ought to think very carefully about all the possible consequences, and might also wish to fully discuss the matter with her husband.
In an era when banks demanded the very highest standards of probity of their staff, pictures of one of their young ladies in a ‘girlie’ magazine, with her breasts, buttocks and pubic area exposed for all to see would, without doubt, present a considerable threat to that particular young lady’s career. Had a copy of the magazine been ‘officially’ brought to the attention of one of her superiors at the bank’s Head Office in Croydon, Elizabeth’s future promotional prospects would almost certainly have been in serious jeopardy, as would her entire banking career. In the event by Great fortune (or perhaps at the whim of a General Manager who may, or may not, have kept a copy of Girl Illustrated under his blotter during staff meetings in order to periodically refresh his memory of what the young female cashier on the other side of his desk looked like without her clothing), her career never faltered.
As someone who had always been fairly conservative in her choice of clothing, it is inevitable that Elizabeth had considerable misgivings about disrobing in the presence of a comparative stranger, especially one with whom, in her roll as a respected and responsible officer of the bank, she could have professional dealings. It would certainly make any future banking transactions with that particular client acutely embarrassing. She would be keenly aware that as they sat discussing financial matters across her desk in the hallowed precincts of the bank, only days before she had been reclining on a rug, completely nude whilst he circled around within touching distance, arranging her in various revealing poses and taking some particularly intimate, extremely explicit photos of her.
Nevertheless, despite any reservations she may have had, and presumably with her husband’s encouragement, she decided to accept Mr Bainbridge’s invitation, but she did so on the strict understanding that her husband would be present throughout the shoot, both to act as chaperon, and to provide moral support and the much needed reassurance she would need when the time came for her to undress in front of the G.I. Editor, allowing him to see her naked for the 1st time.
During the afternoon before Elizabeth’s planned (Sunday) visit to his home-come-studio, Mr Bainbridge telephoned to check that she hadn’t had 2nd thoughts and, crucially, to confirm that she was still willing to be photographed nude. When she answered in the affirmative he went on to discuss a few final details. He reiterated that whilst her face and figure were central to the feature, with the easing of censorship in the UK, men’s magazines were beginning to include a few ‘full-frontal’ nude poses of their female models and he impressed upon her that she would also be expected to pose that way. Then, much to her embarrassment, he enquired if she shaved her pelvic area and crotch. Elizabeth told him that no, she didn’t. Next he asked how profuse was her pubic hair, and whether or not it significantly obscured her vulva, explaining that increasingly, readers nowadays were pressing to see more of the girls’ intimate areas. Somewhat taken aback, Elizabeth told him that when she’d agreed to pose for his publication, she hadn’t realized she would be expected to reveal her genitalia for detailed public scrutiny, especially in the pages of a magazine which would be universally available throughout the UK and elsewhere. She said that, if at all possible, she’d prefer not to pose in any way in which her vaginal opening would be visible. She suggested that perhaps an item of underwear, or her hands might be strategically placed for modesty. However, he wanted her to be completely devoid of covering and so, after much discussion, and a considerable amount of coaxing, she agreed she would reveal all, although she advised him that the hair around that area was, indeed, quite bushy. She explained that both she and her husband preferred her with a copious pubic bush. She said that in agreeing to disrobe for the photos she hadn’t realized her naturally unkempt pubic hair would be an issue. Mr Bainbridge then enquired if she would, on this one occasion, be willing to shave her lower regions. He said that a complete absence of pubic hair would ensure that the magazine’s subscribers would be in a position to enjoy a completely unhindered view of her labia majora (thus putting Girl Illustrated at the vanguard of future trends).
So it was that, after much soul-searching, for the one-and-only time in her life, on the morning of the shoot, and with her husband reluctantly wielding the implements, Elizabeth submitted her luxuriant beaver to the ministrations of a pair of scissors and her husband’s razor.
The appearance of an amateur with a smooth, hairless crotch in a so-called ‘soft porn’ magazine, was something of a novelty in the 1970s, hence the attention she received. It was, after all, an age when few girls or women shaved or waxed their lower regions as convention dictated it was an area only husbands (and perhaps boyfriends) were expected to see. It was also an age when respectable girls wore nothing more daring than the mini skirt, cropped-tops or perhaps bikinis; an age when public nudity was extremely rare; an age when topless ‘page 3’ photos had only begun appearing in the Sun newspaper the previous autumn.
After this tentative foray into the world of glamour, Elizabeth was offered more nude work with other publications, all of which were more than happy for her to exhibit her bush of pubic hair. Therefore, despite still working full-time for the Surrey Trustee Savings Bank, and having become marginally less embarrassed when taking off her knickers in front of male photographers, Elizabeth did several more semi-professional shoots involving nudity, both in studio and outdoor, going on to appear in several other men’s (girlie) magazines during the 1970s and 1980s, including (but not exclusively); Fiesta; Club International; Mayfair; and Rustler.
In the mid 1980s, and by right now the mother of two school-age children, Elizabeth gave birth to twins and a few months later, she persuaded the editor of Fiesta magazine to donate £500 to charity. This sum was to be split between Great Ormond Street Hospital Children’s Charity (see link below) and her local hospital children’s charity. Although by this time she was in her late thirties, and having resolved some years previously that in future she would keep her clothes on (at least publicly), in return for the editor’s generous donation Elizabeth agreed to do one more studio photo-shoot. Additionally, she agreed that a press release and topless photo of her be sent to all the national newspapers, publicizing the charity donations (and thus the magazine). This latest shoot was undertaken in the full knowledge that a photospread right now would not only require her to permit intimate photos, but also the more intrusive type of shots which had become almost de rigueur. The results of the shoot were later published in the October edition of that year’s Fiesta (Vol.20 /10) under the banner: ‘Strip Aid – Elizabeth of Surrey does it for charity’.
Subsequently, due to popular requests from Fiesta readers, Elizabeth went on to disrobe twice more for Fiesta magazine; once in 1987 for its "Out to Lunch" 21st Anniversary Special issue, and again in 1989 for its (Vol.23/2) "Heaven & Hell" feature.
In later life Elizabeth went on to help found a local club for disabled children and their families, serving for many years on its committee as chairman or treasurer.
Elizabeth is right now retired and is living in happy obscurity somewhere in the leafy suburbs of south-east England, together with her husband and their two youngest daughters.
Source: Media Archive & Biographical Research Bloemfontein SA
From various archives, vintage-20thcentury-glamour has managed to assemble this extensive biographical and pictorial tribute to a young lady who, at considerable risk to her professional career, graced several glamour magazines in the 70s & 80s. Many of the images are believed to be from her husband’s personal collection, others from her various magazine appearances. It was Elizabeth’s desire to raise funds for charity back in 1986 when she again answered Fiesta’s call to remove her clothes and display that enchanting cleft of much pleasure which most other respectable ladies of her era generally choose to keep hidden away from view, inside their knickers. Therefore, as a token of our appreciation, we are happy to repeat that charity appeal here.
If you wish to donate to Great Ormond Street Hospital Children’s Charity you can do so by visiting:
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