Vogue 1950's
Over a span of five decades Parkinson Photographed for Vogue working with legendary Editors Audrey Withers, Diana Vreeland, Beatrix Miller (who followed him to Queen Magazine in 1960 and back to Vogue in 1965) Grace Coddington who started at Vogue by winning a Vogue Talent Competition in 1959) Journalists, Siriol Hugh Jones and later Penelope Gilliat. It was the Art Director at Vogue (John Parsons), who particularly like Parkinson's new style. Even before the nineteen fifties for Vogue Magazine Parkinson was showing women to be girls who "in the daylight hours had acquired the freedom to be themselves". Wind blowing their hair, wearing sweaters and short trousers, smoking cigarettes in public, riding horses along with bringing up a family they could, like chameleons, change in a matter of hours into sophisticated elegant creatures whose mystery was captivated by his lens.

Parkinson always said "My sort of Photography is still a charming deceipt. People want to believe the camera cannot lie!"

Polly Devlin in 1979 for Vogue Book of Fashion Photography, spoke of Norman Parkinson's idealized portrayal of women as gentle creatures who often looked as though they were happiest among green fields. Parkinson started working for Vogue in 1948, and his fresh glowing photographs reflected his double life as a farmer and fashion photographer. This strange combination of violently disparate roles - the one so concerned with slow growth, roots and fruition and the other so geared to lightening changes, frivolities and ephemeralities - has given his work a balance which remained remarkably unchanged: "I have been taking the same pictures for over thirty years. They have got a little bit sharper, a little better, and a little more beautiful. I am not interested in anything that Nature has not smiled upon."