In the first half of the twentieth century, although the unaccompanied figure of the woman in the street was seen increasingly frequently in Fashion photographs she often remained bound by the feminine pursuits of a bourgeois existence, with the reality of the street a beautifying prop to the unreal fantasy of high-end fashion. As an object of gaze, her position contrasted with that of the flaneur and the male privileged code of visual spectatorship. It was until the Post-war period, with the emergence of style-conscious magazines aimed at men that the image of the flaneur, somewhat melded with the more modern notion of the “man about town”, began to be visualised in fashion photography. Metropolitan masculinity was shown to be influenced by the industrial atmosphere of the metropolis. This is well illustrated by Terence Donovan (photographer)`s grainy black and white photographs of sharply suited men in ”Spy Drama” for the October 1962 issue of Town which became famous as the visual influence for the filmic interpretation of James Bond. In this period, the representation of the woman in the street was radicalised by the emergence of youth as a social category and its claiming of street culture as its primary context.