40 Photos of a Young Lynn Redgrave in the 1960s

In the 1960s, Lynn Redgrave (March 8, 1943 – May 2, 2010) was the “it girl” who didn’t fit the mold. While her sister Vanessa was the ethereal, classical beauty of the Redgrave dynasty, Lynn became the face of the “unconventional” woman in Swinging London—quirky, vulnerable, and brilliantly funny.

Before she was a movie star, Lynn was a powerhouse on the stage. In 1963, she was a founding member of Britain’s National Theatre under Sir Laurence Olivier. She honed her craft in classics like Hamlet and Much Ado About Nothing. Her comedic timing was legendary; she stood out in Noël Coward’s Hay Fever (1964) as a “scatterbrained flapper,” proving she could hold her own against veterans like Maggie Smith.

In 1966, Lynn became an international sensation playing the title role in Georgy Girl. At a time when the “dolly bird” (the thin, mod, hyper-glamorous girl) was the aesthetic standard, Redgrave’s Georgy was the “ugly duckling.” She played a character who felt awkward and “plain” next to her roommate (played by Charlotte Rampling). Georgy was independent, free-thinking, and more interested in her own integrity than fitting into a mini-skirt. The film was such a hit that Lynn was nominated for an Academy Award for Best Actress. In a legendary bit of family history, she was up against her sister, Vanessa Redgrave, that same year.

Following her success, she starred in Smashing Time (1967), a vibrant, slapstick satire of the very “Swinging London” scene she helped define. Teaming up with Rita Tushingham, she played a girl from the North trying to make it as a “Mod” superstar. It’s a time capsule of 1960s fashion: outlandish sunglasses, PVC coats, and pop-art sets.

In the 1960s, Lynn’s look was defined by her expressive, wide eyes and what TIME magazine called a “sparkling sanity.” Often seen in shift dresses, textured knits, and voluminous hair, she projected a “natural” vibe that felt approachable compared to the era’s more detached fashion icons. Much of her 1960s narrative involved navigating her identity as the “youngest Redgrave.” She often spoke about feeling like the “plump” sibling, a sentiment she channeled into her relatable, “down-to-earth” performances.