When you look at pictures of Sharon Tate, there is this weird, heavy feeling that’s hard to shake. It’s not just because she was stunning—and she really was, in that effortless, Californian way that makes modern influencers look like they’re trying way too hard. It’s because every single frame is colored by what happened later. You see her laughing in London or posing in a field, and your brain immediately jumps to August 1969.
It sucks, honestly. It’s like we’ve collectively frozen her in a moment of victimhood, forgetting that for a few years there, she was the absolute "It Girl" of a world that was rapidly changing. She wasn't just a face in a newspaper; she was a fashion forecaster, a goofy friend, and a woman who genuinely hated wearing shoes. Seriously, she used to tie rubber bands around her feet just to trick restaurants into thinking she was wearing sandals.
The Photographers Who Captured the "Dream Sequence"
Most people don't realize that Sharon wasn't just some starlet getting her headshots taken. She worked with the heavy hitters. We’re talking about names like Terry O’Neill, Milton Greene, and Bill Ray. These weren't just guys with cameras; they were the architects of the 1960s aesthetic.
Bill Ray, who shot her for LIFE magazine in 1968, once said working with her felt like a "dream sequence." He compared her ease to Ingrid Bergman. Think about that for a second. In an era where stars were starting to get really "fussy" about their angles, Sharon didn't care. She’d let the wind mess up her hair. She’d lean into the shadows.
Terry O’Neill’s work is probably some of the most bittersweet. He caught her in London right before she headed back to Los Angeles for the final time. In those shots, she’s pregnant, glowing, and looking forward to being a mom. O’Neill actually had an invitation to her house the night of the murders. He didn't go because he was jet-lagged. It’s one of those "what if" moments that makes his collection of pictures of Sharon Tate feel almost impossible to look at without a lump in your throat.
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The Evolution of a Look
- The Pageant Years: It started early. Her grandmother entered her into "Miss Tiny Tot of Dallas" when she was just a baby. By 16, she was Miss Richland in Washington. These early photos show a very curated, 1950s version of beauty—stiff hair, perfect smiles.
- The Military Brat in Italy: Because her dad was in the Army, she moved a ton. There are these rare shots of her in Verona, Italy, where she was basically a local celebrity. She looked more European here, more sophisticated.
- The Hollywood Breakthrough: Then comes the 1963-1966 era. The Beverly Hillbillies (where she wore a dark wig!), the cigarette ads, and the transition into "The Valley of the Dolls." This is where the "Malibu Barbie" look really took hold.
Beyond the Tragedy: The Real Style Icon
If you look closely at pictures of Sharon Tate from 1967 and 1968, you’ll notice she wasn't following the "Mod" trend that was exploding in London. While Twiggy was doing geometric prints and boyish crops, Sharon was leaning into what we now call "Boho Chic."
She loved:
- Tailored peasant tops (even her "casual" stuff was high-quality).
- Antique camisoles and gold-spun blouses.
- Massive hoop earrings.
- No shoes. Ever. If she could get away with being barefoot, she was.
There’s a famous shot by Walter Chappell from 1964 taken in Big Sur. It stayed hidden for 35 years. It’s gauzy, ethereal, and shows a version of Sharon that feels almost prehistoric—like she belonged to the woods rather than the red carpet. It’s those kinds of images that prove she was more than just a "director's wife." She had this magnetism that photographers couldn't get enough of.
Why We Can't Stop Looking
Maybe we're obsessed with these photos because they represent the end of an era. Photographer Julian Wasser, who took shots of the crime scene for LIFE, famously said her death was the "end of the sixties."
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The images of her at El Coyote cafe on her final night, or the candid snaps of her and Roman Polanski dancing in London, feel like they belong to a different planet. A planet where people were more open, less afraid. When we look at pictures of Sharon Tate, we aren't just looking at a beautiful woman; we're looking at a world that broke and never quite got fixed.
Even Margot Robbie’s portrayal in Once Upon a Time… in Hollywood was basically a moving tribute to these specific photographs. Tarantino didn't want to recreate the horror; he wanted to recreate the vibe of those 1968 Terry O'Neill sessions. He wanted the Sharon who watched her own movies in a theater with her feet up on the seat.
Finding the Truth in the Frames
There is a book by Tom Fontaine called Sharon Tate: Every Picture Tells Her Story. It’s probably the best resource if you want to see her as a human being instead of a headline. It’s full of film stills, personal letters, and candid moments that her family helped curate.
Honestly, the best way to honor her isn't to read about the "Manson Family" or the trial. It's to look at the work. Look at the way she moved in The Fearless Vampire Killers. Look at her "Malibu" character in Don’t Make Waves.
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The camera loved her because she was genuine. She bit her nails. She was self-conscious about her hands. She was a "military brat" who just wanted to be a good actress.
Take these steps to truly appreciate her legacy:
- Seek out the Milton Greene sessions: They capture her high-fashion side in a way that feels incredibly modern even 60 years later.
- Watch her films first: Before scrolling through Instagram galleries, watch Valley of the Dolls. It gives context to the "doll" persona she was often forced into.
- Look for the "unseen" collections: Some of her best photos were found years later in garages by family friends, showing her sunbathing in 1964 before the world knew her name. These are the most "real" images you'll find.
Sharon Tate wasn't a ghost. She was a 26-year-old woman with a messy life, a great sense of style, and a really bright future. When you look at her pictures, try to see the light, not just the ending.