When Richard Avedon photographed Dovima at a Paris circus in 1955 for Harper’s Bazaar, both were already prominent in their fields. She was one of the world’s most famous models, and he was one of the most famous fashion photographers.

It makes sense, then, that Dovima With Elephants is one of the most famous fashion photographs of all time. But its enduring influence lies as much in what it captures as in the two people who made it.

Dovima was one of the last great models of the sophisticated mold, when haute couture was a relatively cloistered and elite world.

After the 1950s, models began to gravitate toward girl-next-door looks instead of the old generation’s unattainable beauty, helping turn high fashion into entertainment.

Dovima With Elephants distills that shift by juxtaposing the spectacle and strength of the elephants with Dovima’s beauty—and the delicacy of her gown, which was the first Dior dress designed by Yves Saint Laurent.

The picture also brings movement to a medium that was previously typified by stillness. Models had long been mannequins, meant to stand still while the clothes got all the attention. Avedon saw what was wrong with that equation: clothes didn’t just make the man; the man also made the clothes.

And by moving models out of the studio and placing them against exciting backdrops, he helped blur the line between commercial fashion photography and art.

In that way, Dovima With Elephants captures a turning point in our broader culture: the last old-style model, setting fashion off on its new path.