In 1976, as the United States marked its Bicentennial, Kodak leaned fully into the national celebration with a summer retail campaign that paired photography with patriotic imagery. Among the most striking pieces from that year was the “Kodak Summer Girl,” presented not in beachwear or casual vacation style, but as a drum majorette.
Dressed in a red, white, and blue uniform, complete with tall boots and baton, the majorette reflected the visual language of parades, marching bands, and small-town celebrations that defined Bicentennial America. This was not accidental. Kodak designed its in-store displays to mirror the energy of July 4th festivities, encouraging customers to “capture the spirit” of the moment on film.
The image appeared as a large cardboard standee placed in camera shops and retail stores across the country. Often paired with companion displays featuring marching bands or patriotic graphics, the majorette stood as a symbol of movement, celebration, and Americana. She represented a shift from earlier Kodak advertising, which had traditionally focused on individual leisure, toward a more collective, national theme.
The choice of a majorette was especially fitting. Baton twirlers and drum majorettes were highly visible figures in parades and community events, making them instantly recognizable symbols of ceremonial celebration. In 1976, they became part of the visual shorthand for the Bicentennial itself.
While the identity of the model remains unclear, the image endures as a vivid example of how corporate advertising intersected with cultural moments. The Kodak Summer Girl of 1976 was more than a seasonal promotion. She was a reflection of a country marking 200 years, captured through the lens of pageantry, motion, and patriotic display.
Bob Clemens was a Kodak staff photographer in Rochester, New York, from 1964 to 1989. This is a picture of him in the studio shooting the young lady who would become the 1976 Kodak “Summer Girl.”
