One evening, while returning to her flat, "I said to myself, 'I know anatomy because I know how to make a pattern.' And because I'd made so many clothes, I knew the whole body. I thought all I had to do was transfer that information into how do I make a nose or the brow, and I could make a face. It was taking one piece of information from one territory and putting it into another."

In a 2004 letter to author David Lister, Haworth described the genealogy of her vision and style: "I entered '60s London from the door marked 'Hollywood,' and what I saw was framed by my growing up playing on the backlot or the sound stage. I saw with eyes that knew that on the other side of the wall was a blank and two-by-fours holding up a flat fiction; that on the set, you don't even move a walnut; and that 'stars,' though big on the screen, were life-sized (or smaller) when you met them."

It was a formative educational experience for Haworth and it gave her a strong foundation in surrealism, as well as a healthy disregard for celebrity, something she employed when later working with the Beatles on "Sgt. Pepper."

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To this day, her ex-husband Blake gets most of the credit for that iconic album cover — something that annoys Haworth, especially now, during the 40th anniversary of the record's release.

"I'm the person who didn't do 50 percent of the 'Sgt. Pepper' cover," she said. "I did the other 50 percent."

The over-arching vision that Haworth brought to the cover is an important part of it. "It's sort of invisible, but in a way it's the whole thing: It was to build it like a set."

Coming from Hollywood and the film background of her father, a set was logical to her. "The idea of the front row being three dimensional, leading into a two-dimensional flat frame was very much the territory of my work."

In the beginning of "Pepper's" design, Blake wanted to have a collage of people's heads. "The beauty of that is," Haworth said, "if you're making a work of art you can cut out the heads, you don't have to paint them, and you can get a crowd really quickly."

Blake wanted to have the Beatles choose their heroes for the faces in the crowd so he asked them to make a list.

"Of course, that was a bit patchy, because Ringo chose two people, like Izzy Bond and somebody else. And George chose a lot of Indian gurus. John and Paul chose most of the others.

"But to be perfectly honest, Peter and I chose about 60 percent of what's there because they didn't come up with enough. So we're to blame for some of the inequalities that were there. But having said that, the Beatles chose no women. The only women chosen were by Peter and I."

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