Piero de Monzi

1970s, Boutiques, british boutique movement, Cerruti, Chloe, Piero de Monzi, Vintage Adverts, Vogue
Clothes by Chloe and Cerruti at Piero de Monzi. Painting by Robert Cottingham from the DM Gallery. Furniture and Fendi luggage at Condotti.

Advert for the Piero de Monzi boutique in Fulham Road.

Scanned from Vogue, April 15th 1975.

The Main Attraction

19 magazine, 1970s, biba, Brosseau, bus stop, crowthers, edward mann, florrie carr, Fogg and Wakefield, Harri Peccinotti, harriet, Herbert Johnson, hollywood clothes shop, Ian Batten, Inspirational Images, Jasper, Jean Charles Brosseau, Jolly and Marsh, kensington market, lee bender, Marielle, mary quant, ravel, Rosie Nice, Sacha, Sportaville, Titfers, universal witness, van der fransen, Vintage Editorials
Red spotty blouse in burnt out crepe, worn over black, red and white printed Dycella skirt by Ian Batten at Sportaville. Red tights by Lovely Lady. Scarf by Jasper. Black leather t-bar shoes from Sacha. Bag and bangles from a selection at Jolly and Marsh. Sweetheart brooch from Universal Witness. / Red cloche hat by Titfers. Dress in three different prints by Van der Fransen. Tights by Mary Quant. Shoes by Sacha. Red gloves from Van der Fransen. Necklace and bangles from Jolly and Marsh, Kensington Market. / Little pink bows on a white moss crepe dress by Florrie Carr. Artificial flowers in hair are by Fogg and Wakefield.

The main attraction of this summer’s printed dress is their little-girl, Sunday-best quality. The star fabric is floral crepe-de-Chine, now beautifully revived, featuring softly shaped skirts, Peter Pan collars and puff sleeves.

Another flawless example of early Seventies nostalgia for the Thirties and Forties, which might seem frivolous or twee if it wasn’t in the talented hands of Mr Peccinotti.

Photographed by Harri Peccinotti.

Scanned from 19 Magazine, March 1971.

Multi coloured rayon crepe dress from a nearly new selection at Van der Fransen. Blue suede shoes by Mary Quant. / Calf-length crepe de Chine dress by Marielle. Black leather high heeled shoes from The Hollywood Clothes Shop. / Yellow sisal hat by Jean-Charles Brosseau. Crepe de Chine dress by Mary Quant. Lilac suede shoes by Mary Quant.
Brown cotton voile dress and tights by Mary Quant. White strappy sandals by Ravel. / Brown rayon jersey dress by Ian Batten at Sportaville. Beige suede slingbacks by Mary Qant. Scarf from a selection at Rosie Nice, Kensington Market. / Navy felt hat from Herbert Johnson. Navy spotted rayon crepe dress from Van der Fransen. Brown suede shoes by Sacha. / Lilac cloche by Edward Mann. Rayon georgette blouse and purple velvet skirt both from Crowthers. Mauve patent sandals from Ravel.
Brown printed georgette suit from Bus Stop. Green leather wedge heeled shoes from The Hollywood Clothes Shop. / Burgundy felt hat from Herbert Johnson. Black georgette suit from Bus Stop. Black three bar shoes by Sacha. / Green straw hat from a selection at Van der Fransen. Rayon georgette dress by Mary Quant. Green leather shoes from The Hollywood Clothes Shop. / Yellow hat by Jean-Charles Brosseau. Red, white and bloue dress by Ian Batten at Sportaville. Patent wedge sandals by Ravel.
Pale mustard puff sleeved dress by Biba. Brown patent two-strap shoes by Sacha. Scarf by Jasper. / Cream sisal hat by Bermona. Black tea dance dress with delicate white flowery print by Biba. White leather sandals by Ravel. / Navy felt hat from Herbert Johnson. Navy cotton dress by Harriet. Black shoes from The Hollywood Clothes Shop.

A python in her room

1960s, 1970s, Art Kane, Inspirational Images, Margrit Ramme, Queen magazine, thea porter

“You love your boyfriend and he’s left you. You’re alone in a big city and an empty apartment.” Kane had not yet picked up his camera, but Margrit Ramme was working on the sadness. She was also scared of the snake. The editors of Queen magazine had asked for an entire issue to be called “Art Kane’s New York,” including fashions, and he had said all right—but don’t expect to see laughing girls running down Fifth Avenue. He had just divorced his second wife, had not yet met Jean Pagliuso or photographed Larry Rivers, and felt fairly bitter.

If you want to call it Art Kane’s New York, he told Queen, you’ll have to accept pictures showing that the place right now is kind of empty for me. Righto, they said.

He left the studio and rummaged around for real-life locations. He had found the apartment on Gramercy Park, and decided to shoot the fashions there before the furniture came in. Truth is, he wasn’t motivated entirely by a desire to display his mood. Not only does training as an art director make him look for a theme when he has space for an essay, as against a bunch of random shots that just present the merchandise; Art Kane loves almost more than anything else to tell a story.

He also loves snakes. The first boy scout in the Bronx to get a Reptile Study merit badge, he kept 32 of them at home despite a mother who tried to make him flush the first one down the toilet.

This story would reflect the dilemma of a lovely woman—always beautifully dressed, of course—searching for a man, for identity, for something. A snake would be not only an obvious male symbol but also a reminder of a Garden of Eden to start it off. Since Kane had given, his collection to the Bronx Zoo when he was drafted, he called All-Tame Animals, a pro-vider of non-human performers in New York. They referred him to a snake owner in one of the city’s residential hotels, asking that he be discreet; she would be evicted if the manage-ment discovered that she kept a boa constrictor and a python in her room. So Kane was Uncle Joe when he called to ask about Cousin Bea: “She must be a really big girl by now. Oh, six feet six, that sounds good.” And Patricia? “Over eight feet tall? My goodness.” He went over to see them. Their owner showed him the boa in her bathtub and pulled the python out of a closet. “Terrific,” he said. “Bring them up to my place at 10 o’clock tomorrow.”

When she arrived with the snakes in a laundry bag, Kane was moving white window shades up and down, studying the way they filtered the natural light he would use all day. Morning light came softly through the west-facing windows of the living room. He arranged the python, then stood back to peer through a Nikon. Moving forward, back, left, right, he kept the model close to the center of the frame. He was using a 24mm lens, not only for depth of field that would keep the picture sharp from front to back but also to make objects near the edges seem to lean away, focusing attention on the center.

“Okay, Margrit, you’re unhappy, unaware, the two of you can never really come together. . . .” Bracketing—one shot at a normal exposure, one above, one below—he redesigned the picture as he moved. “That’s it, keep it, keep it,” he told her when he liked what was happening. “Now, hold every pose for three clicks and then change … Beautiful. Now keep that until I say stop. I want to explore this until we’ve eaten it up.”

Ninety minutes later he had eaten up the male-female situation (above) and moved to the bedroom (below) to set up an identity problem. A second model had arrived. “You’re clothed and you’re naked,” Kane said, “you’re really the same woman, trying to figure out who you are.” This time he wanted to stretch the image more alarmingly toward the edges, so he put on the 21mm lens that he had used to shock the editors of Vogue on his first fashion assignment.

Images originally published in Queen magazine .

(date not given but looks circa 1969/70 to me, especially given Queen merged with Harpers Bazaar in 1970).

Clothes are uncredited here but both look like Thea Porter to me.

Photographed by Art Kane.

Scanned from Art Kane: The Persuasive Image, 1975.

Tutti Frutti

1970s, biba, corocraft, Fenwick, Honey Magazine, Jean Howell, Joseph, liberty, miss mouse, moss bros, outlander, Roger Charity, Russell & Bromley, Sacha, Suzuya, Vintage Editorials
Striped chenille sloppy joe, Suzuya from Joseph. Trousers from Miss Mouse. Scarf from Fenwick. Mules from Russell & Bromley. Poppy earclips from Corocraft.

Ski pants, socks and hot tops – a fresh look for the future with a little help from the past.

Photographed by Roger Charity.

Scanned from Honey, May 1975.

Tightly waisted cotton canvas jacket with bamboo fastenings and cotton canvas tapered trousers both by Miss Mouse. Printed silk scarf from Fenwick. Leather wedge heeled mules from Russell & Bromley.
Ice cream coloured finely striped sweater with slash neck and sleeves and tightly ribbed waist by Outlander. Navy cotton canvas trousers with red contrast stitching by Miss Mouse. Shocking pink kerchief from Liberty. Bright pink knitted ankle socks by Jean Howell. Black suedee and cork wedge sandals with embroidery by Sacha.
Blue and pink striped velour slash-neck top with batwing sleeves and plum leather belt with oval wooden buckle, both from Biba. Scarlet stretch ski pants from Moss Bros. Navy leather wedge mules from Russell & Bromley. Long striped scarf from Liberty. Gilt flower earclips from Corocraft.
Loose cotton short sleeved blouse from Liberty. Jet black ski slacks from Moss Bros. Shocking pink chiffon scarf from Biba. Knitted ankle socks from Jean Howell. PAtent peep toe wedge heeled shoes from Russell & Bromley. Poppy earclips from Corocraft.

Softly Draping

1970s, bill gibb, Gina Fratini, Inspirational Images, lingerie, loungewear, norman parkinson, Vogue
Softly draping nighwear, dressed up for the boudoir. Cream Quiana jersey nightgown with lace halter and edges, the bib embroidered with coffee ‘leaves’. By Bill Gibb.

Originally published in Vogue, 1973.

Photographed by Norman Parkinson.

Scanned from Lingerie in Vogue, 1981.

Frill on frill of chiffon make a soft, dressy nightgown in forget-me-not blue and palest cream. By Gina Fratini.

Face Value

1970s, Adrian Mann, beauty, eric boman, Hair and make-up, Inspirational Images, leonard, Make-up, Richard Sharah, Sun and Sand, Vogue
T-shirt by Sun and Sand. Cotton square, flower bunch by Novelty Import Co. at John Lewis.

This is what eyebrows used to look like, kids!

Hair by John at Leonard. Make-up by Richard Sharah.

Photographed by Eric Boman.

Scanned from Vogue, April 15th 1975.

T-shirt by Sun and Sand. Pink spotted ribbon, blue wrist-tied cotton square from John Lewis. Buttercup yellow bangle from Adrien Mann.

Make your face look as pretty as the picture

19 magazine, 1970s, beauty, Hair and make-up, Make-up, Vintage Adverts

Scanned from 19 Magazine, May 1975.

Wild in the Country

1970s, Angela at London Town, Antiquarius, biba, Butler & Wilson, Cordoba, Crochetta, Elliott, Foale and Tuffin, Hans Metzen, harriet, Herbert Johnson, Inspirational Images, John Carter, miss selfridge, petticoat magazine, ravel, Ric Rac, Russell & Bromley, Sue Hone, Sujon, Titfers, Travers Tempos, van der fransen, Vintage Editorials, wallis
Star vest dress, belt and hat from Cordoba. Elliott lace up sandals. Ric Rac cotton patch blouse.

Slip a shawl over summer and dream the days away in a land of your imagination. There couldn’t be a more beautiful way of letting a long sticky heatwave slip by than with these gentle colours made by a bleaching sun and these homespun clothes in soft country shapes. Whether you make it all the way to a shady plantation or just as far as the nearest cornfield, the scenery around any home this summer should look pretty good. Build up layers of cotton checs, sand suede overslips and warm rainbow knit waistcoats because even the sun can havee tantrums sometimes. Pack a pair of laced sandals and one huge-brimed straw hat.

Fashion by Sue Hone.

Photographed by John Carter.

Scanned from Petticoat, 22nd May 1971.

Travers Tempos cotton madras skirt. Angela puff sleeve blouse. Harriett bolero. Butler and Wilson bracelet. Russell and Bromley sandals. / Sujon long madras skirt and vest top. Butler and Wilson pendant. Van der Fransen shawl. Miss Selfridge bag.
Hans Metzen skirt, jacket and shorts. Ravel sandals. Herbert Johnson wool belt. Antiquarius pendant.
Tie-dyed quilted cotton dress from Wallis shops. Butler and Wilson flower necklace. Ravel sandals. Biba scarf.
Voile kaftan by Ric Rac. Multi-coloured shorts by Foale and Tuffin. Crochetta bolero. Ravel sandals. Titfers bag.
Crepe skirt and matching blouse by Van der Fransen. Elliott lace up leg sandals. Choker from Butler and Wilson.
Travers Tempos madras cotton dress. Crochet waistcoat by Crochetta.

Victoria Tennant (and Afghan)

1960s, british boutique movement, Kenneth Vard, patrick lichfield, Victoria Tennant, Vogue

Victoria Tennant, an Afghan hound and a jacket of real patent leather, caramel brown and shiny. She is a drama student at the Central School. The jacket, 39 gns, was made with wide lapels and a belt, by a new boutique, Kenneth Vard, 90 Marylebone High Street, W.1, who makes anything in any colour and any suede or leather.

Photographed by Patrick Lichfield.

Scanned from Vogue, May 1969.

Pain

1970s, cosmopolitan, Illustrations, Walter Velez

Illustration for an article on pain, taken from the book PAIN by Arthur Freese.

Illustrated by Walter Velez.

Scanned from Cosmopolitan, April 1975.