Your bag is your lifeline

1970s, biba, Electric Fittings, Honey Magazine, Inspirational Images, Karl Stoecker, lilley and skinner, peter robinson
Jumper from Biba. Jacket from Electric Fittings. Trousers from Peter Robinson. Leather bag by Lilley and Skinner.

Photographed by Karl Stoecker.

Scanned from Honey, February 1972

Etceteras

1970s, accessories, Adrian Mann, biba, corocraft, Harri Peccinotti, Inspirational Images, Olaf Daughters of Sweden, platforms, Russell & Bromley, shoes
Centre: Black and white two tone peeptoe court shoes by Olaf Daughters of Sweden. Beige and brown lace ups and brown court shoes, both by Biba. Brown and tan leather lace ups, tan leather shoes with topstitching and brown leather shoes with buckles, all by Russell and Bromley. Brown leather court shoes with cut-outs and plain leather court shoes, both by Biba.

Brown and cream should be seen. From top to toe it’s all the go!

Photographed by Harri Peccinotti.

Scanned from 19 Magazine, September 1973

Cream suit from Biba. Brown beret by Kangol. Tortoiseshell glasses from Che Guevara. All jewellery from selections at Adrien Mann and Biba.
Tan kid brogues by Russell and Bromley.
Brown crepe dress from Biba. Brown beret by Kangol. Glasses from Che Guevara. Jewellery by Biba, Adrien Mann, Corocraft, Zig Zag and the Neal Street Shop.

WHAT KIND OF GIRL ARE YOU?

19 magazine, 1960s, alistair cowin, annacat, biba, bus stop, celia birtwell, Daniel Hechter, Foale and Tuffin, fulham road clothes shop, guy and elizabeth, hung on you, Inspirational Images, jean varon, john bates, Lawrence Corner, lee bender, liberty, liberty's, lilley and skinner, Maxwell Croft, ossie clark, Pierre D'Alby, quorum, ravel, Roger Nelson, Ronald Keith, sally levison, Stephanie Farrow, Susan Handbags, sylvia ayton, wallis, Weathergay, zandra rhodes
Cancer: Long Victorian styled dress with high neck in coffee cotton lace trimmed with white, by Annacat, 25gns.

Whether you believe in star signs or not, this lovely editorial is certainly fun to browse. Pretty happy with my Cancerian Annacat dress, modelled by Stephanie Farrow, but greatly envy the Aries and Scorpio threads.

(Also, please don’t shout at me about the furs. I don’t like them either but it would be weird to leave out Leo and Aquarius. Just pretend they’re fake…)

Photographed by Guy and Elizabeth

Scanned from 19 Magazine, January 1969.

Leo: Red fox knee length coat by Maxwell Croft, 259gns. Red wig from Beyond The Fringe.
Virgo: White jersey dress with brown snakeskin shoulders and belt by Sylvia Ayton and Zandra Rhodes, approx 8gns. Mottled chiffon scarf from Liberty. Brown leather boots by Lilley and Skinner, £6 19s. 6d.
Libra: Long brown crepe dresswith medieval claret-coloured velvet sleeves by Roger Nelson at 94, 9gns.
Scorpio: Metallic blue leather jacket with zip front by Ossie Clark for Quorum, 25gns. Chiffon scarf by Biba, 18s. Red jersey trousers by Wallis, £3 19s 11d. Leather boots by Lilley and Skinner.
Sagittarius: Fake horse jacket with leather elbows and trim, by Daniel Hechter for Weathergay 15gns. Herringbone trousers by Alistair Cowin at Grade One, £3 19s. 6d. Beige ribbed sweater 4½gns. Matching beret, 39s 11d. Both by Sally Levison Originals.
Capricorn: Beige rayon crepe trouser suit by Foale and Tuffin, 20½gns. Pink chiffon scarf by Biba, 18s 9d. Brown leather brogues by Ronald Keith, 6gns.
Aquarius: Maxi fur coat by Barbara Warner for Fab Furs, 150gns. Black hat by Biba, 25s. Worn underneath, black maxi jersey dress with snakeskin waistband by Sylvia Ayton and Zandra Rhodes, approx 8gns.
Pisces: Beautifully cut white raincoat by Foale and Tuffin, 16½gns. Boots to order by Ravel Studio, 19gns.
Aries: Brown suede fringed waistcoat, £7, with matching printed moccasins, £2. From Hung On You. Deep red satin blouse by Biba, £2 15s 6d. Brown cord trousers by Alistair Cowin at Grade One, 5gns. Narrow headscarf by Celia Birtwell for Quorum, 1gn.
Taurus: Blue rayon georgette, high-waisted dress with baby ribbon trim by John Bates for Jean Varon, 13gns.
Gemini: Green army surplus hat, 9s. 9d., and beige jacket, 11s. 9d., both from Lawrence Corner. Beige gabardine knickerbocker suit, by Pierre D’Alby, 14gns. Brown stockings from Mary Davies, 35s. Brown leather brogues by Ronald Keith, 6gns. Shetland Fair Isle beret, 25s. and scarf, 29s. 11d. by Lee Bender at Bus Stop. Leather shoulder bag by Susan Handbags, 7gns.

The Party Dazzlers

1970s, Alana Collins, Anne Turkel, biba, Blades, bus stop, corocraft, cosmopolitan, Dana Gillespie, Deirdre McSharry, edina ronay, Eva Reuber-Staier, Feathers, Fiona Lewis, Hildebrand, Inspirational Images, jeff banks, just men, mary quant, Nancy Bleier, norman eales, Peter Bubb, Peter Finley, platforms, polly peck, Sally McElvin, sandie shaw, Stephanie McLean, terry de havilland, Vintage Editorials, yves saint laurent
Dana Gillespie, the bosomy (43 in., actually) Mary Magdalene in Jesus Christ Superstar, is the most modest of party girls. At the show’s opening night party she turned up in her old gipsy skirt and a t-shirt, happily flashing her gold and jewelled snake rings. “Sometimes I feel like being outrageous – I just wish there were more parties to entice me out. When I was on my own I went to parties to see more people so I wouldn’t be on my own.” Alone only for the picture, Dana wears her snake collection, backed by a velvet dress and jewelled jacket, designed by her friend Sally McElvin. Pop designer Sally makes one-offs only, from £20.

In the words of Noel Coward, every girl ought to be able to say the morning after, “I’ve been to a mah-vellous party.” A little champagne does not go amiss, but this winter the clothes alone will put a gleam in your eye. There are enough sequins, crystal beads and glittering fabrics to guarantee you are the star attraction. To clinch the deal, I’ve asked some of the most stunning party girls around to give their definition of what constitutes a marvellous party and to put the most dazzling party frocks to the test…

Fashion by Deirdre McSharry.

Photographed by Norman Eales.

Scanned from Cosmopolitan, December 1972.

Ann Turkel is the 5ft 10in. tall New Yorker who steals the limelight from the stars at film premieres, so parties are just kid’s stuff. “Parties? That’s when I know no other woman in the room can ‘top me’. I make a real effort – my mother has dresses made up specially in New York and ships them over – I never wear the same dress as any other woman. I know I’m a success when the photographers start crowding me. I like a man who appreciates when you are looking great.” Ann, who likes to move in a cloud of Youth Dew by Estee Lauder, comes on diamond bright in sequins and taffeta. Jacket by Biba £20. Red dress by Mary Quant £12.60.
Eva Reuber-Staier is the ex-Miss World turned TV personality who helped present BBC1’s Animal Stars. She’s cool, poised and gregarious. “I love parties, the kind with pretty girls and clever men. I prefer big parties; there’s more of a choice. I got to at least two parties per week.” The best one she says was given by some Cambidge dons. “Clever, but sexy with it, and could they dance!” Would she make the first move if she fancied a man at a party? “Fortunately I don’t have to.” Cleverly draped, sexy dress by John Bates for Jean Varon £36. Roses by Spectrum. Shoes by Terry de Havilland £13.99. Pop singer Gary Hamilton, star of Hair and several horror films says, “It’s the quiet girls who catch my eye.” Gary in satin trousers by Blades.
Alana Collins is tall, blonde and blue-eyed. “At parties back home in Nacogdoches, Texas, the boys used to call me the Duchess because I love to get dressed up. That was the original one-horse town, but in London I still like to cause a stir. There’s such a variety at parties – long and short hair. I go for the man who is paying total attention to one woman. And if you give him all yours, that clicks.” A lady who watches her strategy. Alana is the perfect Cosmo party girl in pink draped jersey by John Bates for Jean Varon £27. Sheos by Yves Saint Laurent £19.50.
Sandie Shaw sings for her supper. Her husband Jeff Banks, designs for his. United on most fronts, the Banks are divided on parties: “I hate them,” she says. “I love ’em,” he leers. Then they go on remember half a dozen great parties they’ve given including one in a char-a-banc to Southend; another on a river boat and a third at Madame Tussauds. “My idea of a good party is mostly fellas,” says Sandie, “but I don’t like him to look posh. The thing is, he loves me dressed up.” Dolled up for “that great party no one ever seems to give,” as Jeff says, is Sandie in a Banks special, suitably glittery in green and gold gauze. Sandie’s hair by Smiles. Jeff’s clothes by Blades.
Nancy Bleier, a bouncing brunette model import from Milwaukee, prefers her parties on the small size. “Just a few intimate friends, a quite dinner and dancing at Tramp or Annabel’s,” says Nancy who keeps her party figure by taking modern dance lessons. Nancy makes her eyes up like Sophia Loren, wears a lot of scent and generally sticks to trousers at parties. “My French boyfriend says: ‘Darling why don’t you ever wear a dress?’ He offered to buy me one – but never did.” Not downcast, Nancy dresses up for Swiss model Reto in a 1000 watt lime glitter outfit from Biba, top £14, skirt £15.25. Reto’s dinner suit from Just Men, £45.
Edina Ronay, the actress and model says: “A good party is when Warren Beatty murmers ‘call me tomorrow’. Actually the best parties are the ones I give myself – straight and freaky, champagne and – uh – cakes. The people look at each other and enjoy the difference. What happens afterwards – that’s what counts about parties.” Edina, who had her hair hennaed in Morocco, gets ready for her Christmas party in crushed pink velvet and feathers. Dress by Biba £15, boa and ‘diamond’ ring by Bus Stop, £6.50 and £1.95. Robert wears sequined jacket by Dior and ruffled shirt by Just Men.
Stephanie McLean, at 5ft 10in., is the kind of status blonde most men hope to meet at parties. And it was at a party where her husband, a photographer who specialises in nudes, met her. Says Stephanie, “Now when we go to parties we separate – otherwise why bother to go out at all? – but I keep my eye on him. I prefer relaxed, informal parties and almost always wear jeans. Sometimes I get dressed up and he says ‘you look fantatic, we’ll go out.'” Looking dressed up in a glittery silver and black taffeta dress by Polly Peck £12.85. Peter Finley the model who prefers parties for two, wears black satin trousers from Blades.
Film actress Fiona Lewis has the sophisticated face of the Seventies, so it’s not surprising that her idea of a party is simple – and expensive. “Lots of drinks and lots of people, never punch which is a bore and bad for your digestion. Simple things like smoked salmon and chilled white wine are best. And I prefer to wear fantasy clothes which I run up myself from scarves. I ask dishy men and tell them to bring their friends.” Fiona adds her own glitter to a black and white taffeta halter dress, Hildebrand about £18.50 and also a floating red chiffon dress aove right, at Feathers £25. Peter Bubb the model wears velvet dinner jacket by Just Men £35.

On Second Thoughts

19 magazine, 1970s, barbara hulanicki, biba, Inspirational Images, Sarah Moon, Vintage Editorials

For those dreamy moments when you feel you want to look feminine and pretty, when you want to get out of your casual clothes and wear something floaty and special, Biba have made lovely, plain satin and two-tone patchwork satin skirts and tops which are alluring and very glamorous for the summer. They have also designed long, floating cotton voile dresses in large, dark prints which are flattering to figures still suffering from seasonal over-eating.

All clothes from Biba.

Many thanks to Barbara Hulanicki for letting me know that she took these stunning photos (modelled by Eva from Biba). They were uncredited in the magazine.

Scanned from 19 Magazine, July 1970.

Yankee Swank

1970s, biba, Bombacha, Charles Batten, Crocodile, Diane Logan, Fenwick, Honey Magazine, Inspirational Images, liberty, liberty's, Monet, monty coles, quorum, radley, Spectrum, Sujon, Vintage Editorials, Wardrobe
Giant pink lily printed cotton dress with swirling flared skirt from Biba

City life heats up when the sidewalks are crowded and the cabs full. Give yourself a break and see the sights. Step out in cotton dresses for a cool look at a hot town.

Photographed by Monty Coles.

Scanned from Honey, August 1975.

Open necked short sleeved printed crepe de chine dress by Radley from Quorum. Fringe scarf from Wardrobe. Hat by Charles Batten.
Mint green cotton dress by Strawberry Studio from Che Guevara. Scarf from Fenwick.
Cream cotton dress with drawstring waist by Monet. Scarf from Liberty. Hat by Charles Batten.
Navy and mauve cotton poplin dress by Monet.
Beige and mulberry flower printed crepe de chine dress by Sujon. Scarf from Fenwick.
Slash neck cotton cheesecloth dress from Crocodile. Scarf from Liberty.
Rust cotton open necked baggy dress from Bombacha. Cloche by Diane Logan.
Pale pink and white leaf printed dress from Biba. Scarf from Liberty. Hat by Charles Batten.
Navy and rust checked and striped crepe de chine dress with matching scarf from Spectrum.

If All The World Were Summer

1970s, Amir Scorpio, biba, Buckle Under, crowthers, Foale and Tuffin, Inspirational Images, jeff banks, Jonvelle, Just Jane, medusa, stirling cooper, Sujon, universal witness, van der fransen, Vintage Editorials, Vogue
Far left: White cotton sailor shirt from Medusa. Tomato and white gingham dirndl by Just Jane. Panama hat by Buckle Under. Near left: Grass green and white gingham shirt over full green and red gingham skirt by Stirling Cooper. Straw hat from Crowthers. Men’s cream shirts throughout by Jeff Banks.

…Then dressing’s a picnic. All these nice new laundered clothes and country girls from Colette stories out in the green fields under blue Provençal skies, with wine and fruit and flowers.

Photographed by Jonvelle.

Scanned from Vogue, July 1971

Creamy cheesecloth smock and skirt by Amir Scorpio. Hat by Buckle Under.
Smock of field plains, flower or spot prints, ruched and loose over bias skirt of buttercup crepe de chine at Universal Witness. Black straw hat from a range at Van der Fransen.
Near right: Flowering crepe de chine blouse by Sujon. Fully gathered emerald cotton skirt by Just Jane. Straw hat from Buckle Under. Far right: Black and red and brilliant Liberty mixtures gathered in frills and flounces by Foale and Tuffin. Flower and suede belts by Buckle Under.
Sky cotton blouse with red buttons, red stitching and long blue skirt by Sujon. Blue suede belt by Buckle Under. Black hat from Van der Fransen.
Cotton lawn smock in primary patches by Foale and Tuffin. Panama by Buckle Under. Clogs from Biba.

Razzmatadvertising (Part I)

1970s, Adrian Mann, alkasura, biba, british boutique movement, Dick Polak, Emmerton and Lambert, harold ingram, Honey Magazine, Inspirational Images, jap, Joseph, kenzo, marshall lester, meeny's, miss mouse, outlander, rae spencer cullen, Vintage Editorials
Slippery satin cherry-printed drainpipes by Alkasura. Acid green cotton jersey t-shirt by Janine Designs at Harold Ingram. Conker choker by Adrien Mann. Leather belt by Biba.

This post is brought to you in two parts. The editorial was, unusually, photographed by two different photographers in two different locations. Tomorrow I will post the photos from Brighton Pier (very exciting for me, as you can guess!). Today’s were photographed in Meeny’s, which was a King’s Road boutique started by Gary Craze in 1972 – specialising in American brands for both adults and children. Clearly showing the same influences as Mr Freedom, this is the first I’ve seen of the interior. The clothes are the very creme de la creme of boutique ‘pop art’ joyfulness.

Photographed by Dick Polak.

Scanned from Honey, May 1973.

Desert island printed dungarees by Richard Green. Gitanes printed jersey t-shirt by Marshall Lester. Crochet cloche by Emmerton and Lambert. Spotted kerchief by Meeny’s.
Rock’n’roll printed skirt and bolero jacket and sun top all by Miss Mouse. Conker choker by Adrien Mann.
Hawaiian surfing printed cotton shirt from Joanna’s Fleamarket
Camel printed cotton t-shirt by Marshall Lester. Belt by Biba
Hawaiian printed cricket vest by Jap at Joseph. Red vest by Outlander.
Slogan printed cotton coated PVC aprons by Sari Fabrics from all branches of Habitat, DH Evans and Selfridges. Satin pencil skirts by Alkasura.

Show a Little Spirit

1960s, biba, bus stop, gordon king, Inspirational Images, kleptomania, lee bender, Madeleine Smith, Marlborough, petticoat magazine, Shelana, Sue Hone, Tommy Roberts, Vic Singh, Vintage Editorials
Metallic leather battle jackets by Fifth Avenue. Green jacket worn with black crepe trousers by Gordon King. Lilac jacket worn with black crepe trousers by Highlight. Aldbrook scarf.

Bewitch: Try a bit of witchcraft, a bit of magical charm. Cast a spell or two with slinky black velvet, bedecked with sequins. Or glamorise in shiny coloured satins. But if you are going to bewitch you must…

Bother: to wear the same startling accessories. Wear strings of shiny necklaces, an interesting belt or sash. Tie a scarf the gipsy way, around your hips or head. For maximum effect shine your face with gold or silver powder.

And be wilder: in everything you wear.

Fashion by Sue Hone. Modelled by Madeline Smith and unknown model.

Photographed by Vic Singh

Scanned from Petticoat, November 2nd 1968.

Bright yellow satin trouser suit by Kleptomania. Ronald Keith patent shoes. Shimmering black battle-dress jacket and trousers by Bus Stop. Mauve and yellow belt by Martha Hill. Mauve lace scarf by Browns. Lilley and Skinner shoes.
Spooky black outfit by Bus Stop. Red crepe shirt and silk scarf by Biba.
Little black velvet dress by Biba. Sequined waistcoat by Gordon King. Indian pendant by Kleptomania.
Black crepe dress by Marlborough. Indian silk scarf by Aldbrook. Black waistcoat and skirt by Shelana. Blue shirt by Ivor Wahl.


The Girls in the Band: A New Look for Cabaret

1970s, biba, Dolcis, hans feurer, Inspirational Images, platforms, sunday times magazine
The Moodies – a group of art students who started the parody the current obsession with nostalgia, then found themselves being taken seriously

The numbers that The Moodies perform are firmly anchored in the Fifties and Sixties and ignore the current pop obsessions for necrophilia, drugs, suicide and the like. But under their bizarre make-up they are entertainers of the Seventies, rather than a group of decadent kids living off the nostalgia for ‘golden oldies’. On a good night, when the audience is firmly on their side, they create an atmosphere more like that of a private party than a sterile public performance; they earn their laughs through the juxtaposition of songs, their eccentric make-up, their idiotic props and their energetic dancing.

About a month ago, when they were playing at the tiny Moderna Theatre in Munich’s Schwabing district (surely the cleanest ‘quarter’ in the world), we noticed that the audience of all ages, shapes and sizes, were neatly dressed to the last man and woman; even their jeans had the knife-edge creases of an expensive boutique — the complete opposite of the people they had come to watch, who were described recently in Time Out as “looking like half a dozen friendly whores after a hard night in the Reeperbahn”.

“Everyone here tries to get us to mend our sweaters, they feel sorry for us. They think a hole is a sign of poverty. They wear the gear but they don’t understand what it’s about.

Perhaps that’s why we appeal to them,” said Anne Bean, who is a deceptively homely-looking girl off-stage and a powerhouse of energy on. She is one of the leaders of the group, though she denied that anyone actually led : “We are totally democratic -not that there is such a thing.” All art students at Reading, it was the second time they had played Munich. They banded together to play professional dates after they had sat their finals; they all passed except for buxom Suzy Adderley, who is on one year’s leave of absence and goes back soon to complete her course. They tried their luck at the Edinburgh Festival along with the rest of the Fringe: this was successful enough to land them their first book-ing in Munich.

“Actually, we were offered an Arts Council grant but we turned it down as we thought that it might restrict us,” said Rod Melvin, the pianist and the only man in the group. They still don’t have a pro-ducer, director, manager or agent. The only non-performing person to travel with them is Mickey Ekers who is a stage-manager-cum-electrician-cum-prop-master.

In the early days there were six girls, Anne Bean, Marianne Holliday, Polly Eltes, Suzy Adderley, Annie Sloan and Becky Bailey, but Becky Bailey deserted the group to paint. Anne Bean explained: “We really did the show as part of our finals.” Did this help them pass ? “Quite the contrary. It nearly sank us.”

At the start they followed the traditions of what was happening in pop music at that time: “Even the names we chose were just send-ups of those currently fashionable girlie groups like Lulu and the Luvvers and Martha and the Vandellas” said Anne Bean. “At one time we called ourselves Frank and the Furters” (she looked suitably ashamed) “then Lulu and the Lesbians, then prior to becoming The Mooches we were The Menstrual Seven.”

Before returning to Munich they had been playing at the Theatre at New End, Hampstead, where they had become quite a cult with late-night audiences. The group do num-bers like Gingold’s and Chevalier’s duet Ah Yes, I Remember It Well from Gigi and some of the more aggressive Presley songs, but they interpret these rather than imitate the originals. They make no announcements and use no words in spite of ‘gag fur gag’ written on the pink stars advertising the show. And they are very funny. Thank You For Being An Angel sung with melancholic grace by Rod Melvin became farce as the angel who drifted around stage shedding sequins at every step turned out to be a cross between Mae West and Jayne Mansfield. (Melvin is a talented pianist; the rest of the group are not musicians, but rely instead on improvisation and innovation.)

The make-up is startling. Polly Eltes said: “I really don’t quite know how we arrived at this present look. We started off quite simply looking brown and rather natural with perhaps blue eyelids, but gradually we progressed to what you see now.” They wear water-based wet-white foundation and then draw their features on to these masks. Anne Bean takes it the furthest by banding strips of coloured feathers to her eyebrows, while Rod Melvin, with his great carmine mouth and black sad eyes, looks somewhere between a clown and a Kabuki artist.

“I suppose we do reflect fashions, but I think it’s quite unconscious,” said Annie Sloan. “When Germaine Greer’s book came out (The Female Eunuch) we all wore strict little mannish suits, but somehow we have come to this.” ‘This’ is fishnet tights (with holes), gold-painted lace-up boots, long gloves and clothes they say they make themselves (which no-one would challenge). During the performance they swap clothes so that they look different but don’t use more costumes.

“I suppose that what we wear might seem eccentric and exaggerated; everyone marvels at Rod’s shoes but they came from Dolcis and mine came from Biba’s, so we are only picking up what’s around.” They admit that their art training and observations have probably influenced their act — the masks they wear at one point are exactly like those shown on some of John Davies’s sculptures shown at the Whitechapel Gallery a couple of years ago : “But we don’t want to intellectualise what we do,” said Annie Sloan, “or we might become self-conscious and unable to perform.”

The group pool their money; so much goes on running expenses, the rest on food and necessities. They were scheduled for seven more weeks on the road, ending at the Schiller Theatre in East Berlin. “When we are out of work we all do other things. I model, though I’m not much good at it,” said Polly Ekes. “I can’t really take it seriously, so when I go for jobs I mostly get turned down.” Rod and Anne teach, and sometimes Rod plays the piano for a girl singer and Marianne does typography and pho-tography. It is doubtful whether they will stick together : one has the feeling that they are enthusiastically filling in time before they move on to some-thing else.

Photographed by Hans Feurer. Report by Meriel McCooey.

Scanned from The Sunday Times Magazine, June 23rd 1974