
The pyjama suit of high summer up on the roofs, down in the streets of Sidi Bou Zid.
Both suits by Chloe.
Photographed by Arnaud de Rosnay.
Scanned from Vogue, May 1972.

The pyjama suit of high summer up on the roofs, down in the streets of Sidi Bou Zid.
Both suits by Chloe.
Photographed by Arnaud de Rosnay.
Scanned from Vogue, May 1972.
Model is Jane Goddard.
Photographed by David Bailey.
Scanned from Vogue, April 1st 1974.
Photographed in Ricci Burns’s drawing room. Hair by Mr Ricci of Ricci Burns.
Photographed by Mike Berkofsky.
Scanned from Honey, January 1975.
How you dress is an escape and an adventure in itself… never more so than the evening.
Hair by Leonard
Models are Anne Schaufuss and Jean Shrimpton.
Photographed by Clive Arrowsmith.
Scanned from Vogue, December 1970.
That’s what you’ll be in the latest Fifties-style suits and dresses.
Photographed by Peccinotti.
Scanned from 19 Magazine, September 1973.
Illustration by Mick Brownfield.
Scanned from Honey, November 1974.
The way we’ll look this summer is very relaxed, very casual and very, very LA. T-shirting is the fabric, white is the colour and soft is the mood. Look cool and feel fresh in glamorous dresses, gathered skirts and drawstring trousers, all in jersey. Where best to show the new sweatshirt style but in sunny California? So we skytrained west to LA, thanks to Laker Air Travel’s new low London-Los Angeles air fare, which costs from £159 for the round trip. The private pool-side life in Beverly Hills is a plush style we could easily become addicted to . . . well, couldn’t you?
Pages 132 -135, 138-139 photographed at the house of interior designer, William L Chidester. Pages 136-137 photographed at the house of photographer Norman Eales.
Fashion by Liz Smith. Make-up by Bjorn.
Photographed by Norman Eales.
Scanned from Cosmopolitan, May 1978.
This is the moment for evening clothes that feel as delicious as they look… they’re soft voile or fine jersey or crushed muslin, they’re cut out over suntanned backs and arms, they’re crisp cotton printed with cottage curtain flowers, they’re as easy to wear as nightdresses: and some of them are.
Photographed at Lake Windermere and the Beech Hill Hotel, Cartmel Fell.
Photographed by David Bailey.
Scanned from Vogue, July 1972.
Leather and fur get more expensive every year. It’s not only the taxes and rising costs of production. It’s just that there aren’t enough good animal skins for leather around to meet the consumer demand. Furs are there in quantity for the fabulously rich. Luckily a good substitute has been found – the nylon-spun, man-made sort. Some, especially in the leather field, are so like the real thing the only way you can tell the difference is by the smell. Take the white coat on pages 46 and 47. It’s fake and costs about £50. It has a double in real fur and leather for £270. Made by the same people who have duplicated most of their collection this way and it takes an eagle eye and nose to tell the difference. Others are just furry, woolly fabrics, obviously not imitating some four-legged friend, which is one of the nicest things about them. This fur fabric is now getting the treatment it deserves. Nairn Williamson (more famous for their Vinyl floor and wall coverings) were the first to see its potential and got six designers to use their Velmar fur fabric in their winter collections. Jane Whiteside for Stirling Cooper (new label getting famous fast for their beautiful jersey co-ordinates) was the cleverest of them all. She used the best sludgy colours, mixed it with needlecord to make a group of jackets and coats to go with trousers, skirts and blouses. Borg (American originated and the pioneers in England of this deep pile fabric) has been around for a long time, mostly on the inside of duffle and raincoats but it’s on the outside as a normal fabric that it looks its best. Next winter there will be a lot more of it around, now that designers are getting less snobby about plastics. Not only is it as warm as fur, it is, of course, much cheaper and you don’t smell like a wet dog when you come in from the rain, either. So you can wear it herding sheep on lost weekends, or in town queuing for the cinema without any guilt feelings about ruining your assets.
Insert obligatory ‘I don’t agree with the thrust of the argument for fake furs as just a financial consideration here’ caveat from me, your content provider. Don’t shout at me, basically. But it’s an interesting insight into the mindset of 1970, and the proliferation of fake furs and skins at that time. It’s also a breathtakingly styled and photographed work of art from Caroline Baker and Jonvelle.
Fashion by Caroline Baker.
Photographed by Jonvelle.
Scanned from Nova, January 1970.
Photographed by Robin Saidman.
Scanned from Cosmopolitan, October 1979.