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.
Party wear for the getogether season takes all the best of blazers and pants and sleeks them up in satins and velvets… or cools off with the prettiest dresses ever.
Clearly Christmas 2020 is going to be a uniquely muted season as far as partying is concerned, but I often avoid the throngs of people anyway. Years of working in theatre over the festive season meant that when I had downtime I would prefer to lounge around in satins and velvets in the comfort of my own home. I’m just glad you’re all finally catching up with how nice it is! In all seriousness though, sometimes the smallest things can make us feel the nicest – so even if you don’t feel like getting togged up in satin and velvet, I highly recommend doing something you would normally find ridiculous for sitting around at home. Sparkly hair clip, red lipstick or those skyscraper platforms you can’t walk in.
Photographed by kind permission of Mecca Dancing at the Empire Ballroom, Leicester Square, WC1
Sunny Spain conjured up visions of hot summer days in picturesque surroundings, ideal settings for 19’s summer fashions. And we had a fantastic oppotunity when 4S Travel arranged a trip to Malaga and Torremolinos. We flew BUA Super Jet to stay at the Hotel Al Andalus, within easy reach of the mountains overlooking the Costa del Sol. Here we discovered quaint villages, sun-drenched and white-washed, their customs and dress crystallised in the past. No cars to be seen, only mules and donkeys. Our clothes echoed the feel of these places – colours stark black and white, brightened with touches of gayer hues, clean hot printed cottons, soft peasant blouses, sandals, light fishnet shawls, casual sun hats. The garments are easy to take care of, and enhance a tan – midi skirts that button to above the knee and give alluring glimpses of brown thigh, and large brightly printed squares of fabric which can be used as shawls, or skirts tied at the side.
Making me yearn for a proper holiday. The closest I’ll get is looking at this editorial whilst sitting on the balcony, trying to avoid all humans for the time being. I hope it brightens your day as well…
Spring has taken on a romantic air – with light dresses, billowing skirts and full sleeves. The fabric for day is cotton, especially voile. For evening, crepe is a great favourite. The lines are seductive – wear low v-necks, hats with lots of veiling and an antique brooch. Find an old shawl or crochet your own. If you’ve time to hunt you needn’t spend much money.
Some of my favourite designers, my favourite looks, one of my favourite photographers and two of my favourite models: Charlotte Martin and Mouche. Perfection.
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…
Suddenly this summer the shops are selling masses of hats that before would have only been dug up for garden parties, weddings, sports days or camping it up. For years magazines and designers have shown their clothes with hats, but they don’t usually turn up in the street. Fashion editors often feature ‘picture hats’ like those on the previous page posed in some romantic setting or framing an immaculate new make-up, but one never actually sees them on a number 19 bus. Now hats have gone the way of all clothes; there are no rules; you can wear anything with anything. Any hat, whether it’s wide-brimmed and floppy with half a haberdashery department stuck over it, or a small crocheted cloche pinned with a bunch of plastic fruit, i fine with either nostalgic Forties’ dresses or a dirty old pair of jeans. And you can still wear it to a wedding if you want to.
Modelled by Jean Shrimpton.
Photographed by Hans Feurer.
Scanned from The Sunday Times Magazine, June 20th 1971.
Rich renaissance colours in velvet, lace and crepe reflect the mood for Christmas. Emphasis is on the shape of the body – necklines plunge, backs are bared, and skirts are slit in a demure, but wanton, fashion.
Not only does leather feel good, it smells delicious, like a trip out West. Suede and chamois are even better than leather because they are so much softer and easier tow ear. They’re not as expensive as they used to be. Cheap they will never be if you want value for your money. Leather, properly looked after, lasts for age; in fact, the more beaten up and old it looks the better. So when it comes to buying remember that and invest in something safe – like the clothes photographed on these pages. Thy are not desperately in fashion but, on the other hand, they are not out and never will be…
Fashion by Caroline Baker. Photographed by Harri Peccinotti.
Black panne velvet hat from Feathers. Exotic black floor length beaver-look Borg fur fabric coat by Ossie Clark at Quorum.
The title of this editorial reminds me of being in Dublin earlier this year. Just arrived, walking along trying to find our hotel, I was wearing a Seventies brown nappa leather trench coat (it was February and freezing). A girl strode past and without pausing to wait for a reaction or looking me in the eye she just said ‘Great coat’ and carried on walking. I decided I loved Dublin right there and then.
This spread features the stunning Charlotte Martin and was photographed in Austria. I’m still in love with my brown leather trench coat but I wouldn’t say no if any of these coats (particularly that Quorum stunner above) were to land in my lap this winter…
Photographed by John Bishop.
Scanned from 19 Magazine, December 1970.
Black panne velvet hat by Feathers. Long chocolate jersey top with tight buttoned cuffs. Grey and rust mock Gonk shoulder cape. Both from Biba.
Hat from Feathers. Dark brown and black Forties-style mock chipmunk jacket with self tie belt. Black wool pants with turn ups. Both from Biba. Wet-look boots from Dolcis.
Plum Borg-lined jacket with leather elbow patches and trimmings by Daniel Hechter of Paris. Green barathea midi skirt by Gladrags. Tan leather leace up boots from Russell and Bromley.
Plum felt hat from Feathers. Pure wool shirt. Skirt in different prints panels of pure wool. Pure wool paisley printed waistcoat lined with fake fur. All by Foale and Tuffin. Browny-plum wet look lace-up boots from Dolcis.
Brown felt hat from Feathers. Brown Borg zip-front coat with tie belt by Marielle. Brown lace up boots by Dolcis.
Mock hamster pull on hat from Biba. Chocolate Shetland sweater by Hogg of Hawick. Suede gauchos from Bus Stop. Mock hamster wrap over coat from Biba. Lace up boots from Dolcis. // Mock hamster pull on hat from Biba. Black crepe shirt by Poole at Shape. Mock hamster belted jacket from Biba. Black velvet gauchos from Bus Stop. Lace up boots from Dolcis.
Mid brown Shetland sweater by Hogg of Hawick. Chocolate Borg-backed fly fronted jersey jacket with hood, cuffs and patch pockets by Weathergay. Black jersey knickerbockers with bootslace ties by Angela at London Town. Brown wet look boots by Dolcis.
Brown panne velvet hat from Feathers. Chocolate Shetland poloneck sweater by Hogg of Hawick. Suede gaucho pants from Bus Stop. Brown striped hooded floor length wool coat lined with fur fabric by Foale and Tuffin. Belt from Bus Stop.