There is a licence to touch all the clothes on these pages. There is not a single trad, scratchy, thornproof tweed among any of the frankly tactile silks, angoras and flannels of autumn. Jerseys and pearls and sensible shoes were once the uniform of the WI. Now, (well) kept ladies whose fingers smell of “Cabochard” rather than cabbage, are pressing their flannel bags, having their pearls restrung and are wearing them with shirts so unbuttoned they could catch pneumonia – and heels high enough to rise above the muddiest farmyard. They are taking to pleated kilts, and cashmere sweaters so tight they’d enliven the dullest game of backgammon. Dinner dresses are back in style, and I do mean back down as far as you can go. Properly and provocatively dressed, a weekend in the country might be more fun than you think.
Hair arranged for all pictures by Carl of Molton Brown.
On Thursday evening at 8 o’clock The Avengers comes back. Viewers in London, Scotland and the South will see it, other channels will have to wait until October 2. The new show lacks one vital element. Honor Blackman, who played Cathy Gale, that female gauleiter with a heart of gold, has left television for films and the arms of James Bond.
She is replaced by rangy, redheaded Diana Rigg, an actress already blooded for knock-about violence in shows like King Lear and The Devils with the Royal Shakespeare Company. She plays the new Avenger woman Emma Peel, who is described by A.B.C. television as “the youthful widow of an ace test pilot, daughter of a wealthy shipowner, and an internationally educated symbol of the jet-age female”.
A strong-arm widow, born with such disadvantages, couldn’t fail to be an interesting autumn draw, but the new girl will find it hard work to oust the memory of Cathy Gale from the spot she kicked out for herself in these shows. For, as Cathy Gale, Honor Blackman was mesmeric. Male viewers turned to pulp in their armchairs as she hurled opponent after opponent through plate glass windows, and their TV dinners turned to dust as she half-nelsoned men twice her size.
Women were fascinated too, but for different reasons. They sat glued to their sets wondering what it was she had, that they hadn’t. Her slightly sinister but wholly fathomable allure had little to do with her natural assets ; her toughness, the purring reassurance of her voice, her earthiness ; her blonde hair and wide mouth. Cathy Gale’s real appeal was firmly laced into the shiny black leather of her fighting suits.
The black leather fighting suits she wore, now generally referred to as ‘kinky clothes’ were designed by Frederick Starke. They proved such a success both here and in the U.S.A., where the last series was sold, that the American business men controlling the sales insisted that these clothes should be retained for the next series. This was a mistake. Fashion moves much faster than most business men, and the feeling for black leather was on the wane, long before the last episode was off the screen. But A.B.C. agreed to the American conditions, and Emma was togged up in black leather and boots, looking just like Cathy Gale in a long red wig.
Before the new series was half-way through, the planners realised that some fairly startling changes were taking place in the fashion world. Skirts were getting shorter and women appeared to be crossing their thighs, not their knees. Leather was out. All sorts of animal skins, from snakes to zebras, were in. And op and pop art were having an explosive effect on textile design.
This series is the first to be made on film instead of videotape, which means it could be running in different countries all over the world for the next five to ten years. It would be pushed to keep its con-temporary smack with a limping gimmick like black leather. At this point, with half their film in the bag, A.B.C. called in fashion co-ordinator Anne Trehearne, an ex-fashion editor of Queen magazine, and asked designer John Bates of Jean Varon to plan a new wardrobe for Emma Peel to wear during the last 14 episodes. John Bates is the man who made the now famous daisy dress which 25 red-faced debutantes wore to the same ball.
Designing a wardrobe for a preconceived image is no easy task, but he succeeded in doing this and more besides. His clothes are 100 per cent. modern. He has shortened the skirts (in spite of tough opposition in certain quarters at A.B.C.), re-designed the black leather fighting outfits into modern, one-piece jump-suits, introduced tailored snakeskin and a whole range of op art furs.
In all there are 35 garments with complementary accessories. And for the first time the whole collection will be sold in the shops. (Frederick Starke did sell some of Cathy Gale’s wardrobe, but only selected items.) Over 12 well-known manufacturers, like Edward Rayne, Paul Blanche and Kangol, are co-operating with John Bates at Jean Varon and are making the shoes, the skin coats and the berets under licence; Echo are even making the amusing ribbed sheer nylon stockings. They will all be in the shops in October.
Both the clothes and the series are now saleable properties. It will be interesting to see which proves the biggest draw to interested buyers the striking new clothes or the shiny new girl.
Photographed by David Gittings.
Story by Meriel McCooey.
Scanned from The Sunday Times Magazine, September 26th 1965.
Oh to be out of England now that April’s here, and whether you are planning on Majorca, the far-flung Bahamas or the Isle of Wight this year, now is the best time to shop for holiday clothes. And having just stepped out of a QANTAS jet that took Cosmo island-hopping via Bermuda to the Bahamas, I have a slight tan and a strong feeling that summer’s fashions will be as refreshing, bittersweet and highly coloured as that tropical drink, Planter’s Punch.
Oh to be anywhere but home, quite frankly. I shall have to recreate these styles on the balcony and dream of even going as far as the Isle of Wight…
All jewellery by Adrien Mann. Fashion by Deirdre McSharry.
Watching Circus of Fear, a very enjoyable B-movie from 1966 with Christopher Lee and Leo Genn, I noted that the luscious Margaret Lee was briefly seen wearing a piece of John Bates-designed Avengerswear.
This black and white crepe catsuit was worn by Diana Rigg in The Avengers and modelled by Jean Shrimpton (with stunt man Ray Austin) for Vogue in 1965. It was, like all the Avengerswear, available to buy from the shops but these pieces are so rare and I have yet to find this catsuit in all my years of searching.
I am now extremely curious to know whether this was something from Ms Lee’s own wardrobe which she bought herself, or whether the wardrobe supervisor (Charles Guerin) found it – oblivious to the fact that it was already a costume tie-in, or simply hoping that no one would notice. Or an even wilder theory is that it was the actual costume worn by Diana Rigg and already in circulation as a hireable costume. I suppose we may never know, but I thought it worth preserving for posterity.
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…)
For some years now the London fashion designers have had the edge on their Paris rivals for ideas and innovations. Tomorrow evening a film on this subject will be shown on BBC1. Today we photograph the key London designers with their favourite clothes. What do they think of the London fashion scene? Where do we go from here?
Photographed by Terence Donovan. Fashion by Cherry Twiss.
Scanned from The Telegraph Magazine, May 25th 1973.
Wonderful in white… snowy crepe, sleeves long and ringed with Irish thread work. By John Bates at Jean Varon. Jewellery by Adrien Mann. Man’s shirt to order from Thea Porter.
Photographed by Paul Orssich.
Scanned from Vanity Fair, November 1968.
Glamorously Grecian… pure white crepe, beautifully braided. By Young Ideas at Rhona Roy. Jewellery by Adrien Mann. Man’s black braided suit is from Just Men.
Beautiful in black seductive plunging rayon jersey. By Foale and Tuffin. Jewellery by Adrien Mann. Shoes by Lilley and Skinner. Man’s evening suit and shirt all from Take 6.
Stunning in satin… timeless dress as bewitching as a glimmer of midnight. By Bernard Freres. Man’s velvet jacket from Take 6. Man’s be-ruffled shirt from Kleptomania.
Perfect in pink… sugared almond crepe falling soft to the wrist and waist. Designed by Anne Tyrrell at John Marks. Jewellery by Adrien Mann. Man’s red velvet jacket and silk scarf from Trend at Simpson.
Reassured in red. Skimmy shaped wool crepe party-goer cut away at the shoulders. By Sujon. Jewellery by Adrien Mann. Man’s evening suit and polo shirt both from Club 92.
Plunge-necked green shaded Trice! crepe dress, by John Bates for Jean Varon, approx. 14gns.
What is she really like? Very much a domesticated and warm-hearted girl, she is preparing to set up home with the man she loves. Although she usually favours clothes collected from Antique supermarkets, 19 chose these daringly-cut dresses to emphasise the underlying tiger in her make-up.
At twenty-three, and with five feature films to her credit, Miss Charlotte Rampling is now engaged in what is seemingly her most important project to date – setting up residence in a fashionable Westminster two-storey house with film-maker Tommy Weber, and his two shaggy-haired sons, Jake, aged nearly six, and Charlie, aged four. Charlotte has been with Tommy for a year now, and when his divorce comes through, they plan to marry. Charlotte feels this will be ‘mostly for the children’s and my parents’ sake’.
She returned to England from Madrid four years ago, when she received her first film offer, landing a starring role in a Boulting Brothers comedy, Rotten To The Core. Following this movie, Charlotte appeared as Meredith, the super-shrew of Georgy Girl – and probably produced the totally misconceived image as a girl much like the one she played.
Charlotte describes Meredith as a real bitch’ of Georgy she says; “She was pathetic, but two-faced – not an admirable character.” Lyn Redgrave, however, was ‘absolutely beautiful’, and the film set was a happy one.
Charlotte has recently completed two films; Three, directed by Jim Salter, from an Irwin Shaw story, is spoken of with less than relish. What apparently started out as a free, flowing movie about three students bumming their may across Europe, ended up as a contused, under-budgeted affair, in which the hardships outnumbered the freedom.
Her most satisfying film to date, The Damned, is still being shot under the direction of Italy’s Luchino Visconti and she feels this was an invaluable experience. It is the story of the Krupp family, who rose to power in Hitler’s Germany.
Charlotte Rampling is now in the enviable position of having completed a major role, and possessing the chance to choose what she wants for the future.
Photographed by Hans Feurer.
Scanned by Miss Peelpants from 19 Magazine, May 1969.
Ribbon-trimmed plunge-necked blue shaded Tricel crepe dress, by John Bates for Jean Varon, approx. 13gns.
Culotte dress in shaded beige to bream 7-ricel crepe, with tiny bodice and trans-parent nylon organza back, by John Bates for Jean Varon, approx. £17 6s. 6d. Gold sandals, by Ronald Keith, 5gns.
Silk jersey black tie top and layered skirt, by Lizzy Carr, approx. 71/2gns. each.