Get ready for a gorgeous full-blown rosy. summer. Everything is covered in roses: long floaty `tea dresses’, short and sweet frocks, soft gathered blouses, crisp cotton shirts—roses are even screen-printed onto angora sweaters. In fact, there’s sure to be a rosy outlook ahead for everyone!
Photographed by Roy A. Giles.
Scanned from Honey, April 1973.
There was dancing in the aisles when Ossie Clark showed his autumn ’74 collection at the Chelsea Theatre where “The Rocky Horror Show” is drawing the crowds. Pattie Harrison was one of the models. Marianne Faithfull made a finale appearance.
Photographed by Clive Boursnell.
Scanned from Vogue, May 1974.
With the aid of a ballet dancer and delicately hand-coloured pictures, we stepped into the magical world of Russian ballet. recapturing the ethereal beauty and charm of ballet at its greatest … a world so unreal and yet so pleasing to recreate for a special occasion.
Make-up by Kirsty Klimo.
Photographed by James Wedge.
Scanned from 19 Magazine, December 1975.
. . . or how to wear furs this winter without hurting your pet’s feelings.
There is nothing, absolute nothing quite like wrapping yourself in fur. As a sensuous experience, it is in the same class as a new love, old champagne or fresh truffles. But even the most hedonistic of women are relieved that the threatened species are no longer imported. Snow leopards, tigers and other cats can go their own way and sensibly sybaritic female will look for furs that are farmed, such as fox and mink. This winter, too, the fakes are so wayout and wildly coloured that only a girl without a heart could resist their charms, albeit synthetic. Perhaps that’s why the fur trade have taken the hint and dipped their favourite fox pelts in the dye pot, Furrier Maxwell Croft offers his explanation of the female urge to wear and the male urge to bestow furs: “For many men it is a primitive desire to see his woman in furs.”. Very nice, too.
Plenty to scoff at the end of the copy there, but oh goodness the clothes – the clothes! And the glorious photography of Alice Springs, whose work doesn’t turn up nearly enough for my liking.
Fashion by Deirdre McSharry.
Photographed by Alice Springs.
Scanned from Cosmopolitan, November 1972.
OSSIE CLARK, twenty-nine, designs clothes that would be right up the street for the woman whose profession is the oldest in the world. There’s nothing Woman’s Lib. here, thank you. His twelfth collection is outlandishly, gloriously and candidly tarty. But tarty in the ’40s and early ’50s sense of dressing: brazen, glamorous, passion-ately female. The cut of the clothes is masterful. The old black magic is there. Jazzy sequins. Star insets. High wedge heels. Ankle straps. Bias cut crepe. Oodles of pleats. Blowsy tulips and full-blown poppy prints. Plus black, and lots of it. You name it—it’s there, superbly executed.
Fabrics include new prints on marocain by Ossie’s wife, Celia Birtwell. Hairdos evoke memories of Rita Hayworth & Co. And contours are as they should be: breasts (bra-less), waists, hips and bottoms are all back in their rightful place — and proud of it. Ossie’s new clothes are as scarlet womanish as they are beautiful and witty. When you wear them you automatically adopt a Monroe wiggle.
Top price for a frock from his collection is £150, but around a fiver will buy you a printed crepe shirt. You may not be able to take this look seriously — but it will probably influence the way you dress next season. For Ossie’s secret as a designer is that his tarty vamps keep chic and never look cheap, jaded, or just plain common.
Photographed here are a selection of Ossie’s new clothes.
All enquiries for stockists and prices to Quorum Wholesale, 6 Burnsall Street, SW3.
Modelled by Kari-Ann Muller.
Hair by Richard at Maximillian.
Shoes by Manolo Blahnik for Zapata, 49 Old Church Street, SW3, from £17.75.
Photographed by Peter Rand.
Scanned from Flair, August 1971.
more of it, less of it, what there is of it, frilled.
Preview of new white shapes you’ll be seeing when the sun’s hot: all cut out, cropped or split, beginning with flamenco frills piped in with red.
Well, it may not be May any more but this editorial feels perfect for the current weather. And those Manolo Blahnik for Zapata shoes? Pass the smelling salts…
Hair by John at Leonard.
Photographed at the Serpentine Gallery, Kensington Gardens
Photographed by Peter Knapp.
Scanned from Vogue, May 1972.
A 19 SPECIAL PREVIEW OF AN EXCITING DESIGNER’S COLLECTION
Sheridan Barnett, pictured above, is the young designer who gave Coopers such a good look and who has now joined the Quorum label, with Ossie Clark and Alice Pollock. At twenty-six, he has established himself as the most exciting designer in London, with a fabulous first collection for Quorum that left them clapping in the aisles. Women’s Wear Daily, the fashion bible of America, devoted an entire double-page spread to his collection, previously unheard of for an English designer. He designs with his girlfriend, a ballet dancer, in mind, and ladies like Grace Coddington, model Eija and Liza Minnelli: “Girls who are individual and chic, interesting, attractive and with oomph . .” and likes them to look alluring, classy and sexy. At the moment, his clothes are expensive but we are hopeful that, later on, they will be available in the cheaper Radley range as Ossie Clark’s clothes are. Meanwhile look out for similar lines.
My slightly belated tribute to the great Sheridan Barnett, who died in November. He is one of those many British designers of the time whose work doesn’t really get the attention he deserves; as you can see here his tailoring was exquisite.
All clothes by Sheridan Barnett at Quorum.
Shoes by Zapata. Hats by Digby Howard.
Hair by Ricci Burns.
Photographed by Harri Peccinotti.
Scanned from 19 Magazine, September 1973.
We’ve tried to capture the golden richness and mellow nuances of a well-preserved old oil painting, and create our October face with the new Moody Hues make-up from Revlon’s Natural Wonder collection. Face tone should be warm and tinged with a hint of tan, and we used foundation colour ‘Bisque Beige’, 66p., dusted over very lightly with translucent pressed powder in the ‘Medium’ shade, £1.02. We rouged the cheeks with Cheek Shine in ‘Red’, £1-32. Pursuing the same rustic-toned theme we chose ‘Soulful Plum’ mascara and lashed it on both top and bottom lids, 85p. Eyes are a muted melange of ‘Tortoiseshell’ Eyeshadow Stick, 66p., and the same shade in Lid Lights, the powder version, fading to complementary ‘Minty Green’ powder shadow just under the brows, £1.10 each. We dabbed over the eyelids with ‘Brown Shine’ cream blusher for extra gloss and softness, £1.32. Lips are outlined in ‘Bracken Brown’, 62p.
Model is Ingmari Lamy.
Make-up was applied by visagiste Jean Duval of Revlon, Paris.
The beautiful décolleté dress with huge winged sleeves is in black with a yellow, red and blue feather print, from Quorum, £24.
‘Forties-style hair was dressed by Tina of the Jean-Louis Davide Salon in Paris.
Photographed in the apartment of Karl Lagerfeld, the designer, by Francois Lamy.
Scanned from 19 Magazine, October 1971.
José Fonseca is the co-owner of Models One, a busy model agency with top names like Marisa Berenson and Lauren Hutton on the books.
“As a child, I loved fancy dress and I still like breaking the fashion rules. I go to the office in clothes that can take me to a party afterwards—I just don’t know how to wear casual clothes perhaps because I hate my bottom! I feel more like a woman in long skirts than in pants or jeans. Ever since Ossie Clark made his first mid-calf skirt I have been trailing along—Ossie-style. I wear a lot of black because it always makes me feel fantastic. I like the anonymity of black and the way you can use it as a foil for jewellery and scarves. I went mad on sequins last winter. I bought jackets, berets, even a gold sequin ‘Twenties theatrical outfit—I like to sparkle. I wear a lot of make-up as I feel I can hide behind it. My hair used to be straight but I wanted a change so I had it cut and curled and then permed. But I’m going to grow it out.”
This is a part of a larger feature with ‘real’ Cosmo women putting fashion to the test, but this is definitely my favourite one.
Fashion by Penny Graham.
Photographed by Mike Berkofsky.
Scanned from Cosmopolitan, March 1974.
Brigitte Bardot first glamorised gingham, mixing it with sex and broderie anglaise to set a devastating new trend. It’s back, showing every sign of being the big summer ’76 story, versatile enough to go from ingenue to sophisticate.
Always incredible to see Gina Fratini clothes being worn to their full effect, this time by lovely Vivienne Lynn, and also to see the Hard Rock Cafe in its earlier, less gimmicky life.
Hair by Kerry at Molton Brown.
Photographed by Elisabeth Novick.
Scanned from Over 21, April 1976.
For the final stage in our gingham story we photographed a “real” woman rather than just a model: actress Ruth Rosen. Ruth has recently been edifying and diverting us with her performances at major art exhibitions where she virtually brings the artist to life, presenting a one-woman show based on his life and works. Recent subjects have been Turner at the Tate Gallery and Burne-Jones at the Hayward. The next one will be Constable at the Tate. Look out for it…
Liz Eggleston 