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.
At last we’ve reached the bottom – the latest erogenous zone to be limelighted by shiny shorts, skin-tight jumpsuits and all kinds of sexy bum-huggers.
Interesting to note the dual pricing as the UK adjusted to decimalisation, and also that the Radley outfit in the photo below is actually an Ossie Clark design (I’ve seen it pop up with the Ossie for Radley label) but wasn’t properly credited as such.
Photographed by Guy Cross.
Scanned from Honey, March 1971.
Christmas is coming, so take a good long look at the new you and your clothes. Look for something sexy in black with lots of spangles, for diamonds are a girl’s best friend again.
Just one word from me: Perfection.
Hair by Ricci Burns. Fashion by Norma Moriceau.
Photographed by David Tack.
Scanned from 19 Magazine, December 1971
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…
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.
Alice Pollock is a dreamy sort of girl – incredibly thin with large, sullen eyes and wispy hair. Emancipated yet feminine she is the other half of the Quorum design team. She and Ossie Clark design beautiful clothes for their shop in the King’s Road and also produce a special budget range for Radley which is sold all over the country.
She lives in an enormous flat with her three children, a cat and a canary. At the moment she is in the throes of redecoration. One room she has already painted bright green – it is sparsely furnished with simple, modern furniture and some good paintings on the walls. The shelves are crammed with objects she has picked up in junk shops – glass cylinders filled with dried flowers, Art Nouveau statues and books.
Her bedroom is extremely large and feminine, with an old, junky dressing table covered with flowers. Tulips, freesias and azaleas are her favourites at the moment. Her vast wardrobe is crammed full of clothes – mainly her own designs and a few old clothes she has found in junk shops.
During the day Alice wears no make-up at all, and for the evening she makes up only her lips and eyes from a Leichner paintbox. Currently she is wearing a silvery green on her lips and a dark red on her eyes – which somehow looks all right. She washes her hair every day in a herb shampoo and never sets it – just shakes her head as it is drying and separates the ends with her fingers.
Her evenings she usually spends with friends, going out to dinner or occasionally to pop concerts, but the weekends she spends with her children.
Her spring collection has a very romantic, feminine feeling, the fabrics are the softest – chiffons, silks and occasionally cotton jersey – and the colours are palest blues, lemons, pinks and greys. She has maintained a long look for both day and evening, but in a few styles the length has crept up to just below the knee.
All clothes are by Alice Pollock.
Photographed by Caroline Arber.
Scanned from 19 Magazine, April 1970.
Poppy field morocaine dress with drawstring neck by Ossie Clark for Radley. Plaited suede sandals by Bata.
Flirty little crêpe dresses so irresistibly feminine you’ll never be alone for long.
Anyone who knows me at all will know that *I* cannot resist crêpe, never mind what a fella thinks. This is a stunning editorial, with a model I’m not sure I recognise from anywhere else – so do comment if you can identify her. Featuring two covetable dresses by Ossie Clark but also featuring two by the mysterious ‘Boobs’ boutique label (by designer Linda Warren). I have found mention of a ‘Boobs’ boutique in Edinburgh, but I think it might just be coincidence. Again, holler if you know anything!
Photographed by Roy A. Giles.
Scanned from Honey, November 1971.
Daring slash necked lemon and lime striped Dicel crêpe dress with paste brooch by Linda Warren at Boobs. Suede plaited shoes by Bata. Tights by Mary Quant.
Chocolate brown Dicel crêpe dress with wide accordian pleated sleeves gathered into deep buttoned cuffs by Linda Warren for Boobs. Scarlet and black scalloped shoes by Ravel. Red art deco compact from Universal Witness.
Skimpy jet black halter neck bonded moss crêpe dress with pink and black polka dot fluted bolero jacket by Rosy Bradford for Quorum. Scarlet glacé leather peep toe shoes from Zapata. Flocked red cherries by Adrien Mann.
Button-through bow-scattered gently flaring crêpe dress from Bus Stop. Black sude sandals by Bata.
Slippery satin dress with palm tree printed bodice by Ossie Clark for Radley. Scarlet leather peep toe shoes by Zapata.
Grand affairs call for grand clothes, and provide a welcome opportunity to get out of our peasant blouses and jeans and dress accordingly. The nicest thing about fashion at the moment is that everyone is so confused as to what they should be wearing, that you can wear exactly what you like. We opt for the romantic Garbo fashion, tarted up in the ’71 style, because girls are beginning to look like girls again and, although we sympathise with Women’s Lib., we don’t believe you have to look like a fella to get equal rights!
Possibly the most perfect encapsulation of the Seventies-does-Thirties aesthetic, this homage to Art Deco features some of the most lust-worthy clothes from my favourite designers and boutiques. Including Biba, Ossie Clark and some rare Antony Price for Stirling Cooper!
Photographed in the home of interior designer Graeme Gibson rather than in a studio, the authenticity is heightened by the location and the props, and then finished with the sweet illustrated photoframes.
Photographed by David Tack.
Scanned by Miss Peelpants from 19 Magazine, January 1971.
Crepe dress by Antony Price for Stirling Cooper. T-strap shoes from Sacha.
Yves Saint Laurent Rive Gauche
Plenty of new listings at Vintage-a-Peel (also available on Etsy) at the moment, including a superb 1970s Saint Laurent Rive Gauche silk wrap dress. There’s also a Celia Birtwell-print Radley dress, a Zandra Rhodes-print Hildebrand dress, Ossie-esque Janice Wainwright maxi, a rare James Wedge hat and the loveliest chiffon Jean Varon dress. Enjoy!
John Bates for Jean Varon
James Wedge
Hildebrand with print by Zandra Rhodes
Radley of London with print by Celia Birtwell
Jeff Banks
Chelsea Girl
Janice Wainwright for Simon Massey
Left: Satin wrap top. Voile shirt worn underneath. Crepe trousers. Right: Cotton top. Satin trousers. All from Crowthers.
Haircuts aside, this editorial is all the things I love. Plus it’s kind of goofy, in a Mirabelle Magazine kind of way, which I find charmingly refreshing in amongst high serious Vogue and Nova photoshoots…
Photographed by Tim Marlborough.
Scanned by Miss Peelpants from Mirabelle, November 1970
Left: Velvet gaucho pinafore from Bus Stop. Jumper by John Craig. Right: Velvet pinafore. White cotton blouse. Both by Bus Stop.
Left: Crepe dress by Radley. Suede choker with snakeskin applique from Bus Stop. Right: Crepe dress from Crowthers.
Liz Eggleston 