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…
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.
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.
Screen printed satin suit by Biba. Brooch, cigarette case and lighter all from Jolly and Marsh at Kensington Market.
Crepe halter midi dress by Clobber.
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.
Aegean print pinafore dress by Sidgreen.
Crepe dress by Antony Price for Stirling Cooper. Shoes from Sacha.
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!
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.
She: Felt hat by Edward Mann. Pink sweater and matching cardigan by Ossie Clark for Radley. Skirt by Danielle Claire. Scarf from Essenses. He: Army sweater from Laurence Corner. Cord jodhpurs from Badges and Equipment.
Featuring the beautiful Pat Cleveland…
Photographed by Pelito Galvez.
Scanned by Miss Peelpants from 19 Magazine, September 1975
She: Red beret by Kangol. White blouse with red velvet ribbon tie by Sheridan Barnett at Quorum. Grey fleck suit by Strawberry Studio. Snakeskin strappy shoes by Sacha. Scarf from Essenses. He: Army jacket and trousers from Laurence Corner. Boots from Badges and Equipment.
She: Hat, sweater and scarf all by Lionel Fisher. Skirt by Danielle Claire. Shoes by Mary Graeme. He: Cream and black pin stripe shirt by Nostalgia. Jodhpurs and boots from Badges and Equipment.
She: Black felt hat by Charles Batten. Black skirt and cream coat both by Sheridan Barnett at Quorum. Black suede shoes by Russell and Bromley. Clutch bag from Boots. Black scarf from BHS. He: Army jacket and trousers from Laurence Corner. Boots and kit bag from Badges and Equipment
This photoshoot, featuring the brilliantly named Celestia Sporborg, is another one of my all-time favourites, and one I have put off scanning for a long while because Vanity Fair is actually a rather painful magazine to scan. The gummed spine, with age, does not enjoy being flattened so it requires extra effort to maintain some kind of structural integrity. I couldn’t NOT scan though. I love these images. I love the blurriness, her natural facial expressions, the very domestic backdrop and, of course, the completely mind-blowingly fabulous clothes. I don’t know where to start. That Stirling Cooper above is just so modern. And the Radley playsuit, so very Glam. And the Ossie… Plus Alice Pollock, Foale and Tuffin and a Ritva sweater I sold on Vintage-a-Peel a few years back…
It also identifies the shots from Vanity Fair’s Guide to Modern Etiquette, ‘Nice Girls Do’, which I posted about before. To contextualise this shoot, the entire June issue is dedicated to feminism and liberation. Certainly one of the main reasons I love Vanity Fair almost above all other magazines of the period is the fact that they would theme all the contents of an issue, including the fashion spreads.
Celestia Sporborg is now a casting director herself, with over a hundred film credits on IMDB. She married theatre and film producer Robert Fox (brother of James and Edward) in 1975 and they had three children together.
Photographed by Frank Horvat.
Scanned by Miss Peelpants from Vanity Fair, June 1971