Scanned from Cosmopolitan, November 1974.
If you want to keep ahead in 1970 you will have something brown and white in your wardrobe. Biba and 19 put their heads together and chose -chocolate brown and stark white as the smartest colours for the spring. Teamed together they make a stunning combination—classic colours cut in that special Biba way to make a head-turning impact. For those in need of something a little bit special to wear at night, take a good look at Biba’s super long satin coat in liquid chocolate brown — designed to be worn over trousers, a dress or just by itself. It’s well worth the money if you go out often enough to warrant an evening coat. Biba goes long again for the spring with a feeling reminiscent of the early 1900s when ladies wore ankle-length skirts,. large picture hats with feathers, plumes and lots of net. We’re in favour of 1970 being a romantic year, and if you agree with us, then Biba’s the shop for you —124-126 Kensington High Street, London, W.8.
Wonderful not only to see Peccinotti’s beautiful photos of Barbara’s beautiful clothes, but a rare and special insight into the lesser-seen Biba number 3 in Kensington High Street (post-Church Street and pre-Derry and Toms). I’m not sure this will ever stop being one of my favourite aesthetics.
Photographed by Harri Peccinotti.
Scanned from 19 Magazine, March 1970.
‘Casual clothes for men.’ The phrase used to mean T-shirts and jeans. But since Paul Howie opened his shop at 352 Fulham Road, SW10, the phrase has taken on a new meaning: ‘soft, comfy, easy-to-wear looks; clothes that you can just put on and look good in without trying’. That says it all. Nearly all the clothes are exclusive to Howie, but Paul (in the picture) wears a light brown tie-belted raincoat by Deardon & Fay; £68.
Photographed by Steve Campbell.
Scanned from Harpers and Queen, November 1974.
Beautiful and gay knits are 19’s answer for post-summer blues; dazzling bright and eye-catching in an array of primary colours. The styles are the simplest possible—tiny tops with cross-over fronts and, for those who prefer the classic, pullovers in cleverly co-ordinated stripes. This style of knitwear is best worn with toning jersey skirts, preferably in a midi length, and trousers. To complete the kaleidoscope look, add brightly coloured shoes, stockings, a scarf or a choker.
Photographed by John Stember.
Scanned from 19 Magazine, October 1970.
A typically brilliant Philip Castle illustration to accompany an article by Shirley Flack on inflation and the effect on clothes prices at the time. Sounds familiar, doesn’t it? Although I would kill for the quality you were getting for your inflated prices in 1974. And, naturally, I always recommend shopping second hand anyway!
Illustration by Philip Castle.
Scanned from Cosmopolitan, January 1974.
One thing that designer Antony Price really understands is pattern cutting : “I can think of a shape and create an optical illusion — people’s figures don’t change, clothes make figures.” Price, who designed all these clothes, wants women now to start looking artificially female, but “in a sumptuous way — this time it’s bosoms, hips and tiny waists”. He admits to being influenced by the Fifties and his ex-showgirl sister who lives in Miami and looks like his idol Jayne Mansfield. “The Fifties were less extreme, taste was incorporated into everything.” He wants shoes tall and dangerous like his own cowboy boots, but insists that his clothes (available direct or mail order from Che Guevara, 23 Kensington High St, W8) are comfortable. “What’s more comfortable than swimming costume tops?”
So, so good. Model, designer and photographer are the most perfect combination. It even has Manolo Blahnik shoes for good measure.
Model is Gala Mitchell.
Story by Valerie Wade.
Photographed by Karl Stoecker
Scanned from The Sunday Times Magazine, February 13th 1972.
Advert for the Mini Clubman.
Scanned from Harpers and Queen, September 1974.
Photographed by Barry Lategan.
Scanned from Vogue, December 1970.
. . . 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.
Obviously it helps if you look like Maudie James and Moyra Swan…
Scanned from 19 Magazine, October 1970.
Liz Eggleston 