
Photographed by Annette Green.
Scanned from Vogue, September 15th 1971.

Photographed by Annette Green.
Scanned from Vogue, September 15th 1971.
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.
Think of a tile floor, and needlepoint it: tapestry rug in twelve squares, joined as you like, repeated as you like. Designed by Kaffe Fassett for Beatrice Bellini of Women’s Home Industries’ Tapestry Shop, 85 Pimlico Rd; each square with enough Coats Tapestry wool, £12, complete border with sufficient wool, £75. Dark brown cotton caftan, £6.60 at Medina Arts. Photograph taken at the house of Mr and Mrs William Ellsworth-Jones. Just published, the new “Vogue Guide to Needlepoint Tapestry” (Collins in association with Conde Nast, £1.75)
Photographed by Palmer Smith.
Scanned from Vogue, November 1974.

Lurid Lurex, sexy satin and slinky leopard skin make the wildest look of all. Not to be confined to parties, dance halls or even billiard rooms—this is what you wear anywhere and everywhere.
Just one of the most deliciously styled and shot editorials. As so often happens with Terry de Havilland, his shoes are credited to Leicester Shoes in this editorial but they’re definitely his as they also feature in Vogue in 1972.
Photographed by Gilles Ben Simon.
Scanned from Honey, October 1972.








Just because we spend around one-third of our lives asleep there’s no reason to design a bedroom principally for this purpose — after all, you can’t see, feel or appreciate your decorating skill while you’re dead to the world. I under-stand people do still use their bedrooms to love in — all the propaganda promoting white sand beaches, railway carriages or kitchen tables as suitable venues can’t entirely finish the bedroom as an erotic play area; at times it’s too cold for the beach, the trains are on strike and the kitchen table is littered with Meccano.
So this is a room to love in —whether you care to sleep in it as well is your own affair. The alternative methods of post-coital entertainment are well catered for — the stereo and tape deck are built in, as is a projector for blue movies or slide-shows. Food and drink can be stored within handy grabbing distance of the orgy-size velvet-upholstered bed which incorporates the practical features of an oriental divan — ie it’s low, large, firm and on two levels.
Lighting is from below — two ordinary recessed ceiling lights are recessed into the floor instead to give a flattering and romantic effect. How you’re supposed to read those book-cases full of erotic literature in the resulting gloom is not explained but perhaps that’s what the candles are for. If you ever need pure daylight the window is hidden behind that black-and-white chevroned blind. I can only think of two changes I personally would make to this perfect love environment — and they would be a lock on the door and the absence of the telephone.
By Shirley Conran.
Photographer uncredited.
Scanned from Over 21 Magazine, December 1973.

That’s what you’ll be in the latest Fifties-style suits and dresses.
Photographed by Peccinotti.
Scanned from 19 Magazine, September 1973.







Illustration by Mick Brownfield.
Scanned from Honey, November 1974.